Arts Lab Research Articles

Reviewing Two Street Blocks in Downtown Salt Lake City

This paper offers the perspective that architecture should be considered and seen as public art. Accordingly, this paper adopts an interdisciplinary perspective to the study and practice of art and architecture. Along these lines, the paper will discuss a proposal by Urban Art Lab in the SixtyNine-Seventy Competition, which called for the conceptual “re-envisioning” or re-imagining of two street blocks (69 and 70) in downtown Salt Lake City in Utah. Urban Art Lab’s entry for the competition was an urban cluster within two Salt Lake City blocks that consisted of installations, art interventions and new public spaces.

University of Colorado, Colorado Springs—Ent center for the arts

The UCCS Ent Center for the Arts is a transformational five-venue center; an innovative collaboration involving the university, six community arts partners and three local school districts. Jaffe Holden provided acoustic and audio/video systems design services for a wide range of spaces including a multi-use hall, recital hall, art gallery, drama theaters, art lab, recording studio, music rehearsal room, teaching studios and practice rooms. Our acoustic focus within the Shockley-Zalabak Theater was on making a successful multi-use hall to support a wide range of programming including full orchestra ensembles and small chamber groups. The acoustic response can be adjusted by a motorized system of drapes and acoustic banners concealed above a partially sound-transparent ceiling. A stage lift allows changes to be made to seating configuration and provides a stage extension. An acoustical shell can be configured to accommodate both large and small group performance. The Chapman Foundation Recital Hall’s acoustics can also be tailored to suit various musical ensembles, thanks to an adjustable acoustic curtain system hidden above the partially sound-transparent ceiling and slatted wood wall at the rear of the stage. One of the biggest challenges was to successfully isolate a dance studio directly above a recording studio control room.

GLAZER CHILDREN’S MUSEUM Dream it. Be it.

In May 2016, Jennifer Stancil, the new president and chief executive officer (CEO) of Glazer Children’s Museum in Tampa, Florida was considering further steps to take toward her goal of making the downtown museum an educational and entertainment destination for children and their families. The CEO had been hired on November 23, 2015 with a mandate to rebrand the museum as a world-class learning environment for children and families. A winner of Tampa Bay Business Journal’s 2012 Nonprofit Organization of the Year, the museum was well respected, yet it faced challenges in attempting to increase memberships and visitor volume, collaborate with local competitors and partners, and raise funds. Executing the just-completed strategic plan would require a huge effort, since the surrounding community was not very aware of Glazer Children’s Museum’s purpose and myriad activities. The museum needed to develop and maintain stronger ties with other Tampa museums, schools, daycare centers, sports teams, hospitals, universities and more. Very soon after she began her job as CEO, Stancil had started working on a development plan to support her many programmatic ideas, including a multimedia art lab, activities that tied in with the city’s annual Gasparilla Festival, and other initiatives. By spring 2016, she had started to work closely with museum members, competitors, customers, and partners to define the museum’s meaning and value. She also started to consider how the museum could capitalize on its beautiful downtown Tampa location in this rapidly-growing city.

TOUCHING SOUND: A SYMPOSIUM EXPLORING IDEAS AROUND SOUND AND TACTILITY

AbstractTouching Sound, a symposium hosted by Sound Practice and Research at City, University of London and IKLECTIK Art Lab in 2017, aimed to explore the deeply embodied experience that is hearing and listening and add to this ever-growing field of practice and research. Composers and artists, a ceramicist, a landscape architect, and a surgeon considered the tactile experience from an open perspective, including the political, social and aesthetic. Interest in exploring touch and the tactile in relation to music and sound has grown in both practice and research. Until recently the discourse was predominantly centred on the integration of haptics with sound technology and ways in which music ‘touches’ us emotionally. Changing approaches to multi-modal experiences, often underpinned by phenomenology, and developing technological possibilities have, however, given rise to more embodied and tactile approaches to thinking about and creating music.

Stress in the Workplace: Results from a Perceived Stress Survey of ART Laboratory Professionals

Objective Workplace stress is a global risk factor for workers’ health and safety. Numerous studies of healthcare workers have demonstrated increased stress resulting in burnout and significant health issues. The purpose of this study was to conduct a Perceived Stress Scale (PSS) survey (Levenstein et al., 1993) of ART laboratory staff to determine the levels of stress in this group. Design Review of survey results. Materials and Methods A link containing the PSS was sent by email and posted on a social network site. Participation was voluntary. Participant responses were compiled and de-identified by the online survey tool. The PSS score was calculated for each participant with the resulting number between 0 and 1. Higher scores indicate greater levels of stress. Data was compared using unpaired t-test, with significance of p Results Non-physician ART lab staff (n = 103) answered the survey. 96.8% were located in the U.S., 36% were Ph.D., 28% Master, 36% Bachelor degrees. Respondents identified as embryologists (n = 57), Lab Directors (n = 39), and Andrology technicians (n = 7). The mean score (± SD) was .41 (0.2) for Andrology Technicians, 0.51 (0.13) for Embryologists and 0.49 (0.17) for Laboratory Directors, and 0.5 (0.2) for the entire group. No significant differences were seen between the groups (p > 0.05). Embryologists were trending to higher scores than Andrology Technicians (p = 0.06), IVF Lab Directors were trending to higher scores than Andrology Lab Directors (p = 0.08). The lowest score was seen in the Andrology Technicians (0.12) and the highest in IVF/Andrology Lab Directors (0.93). Regional differences were also seen. Previous reports showed PSS scores of 0.36, 0.42, 0.44, 0.53 for students, healthcare workers, hospital outpatients and hospital inpatients respectively (Levenstein et al., 1993). Conclusions These data point to a relatively high level of stress experienced by ART lab professionals. The results and submitted comments point to a critical need to address the causes and amelioration of stress levels. Further controlled studies of a larger group are warranted. It is hoped that this preliminary report will garner increased attention to the stress level experienced by ART staff and develop means to minimize these stress levels. Disclosures Nothing to disclose. Funding None.

