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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This paper will focus on the role of artists and designers as agents of change in sustainability innovation. We will analyse the characteristics of this role on the basis of a review of literature that discusses various concepts, methodologies and strategies applied by artists and designers in innovation processes. The paper will analyse two case studies in which artists and designers acted as agents of change and will discuss insights from these case studies in the light of the literature reviewed. We will then continue to investigate how certain characteristics of the involvement of artists and designers in innovation processes relate to the impact of the process on a social-, business- or product level. The paper will conclude with lessons learnt regarding the role of artists and designers as agents of change in innovation processes and will introduce directions for future research.
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What do Artists Know? is about the education of artists. The MFAdegree is notoriously poorly conceptualized, and now it is giving was to the PhD in art practice. Meanwhile, conversations on freshman courses in studio art continue to be bogged down by conflicting agendas. This project is about the theoriesthat underwrite art education at all levels, the pertinent history of art education, and the most promising current conceptualizations.
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Research on how music artists generate sales from their content through different platforms is scant. In this study, configuration theory is used to show that different market access configurations are viable simultaneously and that young musicians differ significantly in how they generate revenues. Using data on the media and sales performance of 338 young musicians in the Netherlands, we show that there is an ‘Emerging Star’ group (7–13% of artists depending on regional scope) and that record labels play an important role in this configuration providing broad media access on all platforms, both old and new. Digital age ‘Independents’ (14% of young artists), mostly without a record label, seem to benefit from the use of social media while exploiting synergies around live music. All artists in the remaining groups ‘Question Marks’ and ‘Hobbyists’ experience low to very low performance on all platforms. This study shows that configuration theory can provide detailed insight into viable and unviable marketing strategies. In particular, it shows that the globally declining music CD platform can still be very important for specific artists that exploit synergies between live performances, on-site CD sales and social media fan relationship management. The implications for marketing theory and young music artists are discussed. Om het artikel te kunnen lezen dient het gekocht te worden: http://www.tandfonline.com/doi/abs/10.1080/0267257X.2015.1034158
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The Institute of Network Cultures and the Learning Community Critical Making are proud to present the Post-Precarity Zine, a toolbox for beginning artists.Times have changed. The art world and the creative economy are no longer the ones we used to know. The digital economy, the pandemic, and the cuts within the cultural field are some of the many factors that influence our practices and the way artists live nowadays. While some claim that the golden eras are gone, and maybe they are, a community of young artists and thinkers meets to discuss the ways in which the narrative around art and its practices has changed and can be geared towards the future.What does it mean to be an artist today? How to survive as a cultural worker while making what you want to make? How can we use contemporary platforms to turn our anger into transformative power? What are the many strategies of organization and obstacles artists have to face nowadays for their practice to remain? By better understanding the structures of the art world and its economies, how can we counteract them and use them to our benefit and create sustainable and collective actions?It is with such questions in mind that the first Post-Precarity Precarity Autumn Camp was organized by the Institute of Network Cultures, Platform BK and Hotel Maria Kapel from September 27th until October 1st, 2021. This zine collects extracts of texts, testimonials, precious reports, summaries of our daily programs, quotes, drawings and notes from the many participants, references to relevant sources, an open letter to Dutch art academies with four demands for change, an essay on principles for post-precarity, and exercises you can do at home to recalibrate your ‘artistic biotope’. With this mumble jumble, we give you a window to our inspiring week, a toolkit, and a fragmented manifesto. We hope to inspire you with our critical reflections, optimism, and the actions taken during the Post-Precarity Autumn Camp!
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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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Despite growing popular interest for the mental health of electronic music artists, scientific research addressing this topic has remained largely absent. As such, the aim of the current study was to examine the mental health of electronic music artists, as well as a number of determinants. Using a cross-sectional quantitative design, a total of 163 electronic music artists participated in this study. In line with the two-continua model of mental health, both symptoms of depression/anxiety and well-being were adopted as indicators for mental health. Furthermore, standardized measures were used to assess potential determinants of mental health, including sleep disturbance, music performance anxiety, alcohol abuse, drug abuse, occupational stress, resilience, and social support. Results highlighted that around 30% of participants experienced symptoms of depression/anxiety. Nevertheless, the majority of these participants still demonstrated at least moderate levels of functioning and well-being. Sleep disturbance formed a significant predictor for both symptoms of depression/anxiety and well-being. Furthermore, resilience and social support were significant predictors for well-being. The results provide a first glimpse into the mental health challenges experienced by electronic music artists and support the need for increased research as well as applied initiatives directed at safeguarding their mental health.
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Presentation of the paper under the same name at the INCOSE SySTEAM: 2023 Inaugural Conference
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