scholarly journals Persepsi Pemustaka Atas Suara Gamelan Terhadap Tingkat Kenyamanan Literasi Di Perpustakaan Lingkungan Fakultas Seni Pertunjukan (FSP) ISI Surakarta

2021 ◽  
Vol 1 (2) ◽  
pp. 47-54
Author(s):  
Sartini Sartini ◽  
Sugeng Priyanto
Keyword(s):  
Human Body ◽  
Performing Arts ◽  
Quantitative Methods ◽  
Comfort Level ◽  
Music Psychology ◽  
Literacy Activities ◽  
Sound Effects ◽  
The Arts ◽  
Sequential Explanatory ◽  
The Voice

Riset ini dilatarbelakangi oleh fenomena efek suara gamelan yang terjadi di ruang kuliah yang terdengar hingga perpustakaan di lingkungan FSP ISI Surakarta. Yang ingin diungkap dalam riset ini adalah 1) Bagaimana pemustaka meresepsi suara gamelan ketika melakukan aktivitas literasi di Perpustakaan Lingkungan Fakultas Seni Pertunjukan? 2) Bagaimana implikasi suara gamelan terhadap tingkat kenyamanan aktivitas literasi di Perpustakaan lingkungan Fakultas Seni Pertunjukan? Untuk mengungkap permasalahan digunakan teori kenyamanan Katharine Kolcaba  tentang kenyamanan psikospiritual dan kenyamanan lingkungan serta psikologi musik Djohan Salim tentang musik dan emosi manusia. Penelitian ini dilakukan mengunakan kombinasi model, atau desain sequential explanatory (urutan pembuktian), yaitu metode yang menggabungkan kuantitatif dan kualitatif secara beurutan. Tahap pertama dilakukan dengan metode kuantitatif, yakni dengan mendistribusikan kuesioner kepada para pemustaka. Lantas selanjutnya dilakukan dengan metode kualitatif meliputi: observasi, wawancara, dokumentasi, dan analisis. Hasil dari penelitian ini adalah, 1) suara gamelan dirasa tidak mengganggu. 2) Suara gamelan dianggap lazim, sebagai kampus seni, dan dirasa bukan menjadi hal yang menggangu dalam aktivitas berliterasi. 3) suara gamelan dianggap sebagian pemustaka sebagai hal yang memberikan pengaruh baik terhadap kenyamanan mereka, artinya secara psikologi memberikan dampat baik dan tentu membuat nyaman di dalam ruangan. 4) Suara gamelan dianggap tidak perlu menjadi hal yang diperdebatkan. 5) Kenyamanan selalu berbanding lurus dengan pengalaman ketubuhan manusia, suara gamelan merupakan entitas yang menjadi pengalaman mayoritas mahasiswa ISI Surakarta, sehingga di dalam aktivitas literasi tidak menjadikan gangguan secara umum.          This research is motivated by the phenomenon of gamelan sound effects that occur in lecture halls which are heard to the library in the Faculty of Performing Arts at Indonesian Institute of the Arts Surakarta environment. This research wants to reveal 1) How does the user perceive gamelan sound when doing literacy activities in the Environmental Library of the Performing Arts Faculty? 2) How the implications of the voice of gamelan to the comfort level of literacy activities in the Library of the Performing Arts Faculty? To uncover the problem Katharine Kolcaba's comfort theory is used about psychospiritual comfort and environmental comfort and Djohan Salim's music psychology about music and human emotions. This research was conducted using a combination of models, or sequential explanatory designs (sequences of proof), a method that combines quantitative and qualitative sequentially. The first stage is done by quantitative methods, namely by distributing questionnaires to users. Then the next is done by qualitative methods include: observation, interviews, documentation, and analysis. The results of this research are, 1) the sound of the gamelan is consistently felt not disturbing. 2) the sound of gamelan is considered to be common, as an art campus, and is not considered to be a disturbing thing in literated activities. 3) the sound of gamelan is considered part of the visitors as a matter of good influence on their comfort, meaning psychologically giving a good impact and of course making it comfortable in the room. 4) the sound of the gamelan is unnecessarily staged. 5) comfort is always directly proportional to the experience of human body, the sound of gamelan is an entity that is the experience of the majority of  Indonesia Insititute of the Arts Surakarta students, so that literacy activities do not cause general disturbance.The results of this research are, 1) the sound of the gamelan is consistently felt not disturbing. 2) the sound of gamelan is considered to be common, as an art campus, and is not considered to be a disturbing thing in literated activities. 3) the sound of gamelan is considered part of the visitors as a matter of good influence on their comfort, meaning psychologically giving a good impact and of course making it comfortable in the room. 4) the sound of the gamelan is unnecessarily staged. 5) comfort is always directly proportional to the experience of human body, the sound of gamelan is an entity that is the experience of the majority of  Indonesia Insititute of the Arts Surakarta students, so that literacy activities do not cause general disturbance. 

