Artistic Experience Research Articles

Utilization of Art in Nursing Education to Enhance Student Spiritual Growth and Holistic Nursing Practice.

Purpose: The purpose of this study was to investigate student nurses' perceptions of how creative art activities might support spiritual self-exploration, foster understanding of holistic care and promote spiritual growth in relation to Mercy and Jesuit values emphasized in their nursing program. Design: A qualitative design was used with data collected through surveys and students' reflections. Methods: Students enrolled in an introductory nursing course with a service-learning component participated in the study. Students were initially asked to create drawings depicting Mercy/Jesuit charisms, spirituality, and holistic nursing then complete written reflections. At the term's end, students created group art projects connecting service learning, holistic nursing care, and spiritual growth. Students responded to survey questions regarding spirituality, Mercy/Jesuit charisms, nursing practice, and their art experiences. Findings: Surveys were completed by 122 of the 137 students who participated in the art projects. After initial difficulty with artistic expression, most students reported the projects provided an opportunity for introspection related to personal spirituality, nursing, and the impact of service-learning experiences on future nursing practice. Conclusion: Arts-based learning can help students explore and express spirituality related to nursing and support their understanding and integration of values essential to the delivery of holistic nursing care.

Artistic Experience in the Context of Nonprofit Arts Organizations: Dimensions, Measurement, and Consequences

Artistic Experience in the Context of Nonprofit Arts Organizations: Dimensions, Measurement, and Consequences

Contingency and Synchronization: Conceptual Framework, Artistic Experiments and Speculative Syn-theses

Contingency and Synchronization is an ongoing research project exploring the interplay between openness and predictability in computational art. Utilizing distributed multi-agent networks, the project investigates computational synchronization phenomena across installations and visualizations. Central to the project are the concepts of contingency and synchronization, providing a framework for understanding aesthetic nuances arising from computation, sound, site, and collaborative decision-making. This paper examines the project’s conceptual and artistic impact. It explores the relationship between contingency and synchronization and addresses repercussions for concepts of listening, emergence, computation, space, and performance, and presents speculative theses outlining preliminary findings.

Re/visiting

It is an honor to receive an invitation from Tawny Andersen and Dena Davida to republish the curatorial essay for our exhibition-event, CounterPoses: Reimagining Tableaux Vivants, that was presented by the gallery Oboro in Montreal in 1998. The opportunity to revisit the project and share it with a larger audience reignites the joy, generosity, and openness we experienced within the Montreal art community. During those years, we were engaged in interdisciplinary graduate studies that illuminated our interests in sensory aesthetics, affect theory, and experiential art, while our editorial positions at Parachute magazine located us at the nexus of the critical art apparatus, where we sought to expand upon art-historical discourse by nurturing writers working in cultural studies, media studies, and performance studies. Now full-time academics, we continue to be involved in these fields of inquiry as founding editors of the Journal of Curatorial Studies, as well as through independent curatorial projects.1

Национальный ландшафт в отечественных кинокомедиях о деревне 1990-х годов: «деревенская трилогия» В. Чикова

The article examines the implementation of the national rural landscape in the Russian post-perestroika comedy films about village, namely in the ‘village trilogy’ by V. Chikov. In these films, the canon of the image of a villager, as well as specific shots of rural landscapes, inherits the traditions of Russian ‘village cinema’ and everyday comedies of the 1950s — the first half of the 1980s. In the absence of stylistic and artistic experiments in Chikov’s films, the landscape is of interest as an expression of a trend in the social consciousness of the time, also being a means of social satire and criticism of the state domestic policy of that time.

Touched by beauty: a qualitative inquiry into phenomenology of beauty

Philosophy of aesthetics and beauty has traditionally prioritized the sense of vision while deprioritizing the more basic-bodily and thus less “noble” sense of touch. This paper examines bodily aspects of how beauty appears in the experience of visual art and motivates the view that touch is fundamental to such experiences. We appeal to Merleau-Ponty to show the relevance given to touch in his phenomenology of aesthetics, to unfold the meaning of touch as “reversible,” and to understand how vision can be conceptualized as a form of touch. Further, we present four cases of feeling touched by beauty in experiences of visual art collected through interviews with art museum visitors. The descriptions of these experiences show that when people open themselves to an artwork they also open themselves to themselves. Based on the qualitative descriptions, we discuss how Merleau-Ponty’s phenomenology of touch is revelatory of the meaning of feeling “touched” in experiences of beauty.