El Sin Título: Un relato estético desde la práctica artística

El sin Título es una obra audiovisual que da forma al fundamento empírico de la investigación sobre el comportamiento y desarrollo experimental del artista dentro y fuera del Laboratorio del Arte. La incertidumbre artística e intelectual nos planteó como artistas la importancia y la relación existente entre la práctica artística y la investigadora, generando una reflexión: ¿Qué investigan artistas que experimentan en y desde su práctica artística? Para poder abordar los fenómenos planteados por el sujeto creador, construimos un relato estético-visual con un enfoque metodológico experimental apoyado en la Ley de los Cambios del artista Jorge Oteiza. Nuestro interés por analizar y estructurar ese proceso de cambio fue conformando una estética de conocimiento que relacionaba lenguaje, escritura y pensamiento. Un discurso que en su creación audiovisual, combinó la lógica de los sentidos con el proceso de recuperación del yo, de lo sensorial y lo subjetivo con un marcado trasfondo poético.

The Significance of the Logo of NEOM in Plasticizing Contemporary Abstract Artworks

The current study aimed at plasticizing contemporary artworks by activating the formal and denotative significances of the logo of NEOM through the concept of abstract art. To achieve the study objectives, participants were asked to plasticize contemporary artworks using multiple-sized canvas, several coloring materials, a computer and some software as a technological medium, and high-quality printer papers to activate the significances of the logo of NEOM. Abstract artworks were displayed and analyzed in the light of activating the formal and denotative significances of the logo of NEOM. The author follows the descriptive approach and the quasi-experimental approach. The experiment was applied to female students in the Arts Lab at Umm Al-Qura University in 2018/ 1439H. The experiment yielded the ability of activating the logo of NEOM in artworks (plastic works), combining the significances of the logo of NEOM and abstract art produces unusual artworks, plastically activating the logo of NEOM resulted in enriching the aesthetic value of artworks, and formal and denotative significances of the logo of NEOM enrich plastic arts especially abstract works. The author recommends keeping up with contemporary progress and events and inspiring plastic artworks from the reality around the artist.

NON-PIANO, IKLECTIK Arts Lab, London

March 18 was the first-ever World Toy Piano Day, and what better occasion for a concert showcasing this intriguing instrument. The pianist Xenia Pestova hosted Non-Piano at IKLECTIK Art Lab; the toy piano naturally took centre stage, with guest appearances from other non-piano keyboard instruments. IKLECTIK was an inspired venue – cosy without being cramped, with an acoustic that could accommodate both intimate whisperings and all-engulfing sound worlds. Pestova performed in every piece and was also a very charming host, establishing an informal tone from the get-go. No programmes (a boon! – no rustling), so everything was announced, with explanation of gestation and performance history. The relaxed surroundings well suited the exploratory and educational nature of the evening.

Unlocking collections at the John Rylands Research Institute, University of Manchester Library

In 2013 a new research institute or ‘Arts Lab’ was set up at the University of Manchester. The John Rylands Research Institute (JRRI), based in the John Rylands Library, is a unique partnership between the University of Manchester (UofM) Library and the Faculty of Humanities at the university. Its aim is to establish an internationally renowned centre for research that attracts, and supports work by local, national, or international scholars on the library's special collections. By bringing together a multi-disciplinary team of library professionals, humanities scholars, students and scientists, new approaches are being developed within the JRRI to increase and improve our understanding of these collections, in all their richness and diversity. This piece will provide insights into the work of the JRRI and through a specific case study it will demonstrate how some of the works of art in the library are beginning to benefit from the research carried out under its umbrella. However, it is first necessary to explain why these collections merit such intensive investigation.

