Results for 'Artistic collaboration'

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  1.  75
    Artistic Collaboration and the Completion of Works of Art.Paisley Nathan Livingston & Carol Archer - 2010 - British Journal of Aesthetics 50 (4):439-455.
    We present an analysis of work completion couched in terms of an effective completion decision identified by its characteristic contents and functions. In our proposal, the artist's completion decision can take a number of distinct forms, including a procedural variety referred to as an ‘extended completion decision’. In the second part of this essay, we address ourselves to the question of whether collaborative art-making projects stand as counterexamples to the proposed analysis of work completion.
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  2.  69
    Collaborative Theater/Collective Artist: An Evolving Systems Case Study in Social Creativity.Jimmy Bickerstaff - 2008 - World Futures 64 (4):276 – 291.
    Theater production is a collaborative creative activity. Social creativity recognizes the relationships between creative groups and the contexts in which creativity emerges. It also suggests that the interactive processes between the collaborators and their work form a center, which in turn becomes a kind of creative entity itself. An evolving systems case study of production practices at the Oregon Shakespeare Festival illuminates this process and illustrates the differences between seeing an aggregate creative activity and the more holistic view, in which (...)
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  3.  8
    Faire Collaborer Artistes, Intellectuels Et Ouvriers Pour Créer Une Société Meilleure: Les Stratégies Politiques du SED En Matière de Gestion de la Culture En RDA.Elisa Goudin - 2016 - History of Communism in Europe 7:135-154.
    Les archives municipales de Berlin ont conservé tous les documents produits par la Maison berlinoise du travail culturel, Berliner Haus für Kulturarbeit, qui a été fondée en 1953 sous le nom de Berliner Volkskunstkabinett et dissoute en 1991. Ces archives permettent de suivre en filigrane les réflexions conduites en RDA sur le thème de l’action culturelle publique, dont les deux interrogations principales peuvent se résumer ainsi : comment peut-on encourager différentes formes de participation des travailleurs et ainsi favoriser le développement (...)
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  4.  9
    Exploring Vaccine Hesitancy Through an Artist–Scientist Collaboration: Visualizing Vaccine-Critical Parents’ Health Beliefs.Kaisu Koski & Johan Holst - 2017 - Journal of Bioethical Inquiry 14 (3):411-426.
    This project explores vaccine hesitancy through an artist–scientist collaboration. It aims to create better understanding of vaccine hesitant parents’ health beliefs and how these influence their vaccine-critical decisions. The project interviews vaccine-hesitant parents in the Netherlands and Finland and develops experimental visual-narrative means to analyse the interview data. Vaccine-hesitant parents’ health beliefs are, in this study, expressed through stories, and they are paralleled with so-called illness narratives. The study explores the following four main health beliefs originating from the parents’ (...)
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  5.  2
    Pharmacopoeia – A Collaboration Between the Textile Artist Susie Freeman and the General Practitioner Liz Lee.Liz Lee - 2002 - Feminist Review 72 (1):26-39.
    In this article I describe the development of my collaboration with the textile artist Susie Freeman in the production of the visual arts project Pharmacopoeia. Over the last 3 years we have created a body of work that aims to provide information about common medical treatments in a way that engages the public imagination. The work is dominated by the use of active pharmaceuticals, both pills and capsules, which are incorporated into dramatic fabrics by a process known as pocket (...)
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  6. Creative Togetherness. A Joint-Methods Analysis of Collaborative Artistic Performance.Vincent Gesbert, Denis Hauw, Adrian Kempf, Alison Blauth & Andrea Schiavio - 2022 - Frontiers in Psychology 13.
    In the present study, we combined first-, second-, and third-person levels of analysis to explore the feeling of being and acting together in the context of collaborative artistic performance. Following participation in an international competition held in Czech Republic in 2018, a team of ten artistic swimmers took part in the study. First, a self-assessment instrument was administered to rate the different aspects of togetherness emerging from their collective activity; second, interviews based on video recordings of their performance (...)
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  7.  8
    Portrait of an Artist as Collaborator: An Interpretative Phenomenological Analysis of an Artist.Ian Hocking - 2019 - Frontiers in Psychology 10.
