Art-Sci Collaboration: Theory & Practice (original) (raw)
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2012
This thesis addresses a gap in research on collaborative creativity. Prior research has investigated how groups of professionals, young people and children work together to co-create work, but the distinctive contribution of this thesis is a socioculturally framed understanding of undergraduates’ interdisciplinary practices over an extended period. Guided by a socioculturally framed theory of creativity, this thesis observed 4 students creating a 10 minute performance piece, and presents a longitudinal analysis of the co-creation process which occurred through a total of 28 meetings recorded over the course of a twelve-week term (24 hours of recordings in total). Specific episodes were selected from the full set of recordings, constituting 2 hours of recordings for in-depth analysis. Sociocultural discourse analysis was used to examine how social and cultural contexts constituted an ecology of undergraduate practice in interdisciplinary creative collaboration. Offering a new methodology, this discursive approach for studying context (Arvaja, 2008) was combined with interaction analysis (Kumpulainen & Wray, 2002; Scott, Mortimer & Aguiar, 2006) to analyse how moment-by-moment creative developments and contexts were resourced and constituted through dialogue, artifacts and physical settings. With implications for theory and practice, the analysis showed how the students’ collaborative contexts were constituted through dialogue, and how their emerging co-creative practice was mediated through multiple social and physical settings. It further evidenced how common knowledge was constructed through the process of collaboration, the value of peer feedback for fostering confidence, and students’ need for ‘silent witnessing’; for space to reflect and contribute to a long-term cumulative conversation. The thesis also discusses how resourceful the students were, in terms of negotiating unfamiliar and unpredictable co-creating activities. Evidence is provided for the collaborative value of creating and appropriating new tools to develop common knowledge, and for the significance of imagination as a psychological resource for building common knowledge about hypothetical future activities, showing how technology-mediated co-creating can be seen as a complex interactional accomplishment.
The Contemporary Art of Collaboration
International Journal of Art & Design Education, 2008
Predetermined assessment criteria and target levels threaten to constrain and limit teachers’ desire to provide a balanced and innovative curriculum for their pupils. Through the collaborative production of annual installations, the fine art department at Trinity Catholic School has attempted to confound the effects of a comprehensive school's limitations. These installations allow hundreds of participants of all ages to collaborate in a partnership ethos exploring contemporary issues and modes of practice and enable both pupils and teachers to engage with art as a creative process.The installation is used as a gallery resource centre both in-house and by the local community. The recent installation entitled ‘Laboratories’, analysing links between art and science, becomes a case study to examine the avoidance of limitations imposed by exam-driven targets. Instead an environment was fostered that actively promoted a ‘learning for all’ philosophy including teachers and mature students.
An investigation of the processes of interdisciplinary creative collaboration: the case of music technology students working within the performing arts, 2012
This thesis addresses a gap in research on collaborative creativity. Prior research has investigated how groups of professionals, young people and children work together to co-create work, but the distinctive contribution of this thesis is a socioculturally framed understanding of undergraduates’ interdisciplinary practices over an extended period. Guided by a socioculturally framed theory of creativity, this thesis observed 4 students creating a 10 minute performance piece, and presents a longitudinal analysis of the co-creation process which occurred through a total of 28 meetings recorded over the course of a twelve-week term (24 hours of recordings in total). Specific episodes were selected from the full set of recordings, constituting 2 hours of recordings for in-depth analysis. Sociocultural discourse analysis was used to examine how social and cultural contexts constituted an ecology of undergraduate practice in interdisciplinary creative collaboration. Offering a new methodology, this discursive approach for studying context (Arvaja, 2008) was combined with interaction analysis (Kumpulainen & Wray, 2002; Scott, Mortimer & Aguiar, 2006) to analyse how moment-by-moment creative developments and contexts were resourced and constituted through dialogue, artifacts and physical settings. With implications for theory and practice, the analysis showed how the students’ collaborative contexts were constituted through dialogue, and how their emerging co-creative practice was mediated through multiple social and physical settings. It further evidenced how common knowledge was constructed through the process of collaboration, the value of peer feedback for fostering confidence, and students’ need for ‘silent witnessing’; for space to reflect and contribute to a long-term cumulative conversation. The thesis also discusses how resourceful the students were, in terms of negotiating unfamiliar and unpredictable co-creating activities. Evidence is provided for the collaborative value of creating and appropriating new tools to develop common knowledge, and for the significance of imagination as a psychological resource for building common knowledge about hypothetical future activities, showing how technology-mediated co-creating can be seen as a complex interactional accomplishment.
MUSIC: ART, PHYSICS AND MATHEMATICS A PRACTICAL EXAMPLE OF INTERDISCIPLINARY TEACHING AND LEARNING
MACAS in the Digital Era Proceedings of the 2019 MACAS Symposium June 18-21 Montréal, Québec, 2020
The study and resolution of the complex problems that define the contemporary world require the use of integrative skills that go beyond the confines of a single discipline. At the University of Puerto Rico, Mayaguez Campus, interdisciplinary general education courses that integrate the sciences, technology, and the humanities are being designed to fulfill this need. The interdisciplinary course described here is a model for this type of general education interdisciplinary course in that it examines the intersections of three disparate disciplines: music, science, and mathematics. Moreover, it was developed with the objectives of fostering integrative thinking skills, increasing student engagement by studying the intertwining of apparently separate disciplines within a single complex area of study, and strengthening communication and group-working skills.
Art-Science Collaboration: Blending the Boundaries of Practice
Junctures-the Journal for Thematic Dialogue, 2018
The Art + Oceans Project was the sixth in the ongoing ‘Art + Science’ Project series, where artists collaborate with scientists individually, or in pairs, to develop artworks for public exhibition relating to science interpreted in a broad context. In Art + Oceans, collaborators tackled the complexities of our changing marine environment; working together over several months (from October 2017 to July 2018), they produced many generative interactions between art and science. The large group exhibition (held in the Otago Museum’s HD Skinner Annex, 23 July–5 August 2018) represented 26 collaborations between artists (including graduates, staff and senior students of the Dunedin School of Art and the School of Design at Otago Polytechnic) and scientists (from University of Otago science departments including Surveying, Physics, Anatomy, Chemistry, Botany, Marine Science, Physical Education and Science Communication; as well as the University of British Columbia; the Cawthron Institute...
RESEARCH AND MUSICAL CREATION IN THE GAP OF INTERDISCIPLINARITY
The phenomenon of interdisciplinarity in the context of science and arts in Croatian scientific, artistic and educational practice raises numerous issues. One of them is how to link arts and research in humanities. The paper draws from the connections between science and art established by the research community of Laval University in Quebec, Canada by founding a new discipline of research-creation (Fr. recherche-création). The aim of this paper is to establish the existence of interdisciplinary projects in Croatia by giving two examples of interdisciplinary research which can be classified as research-creation projects. The presented data confirm the existence of such a project whose results have not only practical implications, but also bring theoretical innovation resulting from research to the field of musicology and performing arts, as well as musical education and education in general.