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Jun 27, 2018
08:00-09:00 Conference Registration Desk Open
09:00-09:15 Territorial Acknowledgement and Welcome—Laura Wee Lay Laq, Cultural Resource Support, Aboriginal Gathering Place, Emily Carr University of Art and Design, Vancouver, Canada, and Member, Ch’iyaqtel, Nation of the Sto:lo, and Wai Wei Kum, Nation of the Laich-Kwil-Tach
09:15-09:35 Conference Opening—Phillip Kalantzis-Cope, Chief Social Scientist, Common Ground Research Networks, Champaign, Illinois, USA
09:35-09:50 Welcome Address—Cissie Fu, Dean, Faculty of Culture + Community, Emily Carr University of Art + Design, Vancouver, Canada, and Co-Founder, Political Arts Initiative; Ariane Noël de Tilly, Sessional Faculty & Conference Coordinator for the Faculty of Culture + Community, Emily Carr University of Art + Design, Vancouver, Canada; Justin Langlois, Associate Professor and Assistant Dean of Integrated Learning, Faculty of Culture + Community, Emily Carr University of Art + Design, Vancouver, Canada
09:50-10:50 Plenary Session—Hannah Jickling, Artist, Vancouver, Canada; Helen Reed, Artist, Vancouver, Canada; Vanessa Kwan, Artist, and Curator, Grunt Gallery, Vancouver, Canada
10:50-11:05 Coffee Break
11:05-11:50 Talking Circles
11:50-13:05 PARALLEL SESSIONS
Room 1 - B2160 (Rennie Hall) Socially Engaged Art
Revitalizing the Public Spirit through Socially Engaged Art: Courting a Fearless Pedagogy in a Public School Setting

Dr Lynn Sanders-Bustle, Chair and Associate Professor of Art Education, Visual Arts, University of Georgia

Overview: The recent appointment of Betsy Devos to the position of US Secretary of Education has reinvigorated arguments for and against the privatization of schools, prompting many proponents of public schools to loudly voice their support of public education as a right (Menashy, 2014). Proponents recognize that privatization further removes schooling from the influence of the public, and instead makes schooling a commodity to be owned by the private sector; greatly reducing the freedoms in which citizens can participate. This qualitative research study explores the efforts of four university art education preservice teachers to create socially engaged artworks in a public middle school. A kind of public pedagogy, I suggest that by creating socially engaged art potential exists for preservice teachers to be in schools in different ways, opening up new ways of thinking about the "publicness" of art, schooling, and their evolving pedagogies. Data included written reflections, transcribed interviews and researcher field notes. Findings suggest that through socially engaged artmaking preservice teachers critique regimes of schooling, reexamine art as a relational point of departure for better understanding the "publicness" of spaces, students and teachers, and rethink possibilities for evolving public pedagogies.
Theme:Arts Education
Teaching Others How to Make a Difference in Today’s World: Practical Methods of Instruction in Activist Art and Works in the Community

Jennifer Longshore, Senior Instructor, Department of Creative Arts, Southern Oregon University, Ashland, Oregon, United States

Overview: Designed and implemented eight years ago, “Activist Artists and Works in the Community” is a course where art students explore and define activism and the roles artists play in instigating change and igniting community involvement. By examining the history and evolution of activism through cross-disciplinary sources, students recognize that creative engagement comes with its successes and failures. Based on their own passions, these students then move out of the classroom and partner with agencies to develop and implement creative projects. An overview and discussion of the outcomes of these projects will demonstrate how they have changed lives, initiated new career paths, and helped students realize how their creative spirit can make a difference in today’s world. Some projects featured for this presentation include: building self-esteem through mask and puppet making, bringing healing and hope to domestic violence survivors through art and dialogue, encouraging creativity in our homeless community, sparking dialogue about climate change through art making, and supporting immigrant youth by making banners of pride.
Theme:Arts Education, Social, Political and Community Agendas in the Arts, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Collaborative Art as Social Activism: Bringing Awareness of Human Trafficking to the University Community through the Red Sand Project

Dr. Ellen Avitts, Associate Professor of Art History, Art + Design, Central Washington University

Overview: The Red Sand Project was begun by artist Molly Gochman in 2014; its goal was to raise awareness of human trafficking. Red sand is handed out to participants who then place it in sidewalk cracks. It is a deceptively simple, collaborative art experience that makes visible a complex metaphorical concept. An estimated 30 million people are currently enslaved. They have literally fallen through the cracks of society; we walk past them daily but do not see them. The Red Sand Project forces us to look, to acknowledge slavery as a startling reality that must be addressed. In fall of 2016, art students under my direction at Central Washington University participated in the Red Sand Project, but not as a one-time event. Theirs was a year-long project that grew to be an interdisciplinary, community-wide endeavor. This paper documents this act of student-led art activism, considering its planning and implementation, its success and failures, and its strengths and weaknesses, in order to begin a discussion of ways to help students create connections between their field of study and positive social engagement.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 2 - C3255 Reflecting the Individual
Finding Our Forte: The Benefits of a Community Choir for People Living with Dementia and Their Care Partners

Dr. Debra Sheets,

Overview: Can choirs reduce social isolation, increase quality of life and reduce caregiver burden? Voices in Motion (ViM) is an intergenerational choir for persons living with early- to- moderate stage dementia (PwD), their care partners, and high school students. Arts-based approaches to dementia are unique in shifting the attention away from memory losses and activity limitations towards participation and preserving identify. Singing in a choir is a joyful and emotional experience that promotes social connections. It is an activity reinforces one’s sense of identity, competence, and accomplishment. Singing has positive affective outcomes that include improved mood, increased energy, reduced stress, increased self-esteem and confidence. Singing is an inexpensive, meaningful and joyful activity that can improve mood, increase energy, reduce stress, and increase self-esteem. This pilot study (conducted in Spring 2018) evaluates the impact of an intergenerational dementia friendly choir (n=28) that is inclusive, supportive and focuses on the potential for growth and creativity, regardless of memory loss. A mixed-methods design is used to assess the effects of the choir participation on quality of life, cognition, and social networks. Discussion will focus on the promise of such interventions for quality of life, social connections, and caregiver support.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Image of the Laugh as a Symbol to Represent Individual Experience and Cultural Trauma

Dr. Kim Le, -, -, The University of Western Australia, Perth, -, Australia

Overview: The image of the laugh as a symbolic expression has been used in the contemporary art of both Western-European and South-East Asian art. Even though laughter is a universal symbol, the two different aesthetic canons of the West and the East draw from different visual practices: Western formalism and the Eastern use of Buddhist ideas. This paper examines the work of artists from Germany and China who have used the symbol of the laugh to portray their individual experiences and cultural traumas. Using the image of the laugh manifested in German and Chinese art as case studies in the portrayal of cultural trauma, I critically examine the aesthetic canons of Western-European art and compare and contrast them with the art of South-East Asia influenced by Buddhism. In this qualitative research, the theories of aesthetics, theories of symbols and theories of feelings are used as the tools to explore how artists use the laugh as a metaphor for representing personal experience and cultural trauma. This research reveal that laughing is a universal human manifestation, but acquires different meanings when visually represented through different cultural practices. While the representation of the laugh is a universal phenomenon, its symbolic use in visual art when coming to terms with cultural trauma is rooted not only in individual expression but also in different aesthetic canons.
Theme:Social, Political and Community Agendas in the Arts
ArtsEqual for Cultural Rights and Well Being: Constitutionalism and the Human Development and Capability Approach in the Making of Two Policy Briefs

Kai Lehikoinen, Professor, University of the Arts Helsinki

Overview: A growing body of research evidence points to the positive impact of the arts on health and well-being of people. The cumulative results have emerged alongside cultural policy-making and as professionals in the arts have justified their work in hybrid contexts in the boundary zone between the arts, health care and social services. In Finland, where a regional government, health and social services reform is currently taking place, the value of the arts for health and well-being has been highlighted in various governmental documents and policy processes in recent years. Participation in the arts is viewed as a potential means to cut social and health costs in a country where the growing proportion of old people in the population contributes towards a sustainability gap, which has been said to challenge public finances. Located in such social and political context, ArtsEqual Research Initiative investigates the arts as public service, with equality as the starting point. Funded by the Academy of Finland’s Strategic Research Council, ArtsEqual generates not only new research on the arts and arts education but also research-based arts policy briefs to outline the policies and actions needed for the arts to meet the social challenges of the 2020s in Finland. This paper will draw from two processes of policy brief writing in ArtsEqual during 2016 and 2017 to address the following questions: What is the nature and defining features of the ArtsEqual policy briefs? Why did these policy briefs come about? How have they been prepared and disseminated? In addition, this paper will use a descriptive-interpretative qualitative approach to scrutinise two policy brief documents to answer two questions: How the Constitution of Finland and international human rights instruments are used in the policy briefs to argue for equity and access in the arts and culture in the context of social and health services? How is the human development and capability approach used in the policy briefs together with research on the arts, health and wellbeing to argue for cultural well-being in the context of social and health services?
Theme:Social, Political and Community Agendas in the Arts
Room 4 - C3275 Art Cognitions
System as Medium

Tara Michelle Winters, Senior Lecturer, Fine Arts, The University of Auckland

Overview: In creative arts teaching we talk a lot about ideas but not much about how to get them. This paper includes a teaching case study and project documentation outlining a studio assignment aimed at facilitating the self- generation of art and design ideas/outcomes by way of "systems thinking." The studio project explores a contemporary version of the concept "system as medium" first proposed by Jack Burnham in 1968, tapping into a reported “ongoing obsession with systems and series” (Jessica Helfand). Usefully, part of the vocabulary of a system is that it is self-generating, and this can be very productive. The notion of a system is captivating. A fixed system can offer endless variation. Iteration after iteration can be gleaned once a system is in place. The concept of ‘systems’ is deeply embedded in the context of society and the way we now live. Systems provide a flexible starting point for the generation of idea and form. This ranges from a response to the concept of "system" in more formal, material terms (an example being the use of principles such as repetition, pattern, rhythm and seriality, where outcomes are a manifestation of an invented, systematic base) to one that engages a contemporary systems aesthetic to inspect the social, economic, and technological ‘systems’ that govern our world. The way in which this studio project has been able to successfully respond to the fundamental task of helping students to think generatively and creatively is discussed via examples of student work.
Theme:Arts Education
Affect in Art Education: Practicing Art Practicing Ethics

Ingrid Boberg,

Overview: Art education, occurring within a studio-based programme, provides the impetus for all manner of activities and sociality to occur that make things happen for the emerging creative subject. This paper looks at the way art education fosters aesthetic experiences, affect relations and ethical thinking. This paper focuses on the transmission and reception of affect within art pedagogy, valuing the distinct experiential qualities therein and the corporeal understanding it provides. In observing how things happen within an art school studio context, and through a Deleuzo-Guattarian lens, I argue that the shift from molar thinking to molecular thinking is manifested through art education events. In utilising Spinoza’s (1996) concepts regarding “inadequate ideas” and how they become “more adequate ideas,” I discuss the means by which art students can gain a more ethical understanding of other. Other being; things, acts, and processes unusual to their understanding, as well as human beings expressing different ideas, sensibilities, politics and/or beliefs.
Theme:Arts Education
Developing Engaged Thinkers, Ethical Citizens and Entrepreneurial Spirit through Arts-based Learning: Applying the Socially Empowered Learning Framework in Community

Gregory Burbidge, Research & Policy Specialist, Impact, Calgary Arts Development
 Emiko Muraki, 
Dr. Brittany Harker Martin,

Overview: More and more the arts sector is being called upon to evaluate the impact of our work. How can we develop accessible and rigorous evaluative tools that are helpful for artists, arts groups and those that support them? Through a unique collaboration between granting agencies, academics, educators and arts organizations, the Socially Empowered 3E Scale (Martin & Calvert, 2017) was developed. The Socially Empowered 3E Scale includes three subscales drawn from the broader Socially Empowered Learning Framework (Martin & Calvert, 2018) that measure changes in intellectual engagement, ethical mindset and entrepreneurial spirit. The subscales were designed for use by educators and artists to determine the effectiveness of their programs and for grant agencies to evaluate the impact of supporting arts education programs. We present the results from a pilot program of the scale with three arts education providers and discuss the results, challenges and implications for the scale’s more wide-spread adoption amongst arts educators.
Theme:Arts Education
Room 5 - C3285 Comercialism Impacts
Influence of Setouchi Triennale's Contemporary Art Interventions on the Revitalization of Island Communities in the Seto Inland Sea, Japan

Meng Qu, 
Dr. Carolin Funck,

Overview: Aging, depopulation and stagnation are serious problems for the island communities of the Seto Inland Sea. The Setouchi Triennale, also known as Setouchi International Art Festival (SIAF), engages with revitalizing twelve remote islands and their rural communities through art festival and tourism. While the Triennale’s Director has claimed that the art festival has become a model for government policies for community revitalization and tourism, problems still persist in terms of local residents’ response to the development model and tourists' behavior. Additionally, in the art world some critics have emphasized that art festivals use "borrowed art" exhibited on "borrowed land." Among the islands that are involved in the Setouchi Triennale, Teshima island and Inujima island are two very important hosting destination for the Triennale. This research aims at examining the positive influences and negative impacts of art interventions and tourism on Teshima and Inujima’s rural communities. The conceptual framework of the research integrates art festival's cultural revitalization, island community placemaking, and sustainable tourism. Field research was conducted through participant observation as visitor and "Koebi" volunteer within the Setouchi Triennale 2016, as well as through interviews and questionnaires with local multiple stakeholders after the Triennale.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Branding Nature: Apple Label Design and Advertising in the Pacific Northwest

Cristina de Almeida,

Overview: During the early 20th century, the Pacific Northwest entered the imagination of Americans living in the East and Midwest urban centers through the branding of its natural resources. Among the most pervasive images were those related to the marketing of apples. Colorful labels, identifying growers and/or packers, were pasted on fruit crates that were shipped East through the new transcontinental railroads, and later put on display in the grocery shops. The graphics on these labels provide a window to understanding the role played by graphic design in not only supporting product commodification, but also in negotiating the contradictions brought upon by industrialized agriculture. This paper explores the phenomenon of the branding of northwest apples in the first half of the 20th century, with a focus on design practices. While establishing differentiation between similar products–apples to apples–visual branding contributed to forge a unified identity for a region that was still culturally peripheral to Western society. This relative isolation can provide a microcosm from which to assess the potential and limitations of graphic design as a mediator between systems of production and consumption.
Theme:Arts Theory and History
Regarding the Suffering of Others: Souvenirs of Past Conflicts

Prof. Ulrike Zitzlsperger, Associate Professor of German, Modern Languages, University of Exeter, Exeter, Devon, United Kingdom

Overview: Regarding the Suffering of Others: Souvenirs of Past Conflict This paper takes its cue from Susan Sontag’s essay Regarding the Pain of Others (2003). Even though souvenirs of past conflict are not comparable to the potential impact of photography that Sontag describes, they seek to communicate in retrospect an experience limited to a select group of people. Souvenirs are – in contrast with mementos (Evans) – commercial products (Care, Baum and Joliffe) though some are also works of art (Hume). This contribution addresses those souvenirs that engage with past conflicts and atrocities. It questions how such events translate into material items that are then purchased by visitors who invest an interest in the past.
Theme:Social, Political and Community Agendas in the Arts
Room 6 - D3345 Transforming Communities
Art Education's Role in Cultivating Community through Creative Collaboration

Dr. Pamela Lawton, Associate Professor, Art Education, Virginia Commonwealth University
Dr. Margaret Walker, 
 Melissa Green,

Overview: The presenters CBAE practice, theory, and research will be discussed to demonstrate how creative collaboration with multi-generational stakeholders teaches art and leadership skills that empower and transform communities while increasing their interest in and appreciation of art as both a pleasurable activity and means of communicating with others. Through discussion of a CBAE conceptual framework developed and implemented by the presenters and the age-integrated arts learning curriculum theory they developed, this presentation considers how to plan and implement effective CBAE programs. Examples of four CBAE projects will be discussed to demonstrate how to provide all stakeholders with personally meaningful outcomes for themselves and all collaborators involved, find like-minded community partners, successfully develop shared ideas into goals, and effective ways of meeting goals such as: recruiting participants, developing activities, sharing tasks, seeking group consensus in decision making, and the process of envisioning concepts as art products.
Theme:Arts Education, Social, Political and Community Agendas in the Arts, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Aesthetics of Hong Kong Community Art

Dr. Phoebe Ching Ying Man,

Overview: This research examines community art in Hong Kong by studying community art projects of five active organizations. The research will study the concept and the practice of art projects and perceptions of the audience. Contextualization, participation, collaboration, antagonism and empowerment will form the framework to discuss the concept and the practice. Grant Kester’s dialogical aesthetics, Nicolas Bourriaud’s relational aesthetics and Claire Bishop’s theory of antagonism will also be applied to identify similarities and differences. Can the local project leader, Wallace Chang’s “massage” style community art and activist Tse Pak-chai’s “community appreciation” discourse be part of the local aesthetics? This research will generate a set of aesthetics underlying Hong Kong community art to allow for a better understanding of this art form and a set of methodologies sensitive to art practices to explicate their impact and influence.
Theme:Arts Theory and History
I Landed a U.F.O. on Main Street: An Autoethnography of the Founding of an Arts Education Organization in Appalachian Kentucky

Elise Kieffer, Doctoral Student, Teaching Assistant, Art Education, Florida State University

Overview: The Appalachian region of the south has long been the source of stereotyping for dramatic and political affect. Through the course of nine years as a resident in an Appalachian community in south-central Kentucky, the author experienced life as it is lived by the local people. Through the establishment of an art education organization, the author became entwined with local families and became familiar with the origins of many of those stereotypes. Using autoethnography to interpret her experiences, the author will confront the primary issues that surfaced: the acute designation of outsider status; the perception of the arts in underexposed communities; and, the unorthodoxy of a woman in the role of expert and leader. The goal of this analysis is to facilitate greater impact by arts organizations into isolated populations where outsider status is a prohibitive factor and relationship building is central to success.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 7 - D3355 Agendas for Change
Cracks in the Glass Ceiling: Women Conductors, Challenges, Training Programs and New Trends

Dr. Carolyn Watson,

Overview: In 2017, women conductors are arguably somewhat "in vogue" with a raft of recent and high profile appointments alongside increased media coverage, awareness and debate. Nevertheless the statistics on the number of women conductors – particularly those working at the upper-most echelons internationally – paint an indisputable picture. As The League of American Orchestras reports in 2016, the percentage of music directors were 91% male and 9% female. For conducting positions that are not music directorships it was 79% male and 21% female. This presentation will survey current and historic data and industry trends alongside the more recent appearance of gender-specific training and professional programs available to emerging female conductors, namely the Taki Concordia Fellowship, Dallas Opera Institute for Women Conductors, Royal Philharmonic Society Women Conductors and the New York Conducting Institute’s Womens Conducting Workshop. Presenter Carolyn Watson has participated in the Dallas Opera Institute for Women Conductors and a recent Southbank Centre Workshop for Women Conductors. She has spent time working with and observing the leading female conductors of our time – Marin Alsop with the Baltimore Symphony, and renowned opera specialists Simone Young and Karen Kamensek.
Theme:Arts Education, Social, Political and Community Agendas in the Arts
Unpacking Predictors of Income and Income Satisfaction for Artists

Dr. Angie Miller, Associate Research Scientist, Center for Postsecondary Research, Indiana University, Bloomington, IN, United States
 Alexander Cuntz,

Overview: The stereotype of the “starving artist” is pervasive in modern Western culture, but previous research on artists and income is mixed. The goal of this study is to explore how several demographic variables, along with financial incentives and rewards, predict income and income satisfaction for artists. Using survey data from the 2011-2013 administrations of the Strategic National Arts Alumni Project, responses from over 44,000 current working artists were examined in two regression models. Results suggest that being male, older in age, with more educated parents, more percentage of income from art, viewing investment capital as important, and receiving financial support from patrons are positive predictors of income. Conversely, working multiple jobs, working primarily in an arts field, viewing grants as important, and receiving financial support from family are negative predictors of income. However, some differences in patterns of results were found for income satisfaction, most notably that those working primarily in an arts field and those with an artist parent are more satisfied with their income. Overall, these findings indicate that artists may have different criteria and conceptualizations when it comes to income, and they may derive value from their work in a variety of ways aside from income.
Theme:Social, Political and Community Agendas in the Arts
Making Sense of "I" in the 1972-1981 Martial Law

Danielle Lois Afuang, Director, Communication and Public Engagement, Active Vista Center Inc., Quezon City, Quezon City, Philippines

Overview: This study is about the reflective process of young artists of the Philippine High School for the Arts on creating a graduation performance using narratives of victims of the 1972-1981 Martial Law. The study is done through the intensive analysis of the created monologues of the students and the interview transcripts on each creative process of making a production. The discovery of "I" entails the artist’s understanding of their own connection to existing and historical social issues like that of Martial Law. The two main theories which guided this study are Autoethnography and Embodied Knowing. The objectives of this study are to explore the reflexive processes that the help shaped the young artists of their created performance on Marcos’ Martial Law, and understand the insights gained by the young artist about Martial Law from the whole reflexive process. 'I’ is mainly used throughout, and the main perspective shown is that of the participating artists’. The findings of this study are the actual reflective stages realized by the artists: performance making and sense making. These two processes are then broken down to themes that surfaced in the analysis of the monologues of the students, conversation notes, and in-depth interviews.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 8 - D3370 Art as Artifact
Creating Artwork Together with Non-Human Species: Liang Shaoji and His Silkworm Collaborators

Feixuan Xu, PhD Student, School of Creative Media, City University of Hong Kong, Hong Kong, Hong Kong

Overview: Liang Shaoji, a Chinese artist, has worked with silkworms to create artistic installations for more than ten years. Based on the visual/textual analysis and ethnography, the essay will discuss the role and ethics of the artist, as well as the agency and flexibility of the silkworms, in their process of art-making. Inquires will be made to the following questions: To what extent can Liang realise his own 'designs' while recognising and acknowledging silkworms’ intentionality? Is there any hierarchy or power dominance in the interactions? How to balance the dilemma between detachment and engagement, cooperation and exploitation, inter-patience and interference in his everyday micro-practice with silkworms (e.g. any conflict or compromise)? How to understand the flexibility and capacity of non-human agencies in the flowing field, especially in the scope of posthuman theoretical turn? Moreover, the validity, authorship and artist’s statement (in this case the Daoist idea of Yuan) should be reassessed in artworks co-produced by multi-agencies.
Theme:Arts Theory and History
Lost and Found in the Antipodes: The Aura of Authenticity of Artefacts in an Art School

Lorraine Kypiotis, Senior Lecturer, Education Outreach and Art History, National Art School, Sydney, Australia, Darlinghurst, NSW, Australia

Overview: In nineteenth century the National Art School in Sydney, purchased plaster casts of Classical and Renaissance sculpture produced by the London Formatore, Brucciani. The school boasted a collection of over 400 pieces acquired at a time when the cultural influence of classical learning had not yet buckled under the pressure of twentieth century utilitarianism. The casts had two specific purposes: the transference of classical ideals via Britain to the colonies, and secondly, for use in art schools in the education of artists in a tradition of ‘drawing from the antique’ dating back to the 15th century and part of a comprehensive art school curriculum well into the 20th century throughout Europe, North America and in colonial outposts such as Australia. By the latter half of the 20th century the use of the casts declined. The traditional and rigorous practice of drawing and sculpting from the plaster cast had fallen out of favour with contemporary views on art education and regarded as a remnant of an outdated academic regime. These “castaways” were forgotten: adrift on an island far from their original home. The tide, however, is turning, and at NAS, as is reflected in many institutions around the world, these plaster casts are now valued not only for their didactic value but also their inherent significance as historical artefacts in their own right. This paper will seek to explore the inherent aura and authenticity of these artefacts still in use at the National Art School.
Theme:Arts Theory and History
Love and Kisses in Philadelphia: Public Art and Identity Politics

Dr. Gerald Silk, Professor, Art History, Tyler School of Art, Temple University, Philadelphia, PA, United States

Overview: In 1968, Social theorist Herbert Marcuse, remarked that if a Claes Oldenburg proposed monument were actualized, “you would have a revolution.” Marcuse's statement instigated the first installation of an Oldenburg “proposed” monument: "Lipstick (Ascending) on Caterpillar Tracks," at Yale University in 1969. Alluding to war and sex in volatile times—Vietnam War, civil rights, urban unrest, feminism—"Lipstick" proved so disturbing that the University removed it (later returned to a less prominent spot). Eight years elapsed before another Oldenburg monument “went public”: Philadelphia’s 1% piece "Clothespin," his first and oldest "civic" sculpture. Marcuse’s radical predictions did not transpire, as Oldenburg sculptures have become common urban fixtures. Still, "Clothespin" has charged meaning. Situated across from City Hall at one end of the Benjamin Franklin Parkway (dotted by civic institutions), "Clothespin" is partly inspired by Brancusi’s "Kiss" in the Philadelphia Museum at the other end. In its resemblance to Brancusi’s embracing gender-equals, "Clothespin" displays a monumentalized and erotically infused common object that engages with identity art and politics of the 1970s, such as feminism and homosexuality. Appropriate to the “City of Brotherly Love,” "Clothespin" dialogues with Robert Indiana’s "Love" sculpture nearby, a piece that also interrogates similar issues. Oldenburg’s fourth and most recent Philadelphia monument, "Paint Torch" (2011), evoking both the “Statue of Liberty” and “Liberty Bell,” and nodding to the nearby "Clothespin," also explores the cross-fertilization of art, freedom, and politics.
Theme:Arts Theory and History
Room 9 - A1010 Art Pedagogies
Internationalising the Student Experience: Perspectives from Australian Domestic Pre-service Teachers with a Focus on Performing Arts

Jane Milloy, Research Assistant and Tutor, Faculty of Education, Monash University 
Dr. Louise Jenkins, 
Dr. Renée Crawford,

Overview: Research in Australia on internationalising the student experience has almost exclusively focused on international students. Whilst both domestic and international students have an equal role in facilitating internationalisation processes, research continues to report that intercultural interaction and cultural learning are not automatic outcomes of the higher education experience. However, the development of intercultural skills and competency are important components of internationalising the student experience. This research reports the outcomes from an investigation that explored the Australian domestic pre-service teachers’ perspectives of internationalising the student experience phenomenon with a focus on performing arts. The data collection methods included a survey, semi-structured interviews and classroom observations. Vygotsky’s sociocultural theory formed the theoretical framework on which the research was based. As such, the exploration focused on the skills and capabilities developed through the cultural diversity on campus, in the classroom, through the internationalisation of the curriculum, and any social interaction. The survey results indicated that pre-service teachers had experienced limited internationalisation at higher education and the in-depth case study confirmed this. There was little evidence of internationalisation of the curriculum and intercultural interaction.
Theme:Arts Education
Canadian Perspectives on Arts Based Research in Art Education Doctoral Dissertations

Darlene St. Georges, 
Dr. Anita Sinner,

Overview: This paper looks at the pedagogical turn to art in research. It forms part of a three-year SSHRC funded study that is investigating how art education doctoral programs are evolving with the inclusion of creative, and arts-based dissertations, involving partner universities in Canada, Finland, Spain and the United Kingdom. In this paper, lead researchers from Concordia University review the last decade of doctoral dissertations in art education, and profile the research of a doctoral candidate engaged in creation-research based in critical artistic practice and pedagogy. This review offers insights into the potentials of arts-based educational research. We will discuss how programs are accommodating shifts towards arts-based and artistic research; how students and faculty take up arts research at our respective universities; we ask how and why arts research is performed within education institutions; and propose future possibilities and directions for arts-based researchers.
Theme:Arts Education
Blending Graphite with Pixels: Natural History Illustration Online