Emerging patterns of artistic organizations in Portugal: A three case studies analysis

2020 ◽  
pp. 84-107
Author(s):  
Vera Borges ◽  
Luísa Veloso
Keyword(s):  
Labour Market ◽  
Economic Crisis ◽  
Performing Arts ◽  
Work Organization ◽  
The Arts ◽  
Emerging Patterns ◽  
New Models ◽  
Organizational Patterns ◽  
New Forms Of Work ◽  
Anal Yses

In the wake of the 2008 global financial and economic crisis, new forms of work organization emerged in Europe. Following this trend, Portugal has undergone a reconfiguration of its artistic organizations. In the performing arts, some organiza-tions seem to have crystalized and others are reinventing their artistic mission. They follow a plurality of organizational patterns and resilient profiles framed by cyclical, structural and occupational changes. Artistic organizations have had to adopt new models of work and seek new opportunities to try out alternatives in order to deal, namely, with the constraints of the labour market. The article anal-yses some of the restructuring processes taking place in three Portuguese artistic organizations, focusing on their contexts, individual trajectories and collective missions for adapting to contemporary challenges of work in the arts. We conclude that organizations are a key domain for understanding the changes taking place.

Simultaneous determination of thickness, thermal conductivity and porosity in textile material design

2016 ◽  
Vol 24 (1) ◽  
Author(s):  
Dinghua Xu ◽  
Peng Cui
Keyword(s):  
Thermal Conductivity ◽  
Human Body ◽  
Moisture Transfer ◽  
Least Squares Method ◽  
Weighted Least Squares ◽  
Optimal Solution ◽  
Comfort Level ◽  
Textile Material ◽  
Heat And Moisture Transfer ◽  
Heat And Moisture

AbstractThe thickness, thermal conductivity and porosity of textile material are three key factors which determine the heat-moisture comfort level of the human body to a large extent based on the heat and moisture transfer process in the human body-clothing-environment system. This paper puts forward an Inverse Problem of Textile Thickness-Heat conductivity-Porosity Determination (IPT(THP)D) based on the steady-state model of heat and moisture transfer and the heat-moisture comfort indexes. Adopting the idea of the weighted least-squares method, we formulate IPT(THP)D into a function minimization problem. We employ the Particle Swarm Optimization (PSO) method to stochastically search the optimal solution of the objective function. We put the optimal solution into the corresponding direct problem to verify the effectiveness of the proposed numerical algorithms and the validity of the IPT(THP)D.

The use of acting techniques in career development

2021 ◽  
Author(s):  
Mariya Aleksandrovna Akimenkova
Keyword(s):  
Career Development ◽  
Performing Arts ◽  
Educational Institutions ◽  
Psychotherapeutic Interventions ◽  
The People ◽  
Circle Of Friends ◽  
Main Activity ◽  
The Voice ◽  
And Training

