Photo Essay of Ilhabela Rivers Francisco Pereira Da Silva, Laelcio Pereira Da Silva, and Helena Beutel
Open rivers,
02/2022
Issue Twenty : Winter 2022
Journal Article
We are three people who draw on research and practice to create arts-based learning, engagement materials, and interventions with and for diverse audiences. We purposefully integrate and apply ...different artistic methods in non-artistic disciplines, such as ecology and environmental conservation, physics, climate science, and human health. We came to know each other and work together through a four-year project that was awarded to the lead author and focused on rivers in a fragmented world. Our project had local and global foci on rivers, and many of the activities, including those shared in this article, were designed with and for people in the United Kingdom but with a view that the ideas could be adapted and applied in other contexts.
El objetivo principal del presente estudio de revisión sistemática narrativa fue determinar si las intervenciones psicosociales basadas en la libre expresión artística dirigidas a promover el ...afrontamiento resiliente de situaciones estresantes cuentan con un claro sustento científico. La muestra preseleccionada estuvo conformada por 50 investigaciones publicadas entre 2010 y 2021 en bases de datos MEDLINE, ProQuest Central, PubMed, Science Direct y Trip Data base, con términos como: “Arte”, “expresión artística”, “Resiliencia”, “Afrontamiento positivo”, “niños y adolescentes”, “atención psicosocial¨ y su traducción en inglés. Posterior a la revisión se confirmó la inclusión de 47 publicaciones entre las cuales había 27 artículos científicos publicados, 13 guías o manuales institucionales publicados por la OMS y la UNESCO entre otros, 5 revisiones sistemáticas y 3 tesis de grado. Se procesaron los datos mediante el análisis de concordancia de avances, limitaciones y efectos generados con evidencia científica para calcular el nivel de efectividad. Se concluye que la acción artística permite la expresión simbólica y libre desahogo de emociones como miedo y tristeza a través de formas alegóricas que rememoran y facilitan la reconstrucción de recuerdos dolorosos, sumados a la rememoración positiva que motiva el inicio de la acción reconstructiva y resiliente de la vida. Buena parte de los estudios revisados declaran limitaciones en torno a la existencia de instrumentos psicométricamente válidos para evaluar el real alcance de la acción artística.
Towards Anamnestic Art Fret, Jarosław
Performance research,
10/02/2020, Volume:
25, Issue:
6-7
Journal Article
Peer reviewed
Jaroslaw Fret has been the director of the Grotowski Institute since 2004. Magdalena Madra works there as Project Coordinator. The Grotowski Institute is a municipal institution that combines ...artistic research projects responding to the ideas laid down by Grotowski's creative practice with documenting and spreading knowledge about his achievements. The Institute's program includes broad international cooperation with theaters, cultural centers, independent theater groups and individual professionals.
Full text
Available for:
BFBNIB, NUK, PILJ, SAZU, UL, UM, UPUK
Le présent article a pour thème un rouleau de « peintures talismaniques » (hekija-e 辟邪絵) passant pour avoir été produites dans la seconde moitié du xiie siècle, sous le règne de l’empereur retiré ...Go-Shirakawa 後白河 (1127-1192, r. 1155-1158), et transmises par la collection du temple bouddhiste Renge-ō-in 蓮華王院, plus connu sous le nom de Sanjūsan-gendō 三十三間堂. Ces peintures, actuellement conservées au Musée national de Nara, sont composées des cinq sections suivantes : le Dieu du châtiment céleste (Tenkeisei 天刑星), Sendan Kendatsuba 栴檀乾闥婆 (skt. Candana Gandharva), l’Insecte divin (Shinchū 神虫), Shōki (ch. Zhong Kui 鍾馗) et Bishamonten 毘沙門天 (skt. Vaiśravaṇa). Nous nous intéresserons plus particulièrement à l’interprétation longtemps admise selon laquelle ces différentes scènes de représentations de chimères, sortes de lions ailés bienfaisants (jp. hekija, ch. bixie 辟邪, littéralement : « qui expulse le mal, talismanique ») expulsant le mal, dépeignent de bonnes divinités éliminant de mauvais démons. Nous constaterons en effet que si l’on se penche sur les origines de ces bonnes divinités dépeintes dans chaque scène, il devient alors clair que ces dernières avaient elles aussi, à l’origine, une nature terrifiante de mauvais démons. Nous démontrerons ici que le thème principal de ces rouleaux n’est pas l’« expulsion du mal », mais une représentation du monde des démons possédant à la fois un bon et un mauvais côté, et pourquoi ces œuvres d’art devraient être également appelées « rouleaux dépeignant la Voie des enfers » (jigoku-zōshi 地獄草紙).
Decentrada (Artwork) Orasi, Tashya
Canadian art teacher,
01/2023, Volume:
19, Issue:
1
Journal Article
Decentrada (decentered) is an investigation into nuances of pathways, agency, choice and complexity in the graduate student journey. For Orasi, this work reflects the vibrancy of possibilities for ...learning that exist only in moments of decentering, where paths are changed, challenges are introduced, assumptions questioned and new meanings made. By revisiting a source of destabilization in her own educational journey she used several layers of paint, texture mediums, masking and the process of neurographica as metaphors to confront entanglements in my own academic trajectory, and the wayfinding through graduate studies that has been woven into her sense of self.
Jensen focuses on her work. Her work is designed to be an intimate, visual invitation into the often elusive and fantastical sense of belonging that so many of them yearn for. Much like a spider ...weaves her web--building architecture out of her own body--each of her drawings starts small and builds over time into its own densely layered language. This unique form of communication reflects meaningful memories and deeply felt experiences that are both hers and universal.
Ostas talks about photography. The history of philosophical thinking about photography is permeated by worry about photography's status as an expressive aesthetic medium--that is, photography's ...manner of being artistic in the sense of the other arts. As Walter Benn Michaels points out in his recent essays on art, photography, and philosophy, a specific idea of the photographic camera often undergirds this philosophical worry: the camera is a mechanized, automated instrument that in the philosopher's mind can become independently generative or generating of photographs. The worries about photography's expressive powers thus stem from this conception of the camera as vitally animated by the ability to become the agent in the act of the making of a photograph.
Abbott talks about the recognition of human action. For capitalism is vicious not just because it creates wealth inequality but because it exploits and denies what Marx calls our "free activity," ...subordinating the capacity for intentional action to the capitalists who buy it as labor power. Righting that will mean control of production, not just a fairer distribution of its products. Perhaps Michaels misses these more radical political resources because he draws a strict distinction between human beings and the rest of nature (which also sees him miss the intentionalist aspects of Kant's aesthetics of nature, exclude non-human animals from conceptual life and meaningful action, and assume our appreciation of sunsets is all about color). His work on art shows it is human action that we recognize when we understand a successful artwork. Recognizing human action, we recognize ourselves as the self-conscious animals we naturally are.
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