Dr. Bernadette Drabsch, 
Dr. Andrew Howells, 
Dr. Clare Lloyd,

Overview: Art education in Australia sits at a cross-road of uncertainty. While our low student to teacher ratios are important for providing one-on-one advice in the studio we are often accused of being indulgent and non-progressive. So how can we respond to these issues and survive in an increasingly hostile environment? This paper provides a reflective account from a small group of art-educators and instructional designers from the University of Newcastle tasked to deliver traditional drawing skills online while providing a learning atmosphere similar to the conventional face-to-face studio classes. Developing and delivering the Massive Open Online Course (MOOC) ‘Drawing Nature, Science and Culture: Natural History Illustration 101’ was full of challenges, as it was the first practice-based short online course designed for a high number of students. The results of the first offering were positive and proved that alternate teaching methods can be successful in engaging a diverse group of learners. Although the online course was never intended to replace the on-campus classes, it demonstrated that teaching specialised skills-based techniques online is possible and blended learning might be a viable option for art education in the future.
Theme:Arts Education
TBA Alternative Presentation: Sarah Van Borek, "Sound Social Practice in South Africa"
Sound Social Practice in South Africa: A Collaborative Podcast Series

Sarah Van Borek, Sessional Faculty, Faculty of Culture and Community, Emily Carr University of Art + Design

Overview: DayOne is a podcast by/for Cape Town to help its residents better understand and guide the ways their city’s water flows, founded in the peak of a climate-change related drought and economically and politically exacerbated water crisis. This podcast is also an experimental, participatory form of contextual profiling for Sarah Van Borek’s PhD in Environmental Education at Rhodes University’s Environmental Learning Research Centre (ELRC) in South Africa. Sarah is comparing case studies in Canada and South Africa to explore how a site-specific, media arts-based environmental education curriculum addressing the water-climate change nexus can cultivate student attitudes, perceptions and agency towards reconciliation. Sarah co-founded the podcast with her ELRC colleague, Anna James. In early 2018, international news headlines suggested that, “Cape Town may be the world’s first major city to run out of water.” For those interested in activating changes so that this wouldn’t happen, and so that the energy of the crisis could be harnessed with a spirit of participatory democracy to inspire long-term sustainability across a multilingual city with vast inequalities, there needed to be a way to begin to unpack the layers of factors contributing to the situation, to listen to different perspectives and to bring the various and polarized stakeholders into conversation. For a PhD scholar seeking a decolonized methodology through which to understand the multi-faceted Cape Town water context in which her research is to be based, she needed an approach that would allow for engaging research participants as co-researchers and activists in the dynamic and evolving situation. Hence this podcast was born. With Day Zero being the popularized term for the projected date when the City of Cape Town would shut off tapped water to suburbs and force residents to instead collect daily rations of water from collection points around the city, DayOne was chosen as the name of this podcast to represent a voice of hope, possibility and collective innovation. The aims with the podcast are: to cultivate a different way of thinking about and working with water in the city, to provide a platform for sharing urgent, critical and responsive information from a wide range of perspectives, to respond to water-related questions from people from all walks of life in Cape Town, to build a network of local leaders and innovators, to inspire connections with water sources in the city through soundscapes, and to nourish imaginations with water-inspired creative contributions from artists across a variety of disciplines.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
13:05-14:05 Lunch
14:05-15:45 PARALLEL SESSIONS
Room 1 - B2160 (Rennie Hall) Histories and Change
Floating from the Past to the Present: Staging "Have a House" in 1972, 2015 and 2017

Yang Chen,

Overview: Under the influence of "Happening," The Play was founded by artist Keiichi Ikemizu in Osaka, Japan in 1967 and active until the present. In this essay, I compare The play’s original intention of the flow of the consciousness with the two contemporary restagings to discuss how curatorial decision changes the final representation of the work and their historical and curatorial significance. IE was first performed from 5 to 10 August 1972, which was shorter than their initial plan due to an unexpected typhoon. The artists built a wooden house with a floatable styrofoam base and lived inside. At the end of the trip, the house was burned on a weir. In 2015, IE was recreated for the Dojima River Biennale 2015 in Osaka and re-performed from where it ended in 1972. This time it only floated one day and was later exhibited in the gallery space. In 2017, IE travelled to the Venice Biennale 2017. The house floated around thirty minutes at the preview within the harbour. After the float, it was exhibited on the shore.
Theme:Arts Theory and History
“The Negro Book” That Never Was: The Social Justice Vision of Ansel Adams and Nancy Newhall

Chase Clow,

Overview: Between 1945-1955, Ansel Adams and his collaborator, Nancy Newhall, worked on a project they referred to in their letters as “The Negro Book,” a project intended to fight prejudice and raise the status of African Americans by highlighting their various contributions to the United States. Although this work never saw the light of day (publishers refused to print it), their letters provide a fascinating glimpse into their social justice goals and the ways Adams and Newhall were affected by the changing political climate post-WWII. Their letters also reflect debates about art and documentary photography. Prolific and passionate writers, they corresponded frequently, sometimes daily, resulting in a corpus of over one hundred relevant extant letters. Distilling their correspondence to reveal their chief concerns, both political and artistic, and telling their story within the context of the broader social milieu, this talk sheds new light on little known dimensions of their long and productive careers.
Theme:Arts Theory and History
Querido David Alfaro Siqueiros: Figuring Women’s Rights and Roles in the Revolutionary Art of a Post-Revolutionary Mexico

Barbara Tyner, 
 Israel Romero Escobedo,

Overview: The 1910 Mexican Revolution called for emancipation from systemic repression, but maybe not surprisingly, as in most revolutions, it left women’s rights off the revolutionary agenda. Mexican women who took up arms—and paintbrushes—for the new republic, were expected to lose the gorro frigio, button up their blouses, and go home to play supporting roles. Should it surprise us that in calling for a revolutionary new art (public, collaborative and monumental), the 1924 Manifiesto del Sindicato de Obreros Técnicos Pintores y Escultores described just the sort to suit its muralist authors (ignoring not only women’s rights but women’s art)? Digging at the roots of a Mexico weak on women’s rights and strong on femicide today, this paper prods hegemonic attitudes toward women in Mexico’s intellectual heyday of revolutionary change, and asks what no one asked manifiesto-author and reigning social designer Siqueiros: “What’s your position on women?” Because this wasn’t a question asked in time, we don’t find written clues, but look for answers in the “artist-soldier’s” works. Iconographic analysis, contextualization and de-coding imagery reveals more than the expected, a surprising twist: not quite feminist outcry, but a subversion of dominant themes, and maybe… subtle intervention.
Theme:Arts Theory and History
Prehistoric Performance in a Postmodern Context: Australian Aboriginal Dreaming in Contemporary Music and Movement

Dr. Timothy Soulis, Professor, Fine Arts, Transylvania University

Overview: “Prehistoric Performance in a Postmodern Context: Australian Aboriginal Dreaming in Contemporary Music and Movement” examines Aboriginal performance of the “Dreaming” in its pre-historic form and in its re-imagined manifestation in current theater, music, and dance. The original Australians—the oldest continuously surviving culture in the world—used song and dance to embody, communicate, and preserve the spiritual core of the Dreaming, a collection of creation legends that have long guided the First Inhabitants of Australia. The method of the current study is to briefly describe Aboriginal Dreaming and its traditional expression in music and movement, consider the effect of 200 years of British imperialism on the Dreaming performances, and then examine the renaissance of Aboriginal performance art during the post-colonial period of the last 50 years or so. Indigenous artists have blended traditional music and movement with contemporary Western styles of realistic playwriting, musical theater, and dance-theater. The result restores the prehistoric Dreaming performance tradition, but unified with modern artistic forms in a uniquely postmodern hybrid. The implicit value of this study on how an ancient art form has been re-interpreted for today’s world is a heightened respect for the importance of artistic creativity for cultural expression and continuity.
Theme:Arts Theory and History
Room 2 - C3255 Perception and Interpretation
Counter Visual: Land, Environment, Contamination, and Justice

Ben Davis, Adjunct Professor, Department of Visual & Aboriginal Art, Brandon University
 Kevin Walby,

Overview: This paper explores a new collaboration between visual artist Ben Davis and Professor of Criminal Justice Kevin Walby. Although Davis and Walby investigate land using different disciplinary lenses and tools, both of their research centers on issues of justice and addresses ideas of layering. At the core of Davis’s practice is an understanding of land as text, using the idea of a 'palimpsest' - an overwritten paper document with partially occluded layers of older text, which then gradually show through beneath the newer writing. Walby's research, exploring decommissioned industrial sites through the lenses of social and environmental justice, suggests that there is something about place that eludes visual methods, especially photography, which is consistent with 'counter-visual' analysis - examining what is communicated through the invisible, as opposed to focusing on readily apparent narratives. This paper examines the rationale for the collaboration, and the process by which Davis is developing new work from Walby's research into Uranium City, Saskatchewan - a decommissioned war industry site. Walby’s data includes photographs, audio recordings of interviews, maps, and other documents, which will be integrated into a series of pieces that bring to light the contradictions behind the seemingly benign landscapes depicted in Walby's photographs and explore the tension between appearance and reality, troubling reliance on photographic representation alone. The paper concludes by discussing how this project might open up a more dialogical space for engagement with an audience other than the academy to highlight and explore issues centered on land, environment, contamination, and justice.
Theme:Social, Political and Community Agendas in the Arts
Applying Studio Ceramic Practice to Constructions of Meaning in the Banal Object: Utilising Collections as a Creative Tool

Doctor Kate Wilson,

Overview: This paper examines how the culturally deeply embedded ceramic mug, reflective of individual and collective identity, can become a vehicle for emotional engagement and a material expression of the human condition. Using The Shepton Collection as a creative tool, comprised of 412 drink related vessels and representing over 200 years of mass produced pottery in the UK, the collection evidences the banal ceramic mug as an indicator of a locally cultivated preference and, more broadly, human/object relationships. The subsequent relational and comparative creative studio practice interrogates the social function of the banal ceramic mug in terms of celebration, commemoration and remembrance in a contemporary context. Applying a theoretical multi-disciplinary approach to the practice, new meanings are explored using the mug form as a familiar construct, questioning the concept of function and value in post-structuralist terms. The meeting point between theory and practice is the handling and cataloguing of The Shepton Collection.
 Potentially incongruous, the vernacular of the industrially produced, appropriated by the studio practitioner in a "hand made" context, facilitates the examination of material objects through the application of a tripartite approach of cataloguing, theoretical analysis and practice,evidencing individual and collective cultural identity, ultimately expressed via new constructions of meaning, in this particular case, related to the ceramic mug.
Theme:Arts Education
Discursive Acts: Flowers and Other Things

Monique Redmond, Associate Professor, Visual Arts Postgraduate Strand Leader, Visual Arts, Art & Design, Auckland University of Technology, New Zealand, Auckland, New Zealand

Overview: This paper is prefaced on the idea of the gesture as a temporal event and potential site of sharing and reciprocity. It considers public social contexts in relation to discursive and subtle acts of gifting, trade and service as creative methods and conduits for exchange through the lens of durational practice and collaborative artworks. The focus of these social situations (art events) is on sharing and exchange, mediated through ephemera (objects and documents) such as a recipe, a ceramic cup for use at a tea break, a flower delivery. These events aim to uncover temporal connections and to create reciprocal relations with publics. Kenneth Bailey, in a talk about ds4si' Creativity Lab: Public Kitchen in 2016 (University of Auckland), spoke about: "[I>A>E] - Ideas embedded in Arrangements which produce Effects" positing the notion that installation as a "productive fiction" has the power to effect relations and therefore act as an organisational tool in mobilising the social. Taking this concept as a starting point, this paper will explore the potentiality and tactical role of aesthetics and installation in engaging publics in temporary exchange events.
Theme:Social, Political and Community Agendas in the Arts
SpART: Bringing People Together through Sport and Art

Dr. Pierre Leichner,

Overview: SpART was a yearlong artist residency in 2017 at the Thompson Community Center in Richmond, BC that aimed to engage participants of all ages in their sporting activities in expressing themselves artistically about their sport. The project was carried out in 3 phases. First were one-time community family events such as a family day, a community pic-nic and a youth day. Second were specific projects working with the instructors and their class participants: indoor soccer, volleyball, basketball, taekwondo, ball and senior fitness classes, Zumba, and a running group. Painting, video and photography were used in these classes. Four workshops were held with seniors transforming sport equipment into art objects. One project included participation by preschoolers. Lastly, a yearlong project was a video compilation of sporting memories and the related emotions. These works were compiled and shown in two separate exhibitions at the center. A short compilation of all video projects will be shown. I established a consistent presence by participating in some of the sporting activities when appropriate and through an information and event board, social media and a website page. Approximately a couple hundred individuals participated directly in making these works and hundreds saw them. An evaluation survey was distributed to staff and instructors and the feedback was overall positive. The limitations of this project will be reviewed.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 4 - C3275 Connections, Collisions, and Possibilities
Painting: A Transitive Space

Simon McIntyre, Senior Lecturer, AUT University

Overview: This paper looks at a painting based project that seeks to extend the investigation of painting beyond the image and conventional gallery experiences of the medium. It explores the potential of an exhibition to portray painting as a site of encounter and exchange. The idea of transitivity refers to the thinking of critics, David Joselit and Nicholas Bourriaud; Joselit talks of the manner in which painting might connect to networks (social, economic and digital) and Bourriaud emphasises of art’s dependence on the viewer for activation. The project was founded on a two-part exhibition, artist talks, and a supporting publication. As initiator, curator, participator and publication editor I set out to create an exhibition that celebrated the life of painting – to think about painting in dynamic terms – as a process that involves contingency, chance and change. Within this context, painting has more to do with emergence and provisionality than with planning or representation. This paper discusses how the exhibition was conceived and how it created an opportunity to bring generations of artists together, in order to generate a proliferation of emerging connections, collisions and possibilities. The whole project has galvanised the painting community, created a platform for ongoing dialogue and initiated further exhibitions which have picked up the thread of the conversation.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Nuclear Technology and Folklore: The Excommunication of Science

Alice Ruo Ran Wang, Research Assistant, Leaning Out of Windows, Emily Carr University Art & Design, Vancouver, British Columbia, Canada

Overview: Cumbrian Alchemy, 2012-2014, is an artwork by Robert Williams and Bryan Wilson that combines archeology, folklore, and nuclear technology. The project contains several drawings, sculptures, and photographs that integrate anthropology with nuclearity. In Atomic Priest from Castlerigg a figure mimetic of J. Robert Oppenheimer stands amidst a Neolithic stone circle [below]. One local legend tells of the treasures buried in Castlerigg but warns against their excavation as the action will elicit horrific deaths. This story of deterrence, which was intended to ward off intruders for the stone circle, now finds resonance within the current global desire to prevent future generations from excavating at potential nuclear burial sites. Indeed, one major concern for deep-time geological storage of radioactive waste is that the material remains toxic for millennia, during which time the location of where they are interred may be forgotten. To prevent this, one suggestion has been to develop a robust system of oral culture where radioactive sites would be adorned with dissuading superstitions like those of Castlerigg. Cumbrian Alchemy therefore explores this entanglement between science and folklore by critiquing any simplistic understanding of orality. Its inclusion in a 2014 international conference on radioactive waste management hosted by the Nuclear Energy Agency in France points to the criticality of the work. Through a study of Cumbrian Alchemy, I examine how visual analysis of artworks can harness social activism to enrich technoscientific discourse and advance our understanding of public policy and global security.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Diego Rivera's Ballet Horsepower: The Failures of the Pan-American Techno-Body

Elisabeth (Ellie) Guerrero,

Overview: It was 1932, and the ballet H.P. (Horsepower) was making its debut before a packed audience at the Philadelphia Opera. Dancers in oversized costumes moved across the set. Downstage, a humongous multicolored fish danced stiffly on teetering human legs. Blinded by his painted paper mache head, the big fish made a single pirouette and crashed into King Banana, who lost his balance and tripped over two blond mermaids playing cardboard lutes. When three giant pineapples waddled onto the scene, the unintentional comedy of clumsiness made an apt analogy. There was not enough room to move within the confines of the convention of an underdeveloped tropical paradise. The apparently unlimited material resources of the region that the dancers portrayed were, in fact, limited. The ungainly image of the Big Fish bumping into the Grand Pineapple signaled what was to be a series of misunderstandings between the Mexican and U.S. creators of H.P.: artist Diego Rivera and composer Carlos Chávez on the one hand, and conductor Leopold Stokowski and choreographer Catherine Little on the other. The plot was to be a celebration of the union of Anglo-American technology with Latin-American natural resources. However, H.P.’s awkwardness in portraying Pan-American unity on the stage was an indication that a perfect union between north and south was illusory. The United States was in the throes of the economic Great Depression. With a quarter of the U.S. population unemployed and hungry, the United States government moved to deport hundreds of thousands of Mexican laborers and even some U.S.-born citizens of Mexican origin in an overzealous attempt to protect jobs. And yet, at the same time, even as the north slammed the door shut on Mexican workers, it threw the gates wide open to acclaimed Mexican artists. Producers spared no expense for H.P., and advance press was overwhelmingly positive.
Theme:Social, Political and Community Agendas in the Arts
Music and Social Justice in the Dialogical Classroom

Dr. Lisa Parkins, Visiting Assistant Professor, Humanities and Arts, SUNY/Empire State College, New York, New York, United States

Overview: Reflecting on totalitarianism in the twentieth century, Timothy Snyder asserts that it is “a primary American tradition to consider history when our political order seems imperiled.” The arts education learning environment is a potent site for investigating the development of socio-political movements, leading to the enactment of students’ own creative/activist agency. This paper presentation discusses a group study in popular music and social justice at a public college for adult learners in New York City following the inauguration of the 45th president of the United States. Particularly at that moment, this diverse group was ready to explore the history of protest music and, in response to current issues, dig into art practices and processes. Analysis of this transdisciplinary study is informed by Mikhail Bakhtin’s theory of dialogism, bell hooks’ definition of education as “the practice of freedom,” and Gaston Bachelard’s poetics of interior spaces. How did participants’ discursive engagement with twentieth century social movements, cultural traditions, and the music of activism empower them to “enact new and more just ways to live in the world together”? How does a radically open, embodied approach to arts pedagogy foster students in becoming critically informed about crucial local and global issues? If as Bachalard says, “dream values communicate poetically from soul to soul,” can the quotidian classroom be transformed into a meeting place in which students freely access and share their personal imagery of everyday life, identity, and cultures? This presentation concludes with a video documenting the group’s collaboratively created song of resistance.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 5 - C3285 Art Literacies
Creative Teaching and Teachers: A New Process to Engage and Empower Students

Mrs Sam Barta,

Overview: This study builds on and contributes to work in literacy, drama pedagogy, creativity theory, Self-Determination Theory, and student engagement theory. It is centered within the social context of a specific classroom process, focused on literacy, informed by these key theories for both the activity and data analysis. This study provides insight into how the central idea of student autonomy within drama pedagogy and creativity theory can inform effective teaching practices, as well as research data analysis. The analytic focus on autonomy support and its importance for creative and effective teaching, as well as a key element in promoting intrinsic motivation, enables another contribution. The specific classroom activity, a collaborative, interactive and episodic written role-play, not only is an example of creative teaching, but of teaching for creativity. Although numerous studies have identified the relationship of the basic needs within Self-Determination Theory to promoting intrinsic motivation (relatedness, autonomy, perceived competence), little analytic attention has been paid to how these variables are central to drama pedagogy and creativity theory. I address this issue by showing how these theories, used in creating the written role-play process, also explains how and why it is so successful in empowering and engaging students in literacy.
Theme:Arts Education, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
DIY Multicultural Story: Teaching Literature through Podcast Creation

Dr. Reshmi Hebbar, Assistant Professor, English, Oglethorpe University, Atlanta, GA, United States

Overview: Falling within the Art in Society’s conference “Theme 3: New Media, Technology, and the Arts,” this paper discusses the value of exploring "digital media arts and education” within twenty-first-century college literature courses and presents case studies involving the development of a "'Do-It-Yourself' Multicultural Podcast" assignment. Along with other pedagogical questions, this project works to challenge the self-imposed boundaries that have become cemented in university programs between more creative and artistic writing and the academic study of literature; at its core, my contextualization of this interview-based podcast assignment probes into the nature of how constructive and hands-on artistic learning about digital narrative production might help to reap more effectively some educational benefits surrounding the teaching of literature, including critical and intercultural literacy. The project lays out the challenges of articulating to students and administrators the more creative learning objectives of digital narrative production, and it walks through the evolution of the DIY Multicultural Podcast Assignment through two different literature courses and one co-curricular university program involving civic engagement. It discusses both the value of outside-the-box digital literacy skills developed in such contexts as well as the real challenges of bridging the creative enterprises to the traditional research-paper-model college course. The project thus looks at this assignment as an expansion of literary-studies skills through the integration of an “arts” assignment. The paper concludes by reflecting on how studying artistic digital media is thus breathing new life into the traditional literary studies curriculum and asking students to reflect upon the professional implications of the connections between the academic, social/civic, and artistic realms.
Theme:New Media, Technology and the Arts
Arts of Response: The Good, the Bad, and the (Incredibly) Ugly in Writing Workshop and Art Crit Feedback Styles

Dr. Derek Owens, Professor, English, St. John's University

Overview: The art of response has always been a central concern for composition scholars. As a writing professor for nearly 30 years and a current candidate in Transart Institute’s MFA program in “creative practice,” I’ve been researching the pedagogical histories of the workshop and the art crit. One thing I’ve discovered is students in both creative writing and art programs have no lack of horror stories to tell about arrogant, dismissive, misogynist, nasty responses from their faculty. An in depth review of the literature reveals how deeply workshops and crits have been associated with anxiety, fear, and hostility. This presentation seeks to highlight that history—but more importantly, call attention to alternative pedagogies that value empathic, healthy, student-centered environments. One result of my research has been to assemble a typology of response—identifying various “response types” found in workshop/crit settings where a range of problematic and successful personalities proliferate (“the librarian,” “the inquisitor,” “the cuckoo,” the “Terri Gross,” “the Hypothesizer,” etc.). As someone who teaches in multimodal, multigenre, and multimedia environments, my goal is to make this paper relevant to both writing and art faculty interested in the arts of response.
Theme:Arts Theory and History
Art and Finitude

Prof. John Pauley,

Overview: Tragic realism, a form of narrative fiction, reveals human limitations in ways that are not possible in other discursive disciplines. One purpose of this essay is to argue why this is the case and precisely how those limitations are revealed. I use the word "finitude" because in tragic realism the human self, in constant relation to the social ecology, is importantly limited in resources for self-understanding. I argue that these limitations cannot be overcome: they are features of the human condition. In the last section of the paper, I argue that assimilating these features of art and finitude are crucial for a realistic comprehension of human progress. Insofar as STEM fails to assimilate these features, it prepares culture for a host of illusions and dangerous myths.
Theme:Arts Theory and History
Room 6 - D3345 Creative Practice Showcases
Fortnight Sessions: Examining Community Dynamics through Drawing

Paul Collins,

Overview: After 30 years as a studio artist I’ve turned away from the studio in favor of on-site examinations of place and community through the act of drawing. I think of the process as slow interactive journalism: I’m trying to flesh out a broad portrait of the community connectedness through these immersive episodes. For each project I spend 14 days drawing in public at sites chosen by their suitability to examine issues of history, politics, or ecology in relation to my community. Project locations of the last year have included a family farm, my local gas station, Nashville’s downtown General Sessions courtrooms, a park endangered by development, a public radio station, an underground concert venue, and polling stations across northern Alabama during the Dec 12 U.S. Special Senate election. The technology changes(ink, pencil, marker, iPad, paint) depending on individual project restrictions, but the method is consistent: looking and listening and working to grasp the totality of the living scene. For this session, I propose to present samples of the methods and results of these projects in order to give an overview of this method of integrating drawing and social practice.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Enmei or Long Life: A Dance and Aging Project

Eileen Standley, 
Prof. Mary Fitzgerald,

Overview: Enmei, roughly translates to "long life" in Japanese. This interdisciplinary performance project was inspired by a desire to challenge some of the existing notions about aging and the female body - both within the contemporary dance world and the larger culture. Our research explores what it means and what it takes to continue dancing as older women, and how this differs between American and Japanese cultures, in particular. Mid- to late-career dance artists and scholars from the U.S. and Japan brought their varied life – and bodily -- experiences together to explore how cultural ideas about aging and gender inform the lives and embodied experiences of female dancers (and, by extension, of non- dancers). For this Creative Practice Showcase we will share photo, video and audio documentation of the research process, as well as short movement research demonstrations to unpack our discoveries about ageist practices, and consider how this particular work has the potential to catalyze social change.
Theme:Arts Education, Arts Theory and History, Social, Political and Community Agendas in the Arts, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 7 - D3355 Histories, Narratives, and the Collective
Site-specific Dance and Its Role in Urban Renewal and Development and Tourism

Carolyn Pavlik, 
 Carolyn Pavlik,

Overview: Site-specific choreographers push the boundaries of art by stepping out of the proverbial box of conventional theatres and creating dance works in a multitude of sites. These works can physicalize the sites by highlighting formal properties, inscribe or reveal new meanings, narratives and histories, reclaim public space, and educate and mobilize a community around social, political, or environmental issues. In recent years, some cities have been engaging and/or funding more site dance artist to create in urban environments, particularly in connection with urban renewal and development and tourism. One such artist, site dance choreographer Sally Jacques, Artistic Director of Blue Lapis Light, a site-specific aerial dance company in Austin, Texas, focuses on exploring the intersection of dance and the downtown architecture. Another site artist, Martha Bowers, artistic director of Dance Theatre Etcetera, collaborates with the Red Hook, Brooklyn community to create cultural site dance events that integrate with urban renewal efforts in this waterfront neighborhood. Through personal interviews and literature review I will investigate how the work of these two dance artists intersects with urban renewal and development and tourism, and illustrate the impact site dance can have in attracting audiences, developing community and bringing focus to urban areas.
Theme:Social, Political and Community Agendas in the Arts
Art: An Effective Tool for Reconciliation in a Post-conflict Context

Maria Jimena Herrera, artist, visual art, independent artist , Bogota, Bogota, Colombia

Overview: In this investigation, I want to explore the ways in which the visual arts can contribute to the construction of memory in the context of reconciliation in times of post-conflict: memory which is understood as a collective exercise where all Colombians take part, regardless of their viewpoint and ideological perspective. The idea is to comprehend art as a tool to generate empathy so that people’s narratives are assumed in the path towards reconciliation. For this purpose, I propose the analysis, presentation, and application of the artistic project already in progress, La Marcha Final. In the first chapter, I begin by explicitly explaining why forgetting is not the appropriate path and then I briefly define how reconciliation can be understood in this text. Secondly, I evidence the enormous risk run if only the hegemonic version of facts are publicly accessible and will then outline the importance of putting together a collective memory that distances itself from the official memory constructed from the interests of the powerful. Thirdly, I explain why art is a valuable tool that should not be dismissed when exploring and constructing a collective memory. In the second chapter, I expound upon the artistic proposal, La march final, that aims to think of art as a tool supporting the reconciliation process in the context of the post-conflict. In this chapter, the project’s advancements are explained along with an exploration of the importance of removing the stigma associated with former FARC ex-combatants and actors of the state armed forces due to the arms they held and the camouflaged uniforms they wore in order to collectively progress towards the political growth of our country.
Theme:Social, Political and Community Agendas in the Arts
15:45-16:00 Coffee Break
16:00-17:40 PARALLEL SESSIONS
Room 1 - B2160 (Rennie Hall) Authenticity and Voice
Togbes Rule: Storytelling about Traditional Leadership, Togbes, Queen Mothers, and Their Subjects

