Artistic Experience Research Articles

Shaping the future of creative education: the transformative power of VR in art and design learning

Addressing a critical gap in the understanding of virtual reality (VR) in education, this study develops and validates a predictive model to elucidate the influence of usability and spatial ability on learning satisfaction among art and design undergraduates. Utilizing structural equation modeling on data from 105 art and design students in Mexico, we demonstrate that enhanced usability and spatial ability in VR significantly predicts increased learning satisfaction, which in turn, positively affects motivation, cognitive benefits, reflective thinking, and perceived learning. Our findings reveal a direct correlation between VR environment design and educational outcomes, suggesting that meticulous attention to usability and spatial navigation can substantially elevate the learning experience in art and design students. This research contributes to educational technology by offering empirical evidence on optimizing VR for higher education, with implications for curriculum design and pedagogical strategies in creative disciplines.

Smart Painting Exhibitions: Utilizing Internet of Things Technology Creating Interactive Art Spaces

INTRODUCTION: With the rapid development of science and technology, intelligent painting exhibitions have gradually attracted people's attention with their unique forms. This study aims to create an interactive art space using Internet of Things (IoT) technology to provide audiences with a more prosperous and deeper art experience. OBJECTIVES: The primary purpose of this study is to explore how to use IoT technology to transform a painting exhibition into a digital space that can interact with the audience. By fusing art and technology, the researchers aim to promote innovation in traditional art presentations and stimulate the audience's freshness and interest in art.METHODS: In the Smart Painting exhibition, the researchers used advanced Internet of Things (IoT) technology to incorporate the audience's movements, emotions, and feedback into the artworks through sensors, wearable devices, and cloud computing. The digital devices in the exhibition space could sense the audience's presence and generate and adjust the art content in real-time according to their movements or emotional state, creating a unique display that interacted with the audience. RESULTS: After implementing the Smart Painting exhibition, the audience's sense of participation and immersion in the art display was significantly increased. Through IoT technology, viewers can interact with the artwork in real-time and feel a more personalized art experience. The digitized exhibition space provided the audience a new level of perception, deepening their understanding and appreciation of the artworks. CONCLUSION: This study demonstrates the feasibility of using IoT technology to create interactive art spaces and shows that this innovation can inject new vitality into traditional painting exhibitions. Through digitalization, the interactivity of the art space is enhanced, providing the audience with a more profound art experience. This approach provides artists with new possibilities for creativity and opens up a fresh vision of participatory art for the audience. The Smart Painting Exhibition is expected to become a new model for integrating art and technology, pushing the art world towards a more innovative and open future.

Innovative Approaches Using the Arts to Support Persons with Dementia and Caregivers

There is a growing movement to explore the use of the arts to enhance the quality of life for persons with dementia (PWD) and their caregivers. Viewing art can promote well-being as well as express complex emotions during times of change and challenge. Listening to music and singing has been shown to enhance morale and reduce risk for depression and loneliness in older adults. Responsiveness to music is maintained in PWD even through later stages of the cognitive impairment. Arts-based programs appear pleasant and engaging, enhancing well-being. Looking deeper, they are based on educational theory and practice and on understanding of the neurocognitive changes with dementia. Additional benefits include increasing social interactions, promoting creativity and providing caregiver support.In this session, two geriatric psychiatrists and a decorated professional artist will discuss and demonstrate the interface between the arts and dementia in three domains: 1) art museum-based activities, 2) art creation by caregivers to process and cope with the stress of caregiving and disease progression, and 3) participation in music activities. Dr. Mary Blazek will begin the session, leading symposium participants in art-based activities. She will then discuss the growing literature on visual art museum programs for PWD and their caregivers. Dr. Mark Gilbert will discuss the use of portraiture as a research method to investigate the relationships and interactions between older patients and their partners in care. Dr. Susan Lehmann will review recent work highlighting the cognitive, social, and emotional benefits of participation in music activities for older adults and PWD.“In the Moment” Art Museum Programs for Persons with Dementia and their caregiversIn 2006, New York's Museum of Modern Art developed Meet Me at MoMA, a program for shared art experiences for (PWD) and their caregivers. Museums across the globe have developed similar programs emphasizing engaging with art “in the moment” as opposed to fostering reminiscence. Dr. Blazek will begin this session leading participants in sample activities from these programs. She will discuss the genesis of these programs and their impact on the PWD, on caregivers and on their relationships."Portrait of a Process: Exploring the experience of older adults and their partners in care through portraiture"Artist, researcher and teacher, Dr. Gilbert, will discuss artworks he created during a two-year research study in collaboration with geriatrician, Dr. Kenneth Rockwood at Geriatric Medical Research, Halifax, Nova Scotia, Canada. Memory Serves: Drawing Others Close used portraiture as a research method to investigate the relationships and interactions between older patients and their partners in care. Dr. Gilbert will also introduce a collection of drawings carried out by his late father, Scottish artist Norman Gilbert (1926-2019). The drawings were created as he sat with his wife of 65 years, Pat, as she lay dying in hospital of Alzheimer's related illness.“With a Song in My Heart”: How music can support emotional and cognitive well-being in persons with dementia and their care-partnersMusic plays a central role in human culture throughout the world and has the power to move us at every age. Aging musicians, from Bruce Springsteen to Billy Joel to Elton John, have enjoyed long performing careers, and performers such as Tony Bennett and Glen Campbell continued to perform in the early stages of Alzheimer's disease. Responsiveness to music is retained by PWD even into the later stages of cognitive impairment. There is growing evidence that listening to music, singing, or playing a musical instrument can have positive benefits for cognition as well as for emotional well-being for older adults and PWD. Dr. Lehmann will review recent studies that illuminate the relationship between brain health and music for older adults and will address interventions using music to support well-being in older adults with dementia.