발달장애 청소년 창작자의 미술 경험에 관한 사례 연구: 당사자의 목소리를 중심으로

This study aimed to move beyond the stereotypical views of disability and art, as well as the normative and standardized perspectives of adults and non-disabled individuals, who tend to perceive adolescents with 'disabilities' through a fragmented lens. To explore the art experiences of these adolescents through their own voices, the case study was conducted with three adolescents with developmental disabilities. The results of the cross-case analysis derived from this study’s cases revealed three themes ‘joy derived from the fountain of life’, ‘active will and self-expression from positive freedom’, ‘encounters with others beyond individual expression’. The conclusions and implications derived from this study are as follows: Firstly, ado-lescent creators with developmental disabilities blur the boundaries between life and art, with art becoming connected to their own familiar time, space, and daily experiences. This can be explained as the value and practice of an artistic life that can be accessible to all. Secondly, the individuality and uniqueness of adolescent creators with developmental disabilities highlight the potential of art to resist the norm of nor-malcy with their distinctive forms of self-expression. Thirdly, adolescent creators with developmental dis-abilities assert themselves as agents of creation and communication with ‘doing’ art, not rediscovered their ‘able to do’ by others. Theses findings implicate the need to recognize the connection of personal and so-cial realms with the meaning of art.

Visitor voices in the museum space: sharing art experiences as a dialogic mode in museum communication

Abstract The article takes its point of departure in an experiment conducted at Randers Art Museum, Denmark, in which museum visitors were asked to comment on their experiences with artworks from the museum’s collection. Their comments that were subsequently shared by the museum in the exhibition space. By examining dialogue as a form of participation, the author analyses and discusses how this particular participatory experiment created a dialogical and polyphonic museum experience in which the institutional voice was complemented and even challenged. The article contributes to the field of research on participation by connecting theoretical and practical levels through an experimental methodological approach. It presents concrete recommendations for enhancing visitor-oriented and dialogical strategies in museum communication. Moreover, it demonstrates that the experimental approach can be very useful for both researchers and museum professionals, as long as they reflect on both the limitations and the possibilities of specific experiments like this one.

TRANSFORMING LEARNING EXPERIENCES IN ART AND DESIGN APPRECIATION: A RESEARCH ON E-LEARNING DESIGN AND DEVELOPMENT

The paper focuses on the design and development of an e-learning course in art and design appreciation. Using the ADDIE model, the study explores the integration of the See Think Wonder approach in the e-learning context. The research aims to enhance learners' engagement, understanding, and appreciation of art and design. The study consists of analysis, design, development, implementation, and evaluation of art and design appreciation e-learning. The findings indicate that the See Think Wonder approach positively impacts the e-learning environment by increasing learner engagement, critical thinking skills, and emotional connection to artworks. The approach facilitates active participation, critical discussions, and improved observation and interpretation of artworks. The e-learning platform offers flexibility and accessibility, enabling learners to study at their own pace. Multimedia elements and interactive activities enhance the learning experience. Evaluation results support the effectiveness of the course, with learners recognizing the value of the See Think Wonder approach in enhancing art and design appreciation. It improves their confidence in analyzing artworks and deepens their understanding of artistic elements and principles. The research contributes to the field of art and design education by highlighting the potential of e-learning in transforming learning experiences. It provides insights for educators and instructional designers seeking to enhance art and design education through digital platforms.

Undergraduate Research Learning in the Liberal Arts: A Case Study of Transformative Student-Faculty Collaborations

Undergraduate Research Learning in the Liberal Arts: A Case Study of Transformative Student-Faculty Collaborations

융합기반 음악교육 프로그램 <사운드스케이프 디자인>의 효과성 및 의미 고찰

This study examines the perceptual changes of learners after implementing the convergence-based music education program, Soundscape Design, which focuses on the integration of music and science. The study also investigates the effectiveness and significance of the program. The purpose of this program is to provide students with meaningful artistic experiences by consciously paying attention to sound as "artists of life," creating music pieces with intention, and reflecting on sound and music. The program is divided into two parts: Part 1, "Understanding Sound," based on M. Schafer's concept of Soundscapes, and Part 2, consisting of "Soundscape Design" and "Reflection" phases. The results of the reflection questions show that through the Soundscape Design activities, students underwent changes in their perception of sound and music. They gained the realization that an artist is not necessarily a great figure, but rather an ordinary person like themselves, capable of becoming an artist, dealing with struggles. Moreover, their perception changed regarding artworks, understanding that art requires considerable time and effort, holds intention and meaning, provides new perspectives, and encompasses everyday life. These changes suggest a potential shift in students' attitudes toward art.