Dr. Nathan Crook, Associate Professor, The Ohio State University
 D. Rose Elder,

Overview: Generations-old narratives about traditional leaders among the Ewe of Ghana continue to inform contemporary culture and shape the decision-making process. This performance art form serves to remind leaders and community members of their shared humanity and needs. The stories provide a moral education much like a passion play. They are an artistic rendering of values and norms, which guide leaders to use the collective wisdom to perform and transform small town life into vibrant satisfactory modern communities. Annually in 2016-2018, the Ghana Research and Education Abroad groups collected stories from Ewe storytellers. During this research, the participating undergraduates and faculty members heard many stories about togbes: stories about commoners winning the hand of a princess through brave feats or cunning; stories of togbes arbitrating between quarreling neighbors; stories of animals vying against each other to be king; and stories of Ayiyi the spider tricking togbes. These led us to seek to understand how the role of togbe has changed through the years and how the perception of Ewe subjects has evolved using storytelling as a way into the culture.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Reparation: Biloela 1871-1887

Ms Kathryn Jeanes,

Overview: Unfortunately, to date, no visual records of the girls are apparent, no photographs are archived from this period as witness to their lives and events. As a result of these findings and the government ambivalence to this shameful period in child welfare, a site specific exhibition of 16 handmade artist books was installed in an atmospheric convict built space on the island. The contemporary archive exhibition created an empathetic framework responding to this colonial period of child welfare which had been previously neglected. It gave a voice to the girls and allowed a transition of information from passive to public by tactile engagement with books.
Theme:Arts Theory and History
Storytheatre for Seniors: Loneliness, Memory and Community

Ms Margot Marie Wood,

Overview: The elderly often experience social isolation and depression - the highest percentage of any age group. This can lead to an excessive preoccupation with self. According to Mienczakowski (1997) storytelling can remedy this. The storyteller becomes more outward looking, and, as a result, less lonely, as a sense of community is fostered. The telling of a personal story invests the personal life with significance, according to Bauman (1986) and Bruner (1986) which in turn influences behaviour positively. Storytheatre can draw the elderly into a shared social event as they share and enact stories. It celebrates differences whilst making connections (Salas 1993). According to Razack(1993), this liberates the self and releases underlying backstories which can break the silence on underlying socio-political issues. In a society steeped in a violent and troubled past, this especially becomes significant. Rappaport (2000) believed that `community cannot be community without shared narrative.` In addition, Storytelling stimulates the brain as it provides multi-sensory stimuli. This study documents a Storytheatre project conducted in a senior service centre. It draws on many of the elements of Playback theatre as described by Fox (1999) but without the use of outside performers.
Theme:Social, Political and Community Agendas in the Arts
Mediating Difference at the Post-Industrial Periphery

Stephanie King, London, United Kingdom

Overview: In Britain, the immediate legacies of the abandonment of the post-war settlement were registered in the cultural field through the emergence of a body of radical documentary that sought to reveal the structural nature of social inequality. Perhaps the most complex, yet hitherto neglected of those projects, was Exit Photography Group’s 1982 photobook 'Survival Programmes in Britain’s Inner Cities'. This paper will propose to recover the important legacy of Exit's project, while also situating the project within a discourse on the politics of representation and political activism forged in resistance to the ‘Rightward’ turn that took place in Britain during the 1970s. My work is performed through a close engagement with work of Stuart Hall and the literature that emerged from Centre of Contemporary Cultural Studies in Birmingham during the seventies and eighties. It also deals with postcolonial theory and socialism.
Theme:Arts Theory and History
Room 2 - C3255 Creative Practice Showcase
Close Distance: An Evolving Durational Performance and Intervention

Jen Urso Jen Urso, 
 Eileen Standley,

Overview: Using intense awareness in public and private spaces, Eileen Standley uses her body as a tool to track the edges and interiors of her and her environment. Jen Urso uses this same awareness to track the edges of Standley’s movement to record it in blind gesture drawings on paper or on public surfaces. By addressing one another and their environment carefully, they highlight the desire to seek out the overt, sensational and spectacular. Their work becomes the reverse. This heightened practice of paying attention—acknowledging the impact of a person, building, or movement in space—are things happening here and now. The artists believe these micro-movements and presences are something we are always in tune with but tend to block out, distracted by the allure of something more spectacular. As artists who have built their separate practices on the subtle, intricate and complex, they believe that this sensibility they have honed can be used as a force to slow down and share a general awareness, acceptance and tenderness that appears to often be lacking in our society. The resulting blind gesture drawings, left on paper or in the performed space, become a record of a small moment, constantly in movement.
Theme:Arts Theory and History, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
REBOOT Laboratory: Critical Repair and Maintenance

Rob Duarte, Assistant Professor, Department of Art, Florida State University, Tallahassee , FL, United States

Overview: The first project, "FixShop" is an effort to frame the acts of maintenance and repair as a form of critical and speculative (re)design. Through a mobile venue that acts as a repair shop storefront, I accept outdated, obsolete, "broken" objects from the public. Subsequently, a form of "repair" takes place, in which the goal is not to restore the object to its original function, but to reimagine/redesign the object as a non-product: a critical reflection of the original that is explicitly political, personal, confrontational, or challenging. The second project is about a different kind of maintenance, working to reclaim the material waste products of conspicuous consumption. Through a process of collecting YouTube "folk knowledge," reproducing DIY designs, and developing low-tech, accessible processes and tools for materials recovery, the project works to transform waste materials to become components of building systems. The subtext and driving motivation is to draw attention to consumer culture by making material and visible the discards of that mode of production, to challenge individuals to examine their place in those systems and imagine the alternatives. Through this Creative Practice Showcase, I intend to describe the ways in which these projects challenge the status quo of how we address the roles of audience, community, and cross-disciplinary practices.
Theme:Social, Political and Community Agendas in the Arts, New Media, Technology and the Arts
Children, War, and Propaganda in the Cluster Project's Children's Guide to Weapons

Bob Paris, Associate Professor, Kinetic Imaging, VCU School of the Arts

Overview: The Cluster Project produces collaborative, multimedia artworks that explore weapons, war, civilian casualties and popular culture. As director of the project, I conceive works that seek to challenge the collective alienation in the West toward war and attract viewers who don't typically frequent art venues. This creative practice presentation surveys our works related to children and war, especially our new exhibition Children's Guide to Weapons, a giddy spectacle about our culture's daily mix of violence and entertainment, and the patriotic role of children in a militarized state. The satirical exhibition features a central laser-based interactive shooting game (hosted by "Cupcake," our teddy bear guide), animated tributes to beloved weapons, drone war coloring books, twisted patriotic stickers, and militarized stuffed animals. Children's Guide to Weapons reflects the surreal normalization of violence in our culture, references the widespread practice of using children as war propaganda for military recruitment and civilian obedience, and ultimately considers how militarized cultures tend to create and promote a kind of infantilism, where its citizens are reduced to childlike endorsement of complex and destructive policies.
Theme:Social, Political and Community Agendas in the Arts
If These Halls Could Talk: Connecting Community Artist and Cultural Assets

Peter Wood, Executive Director, New South Wales, Australia, Arts Northern Rivers

Overview: If These Halls Could Talk was a multi-arts initiative developed by Arts Northern Rivers, a regional arts development organisation based in New South Wales, Australia. The project was developed to celebrate community halls and the role they play in society. Whether done up or worn out, these little gems scattered around the country hold secrets of times gone by and memories of lives still being lived; from first kisses to kisses goodbye. At its core this was a place-making project empowering communities to reengage with their community hall, to raise the roof and discover what’s inside and driven by artists commissioned to create site-specific works inspired by the unique narrative of the halls. The first iteration of the project was rolled out across the seven local government areas of the Northern Rivers region of NSW over a two-year period and in eight key phases. The project captured the imaginations of the Northern Rivers regional communities and attracted significant local and national media coverage. The scale and calibre of the If These Halls Could Talk events is something rarely seen outside of metropolitan centres. The artists produced bold and captivating new works, which activated the historic spaces giving new life and creating new memories for the halls.The project has been commissioned by the Sydney Festival and is currently scheduled to be included in the 2019 Festival - a fine example of a significant and successful regional project transferring to an international festival.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 4 - C3275 Art as Activism
Observing Communities and Perspectives of Visiting WoCA Projects and Its Exhibitions

Dr. Lauren Cross, Lecturer, Interdisciplinary Art and Design Studies, Art Education and Art History, University of North Texas

Overview: In 2013, a non-profit arts organization, WoCA Projects, was founded in Fort Worth, Texas. Since its creation, WoCA Projects has aimed to use womanist praxis to connect diverse local communities to the arts, to dispel hegemonic definitions of communities of color, and to model diversity, racial and gender equity, and inclusion within the art world. By offering high quality exhibitions, WoCA Projects also hoped to reframe the ways in which the public viewed women of color (WoC) artists. In this paper, the researcher will explore the results of a visitor research study in which viewers interpret their experiences during exhibitions by WoCA Projects. Responses of visitors to exhibitions at WoCA Projects were evaluated based on on-site and internet surveys. This research uses WoCA Projects as a case study to provide insight into how visitors respond to exhibitions featuring women of color (WoC) artists.In this way, visitor perceptions of WoCA Projects and its exhibtions may provide greater insight to how other art spaces can best meet the needs of visitors interested in exploring artworks by WoC artists.
Theme:Social, Political and Community Agendas in the Arts
Comunic-arte: Children´s Expression in Colombia´s Post Conflict Society

Dr. Maritza López de la Roche,

Overview: The paper presents an Aesthetic education project in Cali, Colombia, that stimulates expressive practices (drawing, dancing, drama, music and media) in schools in low-income communities. The Faculty of Arts at the local state university developed the interdisciplinary framework. After half a century of civil war and the 2017 peace agreement, a commitment to social justice involves us in the fair distribution of cultural goods, particularly learning opportunities and resources. We draw on Gregory Sholette´s ideas of the counter-public sphere (2011), and also on Argentine author Reinaldo Laddaga´s claim that 21st century arts must not be conceived as the realm of virtuous individuals who cultivate specialized talents, but rather as a field where artists and non-artists meet, cooperate and create. (Estética de la emergencia, 2006). The new generations are an imaginative and ethical force. They embody change in a society. Australian researchers Jane Kenway and Elizabeth Bullen have pointed out that new media cannot be regarded barely as “entertainment.” They represent current paths for family life, education, work, and citizen participation (2001). Through arts and media children are encouraged to discover their talents, and to enhance their emotional, intellectual and aesthetic abilities. We stimulate children´s capacities to understand their social context. Also to learn about their civil, cultural and media rights and how to exercise them.
Theme:Arts Education
War Art: The Official Version and Artistic Truth

Dr. Kåre Dahl Martinse, 
 Kaare Dahl Martinsen,

Overview: British and Danish artists have interpreted their countries’ participation in the wars in Iraq, Afghanistan, Somalia and Libya. Some of their works have attracted nationwide attention not least because of the focus given to wounded or dead soldiers. This differs from the official framing of the military operations where high-tech weaponry and targeted operations have reduced death and destruction to "collateral damage." Some of these works have played a key role in the debate on the human costs of war, including how killed soldiers should be commemorated. In both countries, artists have addressed questions of political responsibility more directly and with a greater popular impact than parliamentary debates. There are a few examples of the opposite, of embedded artists mirroring the official version of the operations. This triggers the question of what an embedded artist actually sees and whether her or his work is any more authentic than paintings created far away from the war theaters. Finally, the role played by museum in raising popular awareness of what war entails will be addressed drawing upon examples from the Imperial War Museum (Britain) and the Museum of national History (Denmark).
Theme:Social, Political and Community Agendas in the Arts
Crafting a Political Drama

Dr. Angie Farrow, Associate Professor, Massey University

Overview: Theatre has always been an excellent vehicle for political exchange: it thrives on dialectic and thematic tension and offers a visceral and emotional intensity that other forms cannot match. However, when the politics of the play overwhelm the flow of the narrative or the emotional appeal of the characters, the drama can lose its momentum and audience engagement. How is it possible to create a theatrical play that creates a useful balance between political discourse and compelling storytelling? How can we make the political message of the play palatable, punchy and apparently impartial? How can we create political theatre that will encourage change? Playwright Angie Farrow will consider these questions in relation to the writing of her own full-length drama, "The Politician’s Wife."
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 5 - C3285 Situating Social Practice
Investigation of Hermeneutics Phenomenology of Contemporary Conceptual Art

Dr Sarvenaz Parishanzadeh,

Overview: Conceptual arts are investigated with conceptual critique method due to non-stability of the criteria applied to the evaluation of contemporary aesthetics. In this method the instinct semantics of the work of art are taken into consideration without ignorance of its aesthetics. One of the appropriate methods to critique such works, applied with respect to the essence of the phenomenon and its semantic construction, is the “hermeneutics phenomenological method.” Martin Hydeger, the founding father of this philosophy, considers “phenomenology” an opportunity for ontological study and “hermeneutics” a key to understanding the phenomena. In this article in addition to the conceptual art`s characteristics and the location`s significant part in such works, a matched analysis with Heiddegerian hermeneutics phenomenological critique is performed over one of the works of the contemporary environmental artist, “Christo Javachef,” besides the introduction of his works. Incidentally, in this article, aside from the artist`s special approach, investigated through phenomenologic and hermeneutics perspective, addressee`s interactive part in the artistic work is studied. Results of this investigation indicate that conceptual works possess hermeneutics phenomenological theory`s properties in their very essence, and could apply to criticizing such works which defy any specified criteria in contemporary critique. Semanticism in such conceptual works of Christo Javachef will lead to clarification of the fact which is concealed in human`s existence and entity.
Theme:Arts Theory and History, New Media, Technology and the Arts, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
View from China: Religion and Ethnicity between Communism and Capitalism

Prof. David Leiwei Li,

Overview: This is an interdisciplinary experiment: it combines a genre of art with an analytic mode of the humanities, interweaving the visual with the verbal, ethnographic examination with philosophical critique. With this cross-border approach, I intend to situate general art practice in particular social settings. More specifically, I select from an archive of 15 years of images made by myself on the subject of religion and ethnicity in post-socialist China. With the visual records, I then illustrate the radical changes in Chinese state ideology and the personal beliefs, or the lack thereof, of Chinese citizens. I elaborate on the potential meanings of the documented images and argue about their significance for China in the world, and the world in China today.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Beyond Social Practice: When Art Hijacks the Language of Politics

Elizabeth Smith, Zvi Grunberg Resident Fellow, Curatorial , Bruce Museum

Overview: In November 2016, a billboard produced by For Freedoms—the first artist-run Super PAC—was covered in black plastic after complaints from local government officials and the general public. For Freedoms’ billboard superimposed Donald Trump’s campaign slogan, “Make America Great Again,” on photojournalist James "Spider" Martin’s iconic Bloody Sunday photograph, Two Minute Warning. Martin’s photograph captures marchers, including John Lewis and Hosea Williams, facing a line of state troopers in Selma, Alabama moments before police brutally beat and tear gassed the peaceful protestors on March 7, 1965. I suggest that For Freedoms’ billboard—and its censorship—engages and expands definitions of “social practice art.” The project did not claim utopian goals or unifying objectives—rather, it adopted the structure of political advertising and nuances of political rhetoric. For Freedoms entered the campaign season as a Trojan horse, usurping the visuals and catchphrases of multimillion-dollar Super PACs and politicians.
Theme:Social, Political and Community Agendas in the Arts, New Media, Technology and the Arts, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Social Art Practice on the Streets of London: Colours' Influence on Societal Value Systems

Michelle Corvette, Assistant Professor of Art, Belmont University, Nashville, TN, United States

Overview: Colour has an enemy and it is irrelevance as illustrated by Briony Fer's understanding of colours and their seemingly lack on importance in society, however in the social art practice of adding color in the forms of murals, happenings, and artistic recoloring of entire cities, colour is becoming an impetus for change and power relationships. David Batchelor posits that colour is dangerous because it is considered secondary. Yet it is colors' secondary status that makes it dangerously complex in neoliberal societies. This paper presentation seeks to open up and reconsider the relationship of colour within public space to provide a critical analysis of how lived space, thirdspace, and values interact with social art practices. Returning to Lefebvre's 'spatial triad' for a moment to understand the spatial problematic concerns for quotidian details of existence, alienations, and the urban condition that social art practices embody in the production of space, it is argued that lived space becomes an area of domination and experience where social art practice is "in action" and not passive. The utilization of of colour in public space touches upon this thirdspace interaction as moments of resistance. Three cases studies are discussed that are focused on resistances that challenge traditional assumptions of colour in public space. Resistance is located in "the social movement" (Bourdieu, 1999) where increasingly disempowered groups join forces with intellectuals to create change. Careful analysis of colour in public space may help to reveal power relations that have been rendered invisible by habitus.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 6 - D3345 Defining Trends
Overturning Convention : The Ballet That Defined Surrealsim

Dr. Lisa A. Fusillo,

Overview: Throughout history, innovations which initiated cultural movements often began in music, art and/or literature. These trends often lead to new movements such as romanticism, impressionism, expressionism, post-impressionism, modernism. In one particular instance, for one moment in history, ballet was the instigator that sparked the development of new artistic genre that was, from its inception, called surrealism. Celebrating the 100th anniversary of the ballet "Parade", this argument postulates that "Parade" was the first surrealist work of art and defined the surrealist movement. Challenging the accepted convention by art historians that surrealism was founded in 1924 with André Breton’s manifesto and journal, this paper will argue that the collaborative invention in "Parade", produced by Serge Diaghilev's Ballets Russes in 1917, preceded the established/accepted timeline and authorship of the movement. " Parade" was one of the most important and innovative performance art pieces of the 20th century. The sound score included a typewriter, fog horn, and gun shot, and costumes took on visual absurdity with an oversized cardboard horse and twelve-foot high sculptures. The ballet was cornucopia of scenes and characters caught in a visual warp between the everyday life and the subliminal manipulations of logic. Pablo Picasso's cubist costume designs, Erik Satie's quirky musical score, and Léonide Massine's unconventional movement reflected the social and political climate and helped to establish the newest artistic movement. Historical evidence will be provided to support the argument that "Parade" defined the surrealist movement in the arts and made a global impact on the art world.
Theme:Arts Theory and History
Jimi Hendrix's Stars and Stripes: Race, Place and Dissonance in the American National Anthem

Dr. Tammy Brown, Associate Professor, Department of Global & Intercultural Studies, Miami University of Ohio, Oxford, OH, United States

Overview: This paper will explore the politically loaded meanings of the American national anthem as rendered by legendary African-American performance artists from the 1960s through the present. If you understand the beauty and tragedy of American democracy, it is not surprising that three of the most memorable renditions of "The Star Spangled Banner" were performed by American-born black artists--descendants of African slaves whose voices and guitar riffs reflect the violence and beauty of this country: Jimi Hendrix in 1969, Marvin Gaye in 1983, and Whitney Houston in 1991. We will analyze each rendition as statements of national pride coupled with tragic individual and collective memories, with emphasis on Hendrix's electric interpretation of the anthem at the iconic Woodstock Music and Art Fair in 1969. Jimi Hendrix's performance of the "The Star Spangled Banner" is unforgettable because it was the first time American audiences witnessed a public performance of that "sacred" sonic text altered to such a far-out extent that it troubled the author's original intent. Hendrix electrified a familiar soundscape by adding his signature dissonant notes, shrill and strident sounds that invite listeners to question: Is this an anthem or a dirge? I argue that at that historical moment, Hendrix's rendition of the "Star Spangled Banner" is both--a melancholy expression of the longstanding failures of American democracy, and it functions as a praise poem by a true patriot. Thus, in that moment, Hendrix expertly rendered scholar W.E.B. DuBois's classic concept of double consciousness--to be American but still looked upon with disdain simply for possessing skin of a darker hue, in a manner that was so visceral that it frightened many Americans and inspired others.
Theme:Social, Political and Community Agendas in the Arts, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Antithetical Art in the Age of Trump : Multiple Approaches to Political Commentary

Dr. Joan Wines,

Overview: For centuries, cartoonists and masters of caricature have successfully satirized and skewed the rich, famous, and politically powerful. This paper identifies examples of such work that decidedly affected and molded public opinion and policy. Our research indicates that these traditional modes of protest are failing to effect noteworthy changes in attitude toward Donald Trump’s ambiguous yet forceful agendas—especially in certain segments of the U.S. population. We propose that an alternative photography-based approach may have the potential to elicit more significantly effective responses to the present administration--an approach that is less abrasive, fairer, and less passionate but is, at the same time, subtly and deeply satirical.
Theme:Social, Political and Community Agendas in the Arts
From Professional to Public Discourse through Neoclassicism

Ryan Chow, Doctoral Candidate, School of Music, University of Maryland, College Park, United States

Overview: While seeking to further a lineage from the avant-garde, contemporary composers might be susceptible to committing what Richard Taruskin views as the “poetic fallacy,” fueling primarily inward interests. A greater integration between performers, composers and teachers is increasingly necessary to keep contemporary composition the cornerstone for music education. The fluidity of these fields contributes to a public, as opposed to professional, discourse in music. This paper argues that neoclassicism is a key driving force in enacting this shift to public discourse. Drawing attention to Martha Hyde’s eclectic and dialectical imitation and Harold Bloom’s Anxiety of Influence, it argues that today’s compositions must generate a degree of anachronism for music of the past. This emancipates contemporary composers from the shackles of a pre-existing heritage. The anachronism is generated through a warehouse approach to older styles which can be used at the composer’s disposal. This seeks fresh discourse by avoiding the subordination of one’s music to an older composer or style. By distilling the common threads of Hyde, Bloom and Taruskin, this paper advocates an erosion of an ingrained "museum culture" through a uniquely musical solution, without compromising on the sophistication of musical elements that have withstood the test of time. Notably, the composer’s purpose of highlighting the anachronism, musical or otherwise, invites a public response above and beyond the actual anachronism. Therefore, the neoclassical idiom not only challenges conventional musical associations, it also generalizes musical composition beyond common practice.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 7 - D3355 Challenges and Opportunities
It Takes a Village: Investigating the Challenges of Implementing Arts Curricula in South African Schools

Mareli Hattingh Pretorius, Senior Lecturer, Drama Department, Stellenbosch University, RSA, Matieland, Western Cape, South Africa

Overview: Educational curriculum reform since 1994 has changed the face of arts education in South African schools. Addressing the inequalities of the past remains an overarching mandate of the South African education policy, with the arts perceived as vehicles for social and cultural redress. Despite these policy intentions, challenges regarding the implementation of the curriculum, however, seem to be perpetuating the inherited inequalities, especially in previously disadvantaged communities. Through inherent integrative reflective practice this research aims to investigate the challenges of, and map the community based resources for, the implementation of arts curricula in South African schools. Initial stages of an extensive research project include focus group discussions with role players, as well as the development of a skills-based training course for teachers. In the role of participant observers and researchers we become part of the community of interest in trying to identify entry points for possible interventions by means of a strength-based approach. The end goal of the project is the establishment of networks and the strengthening of infrastructure in order to enhance arts engagement in schools and related communities and hopefully bridge the gap between the education policy mandate and the perceived reality on grass root level.
Theme:Arts Education
The Arts for Reading and Spelling in Different Educational Contexts

Patricia Carson, Facilitator and Consultant, Post Graduate Student, James Cook University

Overview: This research focuses on the delivery of the Davis Learning Strategies® Program, an Arts-based reading and spelling program delivered in two different educational settings. The first setting is a traditional kindergarten, where it was provided as a supplement to reading instruction for a small group of children. The second setting was a group of home-schooling parents and children. The program has three main components: self-regulating tools to prepare children for learning; clay work to create the letters and visual representations of words, definitions and spelling; and a three-step reading program. This Action research focused on similarities and differences of working with these two groups; and how program delivery was adapted and changed to meet the learning needs and styles of the children.
Theme:Arts Education
17:40-18:30 Wrap-Up Session

Jun 28, 2018
08:00-09:00 Conference Registration Desk Open
09:00-09:20 Daily Update
09:20-10:20 Plenary Session—Steve Duncombe, Co-Founder, The Center for Artistic Activism, New York, USA, and Professor, Media and Culture, New York University, New York, USA; Steve Lambert, Co-Founder, The Center for Artistic Activism, New York, USA, and Associate Professor, New Media, State University of New York at Purchase, New York, USA

"Making Art Work"
10:20-10:35 Coffee Break
10:35-12:15 PARALLEL SESSIONS
Room 1 - B2160 (Rennie Hall) Representing Heritage
Storyboards of Palau: Cultural Expressions from Micronesia

Dr. Velma Yamashita,

Overview: Storyboards from the Republic of Palau emerged during the Japanese administration of the islands in the 1930s and are one of the most recognizable and notable forms of art from the Micronesian region, particularly as a form of commoditized or tourist art. The commoditization of art, a phenomenon often found in non-Western cultures, consists of complex relationships among artists, merchants, and consumers. These relationships play significant roles in a market that seeks to satisfy consumers, a group that frequently consists of outsiders or tourists. Although initially viewed as degenerate and inauthentic, works created specifically for sale have come to be recognized as objects with cultural significance. Steiner and Phillips recognize that within different contexts, the objects may be viewed and appreciated within an art-artifact-commodity triad. When viewed within these three contexts, the researcher, collector, and consumer gain different types of cultural information from the visual elements and the documentation associated with storyboards. The research includes surveys of museums and interviews with carvers to identify aspects of storyboard production and provides a comprehensive history of these commoditized objects and their significance. The storyboard, then, may be viewed as a commodity that is created to present a cultural past to the consumer.
Theme:Social, Political and Community Agendas in the Arts
Monuments: Vehicles for Division and Healing

Dr. Christine Neal,

Overview: Public monuments, as embedded elements of a community’s artistic milieu, can be catalysts for both divisiveness and healing, sometimes at separate times but also in other contexts as the collective memory changes over time. This paper will examine the role of memorial sculpture by focusing on several works from the oeuvre of Theodora Alice Ruggles Kitson (1871-1932), one of the foremost American women artists of her day. Additionally, this research will investigate the role that gender politics may play in reflecting the altering cultural paradigm. Finally, the relevance of public monuments and the inclusion of marginalized people, will be posited for discussion.
Theme:Arts Theory and History
Indigenous Arts and Audiences: Influence and Impact at the Venice Biennale

Nancy Marie Mithlo,

Overview: In the summer following the 2016 - 2017 water protector movement on the Standing Rock Indian Reservation, three Native American women presented their artwork on the occasion of the Venice Biennale. Titled "Wah.shka," Marcella Ernest, Shan Goshorn and Keli Mashburn's artistic statements directly addressed the sacredness of water, the role of women and threats to our tribal sovereignty. A common response to these efforts is to question the level of impact on an international audience who are assumed to be the primary focus of exhibition aims. This paper, as relayed by a co-curator of the exhibition, argues that audience response is but one of the many legitimizing platforms available at this most central international arts festival. While public influence is a mainstay of similar activist and politicized artistic interventions (our exhibition is largely unsanctioned), the power of presence meaningfully achieves alternative aims of selfhood aligned with Indigenous protocols. Rather than resulting in a cultural flattening, these forays into the globalized art world engenders perspectives not readily available "at home." Native belonging in urban globalized contexts is not at odds with a simultaneous claim to aboriginal territories, languages, and ceremony.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
(Re)mapping Ontario: The (De)colonial AestheSis/AestheTics of Susan Blight and Hayden King's Ogimaa Mikana

Melissa Nesrallah,

Overview: Drawing on the work of Walter D. Mignolo and Rolando Vasquez (2013), Mishuana Goeman (2013), Gerald Vizenor (2008), Jarret Martineau and Eric Ritskes (2014), among others, I argue that Ogimaa Mikana represents a powerful form of (de)colonial aestheSis/aestheTics; one which serves to rupture settler colonialism through the (re)mapping/(re)storying of the Canadian landscape. I also suggest that, by making visible the presence of Indigenous peoples on the land, Ogimaa Mikana can be understood as an important form of Indigenous “fugitivity” (Martineau & Ritskes, 2014) and “survivance” (Vizenor, 2008). Lastly, I contend that the act of (re)storing Anishinaabemowin place-names works to activate (de)colonial possibilities through the rejection of imperial and colonial geographies, as well as the (re)centering of Indigenous knowledges, lifeways, and futurities.
Theme:Social, Political and Community Agendas in the Arts
Room 2 - C3255 Emerging Aesthetics
Aesthetics at Work: Cultivating an Aesthetic Sensibility to Enhance Well-Being and How We Think and Do

