Artistic Professions Research Articles

Сутнісні характеристики феномену "естетична компетентність особистості"

In the article it is revealed the essence of interpretation of the phenomenon of «aesthetic competence» from the point of view of philosophy, psychology, pedagogy, sociology, and cultural studies. Emphasis is placed on the interconnection of synonymous terms «readiness» and «preparedness»: «readiness» is a concept broader than competence and preparedness, which may be single, fragmented, that is, not to provide the full capacity to perform the functions of an activity. The essence of the outlined phenomenon is analyzed through its separate concepts, taking into account their relation: «aesthetic competence» with the concepts «competence», aesthetics «. Artistic and aesthetic competence is defined as a system of internal means of regulation of artistic and aesthetic actions, which includes artistic and aesthetic knowledge, social guidelines, skills and experience, aesthetic orientation, based on knowledge and sensory experience, free possession of artistic and aesthetic means and perception of artistic and aesthetic situation. The essence and features of aesthetic competence are revealed. The modern approaches to defining the concept of «aesthetic competence» are highlighted. The components of aesthetic competence are revealed. Specific features and factors influencing the development of aesthetic competence are highlighted. In conclusion, it is noted that the concept under study, aesthetic competence, should be differentiated into such varieties as aesthetic and artistic competence, while each of them, for a particular artistic profession, will at the same time have a general and specific meaning.

Retrato do artista no Jornal Correio de Uberlândia: do mito do artista divino aos estereótipos contemporâneos da profissão

Este artigo apresenta as principais questões que nortearam um estudo sobre a relação entre retrato de artistas visuais e a formação de um imaginário sobre a profissão analisando como os retratos de artistas visuais divulgados no Jornal Correio de Uberlândia (MG), observando como as reproduções fotográficas dos artistas presentes neste jornal podem influenciar na formação ou manutenção de determinadas noções sobre a profissão do artista visual no contexto local. Para este exame são discutidos retratos de artistas em diferentes momentos da história do gênero e considerando as possibilidades específicas que o advento da fotografia criou na construção de uma imagem social dos artistas.

Creativity and involvement in art in different types of synaesthesia.

The aim of the present study was to test the relationship between different types of synaesthesia and their involvement in art, creative, and visual abilities. We tested 20 grapheme‐colour, 18 sound‐colour, 19 grapheme‐colour‐and‐sound‐colour, 20 sequence‐space synaesthetes, and the same number of controls matched by age, gender, and education. We assessed the number of artistic professions, involvement in art, and the performance in psychometric tests of divergent and convergent creativity, as well as visual and visuo‐spatial abilities. Results show a higher prevalence of artists among synaesthetes, especially sound‐colour synaesthetes. Sound‐colour synaesthetes also showed a higher involvement in artistic activities overall while sequence‐space synaesthetes showed higher involvement in visual art. Only grapheme‐colour‐and‐sound‐colour synaesthetes showed significantly higher divergent creativity compared to matched controls. Additionally, overall, synaesthetes scored higher in visuo‐spatial abilities (i.e., mental rotation). For synaesthetes and controls, visuo‐spatial abilities correlated with divergent creativity. We discuss that synaesthetes’ higher involvement in art is not necessarily reflected in their basic creative abilities.

Artistic Industries and Organizational Creativity: New Insights from Old Friends

The five papers in this presenter symposium examine the interplay and interdependency between creativity and business in artistic professions and organizations. Collectively, the papers provide a d...

Sklonost ka kreativnosti pre pojave psihotičnih poremećaja - prikaz rezultata Švedske nacionalne kohorte

The answer to the question whether creativity in youth is associated with more severe mental disorders of the adult age and the greater the risk of major psychiatric difficulties among those who are prone to artistic professions in the youth has been looked for centuries. By analyzing a large, methodologically and carefully purified cohort of the Swedish population, the conditions have been met in recent years to carry out several unique epidemiological studies on the topic. In the current review, the methods and results of the analysis of this national cohort on the topic of creativity and mental disorders will be summarized, which, although not ideal and universal, still provides a unique overview of the topics from the epidemiological point of view.

