The Experts below are selected from a list of 315 Experts worldwide ranked by ideXlab platform
Grant S Mccall - One of the best experts on this subject based on the ideXlab platform.
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add shamans and stir a critical review of the shamanism model of forager rock Art Production
Journal of Anthropological Archaeology, 2007Co-Authors: Grant S MccallAbstract:Abstract The “shamanism” or “neurpsychological” model proposed by Lewis-Williams and colleagues has had a powerful impact on rock Art research, and has significantly added to our knowledge of past foragers lifeways in southern Africa and elsewhere in the world. However, this model is primarily based on the view of shamanism as a universal and unvarying characteristic of foragers over space and time. This paper raises both theoretical and empirical problems with this view. The paper examines the relationship between the specific social roles and practices of shamanism and the overarching cosmological structures on which they are based in both southern Africa and Northern Eurasia. In both cases, the paper argues that many cosmological beliefs are highly persistent and durable, extending into prehistory, while the specific practices and roles of shamans are variable, changing to meet the immediate and local needs of their communities. This suggests that rock Art is easier to relate to the overarching cosmological dispositions of the people that produced it and the paper closes by suggesting some theoretical and methodological alternatives recognizing this fact.
Lars Reinholt Aas - One of the best experts on this subject based on the ideXlab platform.
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The rock and the hunter. The significance of rocks and boulders in rock Art Production in the western Himalayas
Archaeological Dialogues, 2017Co-Authors: Lars Reinholt AasAbstract:AbstractThis paper is an addition to the recent advances in the field of rock Art research and aims to accentuate the significance of rocks and boulders in the Production of rock Art. I argue that the rock itself must be recognized as an important element in rock Art Production even in cases where there are no discernible connections between the rock Art images and the irregularities found in the rock surface. The paper concerns rock carvings from the Taru Thang site in Ladakh in northern India and builds on ethnography drawn from the Dardic-speaking people of the western Himalayas. I argue that the rocks must be understood as devices of communication between hunters and their supernatural allies, and that the images represent messages conveyed through the rock interface. In these acts of communication, the geological irregularities of the rock surface serve no purpose and have been avoided rather than included in the compositions.
Steven J. Robbins - One of the best experts on this subject based on the ideXlab platform.
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The effects of music listening and Art Production on negative mood: A randomized, controlled trial ☆
The Arts in Psychotherapy, 2011Co-Authors: Dawn Michele Boothby, Steven J. RobbinsAbstract:Abstract A large literature now exists to examine the effects of music listening on negative mood. However, few studies both isolate music as the active ingredient in mood improvement and compare music to a placebo condition designed to reduce demand effects. In the present study, 60 adult pArticipants recruited from the local community were randomly assigned to one of four conditions: music listening + Art Production (drawing), music listening + Art sorting, no music + Art Production, or no music + Art sorting. By giving pArticipants in all four groups an “Arts” task, we intended to equate expectations of improvement and thereby better rule out demand effects as a source of group differences. Self-report measures of negative mood were collected before and after the 10 min intervention period. PArticipants in the two music listening conditions showed greater mood enhancement compared to the two non-music conditions. However, there were no significant effects of the Art conditions (Production vs. sorting). These results document that music listening has specific efficacy in enhancing mood even when expectations of improvement are equated across groups.
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Effect of Art Production on Negative Mood: A Randomized, Controlled Trial.
Art Therapy, 2007Co-Authors: Chloe E. Bell, Steven J. RobbinsAbstract:Art therapists have long held that Art Production causes reductions in stress and elevations in mood (Rubin, 1999). The authors examined this claim in a randomized, controlled trial. Fifty adults between the ages of 18 and 30 were randomly assigned to either create an Art work or to view and sort a series of Art prints. Three measures of overall negative mood and of anxiety were collected before and after each intervention. Two-way ANOVAs (Group by Time) demonstrated significantly greater reductions in negative mood and anxiety in the Art Production group compared with the Art viewing control group on all three measures (all p-values
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effect of Art Production on negative mood a randomized controlled trial
Art Therapy, 2007Co-Authors: Chloe E. Bell, Steven J. RobbinsAbstract:Art therapists have long held that Art Production causes reductions in stress and elevations in mood (Rubin, 1999). The authors examined this claim in a randomized, controlled trial. Fifty adults between the ages of 18 and 30 were randomly assigned to either create an Art work or to view and sort a series of Art prints. Three measures of overall negative mood and of anxiety were collected before and after each intervention. Two-way ANOVAs (Group by Time) demonstrated significantly greater reductions in negative mood and anxiety in the Art Production group compared with the Art viewing control group on all three measures (all p-values <.005). These results demonstrate that the simple act of creating a work of Art can produce dramatic reductions in negative mood and that these reductions can be attributed specifically to the Production of Art rather than to its viewing.
Robin A. Tipple - One of the best experts on this subject based on the ideXlab platform.
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Thinking about children’s Art Production in assessment settings – developing a more socially oriented hermeneutic
Art Therapy Online, 2014Co-Authors: Robin A. TippleAbstract:My aim in this brief talk is to open debate on the hermeneutic or interpretative frames that adults use in relation to children’s Art Production by presenting a small pArt of a much larger research project concluded in 2011 (Tipple, R. A. 2011). I want to suggest that a hermeneutic that is more socially and culturally orientated might help us in understanding the Art Production in therapeutic and clinical settings in fresh and helpful ways. As well as helping in appreciating the subjectivity of children who are undergoing assessment, this fresh approach might help us understand our own subjectivity in institutional contexts and how this impacts on the practices we, Art therapists, adopt, and the Art work that is produced in the presence of the Art therapist.
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Thinking about children's Art Production in assessment settings - developing a more socially oriented hermeneutic-Paper presentation at Conference "Making a Mark"
2014Co-Authors: Robin A. TippleAbstract:My aim in this brief talk is to open debate on the hermeneutic or interpretative frames that adults use in relation to children’s Art Production by presenting a small pArt of a much larger research project concluded in 2011 (Tipple, R. A. 2011). I want to suggest that a hermeneutic that is more socially and culturally orientated might help us in understanding the Art Production in therapeutic and clinical settings in fresh and helpful ways. As well as helping in appreciating the subjectivity of children who are undergoing assessment, this fresh approach might help us understand our own subjectivity in institutional contