Interdisciplinary Art Research Articles

Pola Penerapan Residensi Unggulan Melalui Pendekatan In-kind dan Matchmaking dalam Pengembangan Media Pembelajaran Seni Lintas Disiplin bersama Industri Kreatif Program Studi Pendidikan Seni Rupa

The implementation pattern of flagship residencies through in-kind and matchmaking approaches in developing interdisciplinary art learning media with the creative industry at the Fine Arts Education Study Program aims to enhance the quality and relevance of art education. This program integrates in-kind contributions from the creative industry with a matchmaking process to create productive collaborations between students and industry practitioners. Methods include residency selection, interdisciplinary art project development, and evaluation of program outcomes and impacts. The results show an increase in students' practical skills and interdisciplinary understanding, as well as the enrichment of the fine arts education curriculum through direct input from the creative industry. The implementation of this pattern is expected to strengthen the synergy between education and industry, and produce innovative and applicable art learning media

Conceptualism of Sculpture Films of the 1970s–1980s in the Experimental Field of “Expanded Cinema”

The aim of the article is to analyse conceptual foundations of sculpture films in the 1970s–1980s in the context of experiments with “cinema expansion”. Results. Sculpture films of the 1970s–1980s show signs of a tendency toward conceptualism inherent in postmodern art. In innovative experiments on the audiovisual art and sculpture synthesis, not only the updated artistic toolkit became basic, but the process of meaning creation with a mandatory appeal to the audience’s perception as well. All this was organically integrated into the general search of avant-garde directors, aimed at developing the technological and artistic possibilities of cinematography, which received a generalised name “expanded cinema” (G. Youngblood). W. Turnbull, A. Forbes, D. Ashton, R. Horn, V. Pye, G. Matta-Clark, L. Lijn, B. Flanagan, R. Smithson, G. Stevens, P. Dockley, D. Hall, D. Dye, E. McCall, L. Lye, J. Hilliard, T. Hill, and many others, can be considered the figures in this direction. Scientific novelty. For the first time, the conceptual foundations of sculpture films of the 1970s–1980s are systematically analysed in the context of avant-garde searches by masters in creating interdisciplinary arts, and in extended cinema as well. Conclusions. The analysis of projects significant for sculpture cinema in the 1970s–1980s reveals a few conceptual creative approaches: video documentation of the process of creating a sculpture, and presenting an audiovisual work as an independent art object; filming the transformation and destruction of sculpture works for the purpose of provocative statements on current topics; use of cinematographic equipment as a material for creating sculptures; expanded interpretation of the concept of “sculpture” as a form, the construction of which is not limited to solid materials or inanimate objects; fixation on film of kinetic sculptures, the contemplation of which is inseparable from the surrounding environment. A general conclusion is made that experiments with sculpture films contributed to the video art formation, and influenced the further development of media art.

Integrating Art into STEAM Education: An Interview-Based Study of Interdisciplinary Art Educators

Extensive research has shown that students proficient in Science, Technology, Engineering, and Mathematics (STEM) subjects are more likely to succeed later in life. However, by adding the arts to the STEM curriculum (creating STEAM) and providing educators with a more interdisciplinary framework, students can be better prepared to understand and solve global problems and engage more effectively in social activities. This study employs a narrative approach to collect data and interpret results through interviews with three interdisciplinary art educators. The primary research question is: What is the self-perception of interdisciplinary art educators? By exploring how these educators integrate their specific fields into the arts to develop unique, comprehensive curricula, the study aims to highlight their role. Currently, the arts are viewed as optional rather than essential in education. Therefore, to create a truly effective, comprehensive, and engaging interdisciplinary educational system that benefits students, it is crucial to conduct in-depth interviews and research with interdisciplinary art educators, demonstrating that the arts are a vital component of all core curricula.

Fashioning identity and resistance: Shilpa Chavan's HUM (we/us)

ABSTRACT Shilpa Chavan's short film HUM (we/us) blends fashion design, filmmaking, and social critique into a powerful artistic statement. This essay examines Chavan's innovative approach, exploring how she has collaborated to craft a visual and sonic narrative about identity, resistance, and community through a lens of postcolonial India. The analysis employs multiple theoretical frameworks, including gender theory, critical fashion practices, postcolonial studies, psychoanalysis, and sound analysis. Chavan's use of recycled materials and hybrid aesthetics creates a critical space for reimagining fashion's activist role in society, challenging dominant norms while envisioning new possibilities. The essay situates HUM (we/us) within the context of contemporary Indian and international art, drawing comparisons with works by artists such as Tejal Shah, Pushpamala N., Isaac Julien, and Zanele Muholi. It also examines the film's social and cultural impact, its critical reception, and its potential influence on future artistic practices. Through detailed analysis, HUM (we/us) emerges as a compelling example of interdisciplinary art practice sparking meaningful dialogue about complex social issues, demonstrating the power of art to challenge hegemonic narratives and imagine alternative futures.

