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2. Museums and the Web 2003: Selected Papers from an International Conference (7th, Charlotte, North Carolina, March 19-22, 2003).
- Author
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Archives and Museum Informatics, Pittsburgh, PA., Bearman, David, and Trant, Jennifer
- Abstract
This is the proceedings of the seventh annual Museums and the Web conference which took place March 19-22, 2003. MW2003 was the premier international venue to review the state of the Web in arts, culture, and heritage. The formal program consisted of two plenary sessions, eighteen parallel sessions, 35 museum project demonstrations, dozens of commercial exhibits, full-day and half-day pre-conference workshops, and one-hour mini-workshops combined with a day-long usability lab, a day-long design "crit room", and the Best of the Web awards. Participants were webmasters, educators, curators, librarians, designers, managers, and directors who work in museums, libraries, archives, historic sites, and the companies that support them. A contents table lists, in alphabetical order by contributor, the speaker, speaker's country, title of the paper, type (paper, workshop, demonstration, etc.), and whether the paper is online. Papers describe innovations and developments in programs, procedures and technology in museums and arts institutions including: "Integrating Databases with Maps: the Delivery of Cultural Data through TimeMap" (Ian Johnson); "Software Tools for Indigenous Knowledge Management" (Jane Hunter, Bevan Koopman, Jane Sledge); "Dublin Core: The Base For An Indigenous Culture Environment?" (Liddy Nevile, Sophie Lissonnet); "A Prototype Digital Library For 3D Collections: Tools To Capture, Model, Analyze, and Query Complex 3D Data" (Jeremy Rowe, Anshuman Razdan); "The More You Look the More You Get: Intention-based Interface using Gaze-tracking" (Slavko Milekic); "Re-assessing Practice: visual art, visually impaired people and the Web" (Caro Howell, Dan Porter); "From GUI to Gallery: A Study of Online Virtual Environments" (Stephen Lawrence Guynup); "Interfacing the Digital" (Steve Dietz); "Practicing What We Teach: How Learning Theory Can Guide Development of Online Educational Activities" (David T. Schaller, Steven Allison-Bunnell); "Evaluating the Authenticity of Egyptian Cartonnage Fragments: Educational Outreach in Search of the Truth" (Paul Marty, Kim Sheahan, Ann Lacy); "Focus your young visitors: Kids Innovation Fundamental changes in digital edutainment" (Sebastian Sauer, Stefan Gobel); "Investigating Heuristic Evaluation: A Case Study" (Kate Haley Goldman, Laura Bendoly); "New Vision, New Realities: Methodology and Mission in Developing Interactive Videoconferencing Programming" (Patricia Barbanell, John Falco, Diana Newman); "A Rolling Evaluation Gathers No Moss" (Lee Anne Burrough, Lorrie Beaumont, David Schaller, Ethalinda Cannon); "The SEE Experience: Edutainment in 3D Virtual Worlds" (Nicoletta Di Blas, Paolo Paolini, Susan Hazan); "Make Your Museum Talk: Natural Language Interfaces for Cultural Institutions" (Stefania Boiano, Giuliano Gaia, Morgana Caldarini); "Interactive Character as a Virtual Tour Guide to an Online Museum Exhibition" (Pilar de Almeida, Shigeki Yokoi); "Experiencing Art on the Web with Virtual Companions" (Ido A. Iurgel); "Using Cinematic Techniques in a Multimedia Museum Guide" (M. Zancanaro, O. Stock, I. Alfaro); "The State of the Art in Museum Handhelds in 2003" (Nancy Proctor, Chris Tellis); and "Designing Multi-Channel Web Frameworks for Cultural Tourism Applications: the MUSE Case Study" (Franca Garzotto, Tullio Salmon Cinotti, Massimiliano Pigozzi). An accompanying CD-ROM includes: a list of all the speakers at the conference and links to their abstracts, biographies, and papers (where available); an overview of the Museums and the Web 2003 conference program and links to abstracts and paper biographies; and the results of the Best of the Web 2003 conference (requires Internet connection). Author biographies are included. Most papers contain references. (AEF)
- Published
- 2003
3. Education and the Sister Arts. Occasional Papers, 35.
- Author
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Southampton Univ. (England). Centre for Language Education. and Benton, Michael
- Abstract
This paper is divided into two parts. The first part, "Speaking Pictures and Visual Poems," briefly considers the origin of the term "sister arts." Discussed are the three main features of the historical relationship between painting and literature in the 18th and 19th centuries in Britain and draws out their educational implications. Part 2, "Teaching the Sister Arts," deals more explicitly with teaching. Examples of recent "pairs" of paintings and poems are discussed in which can be observed both the poets' responses to their chosen paintings and some students' responses to a painting and a poem it inspired. The paper concludes with a brief comment on the pedagogical benefits that can accrue from working with such materials and methods which, by their name, define the role of the collaborative reader of two interrelated art forms. (EH)
- Published
- 1994
4. Recycling the Paper Trail.
- Author
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Galus, Pamela
- Abstract
Describes an instructional approach to teach students the importance of recycling and motivate them to recycle. Explains the history of papermaking and the process of paper making. (YDS)
- Published
- 2002
5. The Art and Science of Making Paper.
- Author
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Varona, Angelina L. and Beagle-Daresta, Pam
- Abstract
Explains the objectives of an interdisciplinary elective course for middle school students in which the scientific principles, artistic processes, cultural aspects, and environmental concerns of papermaking are integrated. (DDR)
- Published
- 1997
6. Art, Grades 7-12. Secondary Schools Curriculum Guide.
- Author
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Cranston School Dept., RI.
