Suchergebnisse

AbstractHow to promote wellbeing in old age is an issue that is drawing increasing attention as populations age in societies around the world. This study explores arts participation in later life and creative ageing through artistic engagement. We focus on potential participants who have had little prior experience with the arts, examining their journey through artistic activities, and the broader benefits to society of a creatively engaged population. We applied an action research methodology by designing two phases of arts workshops, one focused on hands-on creation activities and the other on appreciation of professional artists' works. This approach yielded the following findings. First, facilitation is key to initiating and sustaining artistic engagement among older adults, in part by helping them adapt to a changing society. Second, potential participants should be centred in discussions on creative initiatives. In particular, still active pre-seniors have much to offer in developing creative ageing initiatives. Third, arts participation for creative ageing goes far beyond the individual; it promotes community wellbeing and contributes to creating social value. Finally, we make an actionable suggestion that 'facilitation for arts participation' be developed as a specialised professional field.

In many schools, art lacks a community focus. Students may enter art contests, have art featured within the school, or use their artistic talents for the ancillary purpose of school beautification. Further, art teachers are often viewed apart from teachers of core subjects. Through this thesis, I explore how a transformational critical friends group could foster collaboration between teachers and produce student art that is relevant and community focused. This action research project investigates what are the challenges art teachers faced when collaborating with colleagues, and given these challenges, what are the next steps moving forward. Critical Friends Groups are based on collaborations between adult learners, which is often counter to established patterns within a work environment. To achieve this, 8 teachers and I formed the Pilarte Collective to highlight the shared professional goals and artistic talents of both youth and art teachers in Chicago's Pilsen community. To facilitate the Pilarte Collective, eight Chicago Public Schools (CPS) art teachers and I organized two art exhibitions. The initial show was unique because the focus was on art teachers-as-artists. To emphasize the community focus of this show as well as the teacher-asartist aspect, this show ran for two weeks at a Pilsen gallery that was near all of the participating schools. The student show that ran for 2 days was held in the auditorium of the community high school. The methodology for this project was driven by the structure of a Critical Friends Group; it included organizing planning meetings as well as facilitating discussions to determine the theme for the show, an opening date, and committees that would do the work. Data included notes from planning meetings; audio recordings of discussions among teachers; photographs of the artwork installation; video documentation of the exhibitions; and interviews with participating teachers. It revealed personal and professional struggles such as isolation and funding. At the elementary level, art teachers are often isolated and do not have opportunities to collaborate. These teachers noted gratitude for the opportunity to participate in a group and collaborate with other teachers-as-artists. The need to create and support collaborative work between art teachers within the Chicago Public Schools has important social, pedagogical and political implications. Therefore, this research could serve as a model that could be explored in communities across Chicago to support art teachers in creating opportunities for intentional collaboration while building collegial relationships with colleagues in other schools.

"Examines concepts for persuasive communication. Explores the art of rhetoric and how it aids in clarification when we speak to communicate, but also helps to protect us from clarity when we speak to maintain our connections to others"--Provided by publisher

"Der Autor vertritt in seinem Beitrag die Ansicht, dass sich Ästhetik nicht nur auf einen herausgehobenen Bereich menschlicher Kommunikation beschränkt, sondern auch alltägliche Interaktionen eine Kunstfertigkeit aufweisen, deren Feinsinnigkeit durchaus als ästhetisch bezeichnet werden kann. Um dies an einem Beispiel zu verdeutlichen, untersucht er, an den Begriffen Rahmung, Inszenierung und Reflexivität orientiert, die räumlichen Aspekte von Interaktionen bei der alltäglichen Arbeit in einem vermeintlich 'unräumlichen' Bereich, nämlich im Umgang mit modernen Informations- und Kommunikationstechnologien. Der Autor erkennt in diesen Vorgängen eine 'pragmatische Ästhetik', die von den Erfordernissen und pragmatischen Motiven der mundanen Arbeitsvorgänge bestimmt ist." (Textauszug)

