creative project
Recently Published Documents


TOTAL DOCUMENTS

125
(FIVE YEARS 53)

H-INDEX

5
(FIVE YEARS 1)

Humanities ◽  
2022 ◽  
Vol 11 (1) ◽  
pp. 7
Author(s):  
Rand Hazou ◽  
Reginold Daniels

This article explores a creative project entitled Performing Liberation which sought to empower communities with direct experience of incarceration to create and share creative work as part of transnational dialogue. One of the aims of the project was to facilitate creative dialogue and exchange between two incarcerated communities: prisoners at Auckland Prison and prisoners at San Quentin Prison in San Francisco. Written using autoethnographic methods, this co-authored article explores our recollections of key moments in a creative workshop at Auckland Prison in an attempt to explain its impact on stimulating the creativity of the participants. We begin by describing the context of incarceration in the US and New Zealand and suggest that these seemingly divergent locations are connected by mass incarceration. We also provide an overview of the creative contexts at San Quentin and Auckland Prison on which the Performing Liberation project developed. After describing key moments in the workshop, the article interrogates the creative space that it produced in relation to the notion of liberation, as a useful concept to interrogate various forms of oppression, and as a practice that is concerned with unshackling the body, mind, and spirit.


2021 ◽  
Vol 3 (4) ◽  
pp. 69-75
Author(s):  
Svetlana Georgievna Sokolova

The purpose of the article is to describe one of the forms of professional training of future leaders of the studio of decorative-applied art, namely, the implementation of a creative project of ethnocultural orientation. Students of the Chuvash State Institute of Culture and Arts made a panel in the collage technique «The Goddess of the hearth». At the first stage of the project, the literature on the topic of Chuvash mythology was studied. Based on the analysis of literary sources – the works of P.V. Denisov, V.K. Magnitsky, D. Mesarosh, A.K. Salmin the main characteristics of the deity «Hertsurt» were identified, which is the keeper of the hearth, the goddess of the right ordering of domesticity in Chuvash mythology. The article provides a technical and technological substantiation of the manufacturing process and describes in detail the sequence of creating the panel «The Goddess of the hearth». The author emphasizes that authentic patterns for embroidery were used, as well as traditional for the Chuvash colors, elements of clothing, utensils. It is noted that the project as a whole contributed to the formation of the main professional competencies of future leaders of the studio of decorative-applied art – to have the skills of making art products in folk traditions.


2021 ◽  
Author(s):  
◽  
Elliot Vaughan

<p>A music performance is an environment inhabited by an ecology of modalities, and music composed for performance should be discussed in terms of the various modalities and their interdependencies. Composition and analysis have traditionally prioritised the aural and the formal and tended to ignore performance space politics, corporeality, architecture, the objecthood of instruments and the subjecthood of instrumentalists, and other non-aural elements which contribute to the concert experience. This exegesis outlines a framework for the intermodal discussion of multimodal music for performance: Post-Aural Music. In Post-Aural Music the hierarchy of elements becomes fluid, the ‘aural’ no longer being the assumed authority. The framework is modelled after Hans-Thies Lehmann’s Postdramatic Theatre, an examination of modern theatre tendencies resulting from the dethroning of ‘drama’. It looks to Matthias Rebstock and David Roesner’s book Composed Theatre, an observation on how ‘compositional thinking’ is being applied to these other disciplines; and is illustrated by an analysis of Helmut Lachenmann’s Pression from the Post-Aural perspective. I reflect on the process and presentation of my own performance event Fish in Pink Gelatine, a ‘performed installation and staged concert’, as the creative project this exegesis supports.</p>


2021 ◽  
Author(s):  
◽  
Elliot Vaughan

<p>A music performance is an environment inhabited by an ecology of modalities, and music composed for performance should be discussed in terms of the various modalities and their interdependencies. Composition and analysis have traditionally prioritised the aural and the formal and tended to ignore performance space politics, corporeality, architecture, the objecthood of instruments and the subjecthood of instrumentalists, and other non-aural elements which contribute to the concert experience. This exegesis outlines a framework for the intermodal discussion of multimodal music for performance: Post-Aural Music. In Post-Aural Music the hierarchy of elements becomes fluid, the ‘aural’ no longer being the assumed authority. The framework is modelled after Hans-Thies Lehmann’s Postdramatic Theatre, an examination of modern theatre tendencies resulting from the dethroning of ‘drama’. It looks to Matthias Rebstock and David Roesner’s book Composed Theatre, an observation on how ‘compositional thinking’ is being applied to these other disciplines; and is illustrated by an analysis of Helmut Lachenmann’s Pression from the Post-Aural perspective. I reflect on the process and presentation of my own performance event Fish in Pink Gelatine, a ‘performed installation and staged concert’, as the creative project this exegesis supports.</p>