رهانات الذكاء الاصطناعي والعملية الإبداعية في الفنون البصرية

AI applications were not limited to scientific questions, but were transformed into an information network applied in the visual arts, contributing in some way to the transition from the art support board to a data-driven visual world from the idea to the idea "Pixel" becoming a holistic creative art field, help the artist to follow the evolution and facilitate the artistic process, except in terms of knowledge or technical skills that the artist acquires through multiple experiences in his relationship with the past and present and looking to the future through the artist’s use of artificial intelligence in the artistic image that no longer awaits the eye of the artist, artistic experiences, scientific orientations and creative feelings. But this intelligence is impossible as an artist, thinking, collecting and extracting data in a result that is a simulation of a work of art. It is not a simple ordinary simulation of its constructive or colored composition but a synthesis of my information that produces an artistic image based on digital perception and robotics. Objectives: to determine the relationship of the artistic image with the concept of creativity, is the intelligent industrial image considered as a work of art orIs it based on creativity or is it just an intermediary between the machine and the work of art. Methods: The research program followed the analytical descriptive approach of the problems posed by the emerging controversial relationship between the concept of artificial intelligence and the image of art and the role of the artist in the developed innovative process, while describing the problem in question and collecting and analyzing the data surrounding it and extracting the results based on various proofs of the intellectual and aesthetic field of contemporary visual arts. Results: To highlight the role of AI technology in the development of the aesthetic and formative orientation of the artistic image. The study of the artist’s relationship with the art image through artificial intelligence and its place in this new digital field is the relationship of AI with the art image on the positive side and the negative side of its impact on the artist and the creative process. Define the limits of artificial intelligence in the production and creative value of the image, and guide creators in the fields of artistic image to highlight the role of artificial intelligence in the process of evolution in the visual arts. Conclusion: Study of the role of artificial intelligence technology in the development of the art image in contemporary art And that artificial intelligence in the arts considers the image or is a product based on artistic creativity and role of the artist in this huge surge of artificial technology that can eliminate his role and refer him to fringe and a practitioner and a simple technical rather than creative manufacturer in his field of research in contemporary methods of artistic creativity in art image.

Real world clinical experience using daily intelligence-assisted online adaptive radiotherapy for head and neck cancer