Digital Ectoplasm and the Infinite Architecture of the Fulldome

AbstractSuggesting a curious comparison between the Victorian séance and the contemporary world of immersive virtual environments, Mike Phillips, Professor of Interdisciplinary Arts at the University of Plymouth, and Director of Research at i‐DAT.org, describes the new capabilities of the fulldome, which uses notions of the automatic movements of the planchette, the wooden token that traverses the alphanumeric surface of the notorious Ouija board, as a model for the development of a quasi‐participatory audience interface he dubs the ‘phage’. Clusters of phage can be manipulated by the viewer‐occupiers of the dome to instigate all manner of formal, scalar and conceptual transpositionings.

Analysis of modern approaches to interdisciplinary art education: combining art with other fields of knowledge

Analysis of modern approaches to interdisciplinary art education: combining art with other fields of knowledge

Performance, Art, Institutions and Interdisciplinarity

How have funding, art education, and politics affected the development of performance and interdisciplinary art? In England in particular, performance as an experimental and radical art practice developed largely from underground activities, political action and a range of art forms. Funding bodies, colleges and art institutions eventually accommodated, albeit to a limited extent, this activity. As financial circumstances were sometimes difficult, artists often provided their own support structures and organisations. Some of these became established as they became successful. Performance art split from the theatrical and became defined as live art. In more recent times, conditions shifted again, and critical, experimental, or avant-garde theatre, film, music, etc., found refuge within contemporary art. Performance however, became increasingly confined and restricted by: the regulatory and academic requirements within universities; the need for evidence for some form of public or social purpose by funding bodies; and the increasingly hostile social and political circumstances. This research draws partly from personal experience and reflects on cultural conditions since the 1970s.

Interdisciplinary Art Learning Through Artistic Digital Game-Based Learning (DGBL): Evaluating Learning Outcomes and Processes Among Science and Engineering Students

The field of interdisciplinary art education, particularly through digital game-based learning, lacks empirical research on the art learning process and the competencies gained along the process. To address this research gap, this study collects data through experiment and post-experiment interviews from 20 science and engineering college students who participated in a 1-month digital game-based art learning program. The findings reveal three learning process cycles involved during art educational digital gameplay, namely the game action cycle, the experiential learning process cycle, and the game response cycle. Throughout the three process cycles, 29 learning outcomes were identified based on students’ gameplay experiences. These outcomes are then categorized into three themes, including enhanced self-management, enhanced learning experience, and refinement of proprioceptive competencies. Overall, this study highlights the digital learning process in the context of interdisciplinary art education and emphasizes the importance of valuing the outcomes gained from digital game-based learning in art education.

Management of Artistic Practice Pedagogies of Interdisciplinary Art Students With Critical Analysis Learning Method

This study aims to ensure that graduate students from plastic arts disciplines (sculpture, graphics, painting, ceramics) can develop their critical analysis skills through their jewelry design practices from the perspective of their own art disciplines. A group of 25 students participated in the study, which was planned for three hours a day, one day a week, for a total of 28 weeks during the autumn and spring semesters of 2021-2022. In the study, we conducted interviews with designers, artists, and academicians about their production processes. The participants in the study were given the opportunity to experience jewelry design projects in a digital environment by teaching and using the “Nomad Sculpt” software. The participants presented their own jewelry design projects with the criticism system developed by Feldman which consists of description, formal analysis, interpretation and judgement stages, and dialogues in which learning processes questioned with this research program were also included in the evaluation process. This process was evaluated with an analytical approach by a committee of faculty members involved in the project. The study aimed to explore and reveal the efficiency of the interdisciplinary working processes of the participating students across all artistic production stages, the awareness of the principles and elements of art, and the connections between artistic production and theoretical knowledge. Some of the results obtained from the study were that the participants who expected to improve their design skills met these expectations, and that the participants in the study were able to produce discourse on their artistic productions with the attainment of interdisciplinary work.