The article shows that in career development, the use of acting techniques opens up new opportunities. The author traces the development of the Russian acting school, created by K.S. Stanislavsky and later revised and supplemented by his students, in the modern socio-economic situation. The article demonstrates that despite the fact that for many years this school was aimed exclusively at educating and training people who want to connect their lives with the theater, it had a significant impact on amateurs as well. Passion for the performing arts was traced among people of a wide variety of professions, which contributed to the creation of numerous amateur theaters. This tendency was especially evident in educational institutions. Pupils and students under the guidance of an experienced director tried to take steps in the stage space, received grateful responses, but continued to be content with the role of an amateur actor, without encroaching on the laurels of a professional. Nevertheless, after that, their main activity, regardless of the direction, moved to a completely different level. Without any psychotherapeutic interventions, the attitude to oneself, to the people around, and to situations changed, the speech apparatus and the timbre of the voice were transformed, phobias and depressive tendencies disappeared. As a result, participants in amateur theaters acquired a new circle of friends and promotions, or they radically changed their field of activity, opening completely new prospects for themselves. The article examines these possibilities in the framework of the modern situation, when the entire range of theater and acting means may be in demand by representatives of other professions.

Literature and the Arts as a Basis for Curriculum in the Work of Maxine Greene

2021 ◽  
Author(s):  
Janet L. Miller
Keyword(s):  
Literary Criticism ◽  
Lived Experience ◽  
Performing Arts ◽  
Lived Experiences ◽  
Teacher Educators ◽  
Matter Content ◽  
The Arts ◽  
The World ◽  
Imaginative Literature ◽  
Maxine Greene

Maxine Greene, internationally renowned educator, never regarded her work as situated within the field of curriculum studies per se. Rather, she consistently spoke of herself as an existential phenomenological philosopher of education working across multidisciplinary perspectives. Simultaneously, however, Greene persistently and passionately argued for all conceptions and enactments of curriculum as necessarily engaging with literature and the arts. She regarded these as vital in addressing the complexities of “curriculum” conceptualized as lived experience. Specifically, Greene regarded the arts and imaginative literature as able to enliven curriculum as lived experience, as aspects of persons’ expansive and inclusive learnings. Such learnings, for Greene, included the taking of necessary actions toward the creating of just and humane living and learning contexts for all. In particular, Greene supported her contentions via her theorizing of “social imagination” and its accompanying requisite, “wide-awakeness.” Specifically, Greene refused curriculum conceived as totally “external” to persons who daily attempt to make sense of their life worlds. In rejecting any notion of curriculum as predetermined, decontextualized subject-matter content that could be simply and easily delivered by teachers and ingested by students, she consistently threaded examples from imaginative literature as well as from all manner of the visual and performing arts throughout her voluminous scholarship. She did so in support of her pleas for versions of curriculum that involve conscious acts of choosing to work in order not only to grasp “what is,” but also to envision persons, situations, and contexts as if they could be otherwise. Greene thus unfailingly contended that literature and the arts offer multiplicities of perspectives and contexts that could invite and even move individuals to engage in these active interpretations and constructions of meanings. Greene firmly believed that these interpretations and constructions not only involve persons’ lived experiences, but also can serve to prompt questions and the taking of actions to rectify contexts, circumstances, and conditions of those whose lived lives are constrained, muted, debased, or refused. In support of such contentions, Greene pointed out that persons’ necessarily dynamic engagements with interpreting works of art involved constant questionings. Such interrogations, she argued, could enable breaking with habitual assumptions and biases that dull willingness to imagine differently, to look at the world and its deleterious circumstances as able to be enacted otherwise. Greene’s ultimate rationale for such commitments hinged on her conviction that literature and the arts can serve to not only represent what “is” but also what “might be.” As such, then, literature and the arts as lived experiences of curriculum, writ large, too can impel desires to take action to repair myriad insufficiencies and injustices that saturate too many persons’ daily lives. To augment those chosen positionings, Greene drew extensively from both her personal and academic background and interests in philosophy, history, the arts, literature, and literary criticism. Indeed, Greene’s overarching challenge to educators, throughout her prolonged and eminent career, was to think of curriculum as requiring that persons “do philosophy,” to think philosophically about what they are doing. Greene’s challenges to “do philosophy” in ways that acknowledge contingencies, complexities, and differences—especially as these multiplicities are proliferated via sustained participation with myriad versions of literature and the arts—have influenced generations of educators, students, teaching artists, curriculum theorists, teacher educators, and artists around the world.

