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“What drives creative artists to turn back later in their careers to the subject matter of their earlier years and reimagine it, reclaim it, or rewrite it? This rich and timely collection asks what prompts this “backward look,” resisting standard reductive formations such as ‘late style’ in order to assert the sheer diversity of reasons for artistic return, in the process reaching far beyond the usual suspects in the canon of late-life creativity – and indeed, in one memorable case, beyond the grave.” —Gordon McMullan, Professor of English at King's College London and Director of the London Shakespeare Centre, UK. This interdisciplinary book investigates the various ways in which North American and European modern and contemporary artists, authors, and musicians have returned to earlier works of their own, engaging in inventive revivals and transformations of the past in the present. The book is distinctive in its focus on such revisits, as well as in the diversity of art forms under review: in addition to visual art, the book explores fiction, poetry, literary criticism, film, rock music, and philosophy. This scope, together with the time-span covered in the book, from the 1850s to the twenty-first century, allows for a broad view on retrospection and revision. The case studies presented here offer a multifaceted exploration of the widely different goals to which practitioners of the arts have made retrospection and revision functional against the background of cultural, social, political, and personal forces. Mette Gieskes is Assistant Professor of Modern and Contemporary Art at Radboud University, The Netherlands. Her publications include articles on Philip Guston, Sol LeWitt, Francis Alÿs, Tamara Muller, and Otobong Nkanga. Gieskes is co-editor of Humor in Global Contemporary Art (Bloomsbury 2024, with Gregory Williams). Mathilde Roza is Associate Professorof North American Literature and North American Studies at Radboud University, the Netherlands. She has published on American modernism and the international avant-garde, American Modernist author Robert Myron Coates, The New Yorker magazine, Native North American visual art and literature, indigenous soldiers in WWII, cultural diversity, and cultural diplomacy.
Motion pictures. --- Art --- Art, Modern --- Audio-Visual Culture. --- Art History. --- Contemporary Art. --- Theory of Arts. --- History. --- 21st century. --- Philosophy.
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This book is the first overall study of research-based art practices in Southeast Asia. Its objective is to examine the creative and mutual entanglement of academic and artistic research; in short, the Why, When, What and How of research-based art practices in the region. In Southeast Asia, artists are increasingly engaged in research-based art practices involving academic research processes. They work as historians, archivists, archaeologists or sociologists in order to produce knowledge and/or to challenge the current established systems of knowledge production. As artists, they can freely draw on academic research methodologies and, at the same time, question or divert them for their own artistic purpose. The outcome of their research findings is exhibited as an artwork and is not published or presented in an academic format. This book seeks to demonstrate the emancipatory dimension of these practices, which contribute to opening up our conceptions of knowledge and of art, bestowing a new and promising role to the artists within the society. Caroline Ha Thuc is a part-time Lecturer at Lingnan University, Hong Kong, as well as an independent art writer, researcher and curator. She holds a Ph.D. from the School of Creative Media at City University,Hong Kong, and is currently also a part-time researcher at the Guangzhou Academy of Fine Arts, China. Specializing in Asian contemporary art, Ha Thuc contributes regularly to different academic journals and magazines, focusing on the artistic production of knowledge. She has published books about the Hong Kong art scene as well as Japanese and Chinese contemporary art. .
Philosophy and psychology of culture --- Ethnology. Cultural anthropology --- History of civilization --- niet-westerse cultuur --- etnologie --- cultuur --- Asia --- Culture --- Art, Modern --- Ethnology --- Culture. --- Art --- Visual Culture. --- Contemporary Art. --- Asian Culture. --- Theory of Arts. --- Study and teaching. --- 21st century. --- Asia. --- Philosophy.
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This book is the third publication out of the Arts, Entrepreneurship, and Innovation (AEI) Lab that focuses exclusively on research that empirically investigates crossovers between arts, entrepreneurship and innovation. This volume does so specifically by using the lens of cultural economics. The chapters in this volume have been chosen not only because they have clear implications for policy and practice, but also because they contribute to theories of value creation in the cultural and creative industries. As a whole, this book addresses relationships between arts, entrepreneurship and innovation for workers, firms, and industry to bring clarity to how value is created in the arts. Previously published in Journal of Cultural Economics Volume 45, issue 4, December 2021 Chapters “Direct Memberships in Foreign Copyright Collecting Societies as an Entrepreneurial Opportunity for Music Publishers – Needs, Challenges, Opportunities and Solutions” and “Do Museums Foster Innovation Through Engagement with the Cultural and Creative Industries?” are available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.
Philosophy and psychology of culture --- Professional ethics. Deontology --- Sociology of culture --- cultuur --- deontologie --- bedrijfsethiek --- Art --- Culture --- Business ethics. --- Technological innovations. --- Theory of Arts. --- Cultural Studies. --- Business Ethics. --- Economics of Innovation. --- Philosophy. --- Study and teaching.