The Research on the Practice Path of the Interdisciplinary Art Education with "Urban-Rural Linkage"

With the methods of questionnaires and interviews, this paper propose the imlementation path of “urban-rural linkage” interdisciplinary art education in primary and secondary schools. On the basis of the core elements of the compulsory educaiton “Art Curriculum Standards”(2022), this paper structurally analyze the current situation of interdisciplinary art education in primary and secondary schools, such as experience foundation, teaching difficulty and teachers' and students' willingness. Both in urban and rural, it is necessary to integrate the strength of aesthetic education, to establish an interdisciplinary art education alliance, to implement the interdisciplinary art education cooperation mechanism with "urban-rural interaction", to expanding interdisciplinary art education teaching methods, to integrate local culture and to enhance interdisciplinary ethical awareness, and to explore the road of art education with Chinese Characteristics.These strategies can effectively meet the requirements of the core literacy of art curriculum standards and of the cultivation with interdisciplinary thinking and creative practice, promote the omplementation of comprehensive art education policies in urban and rural primary and secondary schools, and balance the use of uban and rural art education resources for interactive activities.

POSTHUMAN INTERVENTIONS TO ARCHITECTURAL SPACE BY FOOD IN PERFORMANCE ART

Posthuman studies are interdisciplinary studies that criticize the anthropocentric and dualist perspective of Western Humanist thought. In these studies, the relations between human and non-human agents are examined in the scope of subjects such as ecology, anthropocene, feminism, technology with disciplines such as medicine, sociology, law, history, art, design and architecture. At the intersection of posthuman studies within art and architecture, the concepts of time, space and body come to the fore as mostly discussed with topics such as virtuality, digitality, cyberspace, social media, metaverse, time travel, anti-aging, cryonics. The purpose of this study is to investigate the intersection of architecture and posthuman with the concepts of space and intervention in relation to performance art; and to assert a research that suggests food as an interdisciplinary art medium. Food has been used as a material in art and design, but as an artistic and architectural intervention medium it has not been investigated in the posthuman context. In this context, literature was reviewed on academic sources and applications, and these were reinterpreted to develop new suggestions with a qualitative research method. It’s observed that the post-dualist approach at the center of posthuman studies is placed in Fluxus events which problematize and criticize dualisms such as artist/audience, art/life, public/private. It was concluded that food isn’t just an art material in these performances; it's a medium that offers artists new contexts with its technical, creative and critical possibilities. Therefore as architectural interventions applied to public or private and indoor or outdoor spaces are going beyond the actions such as building, demolishing, displacing, excavating, filling, covering; and with a medium such as food challenging creativity, immaterial, intuitive and sensory interpretations of time, body and space are emphasized. In this context, it’s intended to create a contribution that offers alternative perspectives to the literature.

Introducing the Upcoming Special Series “Queer Politics & Positionalities in Sonic Art”

Essay| March 01 2023 Introducing the Upcoming Special Series “Queer Politics & Positionalities in Sonic Art” Charles Eppley Charles Eppley Charles Eppley (they/he) is an assistant teaching professor of Interdisciplinary Art & Performance (IAP) at Arizona State University. They teach and research the intersections of sound, disability, and techno-material culture from an interdisciplinary art history and media studies perspective. They are currently working on a book on the politics of listening in postwar art, focusing on the sound artist Max Neuhaus (1939–2009). They previously held faculty positions in media studies and art history at the University of California at Riverside and Oberlin College, as well as research posts at the MIT Media Lab, Experiments in Art & Technology (E.A.T.) at Nokia Bell Labs, and the Max Planck Institute for the History of Science. Charles currently serves as a co-editor and research coordinator for the Mellon and Ford foundation–funded Proclaiming Disability Arts initiative at the Center for Disability Studies at New York University. They are also a member of the artist collectives Remote Access and Cybernetics Library, where they help to design participatory public programs on disability and digital culture. Search for other works by this author on: This Site PubMed Google Scholar Resonance (2023) 4 (1): 6–12. https://doi.org/10.1525/res.2023.4.1.6 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Charles Eppley; Introducing the Upcoming Special Series “Queer Politics & Positionalities in Sonic Art”. Resonance 1 March 2023; 4 (1): 6–12. doi: https://doi.org/10.1525/res.2023.4.1.6 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentResonance Search What is queer listening? Can sound be queer? Both questions are illogical. Being queer does not completely define how a person hears sound and interprets the worlds that it creates. Sound is also a mechanical force that produces physical vibrations in the ears and renders psychoacoustic phenomena in the minds of listeners. Sound cannot be queer because it is not a person, and as such it has neither sexuality nor gender. But are we satisfied by these answers? Do they really account for the complex ways that queerness resonates through sound across the social constructs of gender and sexuality? Perhaps there is more to say, and more for which to listen. The upcoming special series of Resonance, “Queer Politics & Positionalities in Sonic Art,” opens discursive space for critical reflection and creative expression on this essay’s opening questions. We don’t intend or desire to answer them definitively. Nor do... You do not currently have access to this content.