- Abstract
This secondary art curriculum is divided into 41 sections which may be taught separately or grouped for a full year course. It is intended as a resource for teachers, students, and others interested in curriculum development. The first 22 sections are recommended for junior high grades: sections 1-11 deal with design elements and principles and sections 12-22 with techniques--lettering, sculpture, jewelry, textile and fiber design, paper sculpture, printmaking, ceramics, drawing, and film making. Sections 23-41, recommended for high school grades, offer more advanced interpretations of design elements and basic media beginning with approaches to drawing and concluding with figure sculpture. At least one major objective is stated for each section, followed by specific objectives that indicate the level of learning, content, and means of evaluation. Most specific objectives are followed by several activities which indicate how the student will attain the objective or which may be considered as subobjectives. Art materials are suggested within the objectives and activities. (SH)
- Published
- 1973
7. Innovative Hands-on Activities for Middle School Science.
- Author
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Barry, Dana M.
- Abstract
This paper contains some hands-on activities that relate science to art and language arts. The focus is placed on middle schools and activities engage students in the discovery that chemicals are used to draw and color. Students also read and write poetry and literature that employ science-related topics. A number of spin-off activities are suggested for both art and language arts that involve food dye, candy, and other easily available materials. (DDR)
- Published
- 1999
8. Rupturing the Codes: The Use of Drama and Dramatic Literature in the History Classroom.
- Author
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Leistler, John D.
- Abstract
This paper discusses plays and companion art pieces suitable for use in the United States history classroom. After a poster from a production of Max Frisch's "Biedermann und die Brandstifter," the paper presents a list of 18 questions ("lenses") for the study of plays with a historical connection; a list of 15 plays for in-depth consideration along with companion art pieces; an abbreviated commentary of the 15 plays and art pieces; a catalog of 109 other plays appropriate and viable for the history classroom; suggestions, themes, and thoughts about 3 particular plays ("The Tenth Man,""Day of Absence," and "Wetback Run") for use in a United States history classroom; and an account of a night at the theatre in 1876. (RS)
- Published
- 1997
9. Getting Started with Visual Arts.
- Author
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Florida State Dept. of Education, Tallahassee., Dilger, Sandra C., and Terry, Teri
- Abstract
This paper examines the role of visual arts in student creativity development and gives guidelines for using a comprehensive visual arts program which can foster interdisciplinary connections throughout the curriculum. Sections of the paper include: (1) "Visual Arts in Education"; (2) "Visual Arts is a Way to..."; (3) "Learning through Visual Arts"; (4) "Creation and Communication"; (5) "Aesthetic and Critical Analysis"; (6) "Cultural and Historical Connections"; (7) "The Role of the Teacher is to ..."; (8) "Integrating Art"; (9) "Skills and Techniques of Visual Art"; (10) "Elements of Design"; (11) "Principles of Design"; (12) "Age Appropriate Activities in Art"; (13) "Additional Resources"; (14) "Books"; and (15) "Other Suggested Reading." (EH)