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  8.  2
    Collaborative Art in the Twenty-First Century.Sondra Bacharach, Siv B. Fjærestad & Jeremy Neil Booth (eds.) - 2016 - Routledge.
    Collaboration in the arts is no longer a conscious choice to make a deliberate artistic statement, but instead a necessity of artistic survival. In today’s hybrid world of virtual mobility, collaboration decentralizes creative strategies, enabling artists to carve new territories and maintain practice-based autonomy in an increasingly commercial and saturated art world. Collaboration now transforms not only artistic practices but also the development of cultural institutions, communities and personal lifestyles. This book explores why (...) has become so integrated into a greater understanding of creative artistic practice. It draws on an emerging generation of contributors—from the arts, art history, sociology, political science, and philosophy—to engage directly with the diverse and interdisciplinary nature of collaborative practice of the future. (shrink)
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  9.  25
    Ethics in Community-University-Artist Partnered Research: Tensions, Contradictions and Gaps Identified in an ‘Arts for Social Change’ Project.Annalee Yassi, Jennifer Beth Spiegel, Karen Lockhart, Lynn Fels, Katherine Boydell & Judith Marcuse - 2016 - Journal of Academic Ethics 14 (3):199-220.
    Academics from diverse disciplines are recognizing not only the procedural ethical issues involved in research, but also the complexity of everyday “micro” ethical issues that arise. While ethical guidelines are being developed for research in aboriginal populations and low-and-middle-income countries, multi-partnered research initiatives examining arts-based interventions to promote social change pose a unique set of ethical dilemmas not yet fully explored. Our research team, comprising health, education, and social scientists, critical theorists, artists and community-activists launched a five-year research partnership on (...)
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  10.  20
    Wedge: A Cross-Disciplinary Collaboration by Janine Antoni and Jill Sigman.Sherri Irvin - 2016 - In Sondra Bacharach, Jeremy Neil Booth & Siv B. Fjærestad (eds.), Collaborative Art in the Twenty-First Century. Routledge. pp. 166-178.
    In 2012, choreographer and dancer Jill Sigman of jill sigman/thinkdance and visual artist Janine Antoni collaborated to produce Wedge, a live performance at the Albright-Knox Gallery. In this essay, I describe the collaboration and the resulting work and examine the benefits and challenges of the collaboration. The discussion touches on broader issues pertaining to collaboration, co-authorship, artists' intentions, and interpretation.
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  11.  49
    Scholars, Amateurs, and Artists as Partners for the Future of Religion and Science.Sarah E. Fredericks & Lea F. Schweitz - 2015 - Zygon 50 (2):418-438.
    We recommend that the future of religion and science involve more partnerships between scholars, amateurs, and artists. This reimagines an underdeveloped aspect of the history of religion and science. Case studies of an undergraduate course examining religious ritual and technology, seminarians reflecting on memory and identity in light of Alzheimer's disease, environmentalists responding to their guilt and shame about climate change, and Chicagoans recognizing the presence of nature in the city show how these partnerships respect insights and experiences of our (...)
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  12.  10
    Creative Collaborations with Machines.Eleanor Sandry - 2017 - Philosophy and Technology 30 (3):305-319.
    This paper analyzes creative practice including virtual music composition by a human and sets of computer programs, improvisation of music and dance in human-robot ensembles, and drawings produced by a human and a robotic arm. In all of these examples, the paper argues that creativity arises from a process of human-robot collaboration. Human influences on the machines involved exist at many levels, from initial creation and programming, via processes of reprogramming and setup of underlying data and parameters, to engagement (...)
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  13.  11
    A Collaborative Effort: How Collaboration and Collectivism in Australia in the Seventies Helped Transform Art Into the Contemporary Era.Susan Rothnie - 2011 - Colloquy 22:165-179.
    The seventies period in Australia is often referred to as the “anything goes” decade. It is a label that gives a sense of the profusion of antiestablishment modes that emerged in response to calls for social and political change that reverberated around the globe around that time. As a time of immense change in the Australian art scene, the seventies would influence the development of art into the contemporary era. The period‟s diversity, though, has presented difficulty for Australian art historiography. (...)
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  14.  6
    The One and the Many: Contemporary Collaborative Art in a Global Context.Grant H. Kester - 2011 - Duke University Press.