Digital literacy for musicians: Navigating music streaming services for independent artists in Kenya

This paper explores the crucial role of digital literacy in the music industry, emphasising its specific relevance to independent artists in Kenya who rely on MSS for global exposure. The digitalisation of the music industry at the onset of the millennium has tremendously transformed the monetisation of music by not only granting artists unprecedented access to global markets but also enabling them to connect directly with their fans like never before. This transformation has prompted independent artists in Kenya to increasingly adopt music streaming services (MSS) as their primary platform for marketing and distributing their content. Therefore, digital literacy has become a vital skill that empowers artists to effectively utilise diverse digital tools, software, and MSS. Digital literacy equips artists with the knowledge to manage their online presence, engage with their audience on social media, and make data-informed decisions using algorithms, curation, and analytics. Through a combination of phenomenological primary research and secondary data sources, this study delves into the experiences of independent artists, shedding light on the challenges they face and the opportunities that MSS presents. By enhancing their digital literacy skills, these artists can increase not only their global reach but also their revenue streams, enabling them to thrive in the evolving soundscape of the music industry.

Media and its dominance in contemporary Iraqi painting

The current study deals with the topic of the effectiveness of narrated, visual, and printed media as documents and data conveying the culture and knowledge of people, as well as a discursive structure with sensory authority that affected the nature of the artistic experience through the dynamic interaction between the artist’s creative intentions and his experience, in addition to the intellectual and historical influences resulting from the power of the medium as an effective tool in directing the artist’s vision The research was divided into four chapters, first chapter devoted to the research problem, which ended with the following question: What are the areas of media structure and how do they dominated on the visual surface appearances? The second chapter, it included two sections, the first section entitled Mediality of language/versus the oral and the copied, while the second section was entitled Mediality of the Image/versus the audio-visual. The third chapter contained the research procedures represented by the method, community, research tool, and analysis of the research sample which included three models. The fourth chapter included the results and conclusions. The following are some of the results: 1-The effectiveness of the medium emerged as a symbolic and ideological material that enhances the concept of cultural identity through artists adopting it. 2-The media appeared as a reference that carries data from which the artist draws his cultural and historical topics, as well as daily events.

Feeling Is First

Within the fields of aesthetics and psychology, there is a long tradition of arguing that affect precedes cognition. A verbalized thought following upon a feeling and associated with it does not translate the feeling precisely or adequately. In fact, as C. S. Peirce would argue, the thought itself projects its own affect, which is independent of its logic. The essence of affect or feeling will always elude linguistic capture. This essay argues that experiences of belief and doubt are affective sensations, and both can be graphed on a scale of sensuous intuition or cognitive guessing (which, again, projects affect). The failure of language to grasp what we refer to as instances of emotion, feeling, sensation, affect, belief, doubt, and the like is more of an intractable problem for philosophical aesthetics than it is for the aesthetics of the art experience. Examples of the art of Cy Twombly, Barnett Newman, Donald Judd, Bridget Riley, and Katharina Grosse are invoked to argue through the gap between thought and feeling.

“To do and see what happens, instead of planning for something to happen”, a qualitative study on how professional artists working in a palliative care setting shape their practice

ABSTRACT Background Research has acknowledged the potential benefits of art programs in palliative care settings while also highlighting associated concerns due to the extreme vulnerability of clients. To add to existing research, which predominantly focuses on social and healthcare outcomes of art initiatives, this study examines how artists shape their practice in response to the unique challenges of palliative care and client vulnerability. Method We conducted ethnographic research, observing and conducting in-depth interviews with nine artists working in a Belgian supportive and palliative daycare centre. Results The findings reveal that the artists prioritise providing meaningful artistic experiences and employ a responsive, improvisational approach, emphasising the principle of negotiation. Conclusions Working as an artist in palliative care presents both emotional and artistic challenges. Expectations regarding what art can mean in this context must be held in check, all while keeping the repercussions of interventions on clients firmly in focus.

Structure of Professional Competence Development of Future Fine Art Teachers: Integration of Technology, Method and Competence

The article gives the data about the structure of proficient competence of advancement: integration of innovation, strategy and competence. It was noted that within the development of professional competence, via the proficient characteristics, educational support of the instructive prepare based on prerequisites of qualification, and the determination of personal approaches to the execution of the educational process are vital. This research investigates the structure of professional competence development in future fine art teachers with a focus on the integration of technology, teaching methods, and subject competence. Qualitative research methods were employed to gain an in-depth understanding of how these factors interact to shape professional competence. Data were collected through classroom observations, interviews with faculty and students, and document analysis. Findings indicate that the integration of technology not only enhances the effectiveness of learning but also enriches students' artistic experiences. Innovative teaching methods, such as project-based learning and student collaboration, also play a crucial role in developing pedagogical and artistic skills. Furthermore, a strong subject competence in fine arts was identified as a key factor in shaping quality art teachers. Implications for curriculum development and art teacher training are discussed. This study provides valuable insights into integrating technology, methods, and subject competence in the formation of professional competence in future fine art teachers.