Introduction

Introduction| March 01 2023 Introduction: Words from the Editor Jay Needham, MFA Jay Needham, MFA Jay Needham is an artist, musician, and cultural producer who utilizes multiple creative platforms to produce his works. As a hearing-divergent person, Needham explores present and emerging ecologies of the electromagnetic spectrum that often feature the sense of sound and vibration as a component in the interpretation of his works. His sound art, works for radio, visual art, performances, and installations have appeared worldwide at museums, festivals, and on the airwaves. His most recent sound installation is on permanent display in the BioMuseo, designed by Frank Gehry in the Republic of Panama. Needham’s writing appears in the books Hearing Places: Sound, Place, Time, Culture and Moving Sounds: A Cultural History of the Car Radio. His research has been published in Exposure, Soundscape: The Journal of Acoustic Ecology and Leonardo Music Journal. Needham is a professor in the School of Media Arts at Southern Illinois University Carbondale. He received his MFA from the School of Art at California Institute of the Arts. Search for other works by this author on: This Site PubMed Google Scholar Resonance (2023) 4 (1): 1–5. https://doi.org/10.1525/res.2023.4.1.1 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Jay Needham; Introduction: Words from the Editor. Resonance 1 March 2023; 4 (1): 1–5. doi: https://doi.org/10.1525/res.2023.4.1.1 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentResonance Search As I introduce the fourth volume of Resonance, I’m very proud to welcome the newest members of the journal’s editorial board. These sound studies scholars and artists add to the diversity of perspectives as we continue to explore cultural boundaries and expand upon the concept of sound as a living, cultural force. Throughout our fourth volume we will be presenting a new special series, “Queer Politics & Positionalities in Sonic Art.” The series will be guest edited by Charles Eppley (they/he), assistant teaching professor of Interdisciplinary Arts & Performance at Arizona State University and co-editor and research coordinator for the Proclaiming Disability Arts initiative at the NYU Center for Disability Studies. Their work will be assisted by a diverse team of scholars and artists from within the Resonance community. “Queer Politics & Positionalities in Sonic Art” asks vitally important questions such as, Does queer sound exist, and are there... You do not currently have access to this content.

Reliability Predictors in Narratives of Oocyte Donors

This article analyses protocols of in-depth interviews of oocyte donors using a comprehensive methodology that combines aspects of psychology, semiotics, pragmatics, and cognitive linguistics. The authors examine discursive markers of oral dialogic speech that indirectly indicate the reliability of the statements of the interviewees or their desire to disguise information during the conversation. The interdisciplinary nature of the study is provided by the synthesis of psychological and linguistic methodological approaches to the analysis of linguistic material, united around the logical-philosophical category of modality. A similar methodological approach is found in the authorial methods of criteria analysis by A. Vrij. Within the framework of the first method, the authors consider the cognitive operations transmitted by the interviewee while describing the ongoing events, as well as the structural and lexical-semantic makeup of the text as indicators of the reliability of the information presented, which corresponds to the linguistic interpretation of modality. The second method of analysis is developed to a greater extent in line with the psychological approach to the definition of modality: the presence of accurate sensory information in the narrative of the interviewees is a significant indicator of the speaker’s truthfulness. The analysis of interviews with oocyte donors using these methods reveals that perceptual and affective information updated in a communication situation is more indicative of the truthfulness of the speaker than the mental representation of the events and facts presented. In addition, truth-tellers provide more detail, also related to the realm of sensory perception. The desire to disguise any information is often accompanied by a reference to forgetfulness and a transition to another topic of the storyline. The applied research results may be of interest to a wide range of interviewers on different topics while the scholarly results can be used in interdisciplinary art and social science studies.

Get involved! Krétakör: Crisis, Part III – The Priestess, 2011

The twelfth production of the contemporary art centre Krétakör (Chalk Circle) was part of the “Crisis Project,” presented twice in its entirety and on view at the TRAFÓ House of Contemporary Arts, and the result of a societal therapy through interdisciplinary art. The current study reconstructs, employing the Philther Method, from the perspective of community theatre and education in theatre, this societal workshop. The analyses re-contextualise, for their own sake, the concept of participation by straining the boundaries of public education, understood as community art.