2021 ◽  
pp. 030089162110626
Author(s):  
Andrea Ferrari ◽  
Matteo Silva ◽  
Gianfelice Facchetti ◽  
Alice Patriccioli ◽  
Paolo Grampa ◽  
...  

This article describes a creative project undertaken by a group of adolescent and young adult patients with cancer as part of the Milan’s Youth Project, a scheme dedicated to young patients with cancer with the dual aim of optimizing medical aspects of their care and promoting a holistic approach to their needs. The project was based on audio recordings and focused on the theme of “the journey,” such as a holiday or an adventure, or as a metaphor of the cancer experience. The podcast installments were published on the main streaming platforms. Talking about their disease and how they feel is of importance for young patients to process their feelings surrounding the cancer experience and to find the inner resources they need to facilitate coping.


2021 ◽  
pp. 61-68
Author(s):  
Loboda O.Ye.

In order to reveal this phenomenon the article analyzes the concepts such as “project”, “project method”, “project learning technology” from the standpoint of different approaches of scientists. Determined that project learning technologies are a scientifically and methodologically sound process of achieving predictable results,aimed at optimal development of intellectual and creative abilities of future professionals, which provides systematic planning of this process, its content and phased management.Reasoned the possibilities of using in the process of professional training of future teachers-musicians among modern interactive music-pedagogical technologies the intellectual-creative project technologies of teaching, based on educational-cognitive material of musical art, involvement of concepts of developmental learning, intellectual-creative content, as well as actual needs of professional education.The basis of intellectual and creative project learning technologies is the intellectual and creative project activities of students, based on interaction with the teacher. The following activities ensure the acquisition of professional knowledge and skills by students, which is most consistent with the paradigm of personality-oriented education, and also contributes to the intensification of the process of development of intellectual and creative abilities of future music teachers. The practical implementation of intellectual and creative project learning technologies can occur through the implementation of different types of projects: research, artistic, media and educational, the essence of which is considered in the study. The organization of research projects involves predetermined certain stages of work, deliberate structure, purpose, relevance of research, social significance, methods, including experimental methods of processing results. Artistic and creative projects are based on the chosen concept, semantic material, which is based on the educational and cognitive material of art culture and different types of arts: music, pictorial, theatrical, etc. Media-educational projects are based on media forms and means of creating an intellectual and creative product and its functioning.In order to test the hypothesis of positive use of project learning technologies in the educational process and their influence on the development of intellectual and creative abilities of future music teachers within the experimental study was developed a special course “Project learning technologies for development of intellectual and creative abilities of future music teachers”.Key words: project, project method, project learning technologies, intellectual and creative project learning technologies, development of intellectual and creative abilities, future music teachers, process of professional training, higher education institution of art direction. З метою розкриття зазначеного феномену у статті проаналізовано такі поняття, як «проєкт», «метод проєктів», «проєктна технологія навчання» з позицій різних підходів науковців. Визначено, що про-єктні технології навчання – це науково та методично обґрунтований процес досягнення прогнозова-них результатів, спрямований на оптимальний розвиток інтелектуально-творчих здібностей майбутніх фахівців, що передбачає системне планування цього процесу, його змістовне наповнення та поетапне управління із застосуванням на практиці.Обґрунтовано можливості використання в процесі професійної підготовки майбутніх педагогів-музикантів серед сучасних інтерактивних музично-педагогічних технологій інтелектуально-творчих проєктних технологій навчання, що засновані на навчально-пізнавальному матеріалі музичного мистецтва, залученні концепцій розвивального навчання, інтелектуально-творчому змістовому наповненні, а також урахуванні актуальних потреб професійної освіти. Основу інтелектуально-творчих проєктних технологій навчання складає інтелектуально-творча проєк-тна діяльність студентів, заснована на взаємодії із викладачем. Така діяльність забезпечує набуття студентами фахових знань та вмінь, що найбільше відповідає парадигмі особистісно-орієнтованої освіти, а також сприяє активізації процесу розвитку інтелектуально-творчих здібностей майбутніх педагогів-музикантів. Практична реалізація інтелектуально-творчих проєктних технологій навчання може відбуватися шляхом реалізації різних типів проєктів: пошуково-дослідницьких, художньо-творчих, медіа-освіт-ніх, сутність яких розглянуто у дослідженні. Організація пошуково-дослідницьких проєктів передбачає заздалегідь визначені певні етапи роботи, обмірковану структуру, мету, актуальність дослідження, соціальну значущість, методи, у тому числі експериментальні методи обробки результатів. Художньо-творчі проєкти ґрунтуються на обраній концепції, змістовому матеріалі, що заснований на навчально-пізнавальному матеріалі художньої культури та різних видів мистецтв: музичного, образотворчого, театрального тощо. Медіа-освітні проєкти ґрунтуються на медійних формах і засобах створення інтелектуально-творчого продукту та його функціонування.З метою перевірки гіпотези про позитивний вплив проєктних технологій навчання на розвиток інтелектуально-творчих здібностей майбутніх педагогів-музикантів у межах експериментального дослі-дження розроблено спецкурс «Проєктні технології навчання з розвитку інтелектуально-творчих здібностей майбутніх педагогів-музикантів». Ключові слова: проєкт, метод проєктів, проєктні технології навчання, інтелектуально-творчі проєктні технології навчання, розвиток інтелектуально-творчих здібностей, майбутні педагоги-музиканти, процес професійної підготовки, заклад вищої освіти мистецького спрямування.