Dr. Wanda Hurren,

Overview: Aesthetic surroundings are linked to creativity, productivity, and well-being. The common response to this link in places where we think and do our work typically involves renovating to promote more aesthetic surroundings. Structural and financial implications of such alterations are not always feasible. In many cases people have little agency over adjusting the aesthetics of the places where they think and do their work. However, people do have agency over adjusting how they think about the aesthetics of their workplace. The studies reported here asked: Does cultivating an aesthetic sensibility among people in their workplace enhance how they think and do their work? Cultivating an aesthetic sensibility means becoming attuned to the aesthetic aspects that are present: perhaps the play of light in a stairwell, or the colours in a stack of files. People in several places of work and study participated in studio + exhibit projects wherein contemplative photography was explored as one way to pay attention to the everyday aesthetics in a place of work or study. Implications for everyday places and communities wherein people think and do their work will be discussed.
Theme:Social, Political and Community Agendas in the Arts
Emerging Aesthetic Experience: New Forms of Cognitive Sensitivity in Interactive Art

Claudia Mosqueda, No one, 16 years of teacher in National Autonomous University of Mexico UNAM, Professor-investigator, Azcapotzalco, Ciudad de México, Mexico

Overview: The interactive work of art of the 21st century seeks to produce in active viewers an emerging aesthetic experience. This emerging aesthetic experience reconfigures all the sensory, olfactory, tactile, emotional, visual, neuronal experience that occurs in the body as an integral unit to generate new sensitive and perceptual syntheses. This interaction is processed at the individual level by the body that experiences it, but also globally because it is a framework of stimuli, simultaneous and emerging actions. This process of cognition is what Varela defines as: the global is at the same time the cause and consequence of local actions that occur all the time in my body. From the above, we propose as the purpose of this text that: interactive works of art offer emerging aesthetic experiences where the body is the main protagonist, because from it, the local and global process of cognition is given. The methodological structure of this work is as follows: to define the aesthetic experience in aesthetic terms, to describe the notion of emergency as a cognitive learning experience, that from the theoretical perspective of Chilean thinker Francisco Varela, emergence is a form Of cognition, as a co-determination between local elements and the global cognitive subject, and to explain how the emerging aesthetic experience in Interactive Art works is understood from specific examples. With this, we try to explain how the artistic experience of the 21st century responds to novel processes of cognition as the ultimate stage of experience.
Theme:New Media, Technology and the Arts
Object of Experience: Object, Space and the Photograph

James A. Rhodes,

Overview: Photographs are inherently illusionary by the nature in which they are recorded, and this illusion can be explored to create an experience. Roland Barthes's definition of art photography in Camera Lucida and James Elkins’s unpacking of photography in What Photography is are compared to works like Gwon Osang’s Deodorant Type series. Osang’s work takes the understanding of photographic objects in Elizabeth Edwards article Material Beings: Objecthood and Ethnographic Photographs one step further. Photographic objects come to life through a process of reflection, an artist can create photographic objects through framing and reframing of their own work by analysing what the work is, and how the work will live within a space. The illusion the work creates causes the audience to question their preconceived experience of the space and the object. By incorporating aspects from James Turrell’s use of space, Peter Bunnell’s photographic sculptures and Duchamp’s questioning of the art object while working with images created with a camera an artist can create photographic objects that question the definition Barthes and Elkins gave to photography, and explore Edwards’s and Osang’s understanding of the materiality of a photographic object.
Theme:Arts Theory and History
And You and I: The Aesthetic Attitude and the Beautiful Thou

Mason Johnson, Teaching Assistant, Department of Classics and Ancient Near Eastern Studies, University of Wisconsin - Madison

Overview: In this paper, I seek to defend the notion of the disinterested aesthetic attitude, as put forth by Immanuel Kant in his Critique of Judgment, by analyzing and refuting arguments made against it, particularly by George Dickie. Further, through comparison with Martin Buber’s I and Thou, I argue that the aesthetic attitude is really a means of relation, and that when we make an aesthetic judgment (i.e. that something is beautiful), we approach the artwork as if it were an independent, autonomous subject. Using the work of H.P. Grice and Jacques Derrida, I argue that artworks have a semantic autonomy to provide a range of different meanings, differing from other forms of communication and lending themselves more human qualities. However, because artworks cannot actually speak up to defend themselves, I propose an ethics of the aesthetic, based on the Kantian categorical imperative, to justify why propaganda and censorship are wrong from the perspective of artworks themselves, and not just from viewers.
Theme:Arts Theory and History
Room 4 - C3275 The Contemporary Stage
Exploring the Life of Women in Prison in Megan Terry's Play "Babes in the Bighouse"

Dr. Judith Babnich,

Overview: In November of 1974 playwright in residence at the Omaha Magic Theatre (OMT), Megan Terry, wrote an original musical play that focused on the struggles of women in prison. Written to raise the attention of the audience members to the harsh realities of incarcerated women, Babes in the Bighouse (Babes) focused on the need for prison reform. At the time. OMT was one of the few working alternative theatres in the country. Founded in 1969 by Jo Ann Schmidman, the theatre consistently produced original musicals for 38 years before Jo Ann and Megan retired in 2007. Alternative theatre, whether it is called experimental, avant garde, or radical is theatre that challenges, the traditional realism of the stage and, in doing so, offers a different approach to the dramatic experience. Babes is a transformational play written in two acts combining poetry, song, dance and continual metamorphosis. While in residence at OMT, both women had been researching the subject of prison life for female prisoners, something that influenced the growth of Babes. Now, 33 years later, have conditions improved for working women? According to Amnesty International’s ‘Women in Prison: A Fact Sheet’, similar issues persist: correctional officials have subjected female inmates to rape, other sexual assault, and groping during body searches. My paper will explore prison reform in the context of Babes contrasted with the accounts of prison conditions for women today.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Technological Innovations on Stage Management Profession in the Context of Modern Canadian Theatre

Irina Tuzlukova,

Overview: Modern Canadian theatre practice is ‘infinite’ as described by Wagner. It is rooted in longstanding history of multicultural and multiethnic theatrical art and craft; dedication, talent and enthusiasm of people involved. It is inseparable from the dynamic developments in the fields of arts innovation brought about by modern approaches to theatre production, and advancements in technology. This paper explores the effects of advancements in technology on stage management profession in the context of modern Canadian theatre. It starts with looking at the historical roots of stage management in terms of responsibilities and workstyle (e.g. communication style, work hours, etc.). Then, it briefly describes the milestones in the history of modern Canadian theatre practice in relation to stage management and technological innovations, and whether these have affected the responsibilities and style of work of stage managers in terms of introduction of any new responsibilities and work styles, development of the profession and shaping its future. At the end, the impact of technological innovations in modern Canadian theatre are summarized in relation to the professional roles of stage managers, their functions and style of work. The ideas of the importance of documenting and communicating the attributes of stage management as a profession in the contemporary theatrical arts for its better understanding, appreciation and perceived quality enhancement, as well as for filling an important gap in the modern history of the Canadian theatre, will also be shared with the audience.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Performance Art and Its Features in Orlan’s Artworks

Mahmonir Mahmonir Shirazi,

Overview: In Twenty century, the New Arts phenomena appeared. One of them is performance art which has its definition and rules. As technology developed, the artists worked in different fields of new arts. In their idea, every things can convey the meaning. Many of them look at the body as a medium and use its functions to convey their messages through their art works. Some of them show masochistic behaviors toward their bodies. One among such artists is Orlan. The French feminist artist, who changes her body into a medium for cultural motives by subjecting it to several operations. Her surgeries were broadcasted in galleries and museums all over the world. She called her works carnal art and she considers them as performance art pieces. This article is an introduction to performance art and its features and then comparing them with Orlan art. Applied research method is descriptive analytical, and data are collected from libraries.
Theme:Arts Theory and History, Social, Political and Community Agendas in the Arts, New Media, Technology and the Arts
Playwriting as Data Analysis: Converging Research and Representation

Dr. Mirna E. Carranza, Associate Professor, School of Social Work, McMaster University, Hamilton, Ontario, Canada

Overview: The goal of this paper is to discuss the role of the researcher in bringing forth new ways of seeing through artful interpretation. This can be understood through the metaphor of the researcher “Breaking habits of seeing/knowing" in the viewer. This suggests that art interrupts viewers, ways of knowing that have been shaped by stereotype and prejudice, for critical consciousness to emerge and to develop new ways to see and engage with the world. Arts are accessible ways to encourage the audience in the processes of creating new meanings and fostering knowledge. This paper postulates that performance ethnography can translate research into theatre as represented through the body. Representation reveals how culture “is done” through a series of daily interactions within specific social and political guidelines. These will be explored through the processes by which transcripts, field notes and memos are coded for inclusion in the representation. Ultimately, the analysis selects the most salient, highest impact and cohesive to produce audience and participant reflexivity. While narrative inquiry, as used in the original data collection, allows for participants to tell their story and the meanings associated, the performance ethnography presents an interpretive monologue intended to communicate the messages- known as “story re-telling.”
Theme:Arts Education
Room 5 - C3285 Crossing Borders
To Hear a Shadow: Natural Frequencies and the Latent World

Dr. Dana Cooley,

Overview: In the early twentieth century, many European avant-garde artists were taken with scientific and technological developments such as wireless radio, film, Einstein’s theory of relativity, and the emergent field of quantum physics which atomized the universe. The ephemeral, the intangible; the world seemed governed by imperceptible, granular forces that played with time, location, and perception. In response, figures such as Lazslo Moholy Nagy and Walter Benjamin, saw the artist as an seismic instrument calibrated to pick up the faintest of reverberations of this newly redesigned universe, something of a canary in a coal mine. Since that time, many artists (Alvin Lucier, Rafael Lozano-Hemmer, Nick Verstandhave, Christiana Kubisch, and Di Mainstone, for example) have taken the frequencies of the natural world as their material. As instruments to amplify the imperceptible (such as EEG devices which read brain activity) become increasingly available to artists, what can they telegraph to us? In this paper, I argue that art which routes the intangible physics of the world (from the geological to the biological) into our perceptual register helps us tune into those faint reverberations which flutter and fluctuate around and through us, reminding us of the interconnectedness of the world and what is at stake if we ignore this netted existence.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
University Art Gallery as Center for Interdisciplinary Creative Collaborations: Incubator Exhibits Where Art Makes Things Happen!

Carrie Weis,

Overview: Over the last decade the Art Gallery Director at Ferris State University, a historically technical institution, noticed a steady decline in faculty and student participation. It was hard to acknowledge, but the role of the gallery as a place to view art was becoming increasingly irrelevant. The director decided to re-envision the gallery with the primary goal of becoming an educational resource, despite the challenge of interacting with many non-art majors. With some imagination, a lot of collaboration, and much excitement, the gallery’s first three incubator exhibits proved extremely successful. The collaborations met pedagogical needs, and engaged students in interdisciplinary, non-traditional interactions that ultimately resulted in gallery exhibitions. By facilitating the artistic and creative process thematically through faculty led assignments that linked numerous disciplines in various ways, students were provided a deeper challenge in conceptualization and creative problem solving. By having their work culminate in a gallery exhibition, the participating faculty and students are able to see the practical application of their collective assignments. The momentum continues to grow, annual visitors to the gallery have tripled. Yet, more importantly, the gallery has discovered a way to critically engage individuals with an educational platform that showcases art and creativity.
Theme:Arts Theory and History, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Objective Time, Temporality, and Poietics: Our Contemporary Problem with Time

Paige Lunde,

Overview: We need a new way to approach time in education. In order to understand the relationship that we have with the concept of time I will identify genealogical connections that structured conceptual time by questioning the way conceptual time was historically shaped alongside ideal notions of dualism and correctness that remain in educational pedagogy. I want to know how ancient expressions of temporality were lost as Western culture instituted a fixed framework for objective time. In this paper, I contend that a belief in time as a linear succession sends human awareness toward external objects because linearity is directed by the next object or minute. A mechanical system separates objects into successive states, which forces humanity to efficiently and logically predict outcomes. To disrupt a strict objective framework, I will study the ideas and artwork of John Cage. Essentially, his sound experiments will inform my investigation regarding temporality, which I will relate to philosophers including Henri Bergson, Martin Heidegger, and Mikhail Bakhtin, among others. Further, I will relate the former philosophers to Cage’s process that explores unpredictability and compare Cage’s process to Heidegger’s proposal that poietics or poiesis breaks our everyday reference to meaning.
Theme:Arts Education, New Media, Technology and the Arts
Humans Will Always Be Better Than Machines: Participatory and Performance Art in the Age of Assistive Technology

Dorothy Santos,

Overview: In Lauren McCarthy’s work Lauren, she installs customized software and hardware in a willing participant’s home. For 3 consecutive days, the artist performs as assistive technology in the same way someone would operate Alexa or Siri. Similar to voice activated technology, Lauren is able to provide, if not better, assistance to the participant. Through her observations, Lauren learns the nuances of her participant’s behavior and may preemptively execute an action. For instance, Lauren will turn down the lights down when she sees the participant preparing for bed. McCarthy’s work puts the onus on the participant to responsibly transmit commands to her in a way that may not occur with other assistive technology. In Lauren, McCarthy’s intentions and offerings are meant to exceed the overtly synthetic presence of Alexa or a Siri. Lauren doesn’t merely perform tasks, she is both benevolent and omnipresent. But do we want technology to be human-like? Is the purpose of artificial and assistive technology meant to ease the burden of daily life such as chores and creating shopping lists? Or, do we desire machines and devices as entities with the special skill to intuit our needs based on our actions and trebles to our voice?
Theme:New Media, Technology and the Arts
12:15-13:15 Lunch
13:15-14:00 PARALLEL SESSIONS
Room 1 - B2160 (Rennie Hall)
Preservation and Promotion of Indigenous Language and Culture through Artistic Activities in Education

Dr. Karla Del Carpio Ovando, University of Chiapas, University of Alberta, University of Northern Colorado, Greeley, CO, Mexico

Overview: The research findings of a qualitative study I conducted at a Spanish-Indigenous elementary bilingual school will be shared in this poster. The beauty of cultural and linguistic richness will be discussed through the sharing of examples of the activities that young indigenous children do in order to promote their native language and culture. Examples of this are: poetry readings/recitals, bilingual theater plays, participation in national bilingual academic programs and competitions, etc. Art has been a significant tool that has facilitated the promotion of the indigenous Tsotsil language and culture.
Theme:Arts Education, Social, Political and Community Agendas in the Arts, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Diversity Study in Arts and Entertainment Venue Management

Jill Schinberg, Assistant Professor, Arts Administration, University of Kentucky, Lexington, KY, United States

Overview: The purpose of this project is to investigate the results of the 2017 International Association of Venue Managers (IAVM) study of diversity in the arts and entertainment venue industry. This project explores the questions: What are the demographics of the arts and entertainment venue industry?, What relationships, if any, exist between the categorical variables (e.g. the relationship between job category and gender) of this data set?, and What is the probability of one under-represented class being in one group over another (e.g. job category and gender)? Leaders and staff of arts and entertainment venues varying in size and function in North America and beyond were invited to participate in the study by way of a web-based survey. The survey was conducted by the professional researchers for VenueDataSource, the research arm of the International Association of Venue Managers. The 2017 Diversity Study is the first self-study of its kind in the public assembly sphere. The answers to research questions concerning demographics, relationships, and probabilities will provide much needed information to the association, researchers, employers, and job-seekers about the diversity (or lack thereof) in the industry today.
Theme:Social, Political and Community Agendas in the Arts
The Feminine Gaze: Female Fashion Photographers from Midcentury America

Dr. Marie Botkin,

Overview: Among the various types of imagery that exist in the landscape of visual culture, fashion photographs are inherently complex. Several layers of cultural meaning occur in one flattened hypertext and can be interpreted by various fields including psychologists, anthropologists, art historians, media scholars and dress scholars. Many studies focus on body image, media impact, and advertising and are conducted to measure the impact on viewers. Where some emphasize thin idealized body types popular in contemporary fashion magazines (Yu, 2014) others emphasize different types of magazines in studies and conduct gender analyses (Kang, 1997; Lindner, 2004). Findings often point towards evidence of male dominance and the power of the image to make women conform to the ideals presented. There is little to acknowledge that the creator may be a female. To remedy this, this study will address this issue with a focus on female photographers that worked for major fashion magazines during the middle of the twentieth century. The method used for examining content will be Goffman’s frame analysis (1979). Goffman’s frame analysis is a coding system which focuses primarily on subtle and underlying clues in the picture content of images that contain messages in terms of gender roles. Analysis concentrates on positioning and placing, size, eye contact, posture and hand gestures. The categories that were used for analysis include: relative size, function ranking, feminine touch, ritualization of subordination and licensed withdrawal. Because of their notoriety and the relative ease with which their work can be identified, the images of Lee Miller, Lillian Bassman and Louise Dahl-Wolfe will make up the pool of photographs for analysis (Dahl-Wolfe, 1984; Bassman, 1997; Burke, 2005). Brief backgrounds on each photographer will also be presented along with a discussion of the impact of gender behind the lens.
Theme:Social, Political and Community Agendas in the Arts
Teaching Adults with Varying Abilities: Pre-service Art Teachers’ Reflections

Dr. Lisa LaJevic, Associate Professor of Art Education, Art and Art History, The College of New Jersey, Ewing, NJ, United States

Overview: This study focuses on how one art education program has started to offer pre-service art teachers experiences working with adults with varying abilities. Weaving together the course instructor’s thoughts with the pre-service teachers’ reflections and adult artwork, this poster introduces the junior-level art education course that required pre-service art teachers to lead an art gallery tour and hands-on printmaking workshop to adults with varying abilities. Because it was the first time this experience was offered, this research aims to highlight the pre-service teachers’ reflections that hold implications for future use in our own program as well as other teacher education programs.
Theme:Arts Education
Transitory Sound and Movement Collective: Interpretive Performance Art Model

Cherie Acosta,

Overview: The Transitory Sound and Movement Collective: Collaborative Art, evaluates the communal process of performance art and the development of a novel improvisational language utilizing technology, music and the moving image. Employing a dialogical language through collective art making, the collective of artists, formed in Houston, Texas consists of sound designer and founder Lynn Lane, with an evolution of filmmakers, musicians, dancers and vocalists. The group rejects established rules of collaboration within the traditional framework of performance. Breaking with the strict interpretation of roles, which historically have created a hyper divide between director, performer, and designer, the collective operates outside the parameter of the shared lens of the written work. Neoteric and transitory, it creates a cross-germination of musical language facilitated by a purely improvisational setting. The approach is a significant and sustaining model in today’s world of reductions in arts funding. With an eye to the future, artistic collectives provide freedom, interpretive performance art and the flexibility of artistic expression absent the constraints of traditional oppressive artistic structures
Theme:New Media, Technology and the Arts
Fashion as Women's Political Discourse in the Post WWII Era in the United States

Dr. Shirli Brautbar,

Overview: Many scholars have explored fashion as a form of artistic personal expression. In this poster the author will explore the unique dynamics between fashion, art, politics, gender and cultural identity. Utilizing gender theory, historical analysis, media analysis, and fashion analysis the author seeks to shed light on the ways in which women from three different cultural groups utilized fashion in the Post World War II Era to engage in political action, artistic expression, and cultural celebration. While Jewish-American, Chicana, and Asian American women shared distinct cultural challenges in the post-World war II Era a close examination of how women in these groups utilized fashion for a variety of purposes sheds light on the way fashion as an artistic expression and commodity can provide meaning and be used for positive action.
Theme:Arts Theory and History, Social, Political and Community Agendas in the Arts
Funding Equity among St. Louis City Arts Nonprofit Organizations: What Determines the Amount of Contributions, Gifts, and Grants?

Elizabeth Deichmann, St. Louis, MO, United States

Overview: Among the St. Louis region's arts 501(c)(3) nonprofit organizations, the majority of contributed funding goes to the largest nonprofits while small and medium nonprofits receive a disproportionately smaller amount of contributed funding by comparison. Using multivariate analysis, the institutional and larger socioeconomic determinants influencing the amount of contributions, gifts, and grants that arts nonprofits receive are examined and tested. An original theory for the distribution of arts funding based on Anne Schneider and Helen Ingram’s Social Construction of Target Populations: Implications for Politics and Policy (1993) is also tested and shows contributions are influenced by socially constructed groups of arts nonprofits.
Theme:Social, Political and Community Agendas in the Arts
Art as an Avenue for Empathic Attunement and Healing in Children’s Hospitals

Brooke Hughes,

Overview: Art has been used as a pathway for healing throughout history. The use of art, creativity, and image can help facilitate connection, as well as provide a space for empathic attunement to Self and Others. Recent neurobiological research has shown evidence for increased immune response when one experiences an empathic attunement. Additionally, empathic attunement assists the healing process through psychological subjective reports of increased well-being. My presentation will highlight through my work and observations how the arts can help assist with creating empathic attunement. I will also explore how feelings of loss and isolation experienced by children in the hospital can be addressed through communal art experiences, allowing for the opportunity to enter into a sense of connection, belonging and hope.
Theme:Social, Political and Community Agendas in the Arts
Visions : Impact of Visual Positivity

Marielle Ednalino, Graphic Designer, Center for Leadership Learning, University of California, Davis

Overview: Visual communication is a source of information that has the potential to connect societies and communities. However, such communication does not necessarily reveal the true agenda behind the visual presentation of messages. Amidst rising social tension around the world, visual messages increasingly have become vehicles for oppression, segregation, and discrimination. In response, my creative work and scholarly research seek to understand how such imagery could achieve opposite goals My work creates temporary interactive spaces that encourage audiences to contemplate societal messages and promote new perspectives. The exhibition is constructed in two parts. First, vinyl wall imagery communicates social issues relevant to present times. Second, graphic posters placed on top contradict the messages of the vinyl. The exhibit uses this juxtaposition to promote increased positive awareness and a recognition of the ways humans are incredibly “editable.” My research emphasizes how the human brain combines information from visual experience, synthesizes it, and draws on past experiences to provide a manipulated perspective of the world. By juxtaposing word and image we can re-orient individuals and encourage them to consider social situations in new ways. The gap between the human reception of an image and the actual reality of experience thus opens a space for conversation about society and individuals.
Theme:Social, Political and Community Agendas in the Arts
Room 2 - C3255 Virtual Lightning Talks
Art in Society: The Role of Cultural Planning Methodology in Contemporary Society

Liz Gardiner, 
Prof. Katarzyna Kosmala, 
 Tomas Dahlberg,

Overview: Recent thinking and research has helped to broaden the base from The Arts to embrace place making, regeneration and city planning (Landry, 2000). This paper asks what Cultural Planning methodology can offer in contemporary society. Can urban regeneration, place making and socio-economic development incorporate cultural resources in ways that are more than tokenistic, but actually capture and celebrate the “DNA” of the place? In the 20th century UK, Arts and Culture were often seen as separate from other aspects of urbanism. There were polarised positions that either insisted on “art for arts’ sake” or treated the arts and artists instrumentally; perceived as useful for tackling issues and problems in socio-economic disadvantage areas. Post-industrial cities continue to suffer from this perpetuated disconnect between culture and urban regeneration, leading to homogenization of urban design and the proliferation of “non-places” made of housing and retail developments that could be seen as being located anywhere. This paper explores the potential of cultural planning as an applied methodology in three post-industrial urban settings (Govan, Gothenburg and Gdansk) as an access to understanding how meaning can be generated and disseminated from the cultural sphere pursuit of building alternative futures.
Theme:Social, Political and Community Agendas in the Arts
Art of Haute Cuisine: Understanding the Chef as an Artist

Dr. Annamaria Paolino,

Overview: Traditionally, art refers to the fine and performing arts and does not explicitly or implicitly include food. However, society is reconceptualising this view and implying that the culinary arts can be performed by an artist (chef) and experienced by an audience (diner). A haute cuisine experience is a performance on a gastronomic stage and when seen in this light, it fits well within the definition of "art." It is a capricious art that does not last long in a physical form however; like all great artworks, it has the potential to last a lifetime in the memories it creates. The focus of this research was to gain the chefs perception into this social discourse. Interviews were conducted with innovative and award winning chefs from Australia, Europe and the United Kingdom to gain an insight into how chefs perceive they do, whether they consider "food as art," and the process they go through when creating their art. The research findings highlight that like all artists, chefs are inspired by a variety of things however, two groups of chefs have emerged from the data; the "artists," and the "craftsmen." This research uncovers the chefs understanding of their perceived artistic status in society.
Theme:Arts Education
Dilemmas between Creativity and Skills: Visual Arts Teaching in Early Childhood

Suzannie Leung, Assistant Professor, School of Education & Languages, The Open University of Hong Kong

Overview: Early childhood education in Hong Kong faced its millennial reform and this reform called for a change in the policy and curriculum. The curriculum revamp aimed at promoting children’s creativity and life-long learning capacity. Therefore, arts become one of the genres in the integrated curriculum. Nevertheless, the practices in the local kindergartens in Hong Kong seemed to have barriers in meeting the government’s standard after the curriculum revamp due to conventional values of academic achievement from the public and parents. In theory, we expected children created their artworks by expressing their voices creatively through visual arts. In practice, children created their crafts by following teachers’ instructions. Obviously, there is a belief-and-practice gap in teaching visual arts for young children in Hong Kong. As a matter of fact, this study aims at investigating teachers’ beliefs and practices in teaching visual arts in Hong Kong. In this study, 29 teachers were interviewed individually through semi-structured interviews. Totally 409 minutes of data were collected. The interviews were transcribed, coded and analyzed by using thematic network analysis. The findings indicated a belief-and-practice gap of kindergarten teachers in Hong Kong towards visual arts in early childhood education. Teachers agreed with the notion of creativity but they found difficulties in striking the balance between creativity and artistic skills. This study reflected not only on the importance of subject knowledge in teaching visual arts to young children, but also how teacher education in visual arts in the future should be conducted.
Theme:Arts Education
Setting Free: Julien de Casabianca's Project "Outings" and Its Aesthetical and Social Conseqences

Alicja Rybkowska, head of a research project, Department of Philosophy, Jagiellonian University

Overview: The artist chooses less known paintings from local museums, prints the human figures depicted on them as large scale stickers, and places them on buildings in deprived areas. In the project fine arts become street art and street art takes its inspiration from fine arts. The artist himself describes it as a way of examining how people react to the pictures in their environment and interact with them. This interaction may result in a destruction of ephemeric art works but also in a creation of new patterns of using the common spaces and, as a consequence, strengthening local identity. I am going to discuss the engaging, participative aspect of the project and its input in bringing people together and promoting grass roots democracy. Basing on this discussion, I will draw perspectives for using different forms of art as an instrument of stimulating people's creative potential in their social life.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Mathematics, Art, and Technology: The Use of Art to Improve Learning

Prof.Msc. Euro Marques Júnior, Professor, Production Engineering, Faculty of Agudos
Profa. Dra. Emília M. R. Marques, 
 Aguinaldo Robinson De Souza, Professor, UNESP

Overview: We developed the project with the objective of raising the interest of high school students and the general public through Mathematics, motivated by the social demand for improvement in the quality of teaching. We believe that the growth of student interest and its ability to understand applications with complex numbers in various areas will cooperate with the teaching and learning process. Thus, we develop the teaching of numbers and complex functions associated with Art and Technology through interrelated activities: exhibitions of images created with computer graphics by educational software F (C) Complex Functions; explanatory lectures about the software and the process of creating the figures (Colored Domains); workshops in computer labs for software learning; production of study material and development of this mathematical content and production of new images; preparation of dissemination material and knowledge repository (e-books, articles); use of e-learning in the development of activities for teachers and high school students; etc.
Theme:New Media, Technology and the Arts
Re-theorising and Envisioning Text as Image: A Concept in Practice-based Research in Painting