Crowdfunding phenomenon: investigation of features

Key points are considered: the world experience in the formation and functioning of crowdfunding, the activity of the platforms of crowdfunding in Russia, the possible risks to startups for the implementation of their projects through crowdfunding. Crowdfunding is defined as a way to raise funds for the financing of projects of individuals and organizations on a non-repayable, debt or shareholder basis within an investment or non-investment model from an unlimited range of individuals and organizations through special Internet sites. It is noted that at the initial stage people of artistic professions prevailed among users of crowdfunding. But gradually its benefits began to attract of innovative entrepreneurs. For start-ups, such support becomes an alternative to grants of special funds, as well as to venture financing. The types of crowdfunding are analyzed. It is noted that the development of the equity crowdfunding required preliminary revision of the legislation that was implemented in a number of countries, while the rules of regulation in them have their own peculiarities. The activity of special platforms of crowdfunding, including the largest Russian sites, is considered (from the standpoint of fundraising principles, commission fees, maximum collection time of money for the project, special requirements). Attention is drawn to the problems encountered by all participants in the process. The draft law on crowdfunding is analyzed; attention is drawn to the controversy of the objects of its regulation

Part II. Drama / Choreography4. Physical Exercise in Highlighting The Professional Artistic Activities

Abstract The importance and utility of physical exercise in the life style of the artists has inspired us to write this paper through which we address the people from this field who want to start their own business. We launch this idea in order to provide employees a space for sports activities inside the company. A program of varied physical activity introduced as a break in the work program is an important element in the improvement of the human and professional resources. In this paper we describe: types of spaces equipped for physical exercises, work programs and several reasons that sustain the idea that a recreation back is very useful in the utility artistic professions of the modern world.

Rudimentariness: a concept for artistic research

This exhibition explores 'A Way of Making', an ongoing collaborative project in ceramics by curator Frédérique Bergholtz and performance artist Maria Pask. I propose that their investigation of making through ceramics – and, hence, through the hands-on encounter with the materiality of clay – is an intriguing instance of artistic research. Artistic research often refers to a discursive or scientific investigation that informs an artistic practice, or to an ongoing investigation within an existing practice. What interests me in this case is how the research is carried out in a parallel-site of investigation, one that is largely embodied. It is an empirical exploration of a medium and, as complete amateurs to the medium, an investigation of the various possibilities of ‘making’ with it. This form of artistic research aims to tackle the basics of what a curator and an artist are already busy with in their respective artistic professions. My own formative and professional trajectory has meandered through various institutions, including universities, museums, and art academies. I have therefore operated in the tenuous fault lines between different creative practices and forms of knowledge production. 'A Way of Making' is of interest to me precisely for how it calls for an analysis of the relation between different ways of creating and ways of knowing. In following the many facets of 'A Way of Making' over the past few years, I began to see parallels between the artists' investigation of the material of clay and questions that arise for me as a theoretician when working with an artistic practice or artwork. I became particularly interested in the attitude with which the makers approached their site of investigation. This attitude can be identified in many registers of their project, including the way in which performers and audiences are interpolated somatically by the ceramic pieces in various staged encounters. For this exposition, I adopted the concept of 'rudimentariness', as defined by Mireille Rosello in the field of comparative literature, to help define this attitude and to see how it can also operate in a largely non-discursive register. The exposition begins with the makers’ hands-on research, exploring how rudimentariness in making calls forth empirical forms of knowing. In particular, the notion of sensate thinking, as defined by Alexander G. Baumgarten, and theories addressing the intimate relation between the sense of touch and movement and modes of thought are key. The exposition then extends beyond Bergholtz and Pask's project to propose how the attitude of rudimentariness, underpinned by an understanding of sensate thinking and workings of touch, helps articulate what is at stake in the present for artistic research more generally and, specifically, within the growing importance placed on economies of learning in the (Dutch) education system. In creating this exposition, I attempted to follow the lines, curves, and cracks of 'A Way of Making' to investigate the feedback loops between the discursive and the non-discursive. I propose the not-yet of knowledge as a productive site for the emergence of new perspectives and critical standpoints, as well as the transformative effects of such emergent perspectives on existing habits, modes of making, and, ultimately, what is already known.