Art That Makes Itself and other generative beginnings: Paul Brown interviewed by Bronaċ Ferran

ABSTRACTIn an interview with Bronaċ Ferran, Paul Brown recalls his involvement with people and places formative in shaping important countercultures of the 1960s and his long-term interest in generative art processes. He describes his interests since childhood in art and technological thinking which was further inspired by the Cybernetic Serendipity exhibition at the ICA in 1968. Shortly before seeing this, he had left art school, discouraged by a tutor who, on seeing a system-based drawing he had made, told him he would never become an artist. This exit proved liberating as Brown swiftly went on to forge an autonomous route working on light-shows and other multimedia events particularly at The Blackie in Liverpool, which had links to Drury Lane Arts Lab and other centres of radical experimentation. He returned to college in the early 1970s to study art and computing which became the basis of his successful art career.

Decentralization and Localization of Production

The future organizational landscape may change drastically by mid-century as a result of widespread implementation of 3D printing. This article argues that global will turn local; mega (factories, ships, malls) will become mini; long supply chains will shrink; many jobs will be broadened to combine design, consulting, sales, and production roles; and large organizations will make room for smaller ones. “A once-shuttered warehouse is now a state-of-the art lab where new workers are mastering the 3D printing that has the potential to revolutionize the way we make almost everything.” [President Obama, State of the Union Address, 2013].

Art Curriculum in Partnership with Canadian Physics Lab

When art students at Emily Carr University take a hybrid humanities/studio class with a scientific theme, they are challenged to materially transform abstract concepts. Students interact with physicists and make work on site at TRIUMF, Canada’s National Laboratory for Particle and Nuclear Physics. Strategies for art and science partnership models are tested in a curricular Transformation Art Lab as well as the RAW DATA project, where students view studio faculty struggling with similar challenges.

Intercultural Competence Development in Comenius Project "Me and My Europe: Intercultural Challenges of Modern Pre-Primary Education" Participants at Pre-Primary Education

<p><em>The paper maximizes on the reflections on the Comenius project “Me and My Europe: Intercultural Challenges of Modern Pre-Primary Education” (implementation period 2012-2014) procedures in 9 states (Latvia, Lithuania, Estonia, Poland, Italy, Spain, Portugal, Island, Turkey). The Lifelong Learning Programme documents, Latvia Ministry of Education and Science documents on preschool education, preschool guidelines by CiCe and findings on competences by the scientist Spona are at the theoretical basis. The content describes the acquisition of the intercultural competences in team workshops and Art Labs. The project served as a tool to promote intercultural competences (knowledge, skills, attitudes and self-experience) of the project participants (teachers, parents and young learners) and was attested by help of discussions, observations and a questionnaire.</em></p><p> </p>

Re-Imagining Utopias: The Bat/Human Project

The making of the modern world has long been fuelled by utopian images that are blind to ecological reality. Botanical gardens are but one example - who typically portray themselves as miniature, isolated ‘edens on earth’, whereas they are now in many cases self-evidently also the vital ‘lungs’ of crowded cities, as well as critical habitats for threatened biodiversity. In 2010 the ‘Remnant Emergency Art lab’ set out to question utopian thinking through a creative provocation called the ‘Botanical Gardens ‘X-Tension’ - an imagined city-wide, distributed, network of ‘ecological gardens’ suited to both bat and human needs, in order to ask, what now needs to be better understood, connected and therefore ultimately conserved.

Session 62: Quality management and regulation in the ART lab

Session 62: Quality management and regulation in the ART lab

Carnal Light

Carnal Light

Assessment of flow mediated dilation. Comparison between two methods: ART lab vs. FMD studio

Assessment of flow mediated dilation. Comparison between two methods: ART lab vs. FMD studio

Pressed into the Service of Cinema: Issues in Preserving the Software of Hollis Frampton and the Digital Arts Lab

Pressed into the Service of Cinema: Issues in Preserving the Software of Hollis Frampton and the Digital Arts Lab

PRESSED INTO THE SERVICE OF CINEMA: Issues in Preserving the Software of Hollis Frampton and the Digital Arts Lab

PRESSED INTO THE SERVICE OF CINEMA: Issues in Preserving the Software of Hollis Frampton and the Digital Arts Lab

ArtShots–Art and Multimedia Communication Labs: Framing Strategies and Platforms for Crossing Experiences in Teaching and Learning

Artshots-Art and Multimedia Communication Labs is an annual event organized by LAB: ACM-Laboratory of Art and Multimedia Communication within the Polytechnic Institute of Beja, in Portugal. The event promotes several workshops lead by students from two BA Courses, Art and Multimedia, and Education and Multimedia Communication. The main goal of ArtShots is to actively integrate the current students on the training process and to approach teachers and students of Secondary School with the knowledge and practice of Higher Education. The purpose of using a methodology based on working laboratories is to acknowledge conceptual and technical aspects of artistic practice and content mediatisation. This article presents the event as a successful case study, regarding the increase of affluence and interest by the program and the BA Courses on a national scale, which has been contributed positively to minimize the inland depopulation of south of Portugal and also to reinforce the role of the arts on this context. Since the first edition, in 2005, we have been able to frame a critical thinking on the models and practices that allow the improvement of training strategies and gather useful information about our current and future students. For this purpose we developed a study focused on obtaining results about the impact of applicant students in our institution. Furthermore, this study intends to analyse the students experience as a trainee, namely its significance on their education and professional integration.