- Published
- 1996
10. The Parameters of Art.
- Author
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Sylva, Ron
- Abstract
This paper suggests that by thinking about a number of parameters in art and of the array that each parameter suggests, curriculum planners might select, organize, and relate particular experiences with greater assurance that the curriculum will provide adequate and representative ranges of art forms, and address their underlying modes of thinking in programs. The parameters should be applicable to all art experiences and to the four dimensions of engagement: (1) creating art; (2) responding to art; (3) historical inquiry; and (4) philosophical inquiry. The first operating principle for the parameters is that it should be possible to identify some primary characteristics of an art experience with an aspect of each parameter. The second operating principle is that the parameters and their aspects can provide some assurance that the fullest possible range of art experiences is provided. The parameters and their aspects are: (1) art area (fine, environmental, pragmatic); (2) medium (immediate, technological, conceptual); (3) mindset (spontaneity, precision, ingenuity); (3) dimensions (four, three, two); (4) process (manipulate, add, subtract, transform); (5) approach (juxtapose, realize, synthesize); (6) intention (interpretive, expressive, formalistic); (7) imagery (realistic, abstract, non-objective); and (8) subject (people, surroundings, ideas and emotions, art). Explanations of each parameter and its aspects are excluded. Perspectives provided by the dimensions are identified and discussed. For example, creating and responding are defined as the interchange between significance and form, hence responding to art is an equally creative act; while in the matter of response and historical inquiry, the response can be fuller if the context within which the piece was created is understood. (DK)
- Published
- 1988
11. Culminating Experience Action Research Projects, Volume 5, Spring 2004
- Author
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McAllister, Deborah A. and Bothman, Susan M.,
- Abstract
As a part of the teacher licensure program at the graduate level at The University of Tennessee at Chattanooga (UTC), the M.Ed. Licensure candidate is required to complete an action research project during a 3-semester-hour course that coincides with the 9-semester-hour student teaching experience. This course, Education 590 Culminating Experience, requires the student to implement an action research plan designed through (a) the Education 500 Introduction to Inquiry course, (b) one of the two learning assessments required during student teaching, or (c) a newly-designed project not used as one of the learning assessments. With funding through a UTC Teaching, Learning, and Technology Faculty Fellows award, the Education 590 course is conducted through the use of an online, course management system (Blackboard Learning System Release 6), allowing for asynchronous discussion and use of the digital drop box feature for submitting required papers. Following the Introduction, and the Course Syllabus, Action research project titles and authors are as follows: (1) Media Literacy and Reading Comprehension: An Action Research Project (Joellen K. Archung; (2) Interdisciplinary Instruction in the Middle School American History Classroom (Patty Benson); (3) Economic Evaluation: An Evaluation of a Pre-Test and Post-Test for an Economic Unit (Hoan Bomar); (4) Studio Art and Self-Regulatory Skills: Is There a Connection? (Beth Bradford); (5) Lack of Interest in Social Studies: A Review of the Literature (Brinn Dalton); (6) Investigating the Effects of Motivation on Assignment Completion (David E. Hale); (7) Fourth Grade: The Use of Math Manipulatives in a Decimal Unit (Jeanine Hardin); (8) Analysis of Pre- and Post-Tests: A Kindergarten Unit on Patterns (Nikki Hetzler); (9) Can A Student Teacher Direct Learning Centers in a Science Classroom and Increase Student Achievement? (Kevin L. Horne); (10) Correlational Studies Examining the Relationships Between the Usage of the Web Site, MathClass, Achievement on Tests, and Attitudes of Pre-Calculus Mathematics Students (Rob Lyons); (11) Pre-Test/Post-Test Learning Assessment of The Great Gatsby (Laura B. Marler); (12) An Examination of Supplemental Educational Services in a Targeted, Assisted, Title I School (Lisa Matheny); (13) Motivational Techniques for Middle School Mathematics (Teresa McDonough); (14) Steps to Solving a Pedagogical Dilemma in Preparing Students for Written Assessments in French (Daniel J. Morgan); (15) Patterns (Robin Newberry); (16) The Effects of Participation in an Electronic Pen Pal Project on Second Graders? Writing Achievement (Paula Rich); (17) Using Games in the Classroom to Enhance Motivation, Participation, and Retention: A Pre-Test and Post-Test Evaluation (Xiomara Romine); (18) Elementary Inclusion (Jennifer Shields); (19) Developing an Effective U.S. History Unit for First-Grade Students (Cindy H. Tahler); (20) Traditional Educational Methods: One School's Results as Reinforcement of Research on the Instructional Style with Respect to Underprivileged Students' Mathematics Performance (Davina K. Tompkins); and (21) Are Standardized Tests True Measures of Achievement? (Juanita Wade).
- Published
- 2005
12. Living, Learning and the Arts: Integrating Arts into the Curriculum in Rural Schools.
- Author
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Eaton, Marie
- Abstract
The arts should be considered part of the basic content of any school curriculum. The arts teach us about the central nature of what it means to be human. They are an essential part of the curriculum for all learners across all ranges of abilities and talents in all schools, but perhaps especially in rural schools, where access to museums, the symphony, or ballet may be more restricted than in urban areas, and music and art specialists may not be a part of the school staff. The arts--music, poetry, visual imagery--can be powerful tools for enabling learning, and many theories attempt to explain how music and visual symbols help us "fix" information in our minds. The arts can be used very successfully to create the anticipatory set that prepares the learner at the emotional/feeling level for the cognitive content. Beyond the content they carry and the culture they provide, the arts serve as a tool for learning how to learn. The arts can also be integrated into the curriculum by using artistic expression as a means of demonstrating conceptual understanding of a body of knowledge. Finally, students' creation of art forms can make learning a joyful process. (JHZ)
- Published
- 1985
13. K-12 Art Guide.
- Author
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Kansas State Dept. of Education, Topeka. Curriculum Section. and Furney, Trudy
- Abstract
The development of students in various art fields is the focus of this K-12 art curriculum guide. The philosophy of the art program and the roles of administrator, teacher, and parent are outlined. The underlying school community relationships, and the objective, goals, and purposes of art education are described. Phases of child development in general and for specific age groups from 4 to 18 years of age are given with the art characteristics of these age groups and their art program goals. Fundamental art concepts -- color, light and shade, design, and composition -- as well as the basic media, are outlined as to objectives, materials, and suggested projects. The remainder of the guide follows a format of objectives, materials, working knowledge, concepts, and suggested projects in presenting several art techniques. Methods, motivations, and processes are not dictated but are left to the individual teachers. Techniques in the guide include the following: lettering, interior and mural design, paper and paper mache, batik, tie-dying, printing, silversmithing, enameling, stained glass, wood, leather, textiles, ceramics, and sand casting. (Author/KSM)