Australian Artists Abroad

Australian Artists Abroad

The social contract of artists in the era of cultural industries

The aim of this paper is to analyse the growing emphasis on the concepts of the experience economy, creative industries, and cultural industries as ways in which the social contract of artists is negotiated. What expectations are directed towards the artistic profession and how is the contribution of artists to society and their work conditions constructed by these concepts? The paper applies the concept of social contract from the sociology of professions which enables a focus on the artistic profession not only in an internal arts world perspective, but also in a broader societal frame. The study presented was carried out in a Norwegian context. Empirically, the paper is based on 28 applied research reports.

Γυναίκες και καλλιτεχνική εργασία. Ένα εμβληματικό παράδειγμα για τις σπουδές φύλου

At the beginning of the 21st century, the boundaries between men and women are still present, yet along new dividing lines. A “horizontal segregation” divides them between masculine and feminine professions. Women are paid less than their male colleagues, even when they are equally qualified. A “vertical segregation” on the other hand makes access to prestigious positions more difficult for women than it is for men. How is it possible to explain such differences? Based on the emblematic paradigm of artistic professions the paper comments on the basic analyses developed in the framework of gender studies over the past twenty years. On the basis of the research conducted by the author on French women in jazz music, the paper will analyze key French and Anglo-Saxon gender theories on the gender-work nexus.

Unemployment of professional artists: empirical evidence from Australia

This paper analyses the determinants of professional artists' unemployment. A sample of 1030 Australian artists was examined to determine the relationship between the probability of unemployment and artistic profession, education, origin and other demographic covariates. Special attention is focussed on factors influencing the probability of long‐term unemployment. It is found that artists in Australia are a heterogeneous labour market group, as regards exposure to unemployment and long‐term unemployment risk. The probability of unemployment episodes varies significantly depending on the artistic occupation: community cultural development workers, actors and directors are most likely to experience unemployment, while musicians and craftspeople are the least likely. Youth, disability, living in a capital city or in Tasmania, South Australia, Victoria or New South Wales, as well as level of tertiary education, can all increase the likelihood of unemployment episodes. On the other hand, participation in formal training in the artistic profession and living in a relationship or marriage are associated with a lower probability of unemployment. Being a writer or visual artist, living in the Northern Territory, and lower levels of education can increase the probability of experiencing long‐term unemployment. Neither gender, nor origin nor age affects the risk of long‐term unemployment of Australian artists.

Neurophysiological correlates of artistic image creation by representatives of artistic professions

Neurophysiological correlates of artistic image creation by representatives of artistic professions

Art History at the Art School: Revisiting the Institutional Origins of the Discipline Based on the Case of Nineteenth-Century Greece