    From text to action -- Park fiction, ala plastica, and dialogue -- The risk of diversity -- Programmatic multiplicity -- Art theory and the post-structuralist canon -- Lessons in futility -- Enclosure acts -- The twelfth seat and the mirrored ceiling -- The atelier as workshop -- Labor, praxis, and representation -- The divided and incomplete subject of yesterday -- Memories of development -- The limits of ethical capitalism -- The art of the locality -- Blindness and insight -- The (...)
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  15.  3
    Art-Science Collaboration in an EPSRC/BBSRC-Funded Synthetic Biology UK Research Centre.Michael Reinsborough - 2020 - NanoEthics 14 (1):93-111.
    Here I examine the potential for art-science collaborations to be the basis for deliberative discussions on research agendas and direction. Responsible Research and Innovation has become a science policy goal in synthetic biology and several other high-profile areas of scientific research. While art-science collaborations offer the potential to engage both publics and scientists and thus possess the potential to facilitate the desired “mutual responsiveness” between researchers, institutional actors, publics and various stakeholders, there are potential challenges in effectively implementing collaborations as (...)
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  16.  40
    The Artist as Transgressor in Mandel'štam's Poetry.Marina Glazova - 1988 - Studies in East European Thought 36 (1-2):1-61.
    In Mandel'tam's writing, artistic creativity is described as based on the indispensable yet contradictory modes of compliance and deviation. The artist, by his artistic nature, must be an obedient disciple to the tradition that inspires him, and, at the same time, a violator who renders what inspires him in an individual form. Thus, art implies iterability through novelty. In the totalitarian state, this double nature of art acquires a sinister context and brings the artist to an unavoidable conflict (...)
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  17.  21
    Artists Draw A Blank.Tim Gilman - 2011 - Continent 1 (3):208-212.
    continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that the (...)
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  18.  4
    The Artists Village: Openly Intervening in the Public Spaces of the City of Singapore.Adrian Tan - 2019 - Open Philosophy 2 (1):640-652.
    This paper focuses on how the social, dialogical and collaborative strategies and practices of The Artists Village openly intervened in the public spaces of Singapore at various times in the city-state’s history from 1989 to 2015. The objective of this paper is to draw out how the artists collective used social situations to openly produce relational, participatory and socially engaged art in public spaces with specific functions, history and importance. These various forms of artistic interventions took place on a (...)
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  19.  10
    The Artist as Transgressor in Mandel'?Tam's Poetry.Marina Glazova - 1988 - Studies in Soviet Thought 36 (1-2):1-61.
    In Mandel'štam's writing, artistic creativity is described as based on the indispensable yet contradictory modes of compliance and deviation. The artist, by his artistic nature, must be an "obedient disciple" to the tradition that inspires him, and, at the same time, a "violator" who renders what inspires him in an individual form. Thus, art implies iterability through novelty. In the totalitarian state, this double nature of art acquires a sinister context and brings the artist to an unavoidable conflict (...)
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  20.  61
    Philosophy of Digital Art as Collaboration.Andrew J. Corsa - 2019 - Hyperrhiz: New Media Cultures 19.
    How can artists create works of computer art or Internet art in which audience members become genuine artists and collaborate with the original artists on the self-same work that they began? To answer this question, this essay will reflect on the work of philosophers who focus on questions concerning art completion and the ontology of computer art. This essay will also reflect on the artistic work of the trio LaBeouf, Rönkkö & Turner, whose artwork can serve as a model (...)
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  21.  26
    Documenting Women’s Postoperative Bodies: Knowing Stephanie and “Remembering Stephanie” as Collaborative Cancer Narratives.Mary K. DeShazer - 2014 - Journal of Bioethical Inquiry 11 (4):445-454.
    Photographic representations of women living with or beyond breast cancer have gained prominence in recent decades. Postmillennial visual narratives are both documentary projects and dialogic sites of self-construction and reader-viewer witness. After a brief overview of 30 years of breast cancer photography, this essay analyzes a collaborative photo-documentary by Stephanie Byram and Charlee Brodsky, Knowing Stephanie , and a memorial photographic essay by Brodsky written ten years after Byram’s death, “Remembering Stephanie” . The ethics of representing women’s postsurgical bodies and (...)