Christian Feminist Theology and the Arts

2021 ◽  
Author(s):  
Elizabeth Ursic
Keyword(s):  
Performing Arts ◽  
Feminist Theology ◽  
Christian Theology ◽  
Female Leaders ◽  
Christian Women ◽  
The Bible ◽  
Inclusive Language ◽  
The Arts ◽  
In Christ ◽  
The 1960S

Christian theology is the study of God and religious belief based on the Christian Bible and tradition. For over 2,000 years, Christian theologians have been primarily men writing from men’s perspectives and experiences. In the 1960s, women began to study to become theologians when the women’s rights movement opened doors to higher education for women. Beginning in the 1970s and 1980s, female theologians developed Christian feminist theology with a focus on women’s perspectives and experiences. Christian feminist theology seeks to empower women through their Christian faith and supports the equality of women and men based on Christian scripture. “There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus” (Galatians 3:28). The arts have an important role in Christian feminist theology because a significant way Christians learn about their faith is through the arts, and Christians engage the arts in the practice of their faith. Christian feminist theology in the visual arts can be found in paintings, sculptures, icons, and liturgical items such as processional crosses. Themes in visual expression include female and feminine imagery of God from the Bible as well as female leaders in the scriptures. Christian feminist theology in performing arts can be found in hymns, prayers, music, liturgies, and rituals. Performative expressions include inclusive language for humanity and God as well as expressions that celebrate Christian women and address women’s life experiences. The field of Christian feminist theology and the arts is vast in terms of types of arts represented and the variety of ways Christianity is practiced around the world. Representing Christian feminist theology with art serves to communicate both visually and performatively that all are one in Christ.

scholarly journals Getting our act together: a qualitative evaluation of the impact of a play on issues relating to women, sex work and substance use

2021 ◽  
Vol 6 ◽  
pp. 234
Author(s):  
Anne Campbell ◽  
Jo Egan ◽  
Paul Murphy ◽  
Carolyn Blair
Keyword(s):  
Substance Use ◽  
Sex Work ◽  
Performing Arts ◽  
Social Issues ◽  
Qualitative Evaluation ◽  
Research Process ◽  
Service Users ◽  
Policy And Practice ◽  
The Arts ◽  
The Impact

Background: The arts have always sought to explore significant social issues through literature, performing arts and visual art. However, more recently there has been an increase in the use of theatre as a means of gauging audiences’ perception and understanding of key social issues. The primary aim of the current evaluation was to seek the views of audience members, service users of addiction services and expert commentators as regards their perception of a number of key issues related to the content of a play entitled Madame Geneva. Methods: The evaluation used an exploratory qualitative design incorporating a dualistic approach to the research process: including post show discussion with panellists and members of the audience and a focus group comprising service users who had also viewed a live performance of the play. Results: The topics elucidated by the performance of the play included women and sex work, women and substance use, and impact on policy and practice. The discussion of the issues raised reiterated that women still experience high levels of oppression and discrimination in areas of substance use, sex work and welfare ‘reform’ which are often couched within male dominated political discourses and structures in contemporary society. Conclusions: The arts and specifically dramaturgical representations of substance use and related issues is an effective method of initiating important pragmatic and policy discussion of issues, which affect women

scholarly journals Choreographing increased understanding and positive attitudes towards coding by integrating dance

2021 ◽  
Vol 4 (3) ◽  
pp. 31-48
Author(s):  
Breeann Flesch ◽  
Camila Gabaldón ◽  
Matthew Nabity ◽  
Darryl Thomas
Keyword(s):  
Physical Activity ◽  
Complex Problem ◽  
Comfort Level ◽  
Student Surveys ◽  
The Arts ◽  
Positive Attitudes ◽  
Steam Education ◽  
Statistical Approaches ◽  
Intractable Problem ◽  
Positive Effect