Deep Interdisciplinarity: Team-Teaching and Critical Thinking about Art

Abstract This essay discusses an interdisciplinary art history/philosophy course cotaught by a professor from each discipline. Fundamental questions about how we experience, understand, and communicate about art can be answered more effectively through such interdisciplinary collaboration than through each discipline alone. Students in the course tended to think of art either in purely subjective terms, in which art was simply an expression of personal taste, or entirely essentialist ones, in which the artness of a work resided completely within the object. Readings and class discussions helped students articulate these extreme viewpoints and challenge them. As a result, many of the students developed more sophisticated understandings of art and the experiences of art that avoided the pitfalls of subjectivism and essentialism. Insights from selected student papers are presented to demonstrate the kinds of thinking fostered by the course. In sum, the essay argues for the importance and success of interdisciplinary approaches to teaching art, art history, and the philosophy of art.

URSZULA CZARTORYSKA: A WRITER AND MUSEUM CURATOR

In the first period of her career Urszula Czartoryska (1934–1998) dealt mainly with criticism. She predominantly focused on photography and its relations with other artistic phenomena, particularly from the borderline territory where artistic genres meet, covering also film and video. Two books summed up that stage in her writing career: Przygody plastyczne fotografii (1965) and Od pop-artu do sztuki konceptualnej (1973). Czartoryska’s professional domains extended in 1977 when she began work as the Head and Curator of the newly-established Department of Photography and Visual Techniques at the Museum of Art in Lodz, one of the first multimedia departments in world museology (photography, film, video, multimedia installations), forming part of the International Collection of Modern Art (opened to the public in 1931). The work for that institution did not imply only building the Department’s collection, but also involvement in the operations of the whole Museum, its display and publishing activity. It also impacted her writing activity in the sense that it extended to include research studies mainly on multi-motif inter- or interdisciplinary art. Apart from her work as a writer and museum curator, in 1978– 1993, Czartoryska also lectured: at the University of Lodz (1978–1986), Warsaw School of Photography (1985–1993), and at the State College of Fine Arts (today University of Fine Arts) in Poznan (1989–1993). Urszula Czartoryska represented the type of critic, museologist, and researcher opened to multiplicity of relations present in contemporary art, and drawing from numerous methods of its analysis and description.

Beyond Literature: Toni Morrison’s Musical and Visual Legacy For Black Women Artists

The aim of this article is to analyze Toni Morrison’s understudied influence on music and visual art. In 1994 she established the Atelier Program in Princeton University as an interdisciplinary arts program that supported and nurtured multifaceted collaborations between artists and students from different disciplines. Moreover, her oeuvre shows her craft in a number of literary and artistic spheres that include writing novels, short stories, children’s books, literary criticism, song cycles and the script for a musical and a play. Keeping in mind Morrison’s multidimensional engagement with literature and the other arts, the first half of the article delves into the contemporary musical responses to the writer, placing special emphasis on black women musicians such as rapper Akua Naru, neo-soul vocalist India Arie, and singer and songwriter Janelle Monáe. Morrison’s intersectional representations of gender and race relations across the history of the U.S. have similarly inspired visual artists. The second half of the article explores the visual creations by U.S. black women artists Kara Walker, Lorna Simpson and Amy Sherald. Morrison’s manifold articulations of blackness and womanhood similarly resonate on the other side of the Atlantic through the work of Lubaina Himid, the first black British artist to win the prestigious Turner Prize in 2017.

Layers of (in)visible resilience: art, women, and homelessness in Japan

ABSTRACT Building on a critical gendered approach at the intersection of arts, women, and homelessness, this article calls attention to the structured layers of (in)visibilities of female agency, existence, and resilience. The arts have a special place and importance in civil society formation in relation to homelessness in Japanese cities today, so the aim is to elucidate the significant but understudied role of women in enhancing varied forms of resilience in the urban environment. Arts, activism, and, in particular, art activism on socio-political issues in Asian cities are typically perceived as methods of resistance against local and national governments, whereas their crucial contribution to urban resilience often remains unrecognized. By investigating the emergent forms of interdisciplinary arts in Tokyo and Osaka that are aimed at sustainability in less-privileged living conditions, this article contributes to the growing field of studies acknowledging how these circumstances are brought about not only by economic ruptures but also by gendered socio-structural and cultural factors. By recognizing the intricate parameters of the varied artistic practices, a more nuanced understanding of the gendered urban resilience in maintaining communities, neighborhoods, and cities can be gained.

The Role of Creative Placemaking

The Role of Creative Placemaking