Dr. Emmanuel Ikemefula Irokanulo,

Overview: This study examines texts and images and the poetic connection between the two, by explicating how text gives life to image and image subsequently informs and inspires text. It also sets out to examine how art practice creates knowledge and induces philosophy. The study is inspired by Paul Gauguin’s theory on the inclusion of shadow in painting. This study aims at creating paintings through observation of images derived from shadows. Shadows are here reconstructed in painting as independent images and not as appendages to any phenomenal object. The study explores the texts of Kantian and Heideggerian philosophy to create paintings given Onyinyo local mythological theory life within a contemplative space. The literature review shows that shadow had been in existence before the researcher engaged in this study but, the nature of inquiry differs from previous ones in traditional painting practice. Participatory technique was adapted as research method and phenomenological theories and philosophy formed the focus of this study, which assesses art, especially how painting can inform theory and theory as well informs painting practice. The research establishes that the practice of painting and knowledge are inseparable and that painting is a visual narrative that could be read through careful contemplation and that painting could lead a critical argument for the topicality of the visual arts.
Theme:Arts Theory and History
Room 4 - C3275 Focused Discussions
This Body of Mine: For an Ontology of the Dancing Body

Carolina Bergonzoni, Dancer/Choreographer/Educator, Arts Education, All Bodies Dance Project, Burnaby, BC, Canada

Overview: In my paper, I will discuss my understanding of body knowledge as it arises from more than 15 years in the dance field; specifically, I will analyze my experience as a dance improviser and a dance facilitator in community context. Following Ben Spatz’s definition of body as a “wide territory” (2015, 11), I will argue that body knowledge is a reliable, yet different, form of knowledge. I will then consider improvisation as a tool for philosophical inquiry. In doing so, I will address questions such as: How is the body a methodological tool for understanding what we can learn from the body itself? As a dancer, a scholar, and an educator: How can I move from the dance to the writing, and from the writing to the dance?
Theme:Arts Education
Movement and Mental Health: Performance-based Projects with Workman Arts

Cara Spooner, Education Manager, Arts & Mental Health, Workman Arts, Toronto, ON, Canada

Overview: Using two performance-based projects as case studies, I would like to talk about my experiences as the Education Manager at Workman Arts (an arts and mental health organization in Toronto) and about how my practice as a choreographer has been woven into my role through the experience of creating work with and alongside Workman members. Workman Arts supports artists who have lived experience of mental health and addiction issues through providing access to free multi-disciplinary art education, studio space, professional development and presentation opportunities. I would like to discuss the foundation and context that Workman Arts provided for two collaborative works I created with Workman members: Chorus (a site-specific performance at the Centre for Addiction and Mental Health hospital) and You&Us (a 360 degree dance film for an audience of one). Both of these works aimed to dissolve distinctions between professional/non-professional, able/disabled and performer/audience through process-based performance and workshop facilitation. For this conference presentation, I aim to give an overview about Workman Arts, show documentation and describe the case study pieces, "screen" the 360 film and offer embodied examples of how the work was created.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Engaging Art: How Artists Contribute to the Development of International Norms on Human Displacement Related to Disasters and Climate Change

Ms. Hannah Entwisle Chapuisat,

Overview: Numerous artists address themes related to human displacement, disasters and climate change through community-based projects, exhibitions in art institutions, academic research, activist campaigns, and direct contributions to international policymaking processes. This presentation discusses on-going, practice-based doctoral research exploring how international relations theory, namely Martha Finnemore and Kathryn Sikkink’s theory of a norm life cycle, can provide a foundation for elaborating a theoretical and conceptual framework to analyze and better understand the impacts of these diverse forms of artistic engagement. By applying the framework to examine five case studies of artistic practice, the research ultimately aims to propose potential strategies artists could consider for engaging and contributing to international policymaking efforts to improve protection and assistance for people displaced by disasters. Discussion will be welcomed on the overall research question and approach, examples of artistic practice, and research methodology.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 8 - D3370 Creative Practice Showcase
Crafting High Dynamic Range Photographs to Create a Classical Oil Painting Look

Rehan Zia,

Overview: HDR photography allows artists to capture the full range of tonal values in high contrast real world scenes allowing for better latitude and creative control during post-production. With specialist HDR cameras being too expensive for the consumer market, the alternative method of photographing HDR images is by blending multiple varied exposures of the scene. The resulting images have characteristics in common with classical oil paintings in terms of the scene dynamic range depicted, as well as the softening effect inherent in the production process. HDR production and tonemapping processes can also amplify camera sensor and lens artifacts that bring unwanted attention to the fact that one is looking at a photographed image and not a painting. The images presented here were produced over the course of the author’s visual practice-research PhD journey exploring how HDR images can be crafted to create a painterly look reminiscent of classical landscape oil paintings whilst keeping unwanted camera, lens and software artifacts to a minimum, thus illustrating the extent to which digital technologies can be used to replicate pre-digital visual practices. The workflow, techniques and approaches are grounded in the photography and film visual effects disciplines.
Theme:New Media, Technology and the Arts
Abstract Insularity and the Window to Worldliness

Robert Tracy, 
 Louis Kavouras, 
 Adam Schroeder,

Overview: Professors Robert Tracy, Louis Kavouras, Adam Schroeder We wish to develop a fresh response to the intimate relationship of art/dance/music---specifically American modern dance (Erick Hawkins’ self-sensing”), jazz (Thelonious Monk and Kenny Clarke)---and the visual arts---as seen in the contemporary abstract paintings of Ethiopian artist Eyob Mergia. Immediately following WWII, modern dance, Jazz and bebop music proved to be a transformative force from 1945 and, when nuanced with the aesthetic abstract devices utilized by Eyob Mergia, a compelling echo of constructed tonalities reshape themselves into a two-way formal relationship of hearing/seeing/feeling across the media. A compelling and original perspective emerges and this development reshapes the creative image-making process juxtaposed with (not against) the repetitive devices of tonal language. This assessment should show that American jazz and East African abstraction does not subordinate one to the other but, in actuality, finds formal inspiration in both tonal and color tonalities.
Theme:New Media, Technology and the Arts
Room 5 - C3285 Workshop
Parable of the Broken Plates: Shared Grief and Hope in Art and Faith Communities

William Catling,

Overview: Workshop participants are invited to experience a hands-on encounter with art as a vehicle for personal and communal healing. The concept of integrating art into our various educational, faith and communal gatherings has its roots in the earliest recordings of humanity; In caves and on rocks, in settings for corporate worship, public squares, enacted rituals, educational centers and other forms of communal life. It is through the deep interconnection of art and spirituality that society can find a way to heal from its multi-faceted problems. Donald Kuspit shares that “authentically spiritual art does not so much ‘communicate’ as ‘induce’ an attitude of communion and contemplation.” Both of these experiences have the power to bring about healthy change in society. The breaking of plates serves as a symbolic gesture representing the broken areas of life in our communities. These broken pieces are then put back together to tell a story of individual and communal grief and hope. The resulting mosaics create images that reveal the healing that can come through the making of art and for the viewers of the work.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 6 - D3345 Workshop
Thinking with the Dancing Brain: Embodying Neuroscience

PhD Sandra Minton,

Overview: This workshop examines and demonstrates the brain/mind in action by connecting it to the symbolic language of dance. Carefully crafted, basic movement exploration experiences are used to explore the brain functions of observation, engagement, critical thinking, emotion, memory, learning, and problem solving. The brain structures responsible for each of the preceding functions are described, followed by explaining how each function is connected to content found in a typical dance curriculum. Finally, movement explorations are used to enhance understanding of each brain function. Thus, observations can become more detailed and acute when observers use their bodies to copy shapes seen in the environment. Engagement is heightened by accurately copying the quality of a partner’s movements. Critical thinking is developed when analyzing the timing of a partner’s movements. Different emotions are communicated nonverbally through varying the shape and quality of movement. Short-term memory is triggered by creating a movement sequence, and mentally re-arranging its order. Imagination is heightened when imagined body feelings and imagined shapes are reproduced in movement. Learning is involved through reading diagrammed patterns, and creating them in movement. Problem solving is practiced by deciding how you would move in different environments such as tall grass or waist deep water.
Theme:Arts Education
Room 7 - D3355 Workshop
Enacting History: Learning about the Holocaust through Theatrical Activities

Dr. Janet E. Rubin,

Overview: By using plays to learn about the Holocaust, participants have an opportunity to view history coming alive. Theatre is an important tool in Holocaust education because it changes that dark event from something that occurred many years in the past to one with immediacy and relevance. In this workshop, participants not only present scenes from the play, The Survivor, they engage in activities which can be used to deepen connections to the characters and give depth of understanding to theatre practice as well as Holocaust education. Workshop participants will engage in a theatre game during which they apply differing character motivations to tossing objects of varying shapes and weights. Using improvisation, in another exercise they will create a scene requiring persuasive skills and then apply these skills to a scene from the script. A role-playing activity casts participants as reporters and ghetto occupants on a tour of the Warsaw Ghetto. Another undertaking, based upon analysis of given circumstances, involves participants in writing and performing a short monologue honoring the protagonist in The Survivor. By coupling these activities with scripted scenes, attendees enter the world of the play, fostering connections to characters’ motivations and deepening their own understanding and empathy.
Theme:Arts Education
Room 1 - B2160 (Rennie Hall) Posters and Virtual Posters
Revitalizing the Town of Namie and Reconstructing Its Community : Introducing Digital Calendar NAMIEHOURS

Kanako Sasaki, Post doctoral fellow, Graduate school of Information Science, Tohoku University, Sendai, Miyagi, Japan

Overview: Fukushima evacuees from the Nuclear explosion in 2011 have been oppressing own voice to speak about their lives, because of the stigmatization of being an evacuee. many of their stories and voices are stored away and forgotten. The artistic project aims to provide a place where they can feel home and securely able to express own voice. As well as to inherit local stories permanently to next generation by introducing artistic expression. The artistic project designed a web calendar that can upload a photograph with Namie memories per day. The team conduced photography workshops with the evacuees from town of Namie, Fukushima and analysis their photographic pieces. Visual media such as photograph can express emotion and inspire other related stories.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Bigger and Better Ideas: Strategic Creativity Training

Dr. Anna Szabados, Chief Creativity Officer, Strategic Creativity, Vision2Action

Overview: The paper will identify close to 20 discipline independent creativity techniques that will allow the development of bigger and better ideas. In addition, the presenter will share the results of data collected in training workshops using pre workshop and post workshop participant surveys. Vision2 Action is committed to providing useful creativity training information to individuals from all walks of life.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
14:00-14:10 Transition Break
14:10-15:25 PARALLEL SESSIONS
Room 1 - B2160 (Rennie Hall) Political Identities
Local Government and the Arts: Building Identity through Collaboration with Creative Industries and the Arts

Dr Susan Savage, Wollongong, NSW, Australia

Overview: In many parts of the world, local government is grappling with a transition - from managing the development and maintenance of local infrastructure, delivery of essential services and economic governance - to responding to the cultural and social needs expressed by their community that impact on how they identify themselves. Residents want the opportunity to discuss inspirational needs including living in a place that offers cultural engagement that is "liveable" and is attractive/interactive offering public art and cultural amenity. This presentation considers the specific contributions encompassed within the broader role of local government that enable local government practitioners to justify to their communities their role and contributions to creative industries and, more important still, maximise benefit both for the community and the creative industries sector itself.
Theme:Social, Political and Community Agendas in the Arts
What about the Public?: The Role of Government and the Public in the Creation of Public Art in Berlin from the Third Reich to Today

Jessica DeShazo,

Overview: This work examines the changes in government and civic involvement in public art beginning with the Third Reich through present day. It includes various types of public art that range from monuments and memorials to propaganda and murals. The work is the result of a series of open-ended interviews with art professionals in the government and non profit sectors in Berlin. The information from the interviews is supplemented by research about public art and government involvement in Berlin. The work highlights different transitions in the content and form of the public art as well as government and civic involvement in public art. The work finds a dramatic shift in roles for the government and the public. Government has gone from the primary controller and provider of public art to a lesser, secondary role of funder with artists and the public playing the more dominant role.
Theme:Social, Political and Community Agendas in the Arts
Embedding Temporary Public Art in Civic Works: A Critical Reflection on the Treatment Public Art Project in Melbourne, Australia

David Cross,

Overview: Slavoj Žižek in his study of the event begins by describing it as an act of re-framing. While going on to examine the event from a diversity of perspectives including the idea that an event is an effect that exceeds its causes, this idea of re-framing is a useful one in considering place-responsive temporary public art. In creating an event whereby audience members are drawn to a specific place to consider it in dialogue with a series of artworks, a juxtaposition is established between the specificity of a place, its geographical features, use value, culture, and the ways in which artists have chosen to re-frame these contexts. For the artists in the ongoing socially-engaged art project Treatment based in Melbourne, Australia’s Western Sewerage Treatment Plant, Žižek’s rhetorical question, is an event a change in the way reality appears to us, or, is it a shattering transformation of reality itself? could be seen as a useful provocation. This paper will examine how Treatment has sought to establish new understandings of embedded socially engaged practice over successive iterations. In seeking to respond to the Western Treatment Plant, an extraordinary 11,000 hectare civic works, engineering and world listed wildlife site, while re-framing its assorted contexts for an audience mostly unaware of any of the sites features, the artists sought to build a new accord between capturing the lived stories of the people that built and maintained the site and their interest in eliding narratives and conjunctions that speak to present day concerns.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 4 - C3275 Engaging Movement
Dance is Multi-modal: Music, Perception, and Abstraction

A W Brian De Silva,

Overview: An excellent dance performance has one real and distinctive hallmark - a total assault of the senses, especially sight and sound, while simultaneously engaging the brain's neural networks. The brain helps us to understand and perceive what we experience in our lives. It helps us to understand and give meaning (neuro-cognitively) to our experience of the dance, whilst helping us assess what we like or dislike (neuro-aesthetics) about the dance. A dance performance achieves all these through an interplay, manipulation and interpretation of text (story, concept, theme), music (rhythm, pace, speed) and set design (visual acuity and perception). I am using and recounting the performance of Wayne MacGregor's "Tree of Codes" at the Melbourne Interntaional Festival (2018) to elucidate and demonstrate how these elements are brought together to achieve these multimodal effects. Dance is without a doubt a multi modal learning experience.
Theme:Arts Education
Folk Dance Music of Yi Nationality’s “Ah-Xi Dancing under the Moon” and “Dance to the Three-stringed Chinese Violin”

Yiyu Zhang, Lecturer , Department of Music, Nanfang College of Sun Yat-sen University

Overview: The objects of study in this thesis are “Ah-Xi Dancing under the Moon” and “Dance to the Three-stringed Chinese Violin” which is the traditional dances of Ah-xi and Sani people of the Yi nationality. With the change of times, these two songs have evolved from the marriage dance music to the recreational dance music for the masses of all walks of life. Because the two share similar characteristics of music, dance, and cultural functions, the relationship between them is the focus of this paper. In the past, the research made by scholars was always targeted on either of the two, while the articles on comparative study of the relations between the two were rarely seen. In this paper, I will make a comparative study of the music, dance, and cultural backgrounds of these two songs. The study of relationship between the “Ah-Xi Dancing under the Moon” and “Dance to the Three-stringed Chinese Violin” is aimed is to make further exploration of the issues remained in of the music of Chinese ethnic minorities through the analysis of music forms. Besides, it should be pointed out that the interaction and integration of culture between ethnic groups, branches of ethnic groups are the order of nature in the course of human culture. It is also in compliance with this order of nature that the human culture makes continuous progress and development.
Theme:Social, Political and Community Agendas in the Arts
The Choreography of Learning and Artistry of Instructional Design When Teaching through Dance

Dr. Brittany Harker Martin, 
Dr. Barbara Snook, 
 Ralph Buck,

Overview: In this paper, we explore the tensions and bliss inherent in curriculum delivery through the lens of dance integration. We interweave our shared experiences as dancers, dance educators, and choreographers who all teach through dance. Personal vignettes unveil the intentions and sense-making of creative artists tasked with the duty to “deliver” curriculum. They liken the tensions inherent in prescribed curriculum to those experienced between choreographer and dancer, and share encounters of pedagogical balance and counterbalance, risk and certainty, freestyle & choreography, weightlessness and gravity as it relates to learning design and the duality of meeting ends and unfolding endless possibilities (Aoki, 2005; Roth, 2014). To choreograph emergence is to present encounters where learning is truly alive (Greene 1967). The authors’ question and confront their own disquietude with utilitarian notions of dance as learning tool, and spark a call for the necessity of curricular events that offer the somatic, the subliminal, and the sublime as part of a lived curriculum (Aoki, 2005).
Theme:Arts Education
Room 5 - C3285 Artist-in-Residence
Engaging the Social through an Artist-in-Residence Program in the Archives

Kathy Carbone,

Overview: Although artist-in-residence programs in which artists interact and collaborate with people and phenomena within corporate, industrial, academic, governmental, institutional, or other community settings have been in existence for over half a century, the embrace of residency programs in archives is somewhat more novel in comparison to other environs. This paper explores the ways in which an artist-in-residence program at the City of Portland Archives & Records Center (PARC) in Portland, Oregon, USA marshals a socially engaged art practice framework to activate innovative modes of collaboration that foster generative art-making and social interactions and participations between people and archives. Through reflections by PARC archivists and two artists about their experiences in PARC’s inaugural residency program, this paper explores the ways in which PARC’s program engenders new social and cultural roles for archives and inventive modes of art and community engagements. This paper also contemplates how the archival poetry practices of investigative and documentary poet Kaia Sand, who during her residency utilized and transformed police surveillance records to honor women struggling for rights and pay homage to the courage of activists, creates multiple fields of interactions and processes of becoming-together between past and present, diverse community members, and archives and poetry.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Social Life of Artist Residencies: Working with People and Places Not Your Own

Dr. Marnie Badham, Vice Chancellors Post Doctoral Research Fellow, School of Art, RMIT University

Overview: This paper will examine the world-wide explosion of artist residencies and diversity of forms over the last 2 decades, from traditional institutional models of patronage and seclusion to contemporary forms of social practice projects making art with local communities to explore contemporary global concerns including mass migration, climate change and conflict. Offering a broad ranging typology of residencies as social form, this paper examines the historical contexts, stakeholder motivations and the social value versus the potential for harm of these creative interventions in the public realm. The paper first examines the social roots of residencies through artist colonies, communes and retreats developed through patronage and new social economies. Next, the paper examines the relationship between artistic, institutional and community motivations alongside the social aims and the potential for harm when outsider artists are invited to engage with communities not their own. Finally, in the ‘social turn’ in residencies theorised by examining a spectrum of contemporary international artist residency programs from the on the move "itinerant and transnational artist" lifestyle and the recent return to the "localvore" with artists seeking a more sustainable approach by merging life and practice.
Theme:Social, Political and Community Agendas in the Arts, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Exploring the Benefits of Artist-in-Residence Programs in Western Australian Schools

Sara O'Neill, Visual Arts Coordinator PP-12, Holy Cross College
 Lisa Paris, Senior Lecturer, Arts Education, Curtin University

Overview: Where many secondary schools employ specialist art teachers to deliver their education programs in Western Australia, the same cannot be said for primary schools. In both government and independent sectors it is most often the case that visual arts (and the arts generally) are taught by primary generalist teachers whose pre-service training encompassed only minor studies in the arts disciplines. Consequently there is often a variable quality of art education provided to primary students. As a strategy to support quality arts education outcomes for children in the primary years Artist in Residence programs have been shown to have merit. This paper presents an overview of the Curtin Artist in Residence program that has operated in Western Australia since 2007 and provides case studies (from both primary and secondary school contexts) in which the enrichment and inclusion benefits of artists working in schools are examined.
Theme:Arts Education
TBA Alternative Presentation: Randy Lee Cutler, "Group Exercise"
Group Exercise

Randy Lee Cutler,

Overview: Part of the success of any group encounter is how individuals come together synergistically as they practice social engagement with each other. Whether teaching studio class, engaging in theoretical readings or working together as a group, starting the encounter with physical exercises can release tension and bring people to the present moment of being and learning together. Drawing from Performance Art curriculum, this session focuses on techniques for generating a positive group dynamic where all participants are engaged, relaxed and encouraged to cultivate a sense of radical openness. Here an embodied encounter gets to the root of who we are as social beings. We will begin with some exercises that connect each individual to the group and build if not social cohesion then a temporary space of conviviality. Through humor and experimentation participants enact new ways of sharing time and space ostensibly hosting each other as a means to facilitate an emergent experience. In the context of “How Art Makes Things Happen” we will think about our bodies and time as core materials for making form. This will be followed by a short exploration of strategies for strengthening participation with a focus on phenomenological and experiential learning. In this way an embodied pedagogy is understood as creating an environment for experimentation, risk taking and play.
Theme:Arts Education
14:30-15:10 PARALLEL SESSIONS
Room 2 - C3255
Enhanced Communication Strategies in the Online Arts Classroom

Dean Adams, Associate Dean, College Arts + Architecture, UNC Charlotte

Overview: It is important to advance research that sheds light on the online delivery of arts courses. Given the rapid growth in online coursework in the academy, it is critical to establish standards and practices that validate the quality of the course material and delivery. Online courses require more discipline and commitment from students as well as enhanced forms of communications by their professors to prevent the current high online dropout rate. This paper presentation explores the online course development work at UNC Charlotte in the arts that attempts to link the use of active learning and specific course design and features that have proven successful in teaching online courses in the arts. Two online courses taught by the author, “History of Musical Theatre” and “Arts and Society: Theatre” will be compared to face-to-face counterparts in showing how the quality and quantity of interpersonal interaction with the course materials and professor is key to student success. This work extends former research (Holmberg, 1995) that suggests that instructors must fashion a “personal” relationship with students in order to motivate them to do their best work.
Theme:Arts Education
Students as Emerging Artists in Society

Christine D'onofrio, 
 Paulina Semenec,

Overview: How do students who have participated in a community partnership with professionals in the creative arts sector and art institutions articulate their role as emerging artists in society? In this paper we are interested in exploring how students etch out a space for their own practice within an existing art community, and some of the challenges in doing so. Drawing on interview data as well as student creative work and reflections from two university level visual arts courses in which students participated in arts-based community partnerships, we highlight students’ negotiations with becoming artists in society as a messy and complex process. In particular, we explore how notions of uncertainty and unknowing (Atkinson, 2013) are integral to the configuration of the artist. Finally, we explore the potentials of experiential learning and its academic contextualization in the classroom and how it informs students’ thinking in the visual arts and their future role as professional artists.
Theme:Arts Education
15:25-15:40 Coffee Break
15:40-16:55 PARALLEL SESSIONS
Room 1 - B2160 (Rennie Hall) Pedagogies for Change
Teach Critical and Creative Thinking Skills by Playing an Instrument

Dr. Jane Fiske,

Overview: Critical and creative thinking is a learning outcome promoted by the Liberal Education and America’s Promise (LEAP) initiative. Launched in 2005, LEAP is a national public advocacy and campus action initiative which champions the importance of a liberal education. This paper will address how critical and creative thinking skills may be developed by playing an instrument. Specific musical examples will be explored. Playing a musical instrument utilizes both brain hemispheres. The left side (cognitive) decodes musical patterns, structures, concepts, and makes logical connections. It teaches students to analyze, to make informed choices, and to problem-solve. The right side (affective) interprets and responds to music from an aesthetic perspective. It teaches students to generate new and free ideas and to develop into imaginative thinkers in a variety of ways. Both areas are active and inseparable when playing an instrument. The experiential, hands-on approach to playing an instrument promotes examination and practice, clear thinking and communicating, mindfulness and listening, and deepens a student’s overall understanding of themselves, their beliefs, knowledge and perception of the world. Critical and creative thinking skills are imperative for understanding and contributing to 21st century challenges. Playing an instrument teaches these skills and provides lifelong joy and enrichment.
Theme:Arts Education
Teaching "The Dybbuk": A Multi-Arts Approach

Lois Rudnick,

Overview: With themes of horror (demonic possession), love and betrayal, religious orthodoxy and greed, Ansky's "The Dybbuk," and its many variants--Yiddish film ("Der dibuk"), an avant-garde chamber work (Aaron Copland's "Vitebsk"), a ballet symphony (Leonard Bernstein and Jerome Robbins), and, most recently, a feminist opera (Ofer Ben-Amots--has the makings of a compelling curriculum for students of drama, dance, and theatre history, as wells as for performing arts students. Russian writer S. Ansky is recognized as the first Jewish ethnographer. During World War I, he collected and preserved hundreds of folks tales and folk songs from Hassidic communities in Eastern Europe and the Russian Pale, including Kabbalist songs that he used in his play. There is an excellent recent translation of the play in English, and rich scholarly work on Ansky that provides in-depth context for his ethnographic work, the relationship of his work to Hassidic and world culture (he was a Russified Jew who wanted to create a new Yiddish theatre that would appeal to ordinary folk in a contemporary way), and the reasons his play resonates with contemporary audiences.
Theme:Arts Education
Pre-Service Arts Teachers’ Perceptions of Inclusive Education Practice in Western Australian

Lisa Paris, Senior Lecturer, Arts Education, Curtin University
Dr. Karen P. Nonis, 
 John Bailey,

Overview: The creation and maintenance of inclusive learning environments is a key responsibility of all teachers working in Australian schools. Most Australian Universities embed inclusion education training for pre-service teachers (PST) in coursework. There is an implicit assumption in these arrangements that the study of inclusion and of special needs education completed at University will translate into practice when PSTs are working in schools. This phenomenological mixed methods research utilised an existing (2016) University facilitated Artist in Residence program, in which secondary Arts PSTs worked in Western Australian primary schools on a significant art project, to examine how effectively inclusion training is translating into practice. The findings of the research are both surprising and concerning. There would appear to be little or no articulation between theory and practice – the PSTs in our study did little to facilitate inclusion outcomes. Equally as interesting, however, is the finding that something in the collaborative arts experience itself (i.e., unrelated to the actions of the teacher or the AiR) allowed an inclusive experience for the children involved, underscoring the value of The Arts in general education – and especially within inclusive education.
Theme:Arts Education
Room 2 - C3255 Content Praxis
Anxiety of Our Age: Domestic Art and the Perversion of Privacy

Dr. Jill Foltz, Faculty, Art, El Centro College, Dallas, TX, United States

Overview: In contemporary art and culture, extroversion and sociability often enjoy a place of privilege, whether in the realms of job descriptions, social media, or relational aesthetics. Introversion is viewed as a personality defect, the need for privacy is eyed with suspicion, and the arts of craft and interior design are relegated to the “decorative arts” section of the museum. However, several recent artists have chosen to use the site of the home or other private spaces as the subject of their sculpture and installation. This paper will investigate how these artists subvert dominant cultural values of gregariousness and shared space by creating paradoxical “private” spaces in the gallery, reclaiming the values of safety and privacy in an increasingly exposed culture. Drawing on Foucault’s concept of “heterotopias” and Bachelard’s Poetics of Space, I will explore the work of contemporary artists who employ the visual vocabulary of domestic interiors as sites of respite or prostheses of privacy. These artists include Andrea Zittel, whose A-Z Units (1994-2008) and Indy Island (2009) are life-sized spaces for individual comfort; Jessica Stockholder, who describes her colorful, domestic installations as being “about controlling the structure and surface quality of one’s environment”; and Marc Camille Chaimowicz, who creates gallery-sized installations of decorative and domestic settings in an attempt to “dissolve the hierarchical and disciplinary divide between fine art and the decorative arts.” Though many today may consider self-seclusion a perversion, these contemporary artists create other spaces that respond to and compensate for the anxiety of our loud, open, and complicated world.
Theme:Arts Theory and History
Audio Cartography, Ethico-aesthetics and Orderliness: Divining Models of Participant-institution Connection in Social Practice