- Published
- 1973
14. Japan: Images of a People.
- Author
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Smithsonian Institution, Washington, DC. Office of Elementary and Secondary Education., Smigielski, Alan, and Casey, Douglas
- Abstract
This issue of "Art to Zoo" focuses on Japanese art and is adapted from materials developed by the education department of the Smithsonian Institution's Freer Gallery of Art and the Arthur M. Sackler Gallery. After learning how to look at paintings, students make paper screens that resemble Japanese screens. Background essays about Japan place the art lessons within a larger social studies unit on Japan. Sections of the lesson plan include: (1) "Geography of Japan"; (2) "Looking for Clues: Paintings as Information Sources"; and (3) "Japanese Screens." Worksheets, take-home pages, and a resources list conclude the unit. Lessons are designed for grades 4-9 and address art, geography, and social studies. (EH)
- Published
- 1997
15. The Historical Influence of International Trade and Religion on the Arts, Crafts and Architecture of Indonesia.
- Author
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Brissette, Paul
- Abstract
This document outlines a slide presentation on Southeast Asia with primary emphasis on Indonesia. How international trade has influenced the design and development of Indonesian arts, crafts, and architecture are main points of interest. A geographical overview of Indonesia is described along with its natural resources, population, and religious practices. Indonesia's history focuses on the indigenous culture of the people who migrated and developed the land. Hinduism, Buddhism, and Islamic religions spread to Indonesia through foreign trade and impacted on the visual arts throughout the centuries. The paper concludes with personal thoughts and experiences about visiting Indonesia. (JAG)
- Published
- 1993
16. Fulbright-Hayes Seminars Abroad Program, 1993. Morocco and Tunisia. Final Projects.
- Author
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America-Mideast Educational and Training Services, Inc., Washington, DC.
- Abstract
This collection of Fulbright seminar projects focuses on Morocco and Tunisia. The first project (Ruth Brent) gives a descriptive analysis of images from the perspective of an interior design educator. The second project (Eileen Burchell) explores the theme of continuity and change as it is reflected in the contemporary French literature of the Maghreb. The third project (Vernon Egger) is a preliminary essay on general characteristics of several of the Islamic movements found in North Africa. The fourth project (Jeanne B. Howard) is a master slide inventory of architecture, archaeology, visual arts, music and dance performances, literature and calligraphy examples, geographical sites, and resource individuals interviewed. The fifth project (Mary Murray) is a paper on English translations of the Francophone literature of Morocco, Algeria, and Tunisia. The sixth project (Nathalie Oppendahl) is a list in French of about 800 slides. The seventh project (Marie Rasmussen) is a slide lecture showing the continuity and change of mosaic patterns, and production, installation, and conservation techniques. The eighth project (Maurie Sacks) and ninth project (Jean Owens Schaefer) are syllabi on the cultures and art of the middle east. The tenth (Stephen Sylvester) reports on two video projects. The eleventh (Milton Turner) lists slides on women in Morocco and Tunisia. The twelfth (Meredeth Turshen) is a journal reflecting on the trip. The thirteenth (Robert Weaver) is a syllabus on women and African literature. The fourteenth (Carol West) is a collection of statistics and materials to illustrate a series of lectures. The fifteenth project (Gilbert B. Workman) attempts to incorporate experiences and materials from the seminar into courses taught. (DK)
- Published
- 1993
17. Creativity and Science.
- Author
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Ediger, Marlow
- Abstract
There are many learning opportunities in the science curriculum which emphasize creativity. Learning opportunities are described in this paper which involve: (1) problem solving experiences; (2) poetry reading and writing; (3) prose and its applications in creative endeavors; (4) art work as creativity in science; (5) creative dramatics and famous biographies of individuals in the world of science; and (6) construction experiences to achieve objectives of student creativity in the science curriculum. (KR)
- Published
- 1992
18. The Art of Showing Art. Revised and Updated.
- Author
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Reeve, James K.
- Abstract
This book focuses attention on the art objects collections and how to display them. Designing the effective placement of objects is an easily learned art. Starting with the basics, the book takes the reader step by step through a systematic method, to solutions for display problems. The first chapter covers basic concepts of display including composition, compositional direction, subject matter, impact interest, visual weight, color, and visual mass and spacing. The second chapter deals with protecting art through the proper framing, matting, acid free paper, acid free mats, foxing, light, and other hazards. The third chapter discusses what to put where. Concepts discussed are group arrangements, the advantages of eye level, multiple hanging, and creating a mood, among others. Chapter four is titled "Installing Your Art." Such basic matters as necessary tools, hanging wires, framing, and lighting are explained. The next two chapter's five and six, address questions of keeping records, appraisals, handling, and storage of art. The final two chapters contain specific information for galleries and collectors. The seventh chapter for galleries includes space allotment, commercial exhibition, and arrangement. The final chapter for collectors discusses art as an investment, buying at auction, and dealer guarantees. A glossary of terms, a selected bibliography, and list of services and products are included. (DK)