BackgroundAdaptive radiation therapy (ART) offers a dynamic approach to address structural and spatial changes that occur during radiotherapy (RT) for locally advanced head and neck cancers. The integration of daily ART with Cone-Beam CT (CBCT) imaging presents a solution to enhance the therapeutic ratio by addressing inter-fractional changes.MethodsWe evaluated the initial clinical experience of daily ART for patients with head and neck cancer using an online adaptive platform with intelligence-assisted workflows on daily CBCT. Treatment included auto-contour and structure deformation of Organs at Risk (OARs) and target structures, with adjustments by the treating physician. Two plans were generated: one based on the initial CT simulation with the edited structures (scheduled) and a re-optimized plan (adaptive). Both plans were evaluated and the superior one approved and delivered. Clinical and dosimetric outcomes were reviewed.ResultsTwenty two patients with head and neck cancers (7 Nasopharynx, 6 Oropharynx, 1 oral cavity, 8 larynx) stages I-IVA were treated with daily ART. 770 adaptive and scheduled radiotherapy plans were generated. 703 (91.3%) adaptive plans were chosen. Median time to deliver ART was 20 minutes (range: 18-23). Adaptive compared to scheduled plans demonstrated improved mean V95 values for the PTV70, PTV59.5, and PTV56 by 1.2%, 7.2%, and 6.0% respectively and a mean 1.4% lower maximum dose in PTV70. Fourteen of 17 OARs demonstrated improved dosimetry with adaptation, with select OARs reaching statistical significance. At a median follow up of 14.1 months, local control was 95.5%, two patients developed metastatic disease and four patients died. 9.1% of patients had acute grade 3 dysphagia and 13.6% had grade 2 chronic xerostomia.DiscussionThese findings provide real world evidence of the feasibility and dosimetric benefit of incorporating daily ART on CBCT in the treatment of head and neck cancer. Prospective study is needed to determine if these dosimetric improvements translate into improved outcomes.

인간-AI 공동창작 공연예술 특성 연구

With the advent of the AI era, various artistic experiments utilizing generative AI are actively unfolding in the art world. In the performing arts industry, performances co-created and performed by humans and AI are being announced one after another. Consequently, there is a growing interest and debate on whether AI can be considered an equal artistic creator alongside humans and whether AI can replace human creativity. This study aims to examine the artistry, potential, and validity of AI performing art by identifying the characteristics of human-AI collaborative creation performing art based on the premise that AI performing art is the result of collaboration between humans and AI. To achieve this, we will first briefly examine fundamental concepts to understand artificial intelligence and artificial creativity. Following that, we will briefly review trends and creative processes in domestic human-AI collaborative performance arts, divided into dance <Beyond Black>, music <Sangmyung AI+X Project I AI Concert>, and theatre <Paphos 2.0>, among other examples from various performing arts fields. Lastly, we will examine the characteristics of contemporary human-AI collaborative performance arts from the perspectives of existence and aura.

Phenomenological Approach to Media Art Environments

Lectio praecursoria: Lorella Scacco’s art history dis­sertation “A Phenomenological Approach to Media Art Environments: The Immersive Art Experience and the Finnish Art Scene” was examined at the University of Turku on the 13th May 2023. The opponent was Dr, Museum Director Leevi Haapala (Museum of Contemporary Art Kiasma / Finnish National Gallery) and the custos was Professor Tutta Palin (University of Turku).

Characteristics and analysis of the Culture and Arts sector, specifically the Performing dance sector in Bulgaria

The culture and arts sector is often described as a "motor sector" in academic literature. Dance schools, within this sector, offer a unique blend of educational and artistic experiences to their clients, encompassing both instructional classes and the creation of original dance performances. However, cultural and arts organizations are not solely business-oriented but also play a significant role in shaping cultural identity and providing educational opportunities. In Bulgaria, there is a lack of a standardized system for accounting for the number of dance schools and cultural organizations. These entities range from private micro-organizations, such as sole proprietorships, limited liability companies, foundations, and associations, to state and municipal organizations, with the latter forming a small percentage of the sector. Statistical data about cultural organizations and their activities are fragmented and can be found in the annual reports of the National Culture Fund (NCF), registers of the Ministry of Culture, and data from the National Statistical Institute (NSI). This study highlights the complex dynamics within the Culture and Arts sector in Bulgaria, especially in the context of dance schools, and underscores the need for targeted efforts to rekindle public interest and engagement in dance arts.

Explication of traumatic experience due to russian armed aggression against Ukraine in 2014–2024 in the national street art