Michael Mc Loughlin, Recordist, Researcher, Artist, Dublin, Ireland

Overview: Over the past 20 years, I have developed an audio-cartographic methodology of context-related praxis that examines the inter-relationships between the aesthetic, the ethical and the institutional/relational dynamics that shape the contexts of the sound based projects I undertake. This means that conceptually my work explores community building, place making and active citizenship. In practice, it involves a process of recording conversations/discussions with specific communities of interest around social themes relevant to them; in order to develop sound based artworks that in turn represent that community of interest. I apply spatial sound based methods to sociological research through artwork involving choreographed moments of exchange through agreed, staged, multi-channel spatial recordings of unmediated conversations between small groups of individuals who share some commonality. The "subject" of this work is not the individuals participating in the recording, but the methods through which the particular group involved create "orderliness" (Garfinkel,1967) in their shared constructed realities and how this "adjusts" through involvement in the recording. The artwork discussed here is in itself a provocation to open dialogues. The people who take part in these recordings have Power of Veto over any future installation of this artwork. This paper will use this art making process as a means to examine this overlooked aspect of social arts practice specifically relating to institutional/participant relationship and ethics. The paper will discuss the procedures through which the art institution creates orderliness impact potential for relationship building between the participant and institution in social art practices.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Anchors in the Wind: Avoiding Polemics While Shouting about Climate Change

Catharine Salmon, Principle Academic Staff Member, Nelson Marlborough Institute of Technology, Aotearoa NZ, Nelson, New Zealand

Overview: For many years, I have noted how small changes of temperature produce a tumult of extreme weather events, and ocean and icesheet impacts. In parallel, the climate change discourse has been almost as tumultuous. Fueled by the ongoing updating of environmental data, the analysis of its implications and our responsibilities has been intense. All of these aspects concern me, involve me. The question of how to express these concerns through art is complicated. How to raise this most critical issue, communicate the complexity, stimulate the art lover’s sustained reflection yet avoid didacticism is challenging. Is situating climate change or any other environment concern at the heart of an art practice an instrumentalization of that practice? Moreover, if art, as the English novelist Ian McEwan observes is “entirely and splendidly useless” how does an artist with burning concerns avoid shouting in the wind? This paper will consider these questions in relation to my own environmental art practice that is prefaced on belief in art’s potential to communicate the urgent issues of our times through visual poetics and text.
Theme:Social, Political and Community Agendas in the Arts
Room 4 - C3275 Memory and Preservation
EMI Music Canada Archive and the Preservation of Popular Music

Annie Murray, 
 H. Thomas Hickerson,

Overview: In 2016, the University of Calgary began to acquire the EMI Music Canada Archive from Universal Music Canada. The archive consists of 5,500 boxes of archival material, including more than 2 million documents and photos and 40,000 audiovisual recordings in more than 40 media formats. It is remarkable that this complete corporate archive of a major record label is now available in a public research institution. With support from The Andrew W. Mellon Foundation, the University of Calgary will migrate and preserve 100% of the audio recordings in this archive. Digitization efforts often involve a process of selection and canonization; however, in the case of this archive, every audio recording will be migrated, digitized and preserved. In this paper, we will examine the importance and implications of preserving and making available the totality of a record label’s output for posterity, and we will describe methods by which preservation efforts of this nature can inform the study of popular culture and society.
Theme:New Media, Technology and the Arts
The City as Museums Interface: Open Source Heritage and Art

Giovanna Casimiro,

Overview: The idea of open source heritage is exactly the understanding of this context of open memories, future of open memories. What is this open source software of our minds? Definitely, the contemporary man deals with forces of tension that induce him to the total sharing of his life, but in a modus operandi dominated by the companies that owns of software and services. It seems to me that traditional legitimacy bodies (state and private, responsible for tipping, validation, etc.) contribute to the collection of data, acting as mediators (and not moderators) of the contemporary system of validation of objects and memories. In this sense, the idea of ​​museums and legitimating groups starts to be reviewed, because the powers are redirected and capillarized by the digital interfaces. Above all, the way of consuming and building memories is established through effective relationships and less linked to the existence of the object, since the places of value, points of relevance, memories and signs of the city exist individually, in collective validation. In this sense, what is the value of heritage today and how is it constructed, especially from the point of view of the imaginary construction of urban space? This paper, so, proposes a debate through public art interventions that discuss the process of materialization of the city as digital interface for memory, point political and artistic aspects. More than that, this paper firm the existence of an open source heritage, through digital dynamics that can be sustained by artist or corporation mediums.
Theme:New Media, Technology and the Arts
Power and Opportunity in the Global Shift to Community Engagement in Art Museums

Dr. Johanna Taylor, Tempe, AZ, United States

Overview: The image of an art museum as an austere encyclopedic archive of fine art objects for audiences to observe is antiquated. Today museums are placing engagement and cooperation with audiences at the center of their mission, working to make programming directly relevant to the daily lives of neighboring communities. This connects community organizing to work established by social practice artists from Suzanne Lacy to Pedro Reyes who take art practices to the people to shift socio-political structures. This community engagement is place-based and operates outside of the confines of a typical museum setting, making public spaces from plazas to community centers the sites of cooperative art making and local social change. This paper uses the Queens Museum in New York City as the central case study. The Queens Museum’s community-driven programs are critical in surrounding Corona, a neighborhood exemplary for international diversity, rapidly changing demographics, and limited access to resources. The museum collaborates with residents to target local concerns from housing and sanitation to educational access and legal status. Additional global examples are referenced to suggest that emphasis on this place-based, community engaged programming is energizing museums worldwide.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 5 - C3285 Visual Social Engagement
Coached Feelings in Paula Markovitch's El Premio, 2012

Prof. Inela Selimovic, Assistant Professor of Spanish , Spanish Department , Wellesley College, Wellesley , MA, United States

Overview: This essay studies the ways in which the clash between genuinely felt and coached emotions often gives way to affective re-socialization processes in Paula Markovitch’s El premio. Indeed, the film frames these processes around Argentina’s recent political violence (1976-1983) as an invisible psychosocial presence in the main characters’ lives. Following the theoretical discussions by Gilles Deleuze, Brian Massumi, and Patricia Clough about the complex ties emotions hold to affect, I argue that Markovitch’s film emblematically assumes a unique position within contemporary debates on memory concerning recent political violence in Argentina. Affective re-socializations of the child in El premio echo what is seemingly absent in its story but arguably serves as one of the most implicit references to appropriated childhoods during the Argentine state terror. The notion of the child’s disruptive affect in the film becomes an unlikely but fertile aesthetic territory for airing the re-appropriated adults’ re-socialization intricacies within the ongoing reconstructions of socio-individual memories.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
"Little Significants" in the Visual Arts: Defining the Disability Aesthetic through the Analysis of the Representation of Dwarfism

Dr Debra Keenahan,

Overview: The physical difference of disability is not commonly associated with beauty, but rather its opposite. Theorists acknowledge the vicissitudes of taste in aesthetic judgement. Similarly, theorists acknowledge the vicissitudes of the valuation of disability - that is, physical difference is not always and everywhere defined as a disability. This interesting parallelism between the vicissitudes of aesthetic taste and disability is acutely illustrated through the representation of the dwarf - particularly the achondroplastic/disproportional dwarf. The purpose of the disability aesthetic was to produce a shift in the standards of beauty away from the notions of harmony, bodily integrity and health. However, despite such development of terminology, and claims of purpose, the definition of the disability aesthetic remains obtuse. Through the analysis of images in paintings, photography and sculptures of dwarfism this work first critiques current descriptions of the aesthetic of disability. Then adhering to a feminist critical disability studies framework - focusing upon the interface of the social milieu with the subject as limited agent - this work analyses a series of photographic representations of the author who is a female artist with achondroplasia. Through analysis of this self-representation, this work endeavours to provide clarification of definition of the disability aesthetic.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Using Interactive Theatre to Decrease Sexual Assault and Victim Blaming in Higher Education

Noah Lelek,

Overview: This paper discusses the researched benefits of using interactive theatre to decrease sexual assault and victim blaming, as well as increase dialogue about these two issues in higher education. The Texas Woman's University Interactive Theatre Troupe was founded to 2015 to increase dialogue about a number of pertinent social issues. The troupe devised an interactive theatre script entitled, Welcome to College, to tackle the prevalence of sexual assault and victim blaming on college campuses through research, improvisation and devising techniques. The script consists of a short, traditional theatre piece, followed by a question and answer portion between the characters and audience, followed finally by the interactive portion where members of the audience are able to enter the scene to try to solve the inherent issues in the script. The script was performed for a number of college students in disparate courses. Students who witnessed the performance were given a pre- and post-performance questionnaire (mixed-methods), followed by the opportunity to participate in one of two focus groups. The results from the study, which were positive in nature, will be presented at the conference, as well as information about interactive theatre script creation and lessons learned through the facilitation and research process.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
16:55-17:40 Wrap-Up Session

Jun 29, 2018
08:15-09:00 Conference Registration Desk Open
09:00-09:20 Daily Update
09:20-11:00 PARALLEL SESSIONS
Room 1 - B2160 (Rennie Hall) Impacts of the Moving Image
Wonderwomen: Embodied Confidence in Popular Media

Alethea Alexander, Acting Assistant Professor, Dance, University of Washington, Seattle , WA, United States

Overview: Wonder Woman bursts into the hearts of millions of moviegoers inspired by the power of the female superhero. It was satisfying to see a woman join in WWI battle and defeat a God, but narrative alone did not make Wonder Woman the seventeenth highest-grossing film of all time. I suggest that the superhero’s physicality defined her strength and empowered female viewers. This presentation will explore how specific ways of moving, both individually and as observed in others’ bodies, can affect confidence and empowerment in women. Drawing from oral and movement interviews with twelve nationally diverse dancers at the University of Washington, and a socioemotional application of Laban Movement Analysis, my research reveals preliminary findings about physical expressions of confidence and empowerment shared among women. I suggest that free-flowing, circular movements initiated from the gut and spine are associated with feelings of safety and self-assuredness, and that direct, bound movements initiated from distal points evoke empowerment. I argue that movement patterns share an intrinsic relationship with emotional states, and therefore movement matters. Furthermore, because of our mirror neuron system, we physically experience the movement of bodies observed both on and off-screen. Not only is it fun to watch Wonder Woman plow through battlefields, but we also experience kinesthetic empathy for her confident strides and punches. I will argue that movement is an under-recognized keystone that could clarify and catalyze empowerment for women.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
A Shooting Star or Flying Start?: Interactive Documentary Film Making Practice and Storytelling in Contemporary China

Chanjun Mu,

Overview: Interactive documentary film, emerged in 1980s and thrived in past decade under the growth of digital media technologies, is a new genre that narrates and the real and enables audience interact with reality through interactive digital technologies. There is increasing concern on this genre from vast western film agencies (e.g. the National Film Board of Canada, the Irish Film Board), international film forums and festivals (e.g. International Documentary Festival Amsterdam, Sundance Film Festival) and broadcasters (e.g. Arte, BBC, The Guardian, France 24), facilitating the interactive documentary film making practice and spreading the trend all over the world. Researchers from varied fields engage in this promising territory as well (e.g. MIT’s Open Documentary Lab, the International Documentary Festival Amsterdam’s Doc-Lab). Chinese interactive documentary film practice came to the stage in a relatively late time, but it expanded in past decade and brought about artworks and projects unremittingly. Many questions are not yet clear like the features and making practice situation of Chinese interactive documentary film. As a profound segment of jigsaw picture mapping the global interactive digital art practice, the investigation about Chinese interactive documentary film should not be absent. To remedy the gap, this research offers some insights into two aspects: the historical procedure in which Chinese documentary started to employ and be reshaped by emerging digital technologies; the current situation and features of Chinese interactive documentary film. For methodology, a systematic literature review in relevant field and case studies of Chinese contemporary representative artworks and projects will be conducted.
Theme:New Media, Technology and the Arts
Disrupting Embodied Prejudice with Art and the Moving Image

Edmond Kilpatrick, sessional instructor, School of Contemporary Arts, Simon Fraser University, Vancouver, BC, Canada

Overview: Through autobiographical, arts based inquiry, I sensitized my awareness to solid and fluid sensations in my chest that I associated with prejudice and vulnerability and analyzed them phenomenologically in embodied writing. I entertained the supposition that sensations of fluid movement could be associated with vulnerability, and solid unyielding sensations could be associated with bias or prejudice. I found images that elicited these responses and became aware how implicit bias influenced my sensation response. I investigated how sensations elicited by implicit bias could be changed. While watching a short video interview of a gentleman who shared his struggles with addiction and poverty I noticed solid, resistant sensations in my chest that betrayed my efforts to empathize with him. I strategically inserted short dance and contemporary art clips throughout the video that disrupted my solid sensations with fluid ones. The intervention of art altered the habitually resistant way I engaged with him and moved me emotionally and sensationally. The original educational video was intended to create empathy and advocate for addiction support services. Despite my best intentions, it did not challenge the implicit biases that barred me from internalizing its message. This research reinforces how our embodied prejudices need to be addressed along with our cognitive ones for a new understanding and experience to occur. If public education programs and media tools are to have a transformative impact on their audience, the use of art can be a potent element to communicate the message in a full-bodied way.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Storytelling and Intervals

Cedric vE,

Overview: Storytelling is regarded as a key concept of art. Aristotle’s theory is regarded by many scholars as the cornerstone of the tradition of narrative composition articulated in three acts (Prince 1974). Additionally, Russian formalists Vladimir Propp and Viktor Shklovsky make a distinction between two correlated concepts: Fabula and Syuzhet (Cobley 2001). In contemporary cinema, this ultimately defines tone and style (Bordwell 1985). But the three-fold paradigm can also be observed in Japanese culture, with the additional element of rhythm, which is of importance in its relation to time. In this regard, filmmaker Andrei Tarkovsky approaches the cinematic experience by manipulating the perception of duration (Tarkovsky 1989), generating intervals in the chronology of the movie. These narrative intervals are the focus of a new approach to storytelling. They create an unspoken language, with the instruments of cinematography, rhythm, and sound as alternate characters of the story. Besides, in Gilles Deleuze’s view, an image is infused with time, and contains present and past (Deleuze 1989). Therefore, a narrative configuration composed of gaps encompasses a different dimension of time and space, allowing contemplation to become the interface between the audience and the film. In this regard, the Japanese concept of Ma describes how hiatuses enable an intensity of vision, thus creating an immersive experience (Arata 1979). The story can operate on a level where the emotional attributes of the images and sound work of the film become quintessential.
Theme:Arts Theory and History
Room 2 - C3255 Inclusive Initiatives
Contemporary Art Movements for Revitalisation

Eimi Tagore-Erwin,

Overview: Despite Japan’s global pop image, much of the internal Japanese art world counters this theory and aesthetic. Different art narratives are successful in Japan and have started gaining traction in global avenues in recent years. Much of these movements engage with social practice, a phenomenon that has become increasingly popular in Japan as the economic and cultural gap between rural and urban communities has widened throughout the nation. Many Japanese art world tastemakers and artists have increasingly turned away from global art market trends to instead cultivate projects that have a focus on local community building, especially as new avenues of sponsorship that cater to government revitalisation initiatives emerge. This paper aims to introduce and examine concepts behind contemporary art festivals for revitalisation that have been occurring in Japan in recent years. The paper aims to provides insight into the effects of these festivals in the long and short term, by examining the practices of Kitagawa Fram, a leading figure of these movements. The paper is situated within cultural studies and visual culture studies. It draws heavily from the research of art historians Reiko Tomii, Adrian Favell, and Gennifer Weisenfeld, and is complemented by investigative research into the life of art director Kitagawa Fram, as well as observational analyses formed by on-site study of the Setouchi Triennale in 2015 and 2016. This paper implies that the new community-focused initiatives in Japan may bring about wider changes to Japan’s art identity on a global level.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Developing Artistic Practices of People with Disabilities: The Case Study of Latvia

Sarma Freiberga, Chair person, Board of the Foundation, Foundation Come Along

Overview: Inclusion of people with disabilities in general society has been delayed in the Eastern Europe due to the severe consequences of the communist regime. Both on institutional level and in public opinion people with disabilities are still labelled as secondary. This refers also to embarking people with disabilities into artistic practices due to restricted accessibility. However, in the Eastern Europe significant improvement regarding visibility and overcoming stereotypes referring to the people with disabilities has been achieved thanks to grassroot activism. As a positive example the research paper analyses the case of the Integrative Arts Festival Come along! involving children and young people with special needs in Latvia, having started 21 years ago and since 2007 expanding to having reached the audience of 100 000 (from 1.9Mio inhabitants of Latvia which is a significant number) of national radio and television. The proposed paper focuses on the art product created by people with disabilities as an instrument of socialization and promoting understanding between different social groups, presenting the case of Latvia as a successful development able to provide a unconventional approach for inclusion.
Theme:Arts Education, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Children Inspire Glass Project at Emporia State University

Dr. Carol Russell, 
 Fletch Russell, 
Dr. Heather Caswell,

Overview: Emporia State University’s Children Inspire Glass Project (2013 & 2016) demonstrated the power of authentically creative experiences for all children, and importance of their genuine ownership in that process. Art offers an avenue for success for all children, regardless of ability level, as there is no wrong way. This project demonstrates that with appropriate accommodations, all children can be engaged and focused when you foster creativity with an appropriate environment, materials, interactions, and TIME! Art is truly a right for all children and this project advocates the right of all children to express themselves through the arts. Practitioners will benefit from illustrations of collaboration and specific strategies/accommodations utilized to facilitate children’s visual art and creative writing expressions. With appropriate accommodations, all children can be fully engaged and share the joy of creative expression. Participants will observe a collaborative model and be provided with strategies to facilitate an inclusive group of children to creatively express themselves through visual arts and creative writing. Presenters will share various strategies related to their own specialty areas (visual arts, creative writing, special education, collaboration with families, university faculty and students). Documentation of responses and reflections about the CIGP from children, families, faculty, and students will be shared, which illustrates the authenticity, collaboration, and success of this project. This includes children sharing their designs, stories, and ideas at art shows. This material informs us for the upcoming CIGP III in Spring 2018, in addition to supports our funding efforts.
Theme:Arts Education
Art and Affirmation of an Intellectually Disabled Identity: The Experiences of Irish Artists with Intellectual Disabilities

Kaitlin Stober, Research Specialist, Department of Disability and Human Development, University of Illinois at Chicago

Overview: Previous research suggests participation in the arts and/or disability arts can positively influence individuals' affirmation of a disabled identity; however, persons with intellectual disabilities (ID) have not been included in this research to the same extent as their peers with physical or sensory disabilities. In addition, much of the research that has referenced artists with ID does not highlight the voices and perspectives of the artists themselves. In response to this empirical gap, the present research study explored both the general experiences of professional artists with ID as well as their consideration and/or affirmation of intellectually disabled identities. Data was collected via two focus groups, one with five performing artists and the second with five visual artists, as well as follow-up, individual interviews with the artists. Key findings were identified via thematic analysis. All participants associated positive feelings with their artistic careers, and many reported friendships as a key benefit. Participants provided varied accounts concerning their considerations of intellectually disabled identities. Affirmation of an intellectually disabled identity was more common among performing artists, as multiple visual artists rejected the ID label due to associated stigma. Beyond actual rates of identity affirmation, other recurring themes supported the notion that art can be a fertile field for the development of positive self-identities in general, in addition to those specifically related to ID. Most notably, both performing and visual art participants suggested that being an artist improved confidence levels, benefitted their independence, and provided opportunities to demonstrate their capabilities to the general public.
Theme:Social, Political and Community Agendas in the Arts
Room 3 - C3265 Creative Trajectories
Becoming Unraveled: Experimentations with Artistic Memoir as a Method in Post Qualitative Research

Alexandra Berry,

Overview: Reverberating with post-human and new materialist notions of learning as an intra-active, “more-than-multiple” experience (Deleuze and Guattari, 1987, p. 154), this paper offers a glimpse into my experimentations using Artistic Memoir as a method to inhabit my affectual experiences as a Canadian artist/researcher/teacher working as a visitor in a shanti-school in Goa, India. Tentatively mapping encounters that emerged through a series of child-driven art projects which reimagined our engagements with local waste matter, Artistic Memoir offers a new and intuitive approach to navigating educational phenomena, such as affect, which move beyond traditional modes representational thought. Beginning from the middle and posing no concrete end, the performance of Artistic Memoir aims to disrupt readers from conventional expectations of academic writing and uses abstract, artistic expressions to twist the spirit in new and unfamiliar directions (Springgay, 2008). In this paper, I share a theoretical exploration of the intentionally incoherent, piecey presentation of Artistic Memoir, and present a snapshot of my practice with this arts-based method using a blog site as my medium.
Theme:Arts Education, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Art and Transformative Learning

Andrew Gitlin,

Overview: Lefebvre (2014), notes that the space influences production (meaning human production) of products and the products influence the production of the space. The production process, however, produces two categories of objects: works and products. The difference between the two being that “products can be reproduced and are in fact the result of repetitive acts and gestures while works can’t be reproduced because each one has something unique and irreplaceable about it” (Lefebvre, 1991, p.70). This human production of works and products can be contrasted with nature that doesn’t produce at all—nature always creates beings and these beings are always works as opposed to products (Lefebvre, 1991). In this way, nature is a unique creative producer of works in exactly the same way art works on the world and space and space and the world works on art. For our focus on education, we now have a critical lens to look at the space of schooling to see where it produces repetitive acts, gestures, relationships and/or the creation of “works” that produce irreplaceable and unique acts, gestures and relationships. This allows us to ask a direct question: is the production process of learning in schools typically repetitive (or otherwise) and is the result of this sort of process a product or a work? Given the answer to this question we can now make an assessment of the construction of school space in terms of desired outcomes such as the need for sameness and/or unique creative types of learning that we argue are directly related to the production of works of art.
Theme:Social, Political and Community Agendas in the Arts, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Space In-between: A China/Canada Pedagogical and Cultural Exchange

Dr. Boyd White, 
Dr. Anita Sinner, 
Dr. Jun Hu,

Overview: The concept of “ma,” which originated in Japan, refers to the “pure and… essential void between all things;” “an emptiness full of possibilities, like a promise to be fulfilled” a state of being in/between—between spaces, times, perceptions, cultures. Our paper explores this concept as an east/west, China/Canada pedagogical and cultural exchange, an in-between space that shares a commitment to the arts-based practice of a/r/tography—the interweaving spaces between art (practice), research and teaching in our respective interactions with pre-service teachers. In this paper, the three presenters discuss how ma informs our ways of being and becoming, and how each, respectively, has adapted ma—two in a context of western teacher education (one, a generalist elementary education program that encourages artistic exploration of self-identity as a philosophic component of pre-service teachers; the other, an art specialist education program with a particular focus on community outreach), and the third in the context of chinese art teacher preparation that includes a three-week course in which students apply a/r/tography principles while traveling part of the ancient silk route. As we bring together ma and a/r/tography in this international forum our intellectual exchange provides a collaborative network of evolving philosophical perspectives and practices.
Theme:Arts Education
Artful and Rhizomatic Belongings: A Digital Assemblage Exploring Students' Belonging in Higher Education

Maureen Flint,

Overview: C(art)ographic Conjunctions is a digital humanities arts research project that explores student’s connection to and production of place in higher education. This project combines audio clips from student interviews, geo-tagged paths of guided walks, soundscapes of campus, photographs, and 360-degree video in an interactive digital assemblage to produce a more nuanced understanding of how students’ experience the place of higher education. Place offers a unique entry point for complicating narratives of belonging and connection, and to consider place as an assemblage of materialities that create an affective rhizome, moving towards (re)presenting the multiple, rhizomatic, and simultaneous knowings of student experiences. Place as constantly produced and iterative enfolds notions of the rhizome, a multiplicity, connecting points to other points, reducible to neither one nor the multiple (Deleuze & Guattari, 1987). The rhizome suggests an ever constructing, variating, and expanding understanding of place/space as made up of lines and a multiplicity of directions. For example, students mark and create collages during focus groups that respond to the prompt: “draw, write, or visually describe the place of campus.” The collage creation becomes an encounter of place, an inquiry of process that encourages juxtaposition, relocation, and connection. Following focus groups, students are invited to participate in a guided walk, exploring the place of campus through their particular encounters and experiences in place. These guided walks and focus groups methodologically move to understand belonging as a rhizome, a collection of relations, intensities, and flows that connect, flatten, and fold back on one another. Belonging becomes differently through the connections and relations within this data. Marked maps made during focus groups layered with paths and photos assembled during guided walks, lines of flight from text and sound from focus group and walking interview conversations layered in between. The lines of the guided walk and text create connections, a rhizome between other pieces of data. C(art)ograhic Conjunctions is the artful combination of this data, an affective digital rhizome combining audio, visual, and cartographic segments in a digital assemblage. For example, segments of audio (e.g. clips of student narratives and soundscapes) become flows along paths that traverse a digital map of campus. These audio paths layer and overlap, interrupting and intersecting, some layering again and again, while others become lines of flight that depart the map. Using digital media, these layered and multiplicitious paths create a rhizome of belonging. This inquiry of belonging rejects closure, themes, and generalities, instead looking to difference and diffraction, articulation of questions producing questions doubling and folding and moving to openness (Deleuze & Guattari, 1987). C(art)ographic Conjunctions offers a pedogogical and political turn to place that maps differently how we respond to, support, and make change on college campuses. Through endless (re)combinations and entry points, C(art)ographic Conjunctions offers implications for methodology and practice: a different reading of place and belonging in higher education.
Theme:New Media, Technology and the Arts
Room 4 - C3275 Critical Mimesis
Las Reinas, Pieta: A Meditation on Grief, Violence on Bodies of Color and Performing Catharsis

Kristina Tollefson, Orlando, FL, United States
 Wanda Raimundi Ortiz,

Overview: The artists discuss the impetus for their collaboration and will demonstrate the collaborative benefits of artists reaching across academic disciplinary divisions to strengthen each other’s work. The imagery, inspired by Michelangelo’s Pieta, created the background for Raimundi-Ortiz’s live performance portrait where she cradles 33 young men and women of color for 3:33 seconds each: the number 33 representing the age of Jesus at the time of his execution. The piece was presented at the Knowles Chapel at Rollins College in Winter Park, Florida in March 2017 and the Smithsonian National Portrait Gallery in Washington DC in May 2017 and has upcoming performances in Orlando and Chicago in 2018. The artists will discuss the impact of the project on both participants and observers.
Theme:Social, Political and Community Agendas in the Arts
Jan van Bijlert's Portrait of a Widow as St. Frances of Rome

Dr. Jochai Rosen, Haifa, Israel

Overview: A painting by the 17th-century Dutch painter Jan van Bijlert so far known as Portrait of an Unknown Family (National gallery, Prague), depicts a woman accompanied by her two daughters and a trumpeter who is blowing his trumpet. This group is shown by a table set outside the walls of an Italianate city. This unusual iconography is so far unexplained and its deciphering will be the purpose of this lecture. Trough comparisons with 17th-century Dutch representations of trumpeters and comparisons with representations of St. Frances of Rome (Santa Francesca Romana 1384-1440) in art, this paper will prove that this painting is actually a Portrait of a Widow as St. Frances of Rome and that this widow is offering nourishment to the poor. By that it will show that this is so far the only known depiction of this saint in 17th-century Dutch painting and a fresh addition to this rare subject in art.
Theme:Arts Theory and History
A Portrait of Power

Elise Richman, Professor, Art and Art History, University of Puget Sound, Tacoma, WA, United States