- Published
- 1992
19. Resources for Topics in Art.
- Author
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North Carolina Univ., Charlotte. J. Murrey Atkins Library. and Van Noate, Judith
- Abstract
This guide for conducting library research on topics in art or the work of a particular artist presents suggestions for utilizing four categories of resources: books, dictionaries and encyclopedias, indexes, and a periodicals and serials list (PASL). Three topics are researched as examples: the contemporary artist and author Frank Stella, the Baroque artist Caravaggio, and the technique of paper art. Although this guide discusses the resources available at the J. Murrey Atkins Library of the University of North Carolina (Charlotte), it also can be useful to people conducting library research on art topics in general. (DB)
- Published
- 1991
20. A study of the Arundel Society 1848-1897
- Author
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Ledger, Tanya and Haskell, Francis
- Subjects
708 ,Art ,Drawing & decorative arts ,Fine art ,Painting & paintings ,History of art and visual culture ,Arundel Society ,engravings ,lithography ,Layard papers ,prints ,monographs ,water-colours - Abstract
This thesis gives, for the first time, a clear exposition of the activities of the Arundel Society (1848-1897). Founded to 'collect diligently and with discrimination the highest and best examples of Art and to bring them before hundreds of English minds' the presence of Aubrey Bezzi, Lord Lindsay, Edmund Oldfield, Samuel Rogers and John Ruskin on the Society's first council meant that the initial publication of engravings after two early Italian artists, Fra Angelico and Giotto, was unsurprising. After 1856, under the guidance of Henry Layard, the archaeologist and politician, the Society became even more firmly committed to copying and publishing frescoes of the early Renaissance. The council's aim in recording and publishing these endangered works of art was to educate the taste of the public and inspire artists to embark on programmes of mural decoration. The water-colours executed for the Society are discussed with particular reference to the reactions of the council, and of members and the press to the problem of their verisimilitude. About two-thirds of these copies were published as chromolithographs and the gains and liabilities of this initially very popular method of reproduction are examined. Other methods employed by the Society to publish fac-similies of classical and medieval ivories and reduced copies of the Elgin marbles are also discussed with general reference to Victorian attitudes towards reproductions. The penultimate chapter attempts to relate the prints and monographs published by the Society to the art historical scholarship of the period. It is shown that the council's publication of decorative quattrocento, provincial cinquecento and early Flemish and German artists was influenced by Henry Layard's preferences. His monographs for the Society are discussed and compared with the more scholarly, if diverse, contributions made by, among others, G. W. Kitchin, John Ruskin, George Scharf and Ralph Wornum. In the final chapter it is argued that the Society's loyalty to the tastes of the mid-century and to the process of chromolithography led to its dissolution.
- Published
- 1978
21. Interdisciplinary Studies Program. Teacher's Guide: Part I.
- Author
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Valencia Community Coll., Orlando, FL.
- Abstract
This teacher's guide was developed for the first of four courses in Valencia Community College's Interdisciplinary Studies Program, a 2-year core general education curriculum which chronologically examines the major developments in the evolution of human knowledge. The guide provides an introductory overview of the semester's topic (i.e., the evolution of abstract thinking and critical inquiry during the Classical Greek period); introduces each unit; discusses each topic within each unit, including information on methodology and main points to be stressed; and provides student papers showing the work in each unit. The units of the course are: (1) Developing Reading, Reasoning, Speaking, and Writing Skills, covering topics such as identifying, defining, and applying concepts; (2) Logic, focusing on the forms and functions of logic and using logic in reading, reasoning, speaking, and writing; (3) the Golden Age of Athens, exploring the architecture, sculpture, philosophy, politics, and literature of the period; (4) the Decline of Athens, looking at the loss of idealism as reflected in architecture, sculpture, philosophy, politics and literature; (5) Greek Philosophy, drawing together the works of a variety of Greek thinkers and underscoring the theme of Greek rationalism; (6) the Mythic Dimension, contrasting the philosophical approach to life with the mythic approach to life; and (7) Greek Science, sampling works of the earliest Greek scientists through those of the late Hellenistic period. (AYC)
- Published
- 1984
22. Towards a more versatile dynamic-music for video games : approaches to compositional considerations and techniques for continuous music
- Author
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Davies, Huw and Saxton, Robert
- Subjects
781.5 ,Art ,Dramatic arts ,Recreational & performing arts ,Artificial Intelligence ,21st Century music ,Composition ,Film and concert music ,Performance ,Music ,Computing ,Program development and tools ,game ,dynamic music ,interactive ,game music ,video game ,video games ,video ,audio ,MaxMSP ,generative ,procedural - Abstract