(ProQuest: ... denotes non-USASCII text omitted.)Scholarly courses at the art school: a blind spot of researchThe elaboration of a theoretical discourse on art has been a main concern of art academies since their creation in the sixteenth century. This concern was nurtured by the need to regulate artistic production through the establishment of specific norms and values, and, at the same time, it was intricately linked to the promotion of the artist's status and the legitimization of the artistic profession. The articulation of theoretical discourse in the academies took place mainly in the framework of conferences among peers - by and for an elite of peers - where multiple alternating voices could engage in fruitful debate. However, towards the end of the eighteenth and during the early nineteenth century the plurivocal structure of the conferences was, in many cases, gradually replaced by actual courses offered by a unique professor. Along with practical training, courses of history, archaeology, art history, art theory and aesthetics were systematically incorporated into the academic curricula in the context of larger pedagogical and institutional reforms. This is the period in which Ancient Regime artistic structures were reformed, while new art schools were created, and the academic system of art education expanded in the recently founded nation-states of Europe and the Americas.A series of questions arise from this development. Whereas courses in art theory and aesthetics could be seen as a further pursuing of old concerns, courses in art history were less expected. Why did artists need to study the history of art? Engagement with the art of the past was certainly a salient aspect of academic training, through the copying of art works of antiquity or of the Old Masters. But what did this new kind of knowledge on past art - scholarly, systematized, often with a claim to exhaustivity, codified in a course - have to contribute to artistic practice? What were the artistic, political or economic grounds for the utterly novel claim that art has a history, and this history has to be taught to artists? Another major issue related to the introduction of scholarly courses in the art school has to do with the fact that artists seem to gradually abandon the control over the discourse produced on art to non-practitioners, to scholars who form gradually a community of professional specialists. In this regard, how was the introduction of art history courses in this particular moment related to the arising discipline of art history?I will focus here on the case of nineteenth-century Greece and the scholarly teaching offered in the Athenian School of Arts, the first art institution of the country, founded in 1837. The development of art institutions in Greece followed very different trajectories from those observed in most western European countries. The inception of the Greek art world coincides with the creation of an independent Greek State, in 1830, in a small territory sliced from the Ottoman Empire. The very notions of 'fine arts' and the 'artist' actually had no equivalent in the Greek-speaking world of the Ottoman Empire. These categories, and the cultural practices to which they are linked, were shaped mainly through the foundation of a state institution, the School of Arts, a development that had a lasting impact on the conception both of artistic activity and the role of the artist. The interest of the Greek case lies precisely in the fact that it represents a new art world formation, where all the fundamental questions around the social production of art had to be thought anew. Constructed almost ex nihilo, the Greek art world may be envisaged as a kind of historical laboratory, permitting one to observe the very institution of practices and concepts that one often tends to naturalise (or let their historical specificity be blended away by anachronisms).The founding of the School of Arts, and more generally the creation of an artistic culture in Greece, was the outcome of a complex set of cultural transfers: the School introduced art education based on Western European models that were mediated by foreign professors and Greeks who had studied abroad, particularly in Italy, France and Germany. …

Psychological and pedagogical aspects preparation of future experts in design

Training of the future designers in higher education is a relatively new and rapidly developing field. Profession of the designer is characterized by specificity, which distinguishes it among the engineering and artistic professions, because it combines the material and creative activity.

Guest Editors' Introduction

Artists and professionalism is a special issue with the overall aim to bring artistic professions into the field of professions and professionalism. The issue consists of four contributions that all highlight artistic professions from different perspectives, such as artists’ educational possibilities, professional careers, strategies for inclusion and exclusion, professional logics and boundary-makings, how professional autonomy is affected by welfare states policies and so forth.

Management Consulting Interventions in Architects’ Practices

This paper is based on intervention-research projects carried out in an 22 architects’practices with SEAM consulting methodology. The architectural Industry is a regulated profession whose field of intervention covers the work submitted to a building permit to set up the architectural project, but also involves more extended missions. Architecture is also an artistic profession. This request was based on the need for practices to reinforce their internal organization, improve customer service, increase economic performance and competitiveness, through developing the involvement and motivation of employees and architects.. Considering the economic importance and impact of small organizations in the economy, the development of inter-organizations consulting interventions is an important challenge.

Apothecaries, Artists, and Artisans: Early Industrial Material Culture in the Biological Old Regime

The work of apothecaries, painters, and artisans in early modern Spain was crucial to the epistemological and methodological changes that occurred during the scientific revolution. The pharmaceutical and artistic professions of this era had much in common, using many of the same materials and adapting many of the same culinary procedures to meet their needs. The simples that they obtained from apothecary shops relied heavily on the Spanish Empire’s search for “green gold”—the natural-history specimens, such as medicines, dyes, and pigments, from the New World that arrived at the port of Seville on a regular basis throughout the sixteenth and seventeenth centuries.