The purpose of the article — culturologically comprehend the traumatic experience due to russian armed aggression against Ukraine in 2014–2024 in the national street art.
 The methodology of the research is based on the culturology approach combining study of arts and social and cultural methods of analysis of the representation of the traumatic experience in the national street art. The methodologic tools form the system approach (allowing to consider the street art in the system of interaction of processes and phenomena determined by the russian armed aggression in Ukraine), axiological approach (aimed at determination of the place of influence of urban art on the value universe of the traumatized subject), semasiological approach (allowing to consider the murals and graffiti as a sign system through which the communication of street artists and the society is carried out), typology method (to define the principal subject subgroups of patriotic graffiti and murals), structural and functional (aimed at definition of socially important functions of street art in the context of traumatic events).
 The results. It was found out that street art, namely graffiti and murals reflect, interpret and comprehend individual and collective experience of traumatic events caused by the predatory war of the russian federation. The principal subgroups of the patriotic wall painting were singled out that reflect the events and public spirits due to russian war aggression in Ukraine. The key functions of the national street art in conditions of the traumatic events were determined.
 The scientific novelty. The scientific novelty of the research lies in multivector analysis of the representation of the traumatic experience due to russian armed aggression against Ukraine in 2014–2024 in the national art. The article materials may be used for further manuals, courses, articles in culturology, art studies, history of world culture etc.
 Conclusions. 2014–2024 show the decade signifying the traumatic events caused by the russian predatory war for the Ukrainian society. The trauma both on individual and collective levels is comprehended and visualized by the means of street art. Murals and graffiti as an art introspection of national street artists of the traumatic events found reflection in the patriotic themes (the theme of resistance and struggle of the Ukrainians, the theme of symbols and safeguards, the theme of honoring the military, the Armed Forces of Ukraine, the theme of gratitude to the volunteers, the State Emergency Service, etc., the theme of realities and consequences of the war). The street art in the current trauma plays a series of important functions, in particular, communicative, therapeutic and predictive. Urban art is an art of action, resistance, support and consolidation, the site for discussion of the socially important issues, as well as comprehension of the traumatic events of the national history.

Centering artist voices: notes from a survey of artists and cultural workers in Philadelphia, PA, and Richmond, VA

ABSTRACT This essay explores our work collecting artist experiences and attending to the voices of artists themselves in two US cities. Prompted by an earlier phase of focus group research in Philadelphia with artists who voiced their needs as workers, we undertook a survey of working artists in Philadelphia and Richmond, Virginia. This survey research asks about the spatial patterns of artists living, working, and presentation locations and how that geography has changed over time, as well as how artists have weathered the pandemic in two cities. We believe this study makes innovative contributions from a methodological standpoint, given the questions we asked that supported a spatial analysis of where artists live, work, and present their work. It is also an engaged process where we centered long-neglected voices through focus groups and surveys. It is an exploration of how artists engage with space and time.

Aesthetic Value in Marketing Art Gallery: Conceptualization and Scale Development

This study aims to develop a measurement tool for a new concept in aesthetic marketing called Aesthetic Value. The paper provides a framework for understanding individual motivations in consuming art galleries, starting with exploring art theory, aesthetics, and experience as a source of aesthetic value. The research then defines the construct and its dimensions, which are used to create a measurement tool and develop a conceptual model. Data collected from survey is used to evaluate the overall aesthetic value model. Finally, Exploratory Factor Analysis (EFA) determines the number of components that should be retained in the construct. The study concludes that Aesthetic Value has four dimensions: artwork, facilities-place, knowledge, and emotion. This conceptualization provides a robust foundation for understanding customer value in the context of consuming art galleries by considering various relevant elements of Aesthetic Value. The article also discusses the potential use of this concept in the future, allowing researchers to accelerate further theoretical development in this area.

Beyond Reality: Exploring User Experiences in the Metaverse Art Exhibition Platform from an Integrated Perspective

With the rise of the metaverse, digital transformation is profoundly affecting the field of art exhibitions. Museums and galleries are actively adopting metaverse technologies to present artworks through virtual platforms, providing audiences with novel opportunities for immersive engagement and art experiences and shaping high-quality user experiences. However, the factors influencing user engagement in the metaverse art exhibition platform (MeAEP) remain unclear in the current research. This research combines the information systems success model (ISSM) and the hedonic motivation system adoption model (HMSAM) to construct a theoretical model that provides insights into the factors influencing MeAEP users’ intention to engage and their immersion behavior, with a focus on the sustainability of the art exhibition. We quantitatively analyzed 370 users that experienced MeAEP and analyzed the data and measurement model using SPSS 27 and partial least squares structural equation modeling (PLS-SEM). The results showed that information quality (IQ), system quality (SQ), and perceived ease of use (PEOU) significantly and positively influenced perceived usefulness (PU), curiosity (CUR), joy (JOY), and control (CON). PU, JOY, and CON have a positive and significant effect on Immersion (IM). Finally, PU, CUR, JOY, and CON had a positive effect on behavioral intention (BI). In conclusion, only one of the twenty hypotheses was not supported. The research findings not only enrich the academic and managerial theories related to the metaverse and art exhibition platforms, but also provide practical insights for administrators, developers, and MeAEP designers to create higher-quality and more immersive art content, as well as provide constructive ideas for the sustainability of art exhibitions to further enhance user experience.

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.