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This edited book considers the impact of neoliberalism on music teaching, research and scholarship in a higher education context. As a subject that bears little resemblance to other university practical disciplines, and fares poorly in a model driven by economics, the book considers whether musicology is a ‘public good’ or a threatened species. It contemplates what musicology can usefully contribute to a paradigm driven by economics, and questions whether it is ever possible to recover an ideal civil subject in neoliberal music academia. Contributions investigate what it means to build music research capacity in innovative ways, such as forging cross-cultural relationships, subverting conventional notions of quality and value, replacing them with knowledges and values that guide Indigenous intellectual traditions, and whether interventions into the legacy of colonialism are truly ever possible in neoliberal higher education institutions that celebrate difference and diversity while reinforcing social inequities. The book also explores the relationships between gender and music, music research training and scholarship, and whether the interdisciplinarity championed by the university is ever workable. Finally, it undertakes a cross-disciplinary, new materialist reading of a canonical musical work, offering a radically new perspective. The book will appeal to students and scholars of music education, musicology, higher education studies and the creative arts more broadly. Sally Macarthur is Adjunct Professor of Musicology at the University of Adelaide and Adjunct Associate Professor of Music at Western University Sydney, Australia. Julja Szuster is a musicologist and Visiting Research Fellow at the Elder Conservatorium, University of Adelaide, Australia. Paul Watt is an Adjunct Professor of Musicology at the University of Adelaide, Australia.
Education, Higher. --- Music --- Instruction and study. --- Art --- Music theory. --- Popular music. --- Creativity and Arts Education. --- Theory of Music. --- Popular Music. --- Higher Education. --- Theory of Arts. --- Study and teaching. --- Philosophy.
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This edited book considers the vital position of artistic research in the landscapes and ecosystems of new materialism(s) and post-humanism(s), in and for higher education. The book aims to satisfy an urgent desire for change in the ways we link artistic and critical research practices, asking what new ways of thinking and creating for twenty-first century artistic and educational contexts we need in order to address the kinds of global complexities we face. Organised around five key themes including fictioning, reading, embodying, inhabiting and folding, the book acts as an entry point for academics, artists and scholar-practitioners to participate in the shaping of new forms of artistic research and practice that are relevant, participatory, and that urgently address the kinds of complex issues emergent in our twenty-first century context. In doing so, the book makes a key contribution to the development of emerging inter- and transdisciplinary artistic research practices across a range of fields, responding to the question - what kinds of research and practice worlds do we wish to create in times of urgency, crisis and complexity? Annouchka Bayley directs the Arts, Creativities & Education MPhil Programme at the Faculty of Education, University of Cambridge, UK, where she is also the Chair of Arts & Creativities Research Group. As a practising artist she has also written, performed and directed more than twenty one-woman shows. JJ Chan is an artist in (re-)search for alternative spaces beyond aggressively progressive capitalist time, seeking new worlds from the ashes of the present. They are Senior Lecturer in Fine Art at Kingston School of Art and co-convener of the Material:Pedagogy:Future research network, based across Kingston University, Bath Spa University, and the University of the Arts, London, UK.
Education --- Arts. --- Education, Higher. --- Art --- Research Methods in Education. --- Fine Art. --- Higher Education. --- Theory of Arts. --- Research. --- Philosophy. --- Beautiful, The --- Beauty --- Aesthetics --- Art and philosophy --- College students --- Higher education --- Postsecondary education --- Universities and colleges --- Arts, Fine --- Arts, Occidental --- Arts, Primitive --- Arts, Western --- Fine arts --- Humanities --- Educational research --- Analysis, interpretation, appreciation --- Arts --- Education, Higher --- Study and teaching. --- Ensenyament de l'art --- Educació superior
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"This book explores and develops critical and creative methods for coming to terms with and finding balance between identity formation and migration across root and adopted cultures." -Geraldine Burke, Researcher and Teacher-Educator at Monash University, Australia. "Dr Wang's book is emergent and of interest to therapists, researchers and those curious about how cultural identity may be affected by immigration, how using arts-based critical autoethnography may facilitate inquiry into subjective topics, and how such inquiries may themselves become healing experiences. Her book meaningfully contributes to explorations of cultural transition, hybridity and blending." -Deborah Green, Head of School, Creative Arts Therapies, Whitecliffe, New Zealand. This book is an exploration of the concept of in-betweenness, as it occurs within the process of moving between the author’s root culture and adopted culture, from her perspective as an immigrant arts therapist. Through the critical autoethnographic voice, she introduces a unique exploration site within the process of Guqin-making, an ancient Chinese art form. Through the creation of images and poetry, and through Guqin-making and music-making/playing, the book expands the discussion of in-betweenness by re-theorising ancient Chinese philosophical perspectives on harmonic space. This contribution to arts-based research provides a unique standpoint to explore research methods of moving, walking, making, resting and awakening. It showcases how other researchers can transfer the invisible and intangible embodied feelings, memories and emotions arising from moving between two or more cultures into visible and tangible images, narrative, poetry, craft and music-playing to conduct powerful, interdisciplinary arts-based research. Ying (Ingrid) Wang is a post-doctoral research fellow at the Centre for Arts and Social Transformation, University of Auckland, New Zealand. Her current research interests include arts-based research in arts therapy, education, wellbeing, community resilience and social transformation. .