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  22.  11
    Meridians: Engagement and Collaboration in Physical and Virtual Public Space.Claire Leporati - 2011 - Colloquy 22:247-260.
    The use of collaborative online social media applications as tools of communication is increasing in contemporary society. Correspondingly, a number of contemporary artists are exploring online interaction in their material public art practice, as a new form of documentation, promotion and creative collaboration. Mapping and analysing these new forms of interaction provide a method to determine the scope of their contribution to new artistic knowledge. This paper argues that contemporary public art practice can be cognisant of both physical (...)
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  23.  3
    The Repression of Collaboration Féminine During the Libération and its Depiction in French Graphic Novels.Camille Roelens - 2018 - Philosophical Journal of Conflict and Violence 2 (1).
    This paper introduces a hermeneutical approach to graphic novel representations of punishments inflicted on women accused of collaboration with the German occupant during the French purge in 1944- 1945. Since the study aims to determine to establish links between graphic novels and the evolutions of the historiography of the Occupation and Liberation of France, it includes a historiographical component. Drawing on other cultural medias who have dealt with this theme (novels, movies, poems, songs), the aim is also to identify (...)
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  24.  63
    The Meaning of ‘Other’ in Classifications: Formal Methods Meet Artistic Research.Patrick Allo - 2017 - Philosophy and Technology 30 (4):541-545.
    This commentary is a reflection on a collaboration with the artist Rossella Biscotti and comments on how artistic research and logico-mathematical methods can be used to contribute to the development of critical perspectives on contemporary data practices.
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  25.  22
    A Problem for Fine Individuation and Artist Essentialism.Jeffrey Goodman - 2013 - Estetika: The European Journal of Aesthetics 50 (2):139-148.
    Fine Individuation says it is impossible for distinct people who are not collaborating on a work of art to produce one and same artwork. This is an intra-world thesis, but is necessarily true, if true at all. Author Essentialism says it is impossible for someone else to produce one and the same work of art produced by some actual artist. This is an alleged necessary truth regarding cross-world relations. Both theses have been vigorously defended. I argue here that both are (...)
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  26.  11
    Marshall McLuhan & Vilém Flusser: The New Model Artists.Kalina Kukielko & Barbara Rauch - 2008 - Flusser Studies 6 (1):1.
    Marshall McLuhan and Vilém Flusser were primarily media communication theorists and new media philosophers. Both thinkers were deeply concerned with electronic and digital technologies and the impact of technology on human society. Likewise, both thinkers were critical and probably cynical about these developments, however, they believed in the notion that one has to fully understand technology to be able to use and discuss positive models of these new technologies for a better future. Independently, McLuhan and Flusser became interested in the (...)
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  27.  10
    Thomas Hirschhorn and Jacques Rancière: Artists and Philosophers as Companions in the Love of the Infinitude of Thought.Nikos Papastergiadis - 2014 - Theory, Culture and Society 31 (7-8):97-100.
    Thomas Hirschhorn is an artist who has maintained an engaged approach to politics. His method of working is collaborative and speculative. It has a strong emphasis on community development and intellectual reflection. In this brief introduction I focus on the Bijlmer Spinoza Festival and his ongoing relationship and response to the ideas of the philosopher Jacques Rancière.
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  28.  1
    The Process of Coming and Going in This World: Conversation About Interspecies Collaboration, Domestication, Sound.Ruth K. Burke & Jessica Landau - 2021 - Society and Animals 29 (7):695-715.
    The Process of Coming and Going in this World is a four-channel, site-specific installation by artist Ruth Burke. The work incorporates its audience, including nonhuman collaborators. While dependent on time and place, it has been preserved in audio recordings and photographs. In this interview between the artist and art historian Jessica Landau, they discuss the installation’s use of sound, time, and place to evoke interspecies relationships based on collaboration and co-constituted domestication. While using the installation and subsequent sound recording (...)
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  29.  1
    Our Virtual Tribe: Sustaining and Enhancing Community Via Online Music Improvisation.Raymond MacDonald, Robert Burke, Tia De Nora, Maria Sappho Donohue & Ross Birrell - 2021 - Frontiers in Psychology 11.