Why do people queue up and break the bank to watch fantasy movies? Why do some fictional characters and mythical creatures arrest our mind and senses? Why do some images and tales affect us so deeply, so much so that we see them all around and inside us? From heroic journeys to uncanny feelings to invincible goddesses, _Symbols and Myth- Making in Modernity_ investigates the metaphoric power of symbols in human imagination today and in the past. The book traces how ever-present cross-cultural symbols, residing in ancient rites, masterpieces of Renaissance, Sufi poetry, religion and myths, erupt in popular culture today, including in cinema, books, visual art, music and politics. The book unpacks a post-Jungian, phenomenological theory of deep culture that nourishes human perception of reality through symbols and myths. It describes how complex symbols such as those in ancient myths, religions or modern popular culture should be seen as multivalent, irreplaceable, shared to the extent that they carry significance across cultures and times and pointing to interiority or inner transformation, including as compensation or as affirmation. Moreover, the most popular and common symbols are not fantasized by individuals but are rather grasped or intuited from the culture they live in. Symbols are manifest in popular culture yet simultaneously hidden so that their significance becomes apparent only with appropriate conceptual lenses which carries signification beyond the literal object itself. Art and rituals are the societal vessels that disclose the depth of the symbol and its relevance to daily life. Symbols have always been situated within a system of meaning _ a mytho-logia. But moderns have largely lost conscious access to a mythology. This offers mythology for our time, illustrating its relevance in modern rituals of popular movies, religion and politics. Dismantling literalism and disturbing our view of the world, at each step the book unpacks how people relate to the world through symbols, how symbols play out in the modern world, and the work they do in transforming the self. At the same time, deep culture is helpful in pointing to ruptures _ where modern myths stumble _ thereby leading to new analyses of emerging societal crises and identifying new potential solutions.

En este artículo discuto la significación de los actos humanos violentos, que la actitud secreta y la falta de confiabilidad oracular de Apolo provocan en el Ión , vinculando estos actos con el clima político de Atenas a medida que la guerra del Peloponeso se acercó. Argumento que Eurípides concentra su atención en lo inclinación ateniense por la violencia a través de tres artefactos (los tres relacionados con la Gigantomaquia y todos traídos desde el hogar como objetos o imágenes mentales) que ofrecen o Creusa y su entorno el modelo y modos de acción. Sobre lo base de un número de pasajes de Tucídides que describen la triste realidad de la violencia ciega cousada por la mera suposición, yo sugiero que Eurípides exploro el mismo tema, pero le otorga un giro optimista, al mostrar que el peligro es advertido gracias al cuidado de Apolo y la colaboración de Atenea. A través de la comporación del Ión de Eurípides con las Euménides , argumento que Eurípides reformúlo el problema de la autroridad apolínea que Esquilo trató magistralmente. El templo de los Alcmeónidas de Apolo es central para este diálogo: Esquilo capitaliza sobre su brillante fachada para promover los antiguos lazos atenienses con Delfos, mientras que Eurípides explora el, potencial dramático de la ceguera para lo que es visible a los ojos, recordando, de esa manera, a los Atenienses que el favor de Apolo es una cuestión de perspictiva. Esta pieza ofrece una inteligente respuesta para los reclamos de las simpatías pro-Espartanas del oráculo délfico al negar la confiabilidad oracular del dios y por la afirmación de su favoritismo para con los atenienses, su focus sobre el templo de Apolo, que constituye una prueba incontrovertible de los lazos entre Atenas y Delfos, sirve como un recordatorio de estos lazos que, descuidados como pueden, hallarse en tiempos de crisis, se mantienen prominentes y tangibles. ; In this paper I discuss the slgnificance of violent human acts which Apollo's secrecy and oracular unreliability provokes in the Ion , relating these acts to the political climate in Athens as the Peloponnesian war drew on, I argue that Eurípides draws ettention to the Athenian penchant for violence through three artifat (all three related to the Glgantomachy and all brought from home as objets of mental images) which offer Creusa and her entourage the model and means of action. On the basis of a number of Thucydidean passages which depict the grim reality of blind violence caused by mere suspicion I suggest that Eurípides explores the same íssue but gives it en optimistíc twist by showing that the danger ís averted thanks to Apollo's care cnd Athena's help. Through comparíson of the Ion with the Eumenides I argue that Eurípides refocmulates the problem of Apollíne authoíity whlch Aeschylus had magistrally treated. The Alcmaeonaid temple of Apollo is central to this dialogue: Aeschylus capitalices on íts brilliant façade in order to promote the old Athenian lies with Delphi, whereas Eurípides explores the dramatic polential of blindness to what ís visible to the eye thus reminding the Athenians that Apollíne favor ís a matter of perspectíve, This play offers a clever response to claims of the pro-Spartan sympathies of the Delphic oracle by denying the gods oracular reliability and by affirmiing his favor to the Athenians; its focus on the temple of Apollo, which constitutes incontrovertible proof of the lies between Athens and Delphi, serves as a reminder of these lies whlch, overlooked as they may be at times of crisis, remain prominent and tangible. ; Facultad de Humanidades y Ciencias de la Educación

