Visual arts require the ability to process, categorize, recognize, and understand a variety of visual inputs. These challenges may engage and even influence mechanisms that are also relevant for ...visual object recognition beyond visual arts. A domain-general object recognition ability that applies broadly across a range of visual tasks was recently discovered. Here, we ask whether experience with visual arts is correlated with this domain-general ability. We developed a new survey to measure general visual arts experience and use it to measure arts experience in 142 individuals in whom we also estimated domain-general object recognition ability. Despite our measures demonstrating high reliability in a large sample size, we found substantial evidence (BF01 = 9.52) for no correlation between visual arts experience and general object recognition ability. This suggests that experience in visual arts has little influence on object recognition skills or vice versa, at least in our sample ranging from low to moderately high levels of arts experience. Our methods can be extended to other populations and our results should be replicated, as they suggest some limitations for the generalization of programs targeting visual literacy beyond the visual arts.
In art therapy, art-making plays an important role in the therapeutic relationship. To better understand the triangular relationship between the art therapist, the client and the artwork, this study ...investigated the association between the therapeutic alliance and reactions to artistic experiences with art materials in an art therapy simulation. The simulation consisted of a series of 6–8 sessions in which art therapy students were divided into teams composed of a permanent observer (art therapist) and creator (client). The client's role was to self-explore through art- making, and the art therapist's role was to accompany the client. Thirty-four students, all women, who played the art therapist role, and 37 students (one male) who played the client participated in the study. Of these participants, there were 24 pairs where both participants filled out all the questionnaires. A short version of the Working Alliance Inventory (WAI) was completed by the clients and the art therapists on the second session (T1) and on the penultimate session (T2). The clients also completed the Art-Based Intervention Questionnaire (ABI) at T2. Significant positive correlations were found between indices of the WAI for the art therapist and the client and the clients' reactions to the artistic experience with art materials on the ABI. The evaluation of the emotional bond between the art therapist and the client at the start of the simulation significantly predicted the client's reactions to the artistic experience with art materials at the end of the simulation and explained 45.4% of the variance for this variable. These findings highlight factors related to the development and influence of the therapeutic alliance, as well as the role of the artistic experience in art therapy and lay the groundwork for further research.
In our contribution we point out to the current challenges of the philosophy of art education, which are based on a new perspective on a human being, which also involves a deeper understanding of the ...aims and forms of artistic pedagogy. The reflected perspective expands the space for the complex development of child personality and the stimulation of his or her creativity. The principles of methodological procedures and the openness of the system take this perspective into consideration in an explored and experimentally verified music-pedagogical model by Juraj Hatrik “The Jewel of Music”. Conceptually, this model opposes unchanging and fixed learning didactic algorithms with the philosophy of atomizing at different levels, intended only for imitation, without the possibility of anticipating and considering the number of possible connections, the effects arising from the streams, and the effects of the interrelated factors that raise the problem from different angles.
We present a performative workshop in which four methods created independently by each author in their own academic space open up meanings and possibilities among them, provoked by the suggestions, ...affections and answers that are proposed collectively. The result is not a universal and prescriptive method that encloses the act of teaching, learning or researching in the inertias of what has already been experienced, already thought, already felt, but it is a diverse, alive, open and porous method that makes possible and acquires new meanings in the intersubjective dialogues teacher-teacher, teacher-discussant, student-discussant. We believe that methods in Art Education should allow subjective methodological paths that enable the poetic without ceasing to "serve" its academic purpose of researching, teaching, learning art.
Presentamos un taller performativo en el que cuatro métodos creados de forma independiente por cada autor en su espacio académico van abriendo significados y posibilidades entre ellos provocadas por las sugerencias, afectos y respuestas que se van proponiendo de forma colectiva. El resultado no es un método universal y prescriptivo que encierra el acto de enseñar, aprender o investigar en las inercias de lo ya vivido, ya pensado, ya sentido, sino que es un método diverso, vivo, entreabierto y poroso que posibilita y adquiere nuevos sentidos en lo diálogos intersubjetivos docente-docente; docente-discente, discente-discente. Consideramos que los métodos en Educación Artística deben permitir recorridos metodográficos subjetivos que posibiliten lo poético sin dejar de “servir” a su propósito académico de investigar, enseñar, aprender arte.
En el escenario de la cuarta década del siglo XX en Europa, crítico de las consecuencias de la guerra en Alemania y en su exilio en los Estados Unidos, el escritor Thomas Mann publicó la novela ...Doktor Faustus. La vida del compositor alemán Adrian Leverkühn contada por un amigo. La obra explora la naturaleza singular de la creación en contraste con las condiciones sociales de la época en la que fue escrita y señala una reflexión particular sobre la restitución de la experiencia humana en un contexto de «crisis general de la cultura». El artículo indaga en esa experiencia en la novela por medio de los análisis de Mann, de algunas aproximaciones críticas sobre la obra y del problema de lo poético, según la mirada de Jean-Luc Nancy.
Este trabajo parte de considerar la publicación de Bomarzo (1962) de Manuel Mujica Lainez como un hito cultural que se impuso como un gran desafío para los cánones de lectura de la época. Las ...dificultades en la recepción de la obra, han quedado reflejadas en los testimonios críticos contemporáneos e, incluso, se aprecian evidencias de su persistencia años más tarde. En esa estela, resulta pertinente analizar la configuración del narrador, puesto que en su especificidad reside gran parte de la novedad de la novela. Para ello, además de tener en cuenta el componente fantástico, abordaremos la obra como una autoficción que jaquea los presupuestos historiográficos sostenidos, en gran medida, por la novela histórica de cuño tradicional.
The aim of this research is the analysis of the influence of repetition as musical basses used within process of transformation of improvisation framed as a real time artistic experience, in the ...context of current improvised musics. Adopting the point of view of practice-led research, it studies how continuous repetition of a short passage, a loop, affects the sound output of an improvisation and its transformative process. Along the elaboration of the work, raises the idea of feedback process, which is defined as a kind of operational concept, that enlightens the analysis of processes and results of feedback between loop-based music and improvisation performer, in both senses. It’s also carry out an outlook of the elements that become part of the creative processes of improvisations in real time artistic experience improvisation, figured out as an inseparable whole thing.
Este artículo muestra el resultado de la investigación que analiza cómo influye la repetición utilizada como base en el proceso de transformación de una improvisación, en una experiencia artística en tiempo real dentro del marco de las músicas actuales improvisadas. Se analiza, en una investigación desde la práctica, cuál es la influencia de la repetición constante de un fragmento de carácter breve, loop, en el resultado sonoro de una improvisación y en su proceso de transformación. Partiendo de esta propuesta surge el proceso de retroalimentación. A partir de ahí se define un concepto operativo del término y se analizan los procesos y resultados de retroalimentación entre la base y quien improvisa, y viceversa. Además, se realiza un recorrido por elementos que influyen en el proceso creativo de una improvisación en una experiencia artística en tiempo real, contemplando los aspectos que la integran desde el punto de vista que entiende la experiencia artística como un todo indisociable.
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