    This article documents experiences of Glasgow Improvisers Orchestra’s virtual, synchronous improvisation sessions during COVID-19 pandemic via interviews with 29 participants. Sessions included an international, gender balanced, and cross generational group of over 70 musicians all of whom were living under conditions of social distancing. All sessions were recorded using Zoom software. After 3 months of twice weekly improvisation sessions, 29 interviews with participants were undertaken, recorded, transcribed, and analyzed. Key themes include how the sessions provided opportunities for artistic development, (...)
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  30.  5
    Neurodivergency and Interdependent Creation: Breaking Into Canadian Disability Arts.Becky Gold - 2021 - Studies in Social Justice 15 (2):209-229.
    Disability arts has traditionally been understood as that which is led, created, and/or curated by disabled artists. While disability arts and culture in Canada has continued to grow and develop over the last number of decades, I have perceived a notable lack of neurodivergent artists being included at disability arts events and community gatherings. I question if this lack of representation may be due in part to this perception of disability arts as having to be led exclusively by those with (...)
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  31. Poder.Steven C. Daiber & Yamilys Brito Jorge (eds.) - 2010 - Red Trillum Press.
    A collaboration with Cuban Artists. Poder is the first in a series of three books exploring issues confronting Cubans daily. Six meetings in Havana over 2.5 years- two weeks of very hard work.Power rules.We are born and are powerful because in our relationships and connections, communication and contacts, we exercise that special force/energy (Power) with which all of us without exception come into this world.Force is physical, Power is intellectual. By making art and putting together this book we have (...)
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  32.  46
    Untwisting the Serpent: Modernism in Music, Literature, and Other Arts.Daniel Albright - 2000 - University of Chicago Press.
    From its dissonant musics to its surrealist spectacles (the urinal is a violin!), Modernist art often seems to give more frustration than pleasure to its audience. In Untwisting the Serpent, Daniel Albright shows that this perception arises partly because we usually consider each art form in isolation, even though many of the most important artistic experiments of the Modernists were collaborations involving several media--Igor Stravinsky's The Rite of Spring is a ballet, Gertrude Stein's Four Saints in Three Acts is (...)
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  33.  72
    The Dancing Philosopher.Kenneth King - 2004 - Topoi 24 (1):103-111.
    This excerpt from Kenneth Kings essay, The Dancing Philosopher, traces its genesis from Nietzsches Thus Spoke Zarathustra that, in tandem with the emerging technology of the writing machine, camera and kinetoscope, conjoined the kinetropic and lexigraphemic to inaugurate the kinetic cogito. Maurice Merleau-Pontys phenomenological exposition of corporeality further amplified the reflexive potential of movement and the philosophical understanding of kinesthesia, and King cites as well the technosophic synergy of John Cages and Merce Cunninghams long artistic collaboration that furthered (...)
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  34.  11
    Leviathan: Body Politic as Visual Strategy in the Work of Thomas Hobbes.Horst Bredekamp - 2020 - De Gruyter.
    Horst Bredekamp’s subject is the astute deployment and perennial resonance of the startling image of the body politic that dominates the frontispiece to Leviathan: a treatise on the psychology of the individual and the dynamic of the multitude, published in 1651 by the English philosopher Thomas Hobbes. Affirming the centrality of such a figural device for this pioneering theorist of the state, Bredekamp goes on to address the art-historical dimension of the mesmerising etched title-page. In his central chapters he explores (...)
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  35.  20
    Science and Culture. [REVIEW]H. W. E. - 1968 - Review of Metaphysics 21 (3):566-567.
    According to the subtitle of this anthology, the essays are intended to discuss and explore "the cohesive and disjunctive forces" existing between C. P. Snow's infamous "two cultures" of science and the humanities. As in all the colloquia on this subject, there tends to be a mishmash of problems in definition, with Snow's relatively simple and straightforward contrast lost in the shuffle of terms. The fact that in this volume no one agrees upon what science is tends to limit its (...)
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  36.  3
    Liminal Politics: Performing Feminine Difference with Hélène Cixous.Sofia Varino - 2018 - European Journal of Women's Studies 25 (3):293-309.