Cognitive psychology --- Sociology of culture --- Didactics of the arts --- Music --- cultuur --- muziek --- geheugen (mensen) --- kunstonderwijs --- creativiteit --- Art --- Culture --- Music. --- Collective memory. --- Creativity and Arts Education. --- Cultural Studies. --- Theory of Arts. --- Memory Studies. --- Study and teaching. --- Philosophy. --- Xina --- Ensenyament de l'art --- Filosofia de l'art --- Ensenyament de la música
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This edited book considers the impact of neoliberalism on music teaching, research and scholarship in a higher education context. As a subject that bears little resemblance to other university practical disciplines, and fares poorly in a model driven by economics, the book considers whether musicology is a ‘public good’ or a threatened species. It contemplates what musicology can usefully contribute to a paradigm driven by economics, and questions whether it is ever possible to recover an ideal civil subject in neoliberal music academia. Contributions investigate what it means to build music research capacity in innovative ways, such as forging cross-cultural relationships, subverting conventional notions of quality and value, replacing them with knowledges and values that guide Indigenous intellectual traditions, and whether interventions into the legacy of colonialism are truly ever possible in neoliberal higher education institutions that celebrate difference and diversity while reinforcing social inequities. The book also explores the relationships between gender and music, music research training and scholarship, and whether the interdisciplinarity championed by the university is ever workable. Finally, it undertakes a cross-disciplinary, new materialist reading of a canonical musical work, offering a radically new perspective. The book will appeal to students and scholars of music education, musicology, higher education studies and the creative arts more broadly. Sally Macarthur is Adjunct Professor of Musicology at the University of Adelaide and Adjunct Associate Professor of Music at Western University Sydney, Australia. Julja Szuster is a musicologist and Visiting Research Fellow at the Elder Conservatorium, University of Adelaide, Australia. Paul Watt is an Adjunct Professor of Musicology at the University of Adelaide, Australia.
Didactics of the arts --- Higher education --- HO (hoger onderwijs) --- kunstonderwijs --- creativiteit --- Art --- Music theory. --- Popular music. --- Education, Higher. --- Creativity and Arts Education. --- Theory of Music. --- Popular Music. --- Higher Education. --- Theory of Arts. --- Ensenyament de la música --- Educació superior --- Study and teaching. --- Philosophy.
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"This book explores and develops critical and creative methods for coming to terms with and finding balance between identity formation and migration across root and adopted cultures." -Geraldine Burke, Researcher and Teacher-Educator at Monash University, Australia. "Dr Wang's book is emergent and of interest to therapists, researchers and those curious about how cultural identity may be affected by immigration, how using arts-based critical autoethnography may facilitate inquiry into subjective topics, and how such inquiries may themselves become healing experiences. Her book meaningfully contributes to explorations of cultural transition, hybridity and blending." -Deborah Green, Head of School, Creative Arts Therapies, Whitecliffe, New Zealand. This book is an exploration of the concept of in-betweenness, as it occurs within the process of moving between the author’s root culture and adopted culture, from her perspective as an immigrant arts therapist. Through the critical autoethnographic voice, she introduces a unique exploration site within the process of Guqin-making, an ancient Chinese art form. Through the creation of images and poetry, and through Guqin-making and music-making/playing, the book expands the discussion of in-betweenness by re-theorising ancient Chinese philosophical perspectives on harmonic space. This contribution to arts-based research provides a unique standpoint to explore research methods of moving, walking, making, resting and awakening. It showcases how other researchers can transfer the invisible and intangible embodied feelings, memories and emotions arising from moving between two or more cultures into visible and tangible images, narrative, poetry, craft and music-playing to conduct powerful, interdisciplinary arts-based research. Ying (Ingrid) Wang is a post-doctoral research fellow at the Centre for Arts and Social Transformation, University of Auckland, New Zealand. Her current research interests include arts-based research in arts therapy, education, wellbeing, community resilience and social transformation. .
Art --- Culture --- Music. --- Collective memory. --- Creativity and Arts Education. --- Cultural Studies. --- Theory of Arts. --- Memory Studies. --- Study and teaching. --- Philosophy. --- Collective remembrance --- Common memory --- Cultural memory --- Emblematic memory --- Historical memory --- National memory --- Public memory --- Social memory --- Memory --- Social psychology --- Group identity --- National characteristics --- Art music --- Art music, Western --- Classical music --- Musical compositions --- Musical works --- Serious music --- Western art music --- Western music (Western countries) --- Beautiful, The --- Beauty --- Aesthetics --- Art and philosophy --- Cultural studies --- Art education --- Education, Art --- Art schools --- Analysis, interpretation, appreciation --- Education --- Ensenyament de l'art --- Filosofia de l'art --- Ensenyament de la música --- Xina
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