This study contributes to practical discussions on the composition of dynamic music for video games from the composer’s perspective. Creating greater levels of immersion in players is used as a justification for the proposals of the thesis. It lays down foundational aesthetic elements in order to proceed with a logical methodology. The aim of this paper is to build upon, and further hybridise, two techniques used by composers and by video game designers to increase further the reactive agility and memorability of the music for the player. Each chapter of this paper explores a different technique for joining two (possibly disparate) types of gameplay, or gamestates, with appropriate continuous music. In each, I discuss a particular musical engine capable of implementing continuous music. Chapter One will discuss a branching-music engine, which uses a precomposed musical mosaic (or musical pixels) to create a linear score with the potential to diverge at appropriate moments accompanying onscreen action. I use the case study of the Final Fantasy battle system to show how the implementation of a branching-music engine could assist in maintaining the continuity of gameplay experience that current disjointed scores, which appear in many games, create. To aid this argument I have implemented a branching-music engine, using the graphical object oriented programming environment MaxMSP, in the style of the battle music composed by Nobuo Uematsu, the composer of the early Final Fantasy series. The reader can find this in the accompanying demonstrations patch. In Chapter Two I consider how a generative-music engine can also implement a continuous music and also address some of the limitations of the branching-music engine. Further I describe a technique for an effective generative music for video games that creates musical ‘personalities’ that can mimic a particular style of music for a limited period of time. Crucially, this engine is able to transition between any two personalities to create musical coincidence with the game. GMGEn (Game Music Generation Engine) is a program I have created in MaxMSP to act as an example of this concept. GMGEn is available in the Demonstrations_Application. Chapter Three will discuss potential limitations of the branching music engine described in Chapter One and the generative music engine described in Chapter Two, and highlights how these issues can be solved by way of a third engine, which hybridises both. As this engine has an indeterminate musical state it is termed the intermittent-music engine. I go on to discuss the implementation of this engine in two different game scenarios and how emergent structures of this music will appear. The final outcome is to formulate a new compositional approach delivering dynamic music, which accompanies the onscreen action with greater agility than currently present in the field, increasing the memorability and therefore the immersive effect of the video-game music.
- Published
- 2015
23. An interdisciplinary study of an aesthetic particularism : the 'Split representation in the Art of Asia and America'
- Author
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Pothier, Benjamin
- Subjects
art ,Art history ,Anthropology ,ethnobotanic ,Shamanism ,craft ,Cognitive sciences ,Genetic anthropology ,Archaeology - Abstract
An interdisciplinary study of an aesthetic particularism: the 'Split representation in the Art of Asia and America'. This thesis consists of an interdisciplinary research on an aesthetic particularism mentioned by anthropologist Claude Levi-Strauss as "The split representation in the Art of Asia and America" in his 1944 eponymous essay. Most researchers include in this group the Ainu and Jōmon People from Japan, tribes from the Amur Basin, Haida people from the Northern West Coast, Ancient China (Yangshao and Shang Dynasty), Māori People from New Zealand and Kadiweu people from Brazil. I conducted this inquiry through an online study of academic papers and historical accounts available in online databases, by doing researches at research Libraries in Paris, through field researches in the Arctic, Brazil, Hawaii and Nepalese Himalayas, and email exchanges with some prominent researchers in the disciplines related to the subject, on a six years period. In the framework of this research I was also granted an access to National Geographic's Genographic Project database, and allowed by Claude Levi-Strauss's widow to consult his unpublished expeditions notebooks at his archival fund at the research Library of the National Institute of Art History in Paris. After presenting Levi-Strauss's Life and the roots of his theories, I discuss more recent perspectives on the subject, including the researches of the British anthropologist Alfred Gell. Before exposing the cases of the widely acknowledged connections between the pattern making habits amongst certain hunter-gatherers tribes with the taking of entheogenic drugs during rituals, with the Shipibo people from the Peruvian Amazonia and their ritualistic use of Ayahuasca as a case study. I continue by providing dedicated inter-disciplinary case studies on the specific patterns of each populations from the Split Representation groups using up to date researches results in the fields of Art theory, ethnobotany and allied sciences. Using an interdisciplinary and technoetic approach, My first original contribution to knowledge consists of a demonstration of the flaws in Levi-Strauss theory by documenting how he based his overall reasoning on now outdated datas that have been for some completely refuted since the publication of his essay. I also propose an alternative theory on the split representation, by highlighting the common practice of shamanism among the various people cited by Levi-Strauss, and how entoptic visual imagery derived from altered states of consciousness, primarily induced by psychoactive plants, as well as animistic self-other identification and the influence of shamanic type rhythmic drumming might explain for a part the similarities between those diverse artistic styles. Finally, this set of new knowledges brings new perspectives and possible explanations to the function and origins of Art and their influences on early human cognitive development.