Beckett’s Everyday Psychopathology: Reading Male Nervous Hysteria in Murphy

Psychotherapy is an artistic profession. Samuel Beckett Psychology Notebooks On 23 January 1934, samuel beckett, then twenty-eight years old, moved from Dublin to London to undertake a course of psychotherapy at Tavistock Clinic (Fehsenfeld 175). He complained of a series of severe anxiety symptoms, which he described in his opening session: a bursting, apparently arrhythmic heart, night sweats, shudders, panic, breathlessness, and, when his condition was at its most severe, total paralysis (Knowlson 169). His subsequent two-year course of therapy with Wilfred Ruprecht Bion, soon to make a career for himself as a leading psychoanalyst of shell shock during World War 11, allowed Beckett to work through anxieties that sprang from his relationship with his mother, his unwillingness to pursue an academic career, and his arrogant superiority and isolation (Ackerley and Gontarski 467). This therapy, perhaps surprisingly, was immensely successful: it turned arrogant, disturbed, narcissistic young man of early into man noted later for his extraordinary kindness, courtesy, concern, generosity, and almost saintly 'good works' (Knowlson 173). Conversely, from 1927 to 1930, years preceding his therapy, Beckett came to be known as one of foremost translators of surrealist poetry and prose. Some of his translations included Andre Breton and Louis Aragon's celebration of hysteria as a supreme means of expression (quoted in Albright 10) in La Cinquantenaire de l'hysterie (1928) and portions of Breton and Paul Eluard's L'lmmaculee conception (1930), a text which attempts to simulate various mental illnesses, debilities and paralyses (Albright 10). Beckett's involvement with surrealism, then, is closely linked to characteristic avant-garde and surrealist impulse to reclaim mental illness, particularly hysteria, and critique bourgeois medical professional project to cure mentally ill and suppress their non-rational modes of expression. These two early moments of Beckett's career--the later treatment of his own nervous health, earlier access to an aesthetic of critique against those very therapeutic methods--seem at odds, perhaps irreconcilable. But during his psychotherapy, Beckett began to compose his first published full-length work, Murphy (1936), a novel that centres upon its title character's search for a kindred which he finds in a hospital for better class mentally deranged (87), whose subject matter mirrors his direct experiences with therapeutic systems and whose criticism of those systems and its aesthetic of absurdity recall surrealist aesthetic that Beckett encountered in Paris. This paper argues that Murphy places surrealism's aesthetic and formal critique of psychoanalytic project in tension with desire in psychoanalysis to understand structure and content of psychopathological mind. It is a question of surrealist treatment of form and psychoanalytic interest in structure and content. Hysteria is diagnostic category effecting this tension, Beckett's simultaneous appropriation of both surrealist and psychoanalytic approaches to what Freud famously entitled the psychopathology of everyday life. Murphy constitutes a key moment in representation of male nervous illness in 1930s and in afterlife of hysteria. At this time, legitimacy of male nervous illness was to some extent in question: Freud had relegated hysteria to feminine, and Bion and Tavistock Clinic would not reach prominence in their treatment of shell shock until war. However, tension in Murphy between therapeutic and aesthetic elements of hysteria suggests a continuous discourse of hysteria in a late-modernist moment. And this late-modernist moment is one expressed through a masculine hysterical aesthetic: Beckett deliberately departs from his experience of female nervous illness (his proximity to Lucia Joyce's breakdown) and his awareness of feminization of hysteria in surrealist conceptions. …

Revisiting the “Art Bias” in Lay Conceptions of Creativity

This article explores the art bias—the pervasive association between creativity and art in implicit theories of creativity. It also attempts to connect creativity research in this area with literature on the theory of social representations. The data comes from an online survey completed by 195 participants mainly from the United States and the United Kingdom. The survey included two main tasks: The first asked respondents to generate as many questions as they can to determine whether an object is creative; the second invited them to rate whether creativity is a key requirement for a list of 16 professions from 4 different domains and recorded the creativity score as well as reaction time. In the end, findings offer partial support for the existence of an art bias. Although artistic professions were scored both the highest and fastest in terms of creativity, participants rarely formulated art-related questions and focused more on aspect, utility, and audience features. This discrepancy is discussed in the end in relation to the polyphasic nature of social knowledge.