    As one of the most influential feminist theorists in Western academic circles, Hélène Cixous is often associated with écriture feminine, a term she coined in 1977, and with a fluid, poetic style both in her essays and in her fiction. This article investigates how Hélène Cixous uses the concept of the ‘feminine’ in her plays as a container for heterogeneity, liminality and difference, mobilizing it to animate feminist strategies that interrupt male, white and/or hegemonic forms of subjectivity. If for Cixous (...)
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  37.  10
    The Problem of Assessing Thomas Harriot's A Briefe and True Report of His Discoveries in North America.B. J. Sokol - 1994 - Annals of Science 51 (1):1-16.
    Recent influential criticisms attack the reputation of Thomas Harriot by citing the contents of his ethnographic and economic survey, A briefe and true report of the new found land of Virginia, first published in 1588. This interpretation makes Harriot, together with Shakespeare and others, agents of a colonialist project. But profound differences are indicated in the comparison of the relatively unbiased depiction and analysis by Harriot and his artist collaborator John White with the interpretations of America and Americans by some (...)
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  38.  68
    A User's Guide to Capitalism and Schizophrenia: Deviations From Deleuze and Guattari.Brian Massumi - 1992 - MIT Press.
    A User's Guide to Capitalism and Schizophrenia is a playful and emphatically practical elaboration of the major collaborative work of the French philosophers Gilles Deleuze and Felix Guattari. When read along with its rigorous textual notes, the book also becomes the richest scholarly treatment of Deleuze's entire philosophical oeuvre available in any language. Finally, the dozens of explicit examples that Brian Massumi furnishes from contemporary artistic, scientific, and popular urban culture make the book an important, perhaps even central text (...)
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  39.  1
    Practicing Mortality: Art, Philosophy, and Contemplative Seeing.Christopher A. Dustin - 2005 - Palgrave-Macmillan.
    A collaborative undertaking between an artist and a philosopher, this monograph attempts to deepen our understanding of "contemplative seeing" by addressing the works of Plato, Thoreau, Heidegger, and more. The authors explore what it means to "see" reality and contemplate how viewing reality philosophically and artfully is a form of spirituality. In this way, by developing a new conception of active visual engagement, the authors propose a way of seeing that unites both critical scrutiny and spiritual involvement, as opposed to (...)
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  40.  7
    Where to Begin? Eye-Movement When Drawing.Bryan John Maycock, Geniva Liu & Raymond M. Klein - 2009 - Journal of Research Practice 5 (2):Article M3.
    For over a century, drawing from observation, at least at the introductory level, has been integral to many secondary and most post-secondary art school programs in Europe and North America. Its place in such programs is understood to develop an ability to see and interpret on a flat surface the real, three-dimensional world; this skill, in turn, provides support to related mental processes such as memory, visualization, and imagination. Where an artist looks when drawing from observation may not be arbitrary (...)
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  41.  46
    Diy Citizenship: Critical Making and Social Media.Matt Ratto & Megan Boler (eds.) - 2014 - MIT Press.
    Today, DIY -- do-it-yourself -- describes more than self-taught carpentry. Social media enables DIY citizens to organize and protest in new ways and to repurpose corporate content in order to offer political counternarratives. This book examines the usefulness and limits of DIY citizenship, exploring the diverse forms of political participation and "critical making" that have emerged in recent years. The authors and artists in this collection describe DIY citizens whose activities range from activist fan blogging and video production to knitting (...)
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  42.  3
    Thought in the Act: Passages in the Ecology of Experience.Erin Manning & Brian Massumi - 2014 - Univ of Minnesota Press.
    “Every practice is a mode of thought, already in the act. To dance: a thinking in movement. To paint: a thinking through color. To perceive in the everyday: a thinking of the world’s varied ways of affording itself.” —from _Thought in the Act _Combining philosophy and aesthetics, _Thought in the Act_ is a unique exploration of creative practice as a form of thinking. Challenging the common opposition between the conceptual and the aesthetic, Erin Manning and Brian Massumi “think through” a (...)
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  43.  32
    Commissioning the Artwork: From Singular Authorship to Collective Creatorship.Katerina Bantinaki - 2016 - Journal of Aesthetic Education 50 (1):16-33.