Overview: The first presidential portrait of a black president by a black artist was unveiled on February 12, 2018. This unveiling marked a momentous historical moment. Obama’s portrait represents a rupture in how the generally conservative genre of the presidential portrait is depicted. He is represented in front of a thicket of leaves interspersed with symbolic flowers representing places of significance to him. President Obama, sits facing the viewer, as if ready to converse in a posture that has been described as both casual and vigilant. He looks approachable and his emotional mien is complex. The color is vivid and his feet seemingly hover, he is not in a stately room but rather a vibrant, otherworldly garden like space. Kehinde Wiley, the artist who painted Obama’s portrait, is a truly intriguing choice because he explores how portraiture historically reinforces power imbalances. Wiley is famous for his grand oil paintings of black and brown men whom he encounters on the streets of places such as Tel Aviv, Harlem, and Port Au Prince. He engages in the history of portraiture to, “quote historical sources and position young black men within the field of power.”  This paper will examine the connections and disruptions that this painting of an undeniably powerful subject introduces to Wiley's practice. It will also explore visual tropes such as gestures, lighting, symbolic objects, furniture, architectural elements, facial expression, and materials in select, historically significant paintings to more abstractly analyze the rhetoric of power in portraiture that Wiley employs.
Theme:Arts Theory and History
The Ghosts of Tom Watson: Country Music Performance as Alternative Political Outreach

Peter La Chapelle,

Overview: This paper will analyze the ways in which country music, with its connections to recording and broadcasting, has served historically as an alternative means for political aspirants to reach constituents and sidestep traditional obstacles to obtaining office. This presentation will focus on performer-politicians such as Populist leader-fiddler Tom Watson, left-wing singing cowboy Sen. Glen Taylor, and segregationist-country performers such as Texas Sen. Pappy O'Daniel and Louisiana Gov. Jimmie Davis, and on non-performer politicians who used country music to transform politics such as Alabama governors Big Jim Folsom and George Wallace and President Richard Nixon. A central theme is the ways in which aspirants have overcome political outsider status by using music as way to reach out to voters. Mediums explored in this presentation include musical compositions, recordings, and graphic campaign materials. This paper will also analyze the types of politics with which country, perhaps the most of political of all musical genres, has been connected, including forms of populism that embrace both inclusivity and xenophobia.
Theme:Social, Political and Community Agendas in the Arts
Room 6 - D3345 Art Worlds
José Gabriel Navarro and the Creation of a Vernacular Art

Andrea Moreno, Full-time professor, History Department, Ponitificia Universidad Católica del Ecuador, Quito, Pichincha, Ecuador

Overview: José Gabriel Navarro (Ecuador, 1881-1965) emerged as an intellectual figure at the first half of the 20th century, who created an educational model and a cultural discourse regarding a Pan-Latin American and Hispanic American art. Since 1911 till 1965, his labor as Director of Ecuador’s Fine Arts School at Quito, as well as his literary works, press articles and postulates transmitted at international meetings and conferences, were the medium with which he crystallized his argumentation on the authenticity and originality of Ecuadorian art. Navarro’s ouevre held a strong emphasis on the colonial artistic manifestations, although he also devoted few works to what he called local pre-Columbian art and what he treated as modern and contemporary art. His discourse was based on nationalism and modernism concepts that circulated between other Latin American intellectuals. Although a young Navarro declared that John Ruskin was his teacher, his work must be understood within a broader Latin American ideology, which advocated autonomy from North American and European artistic and cultural principles.
Theme:Arts Theory and History
Lavorare Con Lentezza: Atlas of Sensitivity and Political Gestures

Maestro Mario Alberto Morales Domínguez,

Overview: Lavorare con Lentezza is an artwork by the Mexican art collective Cráter Invertido. This piece was exhibited during the Venice Biennale 2015. Currently, Cráter Invertido is one of the most well-known art groups in Mexico, and they are trying to express the sensitivity of the Mexican people, especially, Mexico city. They are involved not only in the artworld but also in the ambient of activism in Mexico. Recently, after the Biennale exhibition, they have got international visibility. Lavorare con Lentezza is a 5 x 1.2 m drawing that was made by several members of the group and even external people, like colleagues both from the artworld and from the activist practice, or simply friends. It is a kind of atlas of contemporary gestures and sensitivities. It is a kind of collective iconographic manifesto. For them, every line is important, because every person has something to say. The political gesture consisted in bringing voice to lots of different traces and subjectivities. And if we put close attention on the details, there are many messages through those apparent innocent drawings. Although the official author of the work was Crater Invertido, there are lots of hands and minds implicated. There are too many Mexican issues on that work. We can see not just the political agenda of Crater Invertido, but most important we can see traces of Mexican history, identity, and idiosyncrasy.
Theme:Social, Political and Community Agendas in the Arts
The Beauty from the Cultural Collision between China and the West: A Study of the Buddhist Songs by Master Zhizheng

Prof. JingYing Xu,

Overview: Buddhist music is music created for or inspired by Buddhism and used for the explanation of Buddhism and the promotion of Dharma. In ancient China, Buddhist music was widely used in temples for daily Buddhist activities. The traditional Chinese pentatonic scale, which consists of five notes within one octave, is frequently used in many of these songs. Master Zhizheng created 20 pieces of Buddhist songs throughout his life. These songs, bearing the tonality of western music, all originated from his meditation. The lyrics reflected his insights and inspirations.Since his childhood, he has been influenced by Christian culture and Buddhist culture at the same time. In his 11 years of teaching Buddhism, he used music as one of the most important means to spread Buddhism. He often quoted from Beethoven: Music is a higher revelation than all wisdom and philosophy. He regarded music as an important way to practice the Guanyin Method, a method to reach enlightenment through perceiving the sounds of the world. It is a method of spiritual cultivation and practice according to the Buddhist Shurangama Sutra. Besides, Master Zhizheng also used his songs for daily Buddhist ceremonies and activities, such as rituals, funerals and free medical treatment and training.The Buddhist songs by Master Zhizheng differ from the traditional Chinese Buddhist songs in singing forms and application of functions. This is his exploratory attempt to reform Buddhism in response to the "Humanistic Buddhism" philosophy proposed by Master Taixu, a famous Buddhist master in the early 20th century.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Design Approach to Rebuilding Frank Lloyd Wright's Banff Pavilion

Dr. Kendra Schank Smith, 
Dr. Albert C. Smith, 
 Yew-Thong Leong, 
Dr. Zaiyi Liao, 
 Matthew Lauder,

Overview: The Banff Pavilion is a piece of Canadian design heritage and after restoration will be the only public Frank Lloyd Wright building in Canada. The research team in the Department of Architectural Science at Ryerson University is attempting to rebuild the currently destroyed Banff Pavilion. This will bring the master designer Frank Lloyd Wright’s work back to Canada. Frank Lloyd Wright was considered a skillful designer, artist, and master of the plan. The Banff Pavilion is an artifact and work of art that will be returned to the community when completed. Through the exploration of Frank Lloyd Wright’s design process, and specifically his use of geometries, the floor plans and drawings for the Banff Pavilion will be re-drawn. The research discovered examples of squares and the golden section ratio in plan, section and elevation. From these findings the research team was able to determine probable dimensions using proportion, and through this process, begin completing a set of schematic drawings in preparation for construction documentation. Overall this paper will study Frank Lloyd Wright’s design methodology and its effect on returning this work of art to its original intended form.
Theme:Arts Theory and History
Room 7 - D3355 Collaboration for Change
Educational Impacts of School-Community Arts Partnerships: A Randomized Controlled Trial of Houston’s Arts Access Initiative

Daniel Bowen, College Station, Texas, United States
 Brian Kisida,

Overview: The Arts Access Initiative (AAI) was implemented in the Houston Independent School District (HISD) in 2015-16. The primary objective of the AAI has been to “increase access to the arts to all children through community partnerships, arts-based training for educators, and access to fine arts educators and creative learning after school.” This access is primarily delivered through funding that is earmarked to initiate and develop school-community partnerships between HISD’s elementary and middle schools and Houston’s vast array of arts organizations and independent artists. AAI developers designed a program roll-out plan, where 25 schools would be served in the first two years of implementation, with the expectation of gradually expanding to more campuses over time. Due to over-subscription and with the guidance of our research team, the program developers implemented the AAI pilot phase as a stratified, clustered randomized controlled trial. The program evaluators, in coordination with AAI leadership, including HISD administrators, developed the following research questions to assess the impact of the program on students: Does a substantial influx of arts-based enrichment opportunities improve K-8 student-school engagement? Do these opportunities increase students’ desire to engage and participate in the arts? Does this intervention facilitate gains in academic achievement (as measured by standardized test score gains in “core” subject areas)? Does the AAI lead to increases in students’ social skills, specifically in the forms of tolerance, empathy, and sense of civic obligation? Are there heterogeneous effects in outcomes across student subgroups?
Theme:Arts Education, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Rural and Remote Inpatient Mental Health Unit Artist-in-Residence Program: Practice-based Research through Art and Partnerships in South Australia

Dr. Amy Baker, 
 David Moseley, 
Prof. Nicholas Procter,

Overview: Creative mediums, including visual arts, have long been used within mental health, often through the lens of therapy such as art or music therapies. Less common is for artists – untrained in mental health – to undertake residencies in such settings. This paper presents the first stage of an artist-in-residence program and research study undertaken at an inpatient unit for mental health consumers from rural and remote settings in South Australia. In this project, trained artists were engaged to work with mental health consumers to explore the theme of recovery in mental health. In the first stage of this qualitative research study, interviews were undertaken with mental health consumers who engaged with the artists at the unit. Emerging findings suggest the program provided consumers with opportunities to explore, relax, feel comforted and be distracted from their surroundings. Working with the artists was described as inspiring and instilled feelings of happiness, purpose and pride for participants. This project has been a coming together of many things - of artists and academia, of country and metropolitan, and of reclaiming a sense of comfort and hope amongst immense loss and grief.
Theme:Social, Political and Community Agendas in the Arts, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Working with Communities: From the Edge to the Centre

Synthia Synthia Griffin,

Overview: How do we take marginalised communities and put them in the heart of the museum? How do we demonstrate and foster more diverse communities and involve them in the creation of ground breaking projects with artists? Sharing the experience of curating the Turbine Hall, I will talk through the "social model" for Tate Modern, illustrating the importance of working with world class artists and placing them in the centre of community and regeneration contexts. I will discuss artists projects such as "The Bridge" a large scale performance with artist Peter Liverside and 500 community choir singers and the current Turbine hall installation with artists Superflex who champion notions such as "radical participation." I will also share experience of how the thinking that informs these projects and programmes have shifted institutional thinking within the museum so that engaging with communities is considered a priority rather than an add on.
Theme:Social, Political and Community Agendas in the Arts
Facilitating Participatory Arts for Community Wellness

Jeffrey Pufahl,

Overview: The Arts in Medicine (AIM) Programs at the University of Florida (UF) in Gainesville, FL, house the most comprehensive academic and clinical arts in health programs in the US, including a robust research program, twenty artists in residence, a myriad of community programs, and graduate and undergraduate degree and certificate programs in Arts in Medicine. UF AIM practitioners have designed a program that brings businesses, artists, and communities together through the participatory arts in order to promote health and wellness. Through activities designed to enhance connectivity and creativity in the both the workplace and community, participants are encouraged to try new creative activities or host creative events anywhere in the city on designated days each month and as a part of an annual un-curated community-led festival. Squarely placed at the intersection of Creative Placemaking and Social Practice, 352Creates is a concept that facilitates the creation of a community network committed to growing the idea that daily creativity is a key component to wellness. This presentation discusses the strategies, methods, and best practices 352Creates organizers and researchers employed to establish and maintain this annual community activity, and presents research findings on the connection between engagement in the participatory arts and health in the State of Florida.
Theme:Social, Political and Community Agendas in the Arts
Room 8 - D3370 Inquiry and Agency
Something Strange: Creative Pairing Methodologies for Pedagogic Practice

Ms Sarah Cole, 
Ms Anne Eggebert, London, United Kingdom

Overview: Something Strange will reflect on the process and outcomes of three projects involving BA Fine Art students from Central Saint Martins, University of the Arts London, working with local people in King’s Cross. Using a methodology of pairing people to work together, (initially developed by Anna Hart, AIR Studios), and supported by the XD Pathway (Eggebert, Cole and Bannerman), this work has revealed what one participant called ‘the unlikeliness of us’. For the past two years Fine Art degree students have been paired with local elders, trainee construction workers and users of an urban community garden. We have explored what happens when two people, who might not normally meet or get to know each other, discover they have something in common and how they might go about generating art work from this. This paper will reveal some of the results, including videos, readings and images. We will present a critical analysis of the creative processes and outcomes of these projects and reflect on how art practices can be used to explore difference, in age and culture and approaches to making.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Exploring the Multiple Self: Butoh Performance as a Mode of Self-Inquiry

Ron Janssen, Professor Emeritus , English and Writing Studies, Hofstra University

Overview: My paper begins from a close reading of David Mura’s book Turning Japanese, an account of a year in pursuit of identity by an American-born Japanese writer who had written about but never visited the country of his ancestors. I explore how Mura’s engagement with the art of Butoh performance becomes a channel of self-inquiry that gives information and understanding about self not available to him in other ways. In the course of his experiences in Japan, Mura comes to understand that the fixity of identity he once had assumed was giving way to new dimensions that could not be so easily nailed down. My paper also includes attention to the work of one of Mura’s Butoh teachers, the famous Kazuo Ohno, who taught Mura that our creativity does not spring from “our finite and limited knowledge” of self and life. Ohno’s teaching leads Mura to a decentering of the fixed and isolate self and to consideration of the idea of fluid and multiple identity. In the course of his narrative, Mura’s self-inquiry begins with a consideration of a centered, fixed self as a form of knowledge and its loss as a form of ignorance. But through his engagement with the art of Butoh, he finds his inquiry working counter to what he thinks is his goal: to find the lost center of self. Butoh, in all its artfulness, leads him to realize that “This identity was more fluid, less neatly proscribed” than he had earlier understood.
Theme:Arts Education
Redefining Female Subjectivities in Contemporary Pakistani Art Discourse: Contemporary Pakistani Art Post 9/11

Kanwal Syed, montreal, QC, Canada

Overview: The primary focus of this paper is to explore nuances of agency within the diverse artistic representation of female subjectivities in contemporary Pakistani visual discourse, focusing on artists who are working in response or reaction to the socio-political conditions that emerged in post-War on Terror Pakistan. Drawing on feminist paradigms of women of color, female subjectivity, here, is used as fugitive forms of resistances that challenge hegemonic narratives within dominant structures. This paper analyses the works of selected contemporary Pakistani artists, who negotiated resistance to the colonial gaze and local patriarchal nexus by re-defining gender identity from local perspectives and cultural hybridity though aesthetic possibilities
Theme:Social, Political and Community Agendas in the Arts
Room 5 - C3285 Workshops
Arts Therapy, Imagical Play and Trauma: Exploring Arts Therapy during the Canterbury Earthquakes

Deborah Green, Lecturer; Senior lecturer and Course Coordinator, Arts Therapy, Whitecliffe College of Arts and Design

Overview: The Canterbury earthquakes (New Zealand, 2010- ) and their ongoing aftermath cast many into a situation of enduring liminality. We're threshold communities living amidst ruins and road-cones enduring the highs and lows of the rebuild. As this multi-layered natural disaster unfolded, the creative arts became a refuge, a way to express wordless distress, connect with others, try to make sense and recreate. Creative artists took to the streets, filling vacant lots post-demolition with dance floors, gardens, performance-stages; painting brightly-coloured murals on red-stickered buildings; transforming broken shards into glorious mosaics; placing row-upon-row of white chairs to commemorate those the quakes claimed. As my creative contribution, I provided group and individual arts therapy for the quake-affected of all ages. In this lively workshop, we'll contemplate liminality as a fruitful metaphor for disaster and trauma, exploring how this state evokes playfulness and communitas. Using movement, drama and visual arts-making, we'll experiment with how the mindfully-playful arts therapy processes I've named "imagical play" may encourage the healing state of communitas. The intensified relational pleasure of communitas is valuable within post-disaster and trauma recovery as it helps us forge external and internal healing bonds. Through these connections, we may overcome the stress and distress of isolation and learn to endure – and even learn to play amidst – the ruins of disaster-induced chaos and fragmentation until a new order emerges. Finally, we'll ponder how these learnings forged within the heart of disaster may be useful to a wider range of arts-based practitioners.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Creative and Cultural Intelligence: Applying Effective Creative Process and Cultural Competence

Amanda Shatzko, Vice-Chair, Culture Advisory Committee, Regional District of the North Okanagan

Overview: The world is changing at a rapid rate as technology advances how we communicate and work locally and globally. Now more than ever it is essential to master the skills of the creative process, and gain cultural competence. According to the World Economic Forum, by 2020 the top skills humanity and jobs will require creativity, problem-solving, and the ability to collaborate with others. Participants will learn the steps of the creative process, a framework of cultural competence, and how the two structures relate. Participants of this workshop will work in small guided groups to explore how to use flexibility to cross diverse ideas and overcome creative and mental blocks. Within the allotted time, groups will be able to present their observations to the room, to further enhance their experience. All participants will leave with the skills needed to outline the essential steps of the creative process, that will apply to the future of jobs, development, and leadership practices inside and outside the creative economy. They should be able to identify and demonstrate ways to embody cultural competence and explain how the two frameworks relate and have parallel similarities. Valuable hand-out materials outlining the process in detail will be disseminated.
Theme:Social, Political and Community Agendas in the Arts
11:00-11:20 Coffee Break
11:20-13:00 PARALLEL SESSIONS
Room 1 - B2160 (Rennie Hall) Form and Analysis
Shapes of Things: A Transdisciplinary Approach to Teaching Form and Analysis

Dr. Tom Baker,

Overview: The purpose of this paper is to recalibrate the topic of FORM, from its traditional role as an advanced music-theory class in a typical undergraduate curriculum (most often called Form and Analysis) to a generative, unifying, and transdisciplinary concept. The central focus of this recalibration is a class called The Shapes of Things, currently being offered in its second iteration at Cornish College of the Arts in Seattle Washington. While most traditional “form” classes focus on a limited amount of classical repertoire from the common-practice period, and concentrate on an understanding of classical forms, The Shapes of Things proposes a new approach to "Form and Analysis,” tasking the students to synthesize their intuitive, critical thinking with a paradigm of reverse-engineering that allows them to seek the "big idea" of a piece. The paper will outline the learning outcomes and curriculum for this new class, show student work (including analysis of architecture, painting, cinema, and poetry), posit possible transdisciplinary approaches to formal analysis, and bring forward one potential pathway out of the stagnant curricular roundabout in which music programs in colleges and universities find themselves, and into the realm of creativity, integration, and diversity.
Theme:Arts Education
Aviary: Knowing Birds through Scientific Drawing

Carolina Rojas, Assistant Professor, Design, Universidad de los Andes , Bogota, Bogota, Colombia

Overview: Using pedagogical approaches, this project explores scientific drawing and its relevance as a medium to communicate the variety of emblematic bird species in some natural history museums in Colombia. By examining the realistic style and explicit communicative purpose of ornithological drawing, a set of rules is established between ornithological information, scientific illustration, and creative and didactic elements that generate decisive research and artistic material. Ornithological illustration is particularly challenging because the representation of the subject must be accurate and the drawing must also possess artistic integrity. The artist must observe, replicate, and create through a careful combination of specimens, prior knowledge, and analog and digital tools, ultimately producing images that transfer critical scientific information. These practices deserve to be studied and disseminated due to their scientific, historical, and aesthetic value. This project therefore aims to shed light on a previously understudied field and highlight the importance of bird collections and their preservation through the eyes of illustration.
Theme:Arts Education
Science and Art Interactions

Jennifer Rock, Senior Lecturer, Science Communication, University of Otago

Overview: Science and art interactions are booming. They are diverse and enriching but also criticised for maintaining cultural silos. ArtScience has emerged as authentic inter- or trans-disciplinary practice, but it remains rare and often harnessed to driving technological innovation. What can its other forms look like? Examples include where arts practice done within science informs basic research in conceptual and methodological approaches. They include where "democratisation of art" through social arts practice around issues of applied conservation management can transition us away from science vs. society consultation-style interaction. Instead, through community art as practice, social object, and instrument for documentation and analysis, we can construct a co-created understanding of place and environmental values, community-driven visual ethnography, and joint future planning.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Images of Children and Childhoods in Contemporary Music for Young Audiences

Jennifer Stevens Ballenger,

Overview: All work with, for and about children is informed by sociological beliefs about children and childhood. Work relating to young children should, therefore, aim to be explicit about how children are viewed by the adults involved – whether that work be in an educational, research, or artistic sense. In reality, this is rarely the case. Beliefs about children and childhood tend to lay embedded in the decisions made, the practices practised, the artworks created, and the discussions had, rather than being publicly acknowledged and expressed. Nevertheless, it is possible for an informed observer to interpret the image of the child that motivates particular decisions, through relating what is observed in action, symbol or discourse, with dominant sociological constructions of children and childhood. This paper will report on a research project that aimed to do just this. Through the adoption of a hermeneutic method of interpretation, ways in which young children are positioned and depicted in contemporary music for young audiences are identified, explored, and critiqued.
Theme:Arts Education, Social, Political and Community Agendas in the Arts
Room 2 - C3255 Problematizing Curricula
Rudolf Laban's Diagonal Scale as a Foundation for Creative Movement Practice

Whitney Moncrief,

Overview: While leading various movement classes in schools across the Midwest, I have found an overall consistency in a lack of spatial awareness as well as an inability to explore creative ways to construct movement. I have recently been exploring a practical approach to create an accessible way for students to incorporate and explore various developmental movement practices. The development of implementing Rudolf Laban’s Diagonal Scale into the teaching approach by two elementary school teachers over the last year has provided a foundation for building language, spatial awareness, effort modulation, and space harmony for these students. Just as Anne Green Gilbert’s Brain Dance is used for cognitive balance and allows students to be more expressive and articulate in movement, Laban’s Diagonal Scale can provide a blueprint for dance choreography, as well as a steppingstone in finding personal movement preferences and vocabulary. This paper provides examples of creative ways to implement Laban’s Diagonal Scale into movement games in elementary school classrooms. By using the Diagonal Scale as a blueprint for creative movement games, will the students become more spatially aware? Will students use the scale as a skeleton for creating movement sequences? Will Laban’s Diagonal Scale provide a better sense of self expression and confidence?
Theme:Arts Education
Choreographer as Teacher, Teacher as Choreographer: Identity and Practice in the Postsecondary Setting

Professor Rebecca Gose,

Overview: College level dance students commonly participate in faculty (or guest-led) choreographic processes and their culminating performances. As an applied and often required learning experience, it is thought to develop the essential skills needed as performers, choreographers and teachers. Pedagogically, however, many gaps exist in understanding and defining what is being taught and learned in this unique setting. Recent relevant literature problematizes the roles of and relationships between choreographer and student in this choreographic process (Butterworth, 2004), the effect of student perceptions about learning and rehearsal (Haines & Torres, 2016), as well as the ethic of care between the teacher-as-choreographer and the student (Gose & Siemietkowski, in press). Using these investigations as a starting point towards further understanding, this paper will overview a phenomenological investigation into the perceptions, experiences, beliefs, and objectives of teachers-as-choreographers in a postsecondary setting. Lines of inquiry include: What are the primary instructional practices used in this unique choreographic setting? What kinds of pedagogical thinking is a choreographer employing? What are the teacher-as-choreographer’s implicit perceptions or beliefs that help shape this process? How might choreographic and pedagogical goals intersect, collide, or coincide?
Theme:Arts Education
Drawing for Socialists

Prof. Mike Mosher, Professor, Art/Communication Multimedia, Art, Saginaw Valley State University, University Center, MI, United States

Overview: Drawing for Socialists defends the act of drawing in 2018 as a potential act of social liberation, via personal empowerment. Through drawing, an artist seizes a moment of experience in the world, a person, place or object in a unique balance of objectivity and subjectivity. Its gestalt communication can then further progressive collective action. The talk will examine public barriers to drawing. Beginning students are often frozen with perfectionism. Yet there is the 800-pound gorilla of photography, and its impact (depicting capitalist commodities, inspiring statist sentimentalities) upon a century-and-a-half of representation. I offer a classroom-tested step-by-step Beginning Drawing semester syllabus, each exercise building new skills upon its predecessor (at its end, the gorilla is addressed). This is followed with an Intermediate/Advanced program to broaden skills and perception. Drawing also nourishes the critical, sometimes collective media of the comics, of community murals, and even fine-art installations.
Theme:Arts Education
Linguistics in Drama : Exploring the Working Processes in Drama Rehearsals

Andrea Milde, Lecturer in German, History, Languages and Global Cultures, Nottingham Trent University, UK, Nottingham, United Kingdom

Overview: What is going on in drama rehearsals? How do theatre groups work, learn and perform? Drama processes such as drama classes and theatre rehearsals are complex and rely on the spoken communication between the participants (such as actors, directors, and performance artists). The research focus in drama often lies on the performance rather than on the process, e.g. in the rehearsal space or in the studio, during which the piece is being developed. In this paper I will present the general approach and method I have developed for analysing drama working processes that involve two or more people. I will explain how it can be applied in the various fields of communication in drama such as in drama education. This method allows me to break drama processes down into phases and analyse them using linguistic-communicative categories which I will demonstrate by showing some short video-clips of different drama working processes. This paper is based on a new approach to drama and performance arts processes that use a communicative perspective to look at rehearsals and other preparational interactions involving a spoken artistic text production process (Milde 2007; 2012). This approach draws on a combination of spoken discourse analysis (e.g. Cameron 2001; Jaworski and Coupland 1999; Schiffrin 1994), and an adapted version of critique génétique (or genetic criticism) (Grésillon 1999; Deppman/Ferrer/Groden 2004), a contemporary critical movement in France.
Theme:Arts Education
Room 3 - C3265 Elevating Voices
Evaluating Multi-Content Learning through Art

Dr. Jan Hogan, 
 Gilbert Duenas, Associate Professor, Department of Curriculum Instruction and Technology, Auburn University Montgomery, Montgomery, -, United States

Overview: Art speaks to the classroom teacher. Experienced educators can know a lot about their students through classroom art projects. Art skills such as knowledge of color theory, understanding famous artists, and spatial awareness can be assessed, but evaluation shouldn’t stop here. Student’s listening skills, social skills, certain math skills, social studies skills can also be assessed via the same piece of art. First, drawing exercises to make students comfortable and move them beyond the “I can’t draw syndrome” or fear of drawing that may be present. Second, an exercise in drawing familiar objects by turning them upside down. This allows students to view their subject as a series of lines rather than an object they are familiar with. Third, isolate colors in a photograph to train students’ eyes to see shade, tint, and tone as indicators of depth or distance. This project can be incorporated in any teacher preparation program as a hands-on learning experience that engages the participant’s use of imagination to artistically portray in an abstract manner what they see and feel. Whether a child in an early learning center, a youth in an elementary school or adult in a college setting, the use of distinct art forms can be an empowering tool to elevate the voices and interpretations of children and adults' views of historical and present day events. Application of this project can be utilized to promote academic skills such as critical thinking, conversations, and research in support of a relevant learning outcome.
Theme:Arts Education
"Showing Our Knowing" in Post-Secondary Contexts

Sherry Martens, 
Dr. Cassandra Dam, Calgary, Canada

Overview: Taking up two distinct but inter-related post-secondary institutions we uncover an origin story, made in Canada, whose legacy continues in elementary and high schools across Canada, and has found new possibilities in pedagogical approaches in post-secondary. Using personal experiences, documented outcomes, and interpretive qualitative research, this paper explores post-secondary opportunities to integrate learning through the arts and reveals hidden and taken-for-granted learning strategies for students in two distinct Bachelor programmes: Bachelor of Fine Art and Bachelor of Education (After) Degree. Both authors integrate artistic opportunities into learning and evaluative moments in College and University degree courses. We share longitudinal, qualitative research with exemplars for k-12 as well as explore experiences of undergraduate and graduate uses of the arts as vehicles for advance learning.
Theme:Arts Education, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Building an Identity through Arts Education