2021 ◽  
Vol 5 (2) ◽  
pp. 121-151 ◽  
Author(s):  
Alessandra Raengo ◽  
Lauren McLeod Cramer

Abstract Across his vast body of multimedia art, Kevin Jerome Everson pursues sophisticated formal exercises that deploy representational devices with the aim of achieving “massive abstractions.” Focusing on the sculptural potential of film as a time-based medium, Everson crafts his films as sculptural objects. It is a process that works toward a point of critical density in which time's material effects on a space, a body, or the screen are rendered visible. In order to reach this point, Everson has developed a rigorous practice that includes casting his own solid rubber props, carefully choreographing films that repeat formal and bodily gestures, and making oblique references to cinematic history and its foundational relationship to factory labor. In this interview the liquid blackness editors speak with Everson about his “massive” creative project; its pursuit of layered self- referentiality; the work's sheer size (measured in labor hours, custom props molded, and film titles); his fine art training; artistry as the mastery of craft; the high art of Richard Pryor; his hesitant, delicate approach to blackness; and the possibility of a midwestern, or specifically Mansfield, Ohio, artistic sensibility.


2021 ◽  
pp. 223-225
Author(s):  
Will Kuhn ◽  
Ethan Hein

Creative project-based learning poses unique challenges for assessment: open-enrollment music technology classes must serve students with widely varying levels of prior knowledge and skills, there are no standardized guidelines for evaluating music technology projects, and it is impossible to evaluate creative work objectively in general. Project-based educators must therefore apply as much creativity to assessment as they apply to project design. This chapter suggests ways to balance the necessity of giving grades against a desire to build students’ intrinsic motivation, such as de-emphasizing letter grades and numerical scores in favor of verbal feedback. It also discusses how to create a classroom culture of constructive feedback, thereby introducing students to the methods and practices used by creative professionals. It gives strategies for modeling the kind of close listening students should be able to do for themselves, and for giving and receiving criticism without being excessively judgmental or defensive.


2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Galina Tsvetkova ◽  
◽  
◽  

This analysis aims to present to a specialized public the artist’s conception and the process of creation of the ‘Flying Shirts’ project. Its creative interest is focused on the artistic intervention in everyday life objects, thus making them stand out and acquire the special meaning and status projection of ‘works of art’. An essential characteristic of this project’s different viewpoint is recognizing the authenticity of the Shirts as artefacts by embracing their unique attribute of personal belonging. This is the central point of reference in the creative programme, in which the original determines the character and state of phantasmal image. The paper considers some problems of composition, pictorial space, colour scheme and the means of expression in the construction of the visual language. The project was inspired by the intellectual and creative profile of the artist Tsanko Petrov (1942–2019), and was carried out in the belief that in its innermost essence every person’s being is linked with the whole Universe.


Sign in / Sign up

Export Citation Format

Share Document