    A specific type of collaboration has become prevalent in contemporary art: in this type of collaboration—henceforth, commissioning—an artist assigns the production of the work of art to skilled craftsmen or unskilled workers, directing their labor through instructions or blueprints. Commissioning has been accepted by the art world as a legitimate mode of artistic production—legitimate in the sense that it does not undermine the authenticity of the work as a creation of the artist, even if she has not (...)
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  44. Creativity and Cultural Improvisation.Elizabeth Hallam & Tim Ingold (eds.) - 2007 - Berg.
    There is no prepared script for social and cultural life. People work it out as they go along. Creativity and Cultural Improvisation casts fresh, anthropological eyes on the cultural sites of creativity that form part of our social matrix. The book explores the ways creative agency is attributed in the graphic and performing arts and in intellectual property law. It shows how the sources of creativity are embedded in social, political and religious institutions, examines the relation between creativity and the (...)
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  45.  97
    On Compromise and Being Compromised.Chiara Lepora - 2012 - Journal of Political Philosophy 20 (1):1-22.
    Compromise arises in contexts where irreconcilable claims must nonetheless somehow be resolved. Ordinary people in everyday life, politicians and artists, doctors engaging in research, humanitarian workers providing aid in the midst of war – all of them will have faced situations where compromise appeared to be the only reasonable option, and yet will have felt that there was nevertheless something deeply wrong with it. The aim of this paper is to help make sense of that sentiment. The focus of this (...)
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  46.  13
    Precedence, Trans* and the Decolonial.Daniel Brittany Chávez & Rolando Vázquez - 2017 - Angelaki 22 (2):39-45.
    These words are a collaborative effort to think across different practices of knowing and sensing. They don’t pretend to compose a complete article. They are simply an assemblage that wants to open spaces for dwelling, for connecting, for dissenting. As such it gravitates around the images of Daniel Brittany Chávez’s performance: “Quisieron Enterrarnos … ”, his artist statement and Rolando’s notes on precedence, trans* and the decolonial. In this conversation, we are allies and accomplices in thinking through trans* as a (...)
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  47.  2
    Humanesis: Sound and Technological Posthumanism.David Cecchetto - 2013 - Univ of Minnesota Press.
    _Humanesis_ critically examines central strains of posthumanism, searching out biases in the ways that human–technology coupling is explained. Specifically, it interrogates three approaches taken by posthumanist discourse: scientific, humanist, and organismic. David Cecchetto’s investigations reveal how each perspective continues to hold on to elements of the humanist tradition that it is ostensibly mobilized against. His study frontally desublimates the previously unseen presumptions that underlie each of the three thought lines and offers incisive appraisals of the work of three prominent thinkers: (...)
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  48.  24
    Vibration Matters: Collective Blue Morph Effect. [REVIEW]Victoria Vesna - 2012 - AI and Society 27 (2):319-323.
    Once an artist takes on the challenge of making the invisible visible, or the inaudible audible, he/she is almost immediately thrown into the realm of energy at the edge of art and science. The established art world based on visual culture finds it difficult to place this kind of work. The scientific community, used to working in this realm in a reductionist way, finds it hard to comprehend. Yet, the public seems to be drawn to artwork residing “in between,” and (...)
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    Pierre Huyghe.Emma Lavigne (ed.) - 2014 - Hirmer Publishers.
    Presenting fifty projects from French-born, New York-based contemporary artist Pierre Huyghe's twenty-year career, this richly illustrated book provides an overview of his work across film, installation art, and live event. Since the 1990s, Huyghe's work has challenged the status of the exhibition format. With projects like the One Year Celebration and the foundation in 1995 of the collaborative Association of Freed Time, Huyghe developed a particular interest in the relationship between time and memory--an interest that has carried through to his (...)
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  50.  6
    Fantastic Cities by Penny Woolcock.Nicole Pohl - 2019 - Utopian Studies 30 (1):112-114.
    In 2015, the filmmaker, artist, and writer Penny Woolcock created an imaginary city, Utopia, at the Roundhouse, London, in collaboration with Block9. It staged a blend of miscellaneous pop-up installations featuring Londoners who were each telling their individual stories about inequality, consumerism, gentrification, education, crime, and social media.1 The narrative soundscapes set within an extraordinary design brought to light the parallel lives yet opposite experiences of people in urban environments and, at the same time, revealed their hopes and dreams.Woolcock's (...)
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