Brad Lister,

Overview: When examined through social identity theory, there is a clear link between participation in the arts and identity development, particularly during adolescence. Central to this theory is the idea that we are all members of various and overlapping social groups. The idea of in-groups and out-groups, and the emotional need to be included thus play heavily into decisions for participation in the arts. Social identity theory suggests that students participate, and continue to participate, out of a desire for acceptance and as a result of their identity. Psychologist Robert Cialdini claimed that once we make a decision to participate it becomes a part of who we are. This paper addresses the primary role that the arts can have in cultivating and nurturing identity in adolescents.
Theme:Arts Education
Emerging Street Galleries in East and Southeast Asia: Challenges and Contingencies of Transcultural Practices

Minna Valjakka, Research Fellow, Asia Research Institute, National University of Singapore, Singapore, Singapore

Overview: Current research on participatory art continues to focus on established artists and art collectives while new forms of participatory agencies and aesthetic strategies are emerging from contemporary graffiti and street art scenes around the world. These new initiatives take the streets and local neighbourhoods both as the beginning and the end of their practices: they often ignore institutional and aesthetic paradigms grounded in contemporary art, and defy prevailing methodological and theoretical frameworks. What marks these initiatives are more organic site-responsiveness and spontaneous collaboration between people from various professional backgrounds. This involves new theoretical challenges, which require interdisciplinary approaches. Based on extensive ethnographic fieldwork in East and Southeast Asia since 2012, this paper aims to indicate the growing potential of artistic and creative grassroots initiatives in urban public space. Through a critical analysis of Micro Galleries, a Hong Kong-based non-profit organization, I seek to delineate the disparate methods of participation, intersubjective exchange, and aesthetic strategies. Official cultural exchange programs celebrate international artists’ collaborations with local neighbourhoods as a way of invigorating communities, but transcultural collaboration is seldom unproblematic. Criticisms of a short-term engagement that results in diverging the attention away from the social issues are often both justified and partly short-sighted: in many street initiatives the main aim is not the immediate solution of a social problem. Rather, the goal is to build up solidarity across national borders, to challenge the dominating norms of spectacular, and while doing so, to claim space for subjectivities that can confront the spatio-aesthetic conventions.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 5 - C3285 New Frontiers
Contingency and the Institutividual: Exploring Shifting Streams in Arts Education

Michael Greaves, Senior Lecturer – International Liaison, Painting, Dunedin School of Art, Otago Polytechnic, New Zealand, Dunedin, Otago, New Zealand

Overview: Contingency in Arts Education is vital in terms of supporting both teachers and learners in the ever changing and often outputs driven tertiary sector. Contingency can be defined in this sense as something other than what is now. Contingency leaves a residue in all art making and also in art education which provoke new ways in which to engage within old questions. I have observed in both my own institution, and in visiting institutions abroad, an ideological shift that is informing how learners are viewed, their agency, and how this specifically affects the fascia that connects and defines the institution, ideas of research, teaching pedagogy and the institutividual. Johannes Bruder, Matthias Tarasiewicz and Dušan Barok, in conversations around sources and resources in arts education in 2015, presented the term “institutividual” as a way in which to identify this shift in learners’ agency. To address the term institutividual in relation to the structure, intention and outcomes of the architecture of the tertiary environment, Jeremy Till’s interpretation of contingency in Zygmunt Bauman’s writing around Le Courbusier’s project in Pessac will be reviewed, where a top down architecture of communal living was reinterpreted by residents post occupation in order to complete the proposal of the lived project. This paper aims to provoke the readers’ questioning of their "why," in relation to practice, teaching and the new technological world which we as semi-analogue beings inhabit.
Theme:Arts Education
Art for Engineers: Teaching Art in an Interdisciplinary Environment in Mexico

Jose Manuel Suarez Noriega, Professor , Humanities Studies , Tecnológico de Monterrey (Mexico), Atizapán de Zaragoza, Estado de México , Mexico

Overview: Being part of the Humanities and Fine Arts Department may sound natural for most universities worldwide. However, it is not common in most Mexican private universities. The practice and research in arts is almost nonexistent. Private universities are mostly interested in educating for developing entrepreneurship and technical knowledge in students. Nevertheless, at Tecnológico de Monterrey –the largest private university in Mexico– it is crucial that all students enroll in an arts course, at least, once. The challenge is to engage students from diverse study areas (from Biotechnology to Marketing, from Mechatronics to Psychology) in art’s critique, appreciation, and analysis. To do so, professors have shifted the main focus in education: from theory to inquiry. It has been vital to incorporate an inquiry-based methodology that allows students to exercise four fundamental components in the aesthetic appreciation of art: imagination, contemplation, research, and creation. I am interested in sharing how teaching art in interdisciplinary groups is not a hindrance; albeit, it is an opportunity for innovation. Students do not need to have an arts background to become engaged and critical spectators. They only need to be given confidence and a series of activities that break up with the tyranny of erudition.
Theme:Arts Education
The Application of the Diagram of the Circuit of Artifact Culture to the Teaching of Film Appreciation at University Level

Fu Ju Yang,

Overview: Faced with a social environment in which film and video images are increasingly replacing written text, it is important for art education to incorporate suitable film teaching models that can help students to fully understand the film images they are exposed to in their everyday lives. The researcher had previously developed a film appreciation teaching model and supporting teaching strategies that aimed to give appropriate weight to film meaning and content, formal characteristics, viewer (i.e. student) response, and viewer reflection in light of the viewer’s own personal experience. This model was used in class in the university at which the researcher teaches; while the use of this model did help to strengthen students’ film appreciation abilities, it was found that it was not sufficiently comprehensive in terms of fully covering the different aspects of film appreciation. In the present study, therefore, the researcher hoped to understand of the Diagram of the Circuit of Artifact Culture used in France and utilizing it to develop a film appreciation teaching model and strategies that can be applied to the teaching of film appreciation in universities in Taiwan.
Theme:Arts Education
Synesthesia, Art and Visual Impairment: Appreciation of Paintings by Non-visual Students in Brazilian Basic Education

Mr Luís Müller Posca, 
Mr João Henrique Lodi Agreli,

Overview: In view of the absence of a parameter for the inclusion of the Visual Impairment students in the Art classes in Brazil, this study proposed to demonstrate how the Visual Arts teaching can be adapted to the non-visual student in Basic Education. Considering the basis that Art is linked to human feelings, many people believe that a student who cannot see is excluded from what refers to visual poetics. Departing from the inclusive proposal of the exhibition “Sentir pra Ver (feel to see)” - São Paulo 2015, which presented adapted paintings to the non-visual public, we defend, inspired by this initiative, a teaching proposal including the creation of tactile planks as well as synesthesia (a phenomenon that provokes multisensory reactions, mixing more than one sense in front of an analysis object ) that is able to provide to visually impaired students the possibility of appreciating paintings in the Art classes. With the method of tactile-synaesthetic teaching created, we started to check its effectiveness alongside non-visual students of Basic Education, attesting its efficiency and legitimating the guarantee of a meaningful and inclusive learning of these pupils in the Art classes.
Theme:Arts Education, Social, Political and Community Agendas in the Arts, 2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 4 - C3275 Workshops
Find Your Voice : Choral Singing with Community Groups

Jacqui Mc Koy Lewens, Art Psychotherapist - Associate Lecturer, MA Psychotherapy Course, Northern Training Programme , Sheffield Care Trust

Overview: This practice workshop turns a group of strangers into an instant choir, by facilitating the discovery of their unique ‘collective voice’, drawing on the basic concepts of additive harmony and the historical vocal layering of spirituals and African-American folk song. This workshop also then goes on to explore the resultant psychological, physiological and social benefits that are expressed by community members once a choir has been formed and as they continue to sing/perform in the public realm. After over 20 years of creatively working with children and adults in the UK, psychological work with patients in forensic settings from deprived rural and inner-city communities, engaging these individuals and families in the aural tradition of vocalizing and singing, this work has developed into more formalized choral structures and compositions. Presently the work remains focused around enabling individuals and communities to "find their voice" – and especially exploring the initial psychological barriers to choral engagement such as for those who maintain that they "cannot sing," "have no sense of rhythm" of "cannot read music!" In essence, this is singing to facilitate community empowerment and requires no prior musical knowledge or vocal experience for engagement - thus building the group dynamic from the ground up, using basic, shared building blocks of vocal sound and movement to encourage lasting group cohesion.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Room 6 - D3345 Colloquium
Bodies in Translation: Activist Art, Technology and Access to Life

Dr. Ingrid Mundel, Managing Director, University of Guelph, Re•Vision Centre for Art and Social Justice, Guelph, ON, Canada
Dr. Carla Rice, 
 Eliza Chandler, 
 Hannah Fowlie,

Overview: Bodies in Translation: Activist Art, Technology, and Access to Life (BIT) is a 7-year long SSHRC-funded Partnership Grant that brings together 23 community organizations and academic institutions to advance non-normative arts in Ontario and beyond. Our research cultivates activist art produced by fat, disabled, d/Deaf, Mad, and E/elder people through research activities aimed at interrogating the central claim of our partnership-that creating access to art for non-normatively embodied people and opportunities for the public to engage with such art will expand understanding of non-normative vitality and advance social justice in Ontario. In this colloquium, we present on four BIT-sponsored projects focused on accessing, cultivating, and mobilizing activist art: Bodies in Translation: Age and Creativity, which examines a group art exhibition that activated and mobilized aging arts; Technology, Art and Access to Life, which rethinks the relationship between technology and activist art through an art exhibition and a storytelling project that cultivated and mobilized disability art using technology; Decolonizing Disability and Activist Arts, which reimagines activist and disability arts through enacting radical reciprocity working in partnerships with Indigenous scholars, researchers, Elders and artists; and When Activist Art Meets Status Quo Structures, which explores the challenges of doing activist-oriented, arts-based research when working across multiple aggrieved communities and within neoliberalized and bureaucratized institutional structures.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
13:00-14:00 Lunch
14:00-15:40 PARALLEL SESSIONS
Room 1 - B2160 (Rennie Hall) Production Challenges
At the Heart of Creativity: John Cranko and His Genius in Two Cities

Prof. Bruce McCormick, Assistant Professor, Department of Dance, University of Washington, Seattle, WA, United States

Overview: What circumstances are necessary for the optimal transmission of an artist’s ideas? Creative genius is often associated with a singular individual, but what surrounds and supports an artist can be just as vital to the successful production of work. South African choreographer John Cranko is known for transforming Stuttgart, Germany from being the home of a respectable, regional ballet company into a ballet capital of international standards. He did this while leading the company from 1961 until his untimely death in 1973. Between 1968 and 1972 however, he was also the chief choreographer of the Ballet of the Bavarian State Opera in Munich, and his time there was devastating. This paper will examine the relationship between Cranko and the management, collaborators and dancers in each theater in search of reasons why the transmission of his creativity was disastrous in Munich while it flourished in Stuttgart. Drawing from my interviews with Cranko’s dancers, friends and colleagues, I aim to shed light on this clear rift. I argue that although Cranko’s creative genius was present in both cities, a lack of managerial trust, a politicized working environment and an absence of willing collaborators led to a loss of artistic voice and personal desperation.
Theme:Arts Theory and History
Kabuki Evolves by Undergoing Translation and Re-contextualization

Dr. Yukihide Endo,

Overview: Having long been tradition-bound, modern Kabuki’s young actors recently began reshaping the tradition of kabuki. It was stage directors from outside of kabuki that encouraged them to refresh and invigorate the stiffly formalized and patterned kabuki today. Kushida Kazuyoshi and Noda Hideki have sought to challenge and innovate kabuki in collaboration with these emerging star actors. Their collaboration began to provide inspiration and give impetus to reaffirming the 17th–and-19th century kabuki’s outstanding appeal that used to enwrap audiences in a carnival atmosphere beyond the confines of everyday reality. These innately creative directors adventurously strive to recapture the spirit of premodern kabuki, of which its modern counterpart is insufficiently aware. More importantly, it is not their intent to imitate the old tradition but rather, to constructively create a new form of tradition that inspires the contemporary audience today. Each director is provocatively inventive. They, as it were, translate the tradition into a new one that can reach an unprecedented wider audience. Unlike the conventional definition of “translation,” their style of translation can be characterized as being “born translated” as delineated by Rebecca L. Walkowitz. Kabuki’s tradition inherently necessitates “translation” and re-contextualization in each age, even in each production.
Theme:Arts Theory and History
Oregon's Sanctuary Stage : Giving Voice to the Voiceless

Barbara Sellers Young,

Overview: Artists often talk of a sense of community, a place that creatively engages a sense of social cultural history that is deeply tied and inseparable from their local environment. The phrase community art is a practice at the intersection of the artist and the neighborhood that emphasizes a collaboration between the artist and community. Projects most often take place as a means of revitalizing a community or providing an opportunity for community members to engage in a creative process. Increasingly this has become a national and international movement in which sustainability of the identity of the community, the individuals within it and the environment are at the core of the project. In terms of theatre, the activist performance form is an extension of the engaged theatre of German director and playwright Bertolt Brecht (1893-1956) and the performance methods of Brazilian Augusto Boal (1931-2009). Award winning artists Dan Stone and Tinamarie Ivey have brought their version of this activist theatre form to Oregon through their company Sanctuary Stage. This paper considers their process of community engagement in the diverse communities of Oregon from war veterans to those with ties to the Latin American and Islamic communities.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
Speculative Reduction: The Danger(s) of Not Considering Context

Christine Evans-Millar, PhD Candidate, Music, Theatre and Performing Arts, University of Otago, Dunedin, Otago, New Zealand

Overview: Compiled soundtracks – those containing both pre-existing and original score music — are ubiquitous in contemporary cinema. Directors are often celebrated (and occasionally berated) for constructing hybrid soundtracks that transcend genre and stylistic boundaries. However, although compiled soundtracks are comprised of disparate musical works, each instance of music is not heard in isolation but rather is part of an integrated whole. Therefore, to provide meaningful analysis and critique of compiled soundtracks, it is absolutely vital to consider the soundtrack in entirety. While this line of reasoning seems relatively straightforward, the challenge for students and researchers is that no standard or recognised frameworks for compiled soundtrack analysis exist. What prevails is the practice of Speculative Reduction — isolating specific musical moments without placing music in the context of the aggregated soundtrack. This paper will demonstrate the inherent limitations of non-contextual soundtrack analysis by offering examples of Speculative Reduction relating to the films of Wes Anderson. In addition, it will offer a new, more holistic and empirically evidenced framework for the investigation of compiled soundtracks suitable for interdisciplinary researchers (with limited musical backgrounds) for the examination and critique of film music.
Theme:Arts Education, New Media, Technology and the Arts
Room 2 - C3255 Creative Practice Showcase
Movement in Time, Part 2: Motion Analysis in Chinese Martial Art Films and Calligraphy

Dr. Wai Ching Chung, Associate Professor, Academy of Visual Arts, Hong Kong Baptist University
Dr Kimburley Choi,

Overview: The project works on the visual similarity between the Chinese martial art fighting sequences in motion pictures and the cursive style of Chinese calligraphy to generate calligraphic animation automatically. The author developed a custom software to capture the fighting sequences from a number of selected Chinese martial art films. The software employs the optical flow analysis to interpret and represent the fighting details in each picture frame. The author also digitized all brush stroke information from the famous cursive style Chinese calligraphic text – the One Thousand Characters Classics and maintain in a database. The project implemented a machine learning model to match the fighting sequence details against the spatial configuration of each Chinese character. In the end, the software will select the closest match to display as animation on screen. In the exhibition, the artwork runs in real time to analyze the motion details and generate the live animation of the calligraphic characters in synchronization with the fighting sequences.
Theme:New Media, Technology and the Arts
Art That People Step On: Some Photos

Dr. Thirunarayanan Mandayam Osuri,

Overview: The author of the proposal has conducted research as described below using the method of "focused observation" and will be showcasing the product(s) of such research, that are photographs he has taken of what he calls "Art That People Step On." He has taken pictures of spills, splatter, leaks, and chipped off and weathered surfaces that have formed shapes that resemble art. One his photos is of an image that looks like a bird that was created by rainwater falling on Duck Poop! If this proposal is accepted, he would like to showcase pictures from growing collection of "Art That People Step On." During the proposed session, the author of the proposal will present how he started noticing patterns in areas of paved surfaces that people consider to be “dirty” and tend to step on or walk over. He will also share the link to his social media page where some of works are displayed. The research methods used by the author of the proposal is similar to observation techniques used by primatologists. The author also uses observation to identify patterns, but of a different kind, namely artistic patterns in areas on paved surfaces that to most people look like dirty places that have not been cleaned up. Using focused observation, the author of the proposal scans smudges, spills, leaks chipped off parts of surfaces, and repaired surfaces to identify artistic patterns that are formed.
Theme:Arts Education
Games for Social Creators: Storytelling Games and Activities to Prompt Participant Creativity and a Celebration of Diversity

Kimberly Dark, Lecturer, Sociology, CSU San Marcos

Overview: This showcase focuses on creative tools to help participants discover their power as social creators. These tools can also be the starting point for creating written or performance work. Specifically, we can use fun, interactive activities that help people learn about each other's different perspectives and practice the skills of empathy, witnessing, and collaborative thinking. Rather than focusing on the writer/performer, these games keep the focus on the gestalt of creative work - which includes audience. These activities can be applied with theatre or writing groups, but also in leadership development, facilitation and team building. They are appropriate for experienced artists and those who don't consider themselves artists at all. In specific, the presenter will provide pedagogy, rationale and an opportunity to practice (both as participant and facilitator). These storytelling prompts - and their variations - focus on "early memories" of personal events like "remembering someone expressing patriotism," "realizing what an immigrant has endured," "being aware of your own race." The prompts offer participants an opportunity for "safe vulnerability" about moments when personal and social constructions meet. Participants will have the opportunity to play and discuss, learn various applications for games connecting people to their abilities as social creators, and facilitation techniques for these activities in a variety of settings. Participants leave with instructions on how to create their own set of "story-cards" from template provided.
Theme:Social, Political and Community Agendas in the Arts
Room 3 - C3265 Digital Dynamics
Augmented Art, Virtual Vandalism : Geotagging Jeff Koons’s Balloon Dog

Kaia Magnusen, Assistant Professor of Art History, Art and Art History, University of Texas at Tyler , Tyler, Texas, United States

Overview: Artist Jeff Koons partnered with Snapchat to release an augmented reality platform that allows users to virtually see Koons’s sculptures in locations such as Central Park by using their smartphones. These augmented reality sculptures function as signifiers for works of art that exist in different locations in the real, as opposed to the virtual, world. One day after the project was launched, artist, Sebastian Errazuriz, virtually “vandalized” Balloon Dog by creating an augmented reality “sculpture” that was identical to Koons’s virtual sculpture but covered with graffiti. This virtual intervention disrupted Koons’s visual signifying system as Errazuriz inserted a new signifier in place of the virtual original. The vandalized Balloon Dog does not exist in actual reality, so its semiotic system of visual signification is closed as the augmented artwork (sign) functions both as signifier and signified. Errazuriz’s virtual interference demonstrates the arbitrary nature of the sign and problematizes claims regarding the “original” virtual work of art much as Koons’s own sculptures, which are often closely derived from extant images and are usually not made by Koons himself, complicate questions of originality. Consequently, the lines between binaries such as original—copy and virtual—actual meaning are blurred and destabilized.
Theme:New Media, Technology and the Arts
MTV Meets Schubert

Bill J. Adams,

Overview: In the traditional song recital format, songs from the Art Song repertoire are performed by a singer standing near a piano – no costumes, no special lighting, and with little more than generalized movement and facial expressions to convey the story. If one does not understand the German text (Schubert wrote over 500 art songs) or if part of the performance is recorded, how does this affect the equation? What if visual images are added (a music video) which may complement or contradict the poetic story? This study will explore performance by creating, blurring, and/or destroying relationships within song/s and throughout the audience by manipulating visual image, text, and live performance.
Theme:New Media, Technology and the Arts
Placeholders: A Global Network of Local Histories

Seth Ellis,

Overview: Telling, hearing, and retelling stories are all inherently playful activities, involving rigor and imagination in engaging with subject matter, storyteller, and audience. These activities form part of the basis of both social practice art, and community engagement through institutions such as museums. We draw on both strategies from both disciplines to create a hybrid practice that examines these objects as keys to specific, personal narratives. We are interested in the common story of localism struggling in the face of globalism, as post-industrial towns define themselves within an increasingly homogenous global economy. We work with local historical institutions and on their network of interested community members, to archive mundane objects that bear stories for their owners. Digital tools—3D scanning, photography, even simple sound recording—make it possible to archive artifacts without “collecting” them: to gather data and metadata about the object, but to leave the objects themselves at large, still actors in daily life. In this way we “capture” a snapshot of local historical memory, out of which we create site-specific interactive installations. The most important aspect of our work, however, is the database of objects, an archive that outlasts the installation and that then remains available, as easily accessible data structures, for other, local artists and historians.
Theme:New Media, Technology and the Arts
Room 6 - D3345 Challenging Convention
Fractured Gazes: Intertextual Forms of the Black Female Subject in Opera Performance

Carla Chambers,

Overview: Considering contemporary discourse around equity and inclusive representation in the Fine and Performing Arts, this paper is a comparative study on intertextual representations of the black female subject in 18th and 19th-century visual art and their narrative, musical, and visual manifestations in the 19th-century opera, Aida by Giuseppe Verdi. Using art, music, and cultural criticism within an intersectional framework of feminist theory, critical race theory, and postcolonial theory this thesis examines the ways in which the subjectivity of the black female is suppressed in Western visual culture and visually in operatic narratives. I suggest that the symbolic power of the Fine Arts and operatic spaces work together by ascribing a visual aesthetic derived from colonialist assemblages of the black female to the body. As this aesthetic reifies in operatic spaces, this discussion also considers the intersectional positionalities of the black woman as artist, viewer, and catalyst for emancipatory artistic practice that subverts the effects of traumatic artistic methodologies. Thus, I propose that the embodied performance of black women disrupts hegemonic spaces, troubles colonialist ways of seeing, and offers possibilities for the stage to be a site of resistance to racial hegemony in the Fine and Performing Arts.
Theme:Arts Theory and History
Mirrored Realities: Reflections in the Art of Édouard Manet, Mary Cassatt, and Walter Sickert

Dr. Melanie Enderle,

Overview: The inclusion of decorative mirrors can enrich a painting’s structure and meaning by reflecting what otherwise would not be seen. Mirrored images enhance spatial complexity, magnify light, and conflate allusions with illusions. In Renaissance and Baroque paintings, mirrors variously symbolized vanity, wealth, purity, and intellectual contemplation. More recently, artists have emphasized mirrors’ ability to startle, surprise, inform, and even confuse the viewer. This paper explores individual paintings by artists of the late-19th and early-20th centuries working in France and England who were influenced by their predecessors and continued their interest in the optical qualities of the looking glass, but these early-modern painters expanded the possibilities of the mirrored image by exaggerating alternate, sometimes illogical views and enhancing the introspective, psychological acuity of figures caught in reflection. Édouard Manet, Mary Cassatt, and Walter Sickert each painted common scenes of leisure life in music halls, theaters, and domestic interiors, enhanced by ornate gilt-framed mirrors that added complexity to these otherwise mundane spaces. For these artists, the illusionary quality of mirrors and their reflections became devices to deepen meaning and heighten the conflict between reality and artifice, between outward appearance and inner emotion, and to give insight into modernity, societal traditions, and psychological states of people captured in the mirrored reflections.
Theme:Arts Theory and History
Socio-historical Approach to Shahnama’s Illustrations: Cases of Baysunghuri and Davari’s Manuscripts

Ph.D. student Fatemeh Mahvan, Tuition, Persian language and literature, Ferdowsi university of Mashhad
Prof. Mohammad Jafar Yahaghi, Professor, Persian language and literature, Ferdowsi University of Mashhad, Mashhad, Khorasan Razavi, Iran

Overview: Adopting a socio-historical approach, the illustrated Shahnama (Iranian National epic) manuscripts can unravel the life situations of their addressees during the times. Although Shahnama is a book which has been well embraced by painters, the type of illustrations has been exposed to variations concerning socio-historical conditions. With that in mind, we try to answer the following questions: What are the impacts of addresses on Shahnama `s illustrations? And is it possible to guess at the addresses by scrutinizing the paintings? In this study by selecting two copies of the Iranian National epic, Baysunghuri (Timurid: 15th century) and Davari, (Qajarid: 19th century), we attempt to answer the above-mentioned questions. To this end, we examine the themes and pictorial elements of these manuscripts in light of the relationship between the paintings and the addressees (in some cases patronage) of Shahnama. The results of this research reveal that the type of addressee (being royal or non-royal) plays a significant role in choosing the themes and the image’s elements.
Theme:Arts Theory and History
Room 5 - C3285 Multi-Session 10 Room 5
Using Mask Making for Self-Exploration and Group Affirmation

Dr. Michal Sela-Amit,

Overview: This workshop introduces mask making as an effective technique for eliciting self-exploration and group sharing in diverse groups of people and in various settings. The use of the expressive arts in this exercise focuses on being in touch with one’s current emotions, past memories, ideas and self-perceptions. Mask making has the potential of bringing awareness and expression of new aspects or layers of the self (Quinlan, 2015). Toward this end, the workshop participants will engage in creating and sharing their masks, as well as their feelings and thoughts with other participants. The process of provision of affirming feedback to each of the group participants and other key components in designing the mask creation activity will be discussed. This includes communicating clear instructions, helpful leader’s behaviors that elicit sharing, and the encouragement of discussion in an atmosphere of trust that is free of judgement. Also, the importance of keeping an eye on time, fostering sharing, and encouraging respectful and affirming group feedback to promote self-growth and community building will be explained and demonstrated. This exercise that promotes the use of art by all is transferable to a number of settings including educational institutes, self-growth groups, workshops and recreational settings. Whether used as an end in itself or as part of a longer process of self-development and exploration, this mask making exercise holds the potential for eliciting creativity, self- discovery and sharing in a supportive, affirming and inclusive community.
Theme:Arts Education
Room 4 - C3275 Colloquium
Teaching Science and Social Science to Artists

Katherine Greenland, Seattle, WA, United States
Ms. Lauren Basson, Professor, Humanities and Sciences, Cornish College of the Arts
Mr. Jack DeLap, Assistant Professor, Humanities & Sciences, Cornish College of the Arts, Seattle, Washington, United States
Mrs. Rebeca Rivera, Lecturer, School of Interdisciplinary Arts & Sciences, University of Washington Bothell, -, Washington, United States

Overview: As a political scientist, I create multilayered assignments and introduce innovative classroom activities to engage art students in required courses outside of their chosen disciplines in ways that expand their intellectual horizons and enrich their artistic practices. Developing an Interdisciplinary Pedagogy: Exploring the Intersection of Science and Art in the College Classroom. Jack DeLap: Trained as both a scientist and a fine artist, I blend pedagogical methods, creating a learning environment that is relevant and rigorous while accomplishing my disciplinary teaching goals. Scaffolding science education through arts-based practices allows me to “translate” natural science models, theories, and epistemologies more effectively. Art and Sustainability: Theory and Methods Reflected in Artistic Practice Rebeca Rivera: As a transdisciplinary scholar I weave together science, social science, and the humanities to offer students holistic understanding of human-environment relationships. I work with students to understand research methodologies, theory, and critical perspectives and offer space to apply and transform them through their art projects and critical reflections. Identity and Community: Weaving the Tapestry of Art and Sociology Katherine Greenland Trelstad What is the relationship of identity and community in the life of an artist? How can creative practice inspire and engage critical thought around themes of race, class, gender, ability and religion? As a performance artist and social justice worker, I explore the pedagogical intersectionality of sociology and the arts to uncover points of dissonance, parallax and possibility.
Theme:2018 Special Focus - How Art Makes Things Happen: Situating Social Practice in Research, Practice, and Action
15:40-16:00 Coffee Break
16:00-17:00 Plenary Session—Amber Frid-Jimenez, Canada Research Chair, Art and Design Technology, and Associate Professor, Emily Carr University, Vancouver, Canada; Richard William Hill, Canada Research Chair, Indigenous Studies, Emily Carr University of Art and Design, Vancouver, Canada
17:00-17:30 Closing Session and Award Ceremony