Increasing the inclusion of underrepresented individuals in coding is an intractable problem, with a variety of initiatives trying to improve the situation. Many of these initiatives involve STEAM education, which combines the arts with traditional STEM disciplines. Evidence is emerging that this approach is making headway on this complex problem. We present one such initiative, iLumiDance Coding, which attempts to pique the interest and increase confidence of students in coding, by combining it with a fun and physical activity: dance. The connections between dance and coding, while not immediately obvious, are authentic, and we hypothesize that this approach will increase student comfort level with coding. We used student surveys of attitudes toward coding and a variety of statistical approaches to analyze our initiative. Each analysis showed a positive effect on student comfort level with coding. These results are useful for both educators and researchers since they contribute to a deeper understanding of how to increase interest in coding, which we hope will lead to an increase in representation.

scholarly journals SCIENTIFIC AND PEDAGOGICAL DEVELOPMENTS IN THE FIELD OF SOUND FORMATION ON WIND INSTRUMENTS

2020 ◽  
Vol 2 (2(71)) ◽  
pp. 15-17
Author(s):  
Olga V. Uvarova
Keyword(s):  
Performing Arts ◽  
Wind Instruments ◽  
Pedagogical Practice ◽  
Highly Qualified ◽  
Wind Instrument ◽  
Priority Direction ◽  
The Subject ◽  
The Voice ◽  
Main Factor ◽  
Scientific Achievements

The priority direction in modern conditions of musical and pedagogical activity is the training of highly qualified specialists. The main factor of successful methodological work in the field of wind instrument performance is the study of scientific achievements in physiology, pedagogy, and psychology. Currently, in the pedagogical practice of wind art, there are a number of issues that require a conceptual understanding of the physiological components of the voice and articulation apparatus, as well as the dependence of sound quality on these organs. The subject of the analysis is the correct functioning of the larynx as a resonator. The analysis of scientific and theoretical developments in the field of sound formation on wind instruments allowed us to explain a number of pedagogical approaches in the practice of musical and performing arts

The Human-Machine: Possibilities for Expression in Robotic Dance

2018 ◽  
Author(s):  
Hannah M. Brown
Keyword(s):  
Performing Arts ◽  
Human Performance ◽  
Installation Art ◽  
Scientific Field ◽  
Point Of View ◽  
Human Beings ◽  
The Arts ◽  
Art Works ◽  
Social Applications ◽  
Insight Into

Robots have been a source of both intrigue and anxiety for artists and a lively apparatus for study by scientific researchers for several decades. Though many people view robots as being cold, unemotional, and frightening, there is a growing field in robotics specifically focused on social applications including therapy, elder care, and the arts. Robots have been utilized extensively in installation art works and sculpture, but the performing arts have been somewhat more resistant to them. Machines which have all the technical abilities to perform tasks, such as playing an instrument or executing choreography without fatiguing or making errors, can be threatening to human performers who have honed these abilities and rely upon them for creative expression and their livelihoods. By synthesizing studies in the scientific field of social robotics, philosophical insight into technology and the arts, and case studies of robots used in dance and other art forms, I seek to provide an alternative point of view of robotic integration into performance. Robots do not need to act only as avatars of human beings, they can be effectively utilized in dance to expand upon the capabilities of the human body, act as automatic ‘puppets’ for choreography, integrate into human performance, and be ‘autonomous’ performers in their own right. Robot dancers do not inherently replace or devalue human artists; instead, they can provide complex insight into the understanding of human bodies, emotions, and technology.

PAM Day: Department of Performing Arts Medicine, University College London, 17 June 2017.

2018 ◽  
Vol 33 (1) ◽  
pp. 74-74
Author(s):  
Hara Trouli
Keyword(s):  
Performing Arts ◽  
Medical Profession ◽  
Performing Arts Medicine ◽  
The Arts ◽  
University College ◽  
University College London

On 17 June 2017 the first PAM DAY was launched at the Institute of Sport Exercise and Health in London. This was organised by the Department of Performing Arts Medicine which is part of the Division of Surgery and Interventional Science at University College London. The Department runs a Master’s Programme in Performing Arts Medicine, and faculty and graduates of the course put together an event to bring awareness of Performing Arts Medicine to the medical profession, the performance educators, and the professionals in the arts.

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