Abstract: This study sought to provide insight into how art activities influence the well-being of long-term care residents, and how artists and caregivers collaborate in offering these activities. In two long-term care facilities for people with dementia and one for older people with chronic psychiatric disorders, an uncontrolled pre- and post-test study was conducted using a mixed-method design. Forty-six residents participated in the study. Three art activities—(a) dance, (b) music and movement, and (c) visual arts—were studied and co-created with the residents and executed by artists and caregivers together in eight to ten weeks. The Face expression scale (FACE) was used to examine the extent to which participating in the art activity influenced resident mood. Qualitative data were collected via group discussions with artists, caregivers, residents, and an informal caregiver. The results indicated that participating in an art activity positively influenced resident mood (p < 0.000). p-values for the three art activities were: p < 0.000 for dance, p = 0.048 for music and movement, and p = 0.023 for visual arts. The qualitative data revealed that joining an art activity provided a positive effect, increased social relationships, and improved self-esteem for residents. The collaboration between artists and caregivers stimulated creativity, beauty, and learning from each other, as well as evoking emotions.
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This article appears in the publication 'Life's Work'; video portraits of nine artists born between 1913 and 1924 by Margriet Luyten (pp.135-149). The video portraits are shown in an exhibition in museum De Pont, Tilburg, Nov. 2013. Leo Delfgaauw, Douwe Draaisma and Peter Sonderen have contributed essays on the older artist, the staircase of life, the still life, transcience, oeuvre, mortality and eternity.
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Margo Slomp reviews the collaboration between two artists, Mirjam Dijkema (tutor Illustration at the Design department of Minerva Academy) and Andrés Gamiochipi, an artist working (and also teaching) in Mexico City. The two artists entered into an intense collaboration in which they created work together that was presented in shows in Mexico, the Netherlands and Italy (Pre-Collisions, Collisions & Post-Collisions). In addition to that the artists organized workshops with students in Groningen (NL) and Catania (I).
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‘In recent years, the practices of artists in non-artistic environments have set my mind in motion. Where before I could marvel at the visual outcomes of the artistic process and would want to understand how processes of creating meaning could be described, I am now particularly struck by the way in which artists are present, by their way of looking, how they make decisions, when and how they act, how they take responsibility. I have conversations with them and ask questions to better understand their processes, and I explore literature to find people with a similar quest. This process of moving and being moved lies at the heart of the book The Artistic Attitude.’
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Presentation of the paper under the same name at the INCOSE SySTEAM: 2023 Inaugural Conference
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To successfully develop a system, a solid understanding of its architecture by stakeholders involved in the development of the system is key. This process is supported by System Architects, who have a profession that is often regarded as experience based. However, we argue that it is important to familiarize students with the concept of System Architecting, so that they are at least receptive of the nuances involved and potentially can continue a pathway of development towards such a role. In this paper we explore the potential use of A3 Architecture Overviews (A3AO) as an educational tool to support familiarization with Systems Engineering and Systems Architecting. The A3AO has been developed as a supportive tool to communicate a system’s architecture. It uses diagrams to model and visualize a system with different views and is intended to be printed on a physical A3 paper. It serves as a reference for, and facilitator of design discussions. Skills envisioned to be developed while using an A3AO include strict selection and visualization of information, two critical competencies to handle systems’ complexity. The A3AOs have been applied in a course on Systems Engineering at an applied University in The Netherlands and were part of the assessed deliverables. The relative free-form nature of the A3AO posed students with various dilemmas in their use, but also provided the opportunity for guided development on the envisioned competencies. We conclude that more research is required to further formalize this guided development, but we also experience that the A3AO has the potential to support systems engineering and systems architecting practices in education.
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For environmental governance to be more effective and transformative, it needs to enhance the presence of experimental and innovative approaches for participation. This enhancement requires a transformation of environmental governance, as too often the (public) participation process is set up as a formal obligation in the development of a proposed intervention. This article, in search of alternatives, and in support of this transformation elaborates on spaces where participatory and deliberative governance processes have been deployed. Experiences with two mediated participation methodologies – community art and visual problem appraisal – allow a demonstration of their potential, relevance and attractiveness. Additionally, the article analyzes the challenges that result from the nature of these arts-based methodologies, from the confrontational aspects of voices overlooked in conventional approaches, and from the need to rethink professionals’ competences. Considering current environmental urgencies, mediated participation and social imaginaries still demonstrate capacities to open new avenues for action and reflection.
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In Community Art, visual and performing artists and theorists employ diverse modes of thinking and writing to explore the practices and concepts of the phenomenon of community art in western and non-western societies. The book does not offer a cut-and-dried theoretical model, but presents a new critical reformulation of community art in society.
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The report from Inholland University is dedicated to the impacts of data-driven practices on non-journalistic media production and creative industries. It explores trends, showcases advancements, and highlights opportunities and threats in this dynamic landscape. Examining various stakeholders' perspectives provides actionable insights for navigating challenges and leveraging opportunities. Through curated showcases and analyses, the report underscores the transformative potential of data-driven work while addressing concerns such as copyright issues and AI's role in replacing human artists. The findings culminate in a comprehensive overview that guides informed decision-making in the creative industry.
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In beleidsnotities en publicaties in Nederland komt men de laatste jaren regelmatig de stelling tegen dat van het kunstonderwijs verwacht mag worden dat het haar studenten equipeert op hun toekomstige rol als cultureel ondernemer. Deze publicatie doet verslag van een onderzoek naar de relatie tussen cultureel ondernemerschap en het kunstonderwijs. Allereerst gaat de tekst in op de definitie van cultureel ondernemerschap en op de kwaliteiten ofwel competenties waar een cultureel ondernemer over dient te beschikken. Vervolgens staat de auteur stil bij de (vermeende) risico's van dit fenomeen. Als laatste komt de vraag aan de orde of en hoe het kunstonderwijs aandacht kan besteden aan dit onderwerp. De eindconclusie van dit onderzoek luidt: "Ze kunnen beter als Rapunzel hun vlecht uit het torenraam hangen om Prins Fortuin een handje te helpen dan lijdzaam wachten tot het lot hen gunstig gezind is." Het boek is bedoeld voor studenten en docenten van Kunstvakopleidingen, zoals conservatoria en academies voor beeldende vorming, drama, dans, circus en popmuziek, die meer over het onderwerp cultureel ondernemerschap willen weten. Het is geschreven in opdracht van het lectoraat "Kunstpraktijk in de samenleving" van Fontys Hogeschool voor de Kunsten. Studenten en docenten van de verschillende academies leverden naast kunstenaars en cultureel ondernemers een bijdrage in het onderzoek.
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