Exploring the Factors Influencing Continuance Intention to Use AI Drawing Tools: Insights from Designers

With the continuous evolution of artificial intelligence technology, AI drawing tools have emerged as highly esteemed instruments in the modern design industry. These tools, owing to their exceptional performance and innovative features, offer creators an unprecedented artistic experience. However, the factors influencing designers’ continuance intention to use AI drawing tools remain ambiguous. This study is grounded in the expectation–confirmation model–information systems continuance (ECM-ISC) model, which is further refined and hypothesized in light of the characteristics of AI drawing tools. Using structural equation modeling, we analyzed 398 valid questionnaire responses. The results elucidated the relationships of key constructs, such as perceived usefulness, perceived ease of use, satisfaction, expectation confirmation, perceived playfulness, perceived switching cost, subjective norms, and perceived risk, on designers’ continuance intention. Notably, perceived ease of use, traditionally considered vital, did not result in a significant influence on continuance intention or perceived usefulness in this research. This insight offers new perspectives for AI drawing tool developers and designers, suggesting that while pursuing user friendliness, broader considerations affecting user decisions should be taken into account. This study not only enriches the theoretical framework but also provides valuable guidance for the practical field.

The Role of Physiognomics in Teaching Students to Draw Portraits

In the article, it is true that a teacher of fine arts should have high technical knowledge in drawing portraits in the field of pencil drawing, and also have sufficient knowledge in the field of psychology thought about. This study investigates the role of physiognomics in the instruction of portrait drawing to students. Physiognomics, as the study of facial features and character, has long been believed to be a tool for understanding and capturing human expressions. However, its practical application in teaching portrait drawing has not been fully explored. The research employs a qualitative method, conducting in-depth interviews with art faculty members and experienced art students who are involved in teaching and learning portrait drawing techniques. The findings highlight that the application of physiognomic principles in instruction can assist students in developing a deeper understanding of facial structure and character expression. These findings suggest that integrating physiognomic concepts into the art curriculum can enhance students' portrait drawing skills and enrich their overall artistic experience. This research provides new insights into the importance of incorporating psychological and philosophical aspects into art education, offering a foundation for the development of a more holistic teaching approach in portrait drawing instruction at the higher education level.

Historically Informed Performance as a Phenomenon of Artistic Culture of Ukraine: Creative and Educational Activities of the Orchestra of the Baroque Chapel at the Lviv Mykola Lysenko National Music Academy

The promotion of Historically Informed Performance (HIP) is an important aspect in the preservation and reproduction of the musical heritage of previous eras. One of the examples of successful creative and educational activities in the field of performance of ancient music and popularization of HIP can be the orchestra of the baroque chapel of the Lviv National Academy of Music named after M. V. Lysenko. Considering the history of creation, peculiarities of the team's development, and concert programs of the orchestra of the Baroque Chapel of the LNMA named after MV Lysenko, we can say that it was the participation in the concerts of the Festival of Early Music in Lviv that gave the orchestra the opportunity to gain artistic experience. The festival, with its high level of concerts and master classes, became a kind of creative laboratory that contributed to the professional growth of the orchestra.

Ecological decoding of visual aesthetic preference with oscillatory electroencephalogram features-A mini-review.

In today's digital information age, human exposure to visual artifacts has reached an unprecedented quasi-omnipresence. Some of these cultural artifacts are elevated to the status of artworks which indicates a special appreciation of these objects. For many persons, the perception of such artworks coincides with aesthetic experiences (AE) that can positively affect health and wellbeing. AEs are composed of complex cognitive and affective mental and physiological states. More profound scientific understanding of the neural dynamics behind AEs would allow the development of passive Brain-Computer-Interfaces (BCI) that offer personalized art presentation to improve AE without the necessity of explicit user feedback. However, previous empirical research in visual neuroaesthetics predominantly investigated functional Magnetic Resonance Imaging and Event-Related-Potentials correlates of AE in unnaturalistic laboratory conditions which might not be the best features for practical neuroaesthetic BCIs. Furthermore, AE has, until recently, largely been framed as the experience of beauty or pleasantness. Yet, these concepts do not encompass all types of AE. Thus, the scope of these concepts is too narrow to allow personalized and optimal art experience across individuals and cultures. This narrative mini-review summarizes the state-of-the-art in oscillatory Electroencephalography (EEG) based visual neuroaesthetics and paints a road map toward the development of ecologically valid neuroaesthetic passive BCI systems that could optimize AEs, as well as their beneficial consequences. We detail reported oscillatory EEG correlates of AEs, as well as machine learning approaches to classify AE. We also highlight current limitations in neuroaesthetics and suggest future directions to improve EEG decoding of AE.