- Published
- 2022
24. Visual culture of the Santals and their image : myth, morals and materiality
- Author
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Avijit, Anshul and Massing, Jean Michel
- Subjects
Santal ,art ,colonialism ,rebellion ,British ,engravings ,Sherwill ,Bengal School ,tribe ,primitivism ,banam ,fiddle ,Shantiniketan ,myth ,sororicide ,cannibalism ,palanquin ,palki ,wood carving ,scroll painting ,jadupatua ,effigy - Abstract
Many Indian tribes have a rich and diverse repertoire of material produce, and among them the Santal artistic heritage is not only little known, but also reveals deeply existential imperatives through its mythology and history. The purpose of this thesis has been two-fold - firstly, to systematically list and classify Santal visual culture as comprehensively as possible, and secondly, to understand this culture through more complex, collective subjectivities. These subjectivities were shaped primarily by the cultural memory of the tribe, their migratory past and their turbulent relationship with the colonial state. This thesis considers multiple forms of art - wall paintings, sacrificial geometry, musical instruments, marriage articles, paper paintings and shields used in war and dance - to understand the aesthetic eco-system of the Santals. But the emphasis is on three key artefacts that embody their philosophy - the fiddle (banam), palanquin (rahi) and scroll paintings (jadupata). The fiddle is an anthropomorphic articulation of the Santal universe and conceals a foundational tale of cannibalism, sororicide and mysticism. The palanquin, reflecting the great skill of the carvers, amuses the viewer with its animal-human parodies and its engagement with colonial modernity. The paintings, though not made by the Santals, depict key moments in the tribe's mythical almanac and also service their anxieties of the afterlife through the promise of salvation. Additionally, the thesis questions the conventional historiography of 'tribal' portrayal. It argues that the Santals, as mediated through Victorian engravings and graphics, were given far more agency and epistemic strength than generally admitted. It also claims that the Indian painters from Shantiniketan and Calcutta, rather than uplifting the community as symbols of national resistance, actually imprisoned them in an Edenic past and denied them the temporal technologies to act in the present. The visual story of the Santals, till today, remains captive to this very paradox.
- Published
- 2019
- Full Text
- View/download PDF
25. Copyright privileges, intellectual property and image ownership : the role of law in the art of Renaissance Venice
- Author
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Rabinowe, Sarah Alexis and Howard, Deborah
- Subjects
Copyright ,Privileges ,Trademark ,Patent ,Intellectual Property ,Law ,Legal History ,Legal ,Renaissance ,Early Modern ,Venice ,Italy ,Art ,Artwork ,Images ,Image ,Printing ,Printing Press ,Engraving ,Etching ,Woodcut ,Privilegio ,Luca Bertelli ,Antonio Floriano ,Cartography ,Maps ,World Maps ,Enea Vico ,Titian ,Tiziano Vecellio ,Benedetto Bordon ,Benedetto Bordone ,Giovanni Ostaus ,Paolo Veronese - Abstract
'Copyright Privileges, Intellectual Property, and Image Ownership: The Role of Law in the Art of Renaissance Venice' examines the origins of copyright and intellectual property law in relation to the production of artwork and cartography in Early Modern Venice. The modern conception of art copyright, intellectual property and image ownership began as result of a convergence of several factors. Innovations in the Venetian printing press and advances in papermaking technologies enabled rapid production of less expensive and higher quality prints. In quick succession, the print industry became increasingly concerned that the high cost of designing a new print was at considerable risk if competitors decided to replicate the image soon after the product was released. Meanwhile, the Inquisition raged throughout Italy and the Papacy was troubled that printed materials would propagate morally and religiously questionable material. As a result of these independent yet interrelated influences, the Council of Ten and Senate of Venice passed legislation to appease both parties. This judicial reform required all circulated prints to possess a license and provided the opportunity to request optional exclusive reproduction rights known as a 'privilegio'. Initially intended to be applied to printed books, the law used terminology literally translated as 'works on paper'. Artists, printmakers and publishers soon adapted legal privileges to printed art and cartography. The Venetian government enacted a succession of edicts in an attempt to restrict the ever mounting number of supplications, while the artistic community sought to capitalize on the economically lucrative and innovative moral rights advanced by the existence of the 'privilegio'. Privilege holders granted permission by the Venetian government include: Luca Bertelli, Antonio Floriano, Nicolo Nelli, Enea Vico (Parmigiano) and Titian. The PhD dissertation draws on primary evidence such as original artwork (paintings, sculptures, preparatory drawings and prints), official privilege decrees, correspondence from artists, printmakers and print shop owners, applications for licenses and privileges, letters of inspection by inquisitors from the Riformatori dello Studio di Padova, and secondary decrees from the Council of Ten and Senate of Venice, to conduct a comparative art-legal analysis that places case studies pertaining to picture print and map 'privilegi' within their broader socio-political context.