This article is an attempt to show the originality of Pierre-Michel Menger's sociological work through the study of his theoretical trajectory. A useful starting point can be found at the fruitful intersection between the analysis of professions and the justification of public policies. For instance, contemporary serious music depends on public subsidies even though there is as yet no public demand for it. The actors involved must make decisions about the future in an uncertain world, a theme that serves as the guiding thread of Menger's major book, Le travail créateur. How should sociology consider the uncertainty that rules inter-individual adjustments? That is the task that an innovative social science must undertake. Menger does not import economic reasoning into his sociology, but confronts these approaches while maintaining a critical tension between them, a position that sets him apart from the partisans of rational choice theory. Menger's research program is ambitious, but two questions remain: What is the status of history within the model under construction? And how can we obtain a clearer vision of the concept of talent, which often remains a black box?

The US's efforts to control the influence of culture upon political developments in post-WWII Germany from 1945-1949 are studied. It is contended that Germany's post-war cultural growth was a significant political objective for the USSR; the activities of the Soviet Military Administration in Germany's involvement in the reformation of German culture are examined. Rather than attempt to shape the evolution of post-war German culture, scrutiny of activities of the Office of Military Government US in Germany during the late 1940s demonstrated that US officials possessed a different understanding of the role of culture in political development. Specifically, it is indicated that the Office of Military Government US in Germany advocated the formation of relationships between German artists & various Western pro-democracy organizations. Indeed, the founding of the Prolog art group in 1946, the exhibition of Austrian-American artist Henry Koerner's work in Germany in 1947, & the exhibition of Austrian expatriate Hilla von Rebay's work in Germany in 1948 are cited as examples of the US's covert efforts to restructure German culture. Despite the gradual success of this program, it is revealed that several Congressional politicians challenged the democratic legitimacy of these programs, believing that they would actually promote anti-Americanism & communism. 2 Figures. J. W. Parker

This article presents arts-based action research on enhancing children's creativity through affect within participatory performance art and performance pedagogy. The study hypothesis was that children's creativity can be enhanced by affect experienced at a performance site. The purpose of the study was to investigate the impact of children's involvement in artistic performance on their creativity at a performance site. The impact of interactions at the site, the co-participating children,and the involved artists were monitored on a daily basis to collect qualitative data, which were analyzed using a general inductive approach. Objective themes relating to the variables were retrieved from the collected data and assigned codes, concepts, and keywords extracted from photographs,video recordings, and observation notes. The case under investigation was the "Nomadic Radical Academy 2020: The Good, the Bad, and the Art", which built on a pilot event held in 2019. This research concluded that performance art can have a social and creative impact during an art event through children's participation and can be used by performance artists and educators.

-

Cover -- Content -- Brunnenpassage-Introduction -- Thinking in Practice-Contextualizing Vienna's Brunnenpassage -- Transformative Practice-Brunnenpassage's Artistic Concept -- Navigating Change-Strategic Partnerships and Impulses for Cultural Policy -- Promising Practices-A Concrete Guide to Action -- Sharing Stories. Speaking Objects.-Exhibition -- JUMP!STAR Simmering-Virtual Art Project -- Not a Single Story-Collective Diary -- Zeit.Geschichten-Storywalks at Brunnenmarkt -- DJing at Brunnenpassage -- State of Emergency: Being Human-Theater Production -- StrassenKunstFest-Street Arts Festival -- Singing Projects at Brunnenpassage -- Piknik-Having breakfast together -- Between Neighbors-Photography Exhibition -- Cinemarkt-Cinema at Brunnenpassage -- Manifesto on Artists -- Short Bios -- Acknowledgments -- Imprint.