- Published
- 2019
- Full Text
- View/download PDF
26. (De)contextualising Buddhist aesthetics
- Author
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Mukdamanee, Vichaya, Chevska, Maria, and Thompson, Ashley
- Subjects
704.9 ,Buddhist art ,Aesthetics ,Art ,Thai--20th century ,Art ,Thai--21st century - Abstract
'(De)contextualising Buddhist Aesthetics' is a practice-led artistic research project focusing on the interchanging transition between Buddhist and artistic practices. Essentially inspired by the concept of vipassana meditation, I created a series of performances involving repetitive actions centring on the tasks of re-arranging readymade objects into multiple precarious configurations. Many exercises challenge the laws of gravity and other physical limitations of objects, as well as encouraging the learning experience through the process of trial and error. During the course of mindful observation of the performing body and objects, the mental state gradually gains moments of stillness and silence, which approach the meaning of emptiness (suññata) in Buddhism. Repeated failures generate intermittent feelings of exhaustion and disappointment, which naturally become part of the progress, and can be personally used to develop insight into the notions of impermanence and the non-self derived from dhamma (Buddhist teachings). The video and photography documentations were edited and altered to generate a visual experience that echoes my thoughts and feelings developed during the proceedings; these moving images later inspired other series of hand-made artworks, including collages, drawings and paintings on paper and canvas, exhibited as part of the installations. Various techniques were applied so these objective components resonate a comparative experience of uncontrollability and controllability: dynamic and stillness, fast pace and slow rhythm, abstract and representation. Some two-dimensional pieces are transformed to three-dimensional and their displays keep changing from location to location, and from time to time, in conjunction with an unstable state of the mind. All artworks were created in various formats and interrelate and inform each other. They act together as evidence of the endless journey of artistic learning, which also mirrors the concept of self-learning in Buddhist meditation.
- Published
- 2016
27. Art, aesthetics and supplementarity : re-evaluating the distinctions between the work of art and supporting material
- Author
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Walton, Jeremy Stephen
- Subjects
338.4 ,art ,aesthetics ,supplement ,technology ,display ,curating ,creativity - Abstract
This thesis analyses the importance of supplementary material for art history and philosophy by addressing its shifting and problematic relationship to the ‘work of art’. Through the use of philosophical and critical theories, including Heidegger, Benjamin, Adorno, Deleuze and Derrida, the nature and status of artworks are explored through different uses of supplementarity that are identified and developed in order to re-evaluate the cultural significance of supplementarity itself. This theoretical analysis is complemented by a cultural history that demonstrates, through a discussion of changes in artistic practices, theoretical perceptions, markets and ‘cultures of display’, the ways in which conceptions of the work of art and supplementarity are historically contingent. The main body of the thesis is composed of four case studies. In the first, Heidegger’s distinction between art and equipment and his notion of causality is used to analyse Henry Moore’s maquettes, plasters, and bronze works, in order to distinguish preliminary and preparatory material from complete works of art. The second focuses on hierarchy and supplementarity, developing Deleuze’s concept of the simulacrum by showing how the drawings and sketches of Antonio Sant’Elia can be considered works of art, despite being traditionally identified as supporting material. Walter Benjamin’s theory of aura, and Theodor Adorno’s notion of enigmaticalness, are deployed in a third case study that analyses the significance of the relocation of Francis Bacon’s studio from London to Dublin, and the use of biographical material to foreground the creative process. The final case study deploys Jacques Derrida’s analysis of Antonin Artaud’s works on paper that problematises prevailing classifications of art, and Derrida’s interpretation of Artaud’s notion of the subjectile, in order to emphasise the often ambiguous status of ostensibly supplementary material. Overall, the thesis re-evaluates the cultural significance of supplementarity for aesthetics by analysing the ways in which supplementary material affects how works of art are experienced and understood.
- Published
- 2016
28. Experience, chance and change : Allan Kaprow and the tension between art and life, 1948-1976
- Author
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Allen, Chay, Taylor, Brandon, Schaar, Elisa, and Reed-Tsocha, Katerina
- Subjects
709.2 ,Art ,Fine art ,Allan Kaprow ,Happenings - Abstract
This thesis addresses critically the work of American artist Allan Kaprow (1927-2006), focusing especially on the tensions Kaprow proposed between 'art' and 'life'. It presents a reconsideration of the most fertile period in Kaprow's career, from his undergraduate studies in the late 1940s to his mature work of the 1970s, prior to the increasing demands made on him to produce re-enactments of his early work. The period 1948-1976 presents a fuller overview of the themes and motivations of his practice than has been scrutinised in the existing literature. The research is based on extensive examination of the Allan Kaprow Papers at the Getty Institute, Los Angeles, which revealed significant and previously unstudied documentation and images. This archive and Kaprow's personal library in Encinitas, California have provided substantial previously unpublished evidence of his early interest in the American pragmatist John Dewey, and reveal many of the motivations for Kaprow's emphasis on change, together with his relational approach to form, context and process. The role of composer John Cage in the development of Kaprow's thoughts on chance helps elucidate the complexities inherent in the development of Kaprow's negotiation between chance and control. The present study also gives, for the first time, a comparative and detailed reading of the five drafts of Kaprow's Assemblage, Environments and Happenings (1966), a reading which sheds fresh light on his art and publications of the period. The thesis also presents a thorough reconsideration of the significance of play in Kaprow's work of the late 1960s and 1970s, including the tensions between and among play, work, hierarchy and liberation. Kaprow's many struggles to conceptualise and reconcile these tensions, and others, such as between audience and participant, private and public and narrative and history, were a necessary feature of the categories of art and artistic identity, including 'Happening', 'Activity' and 'Un-artist' that he helped bring into being.
- Published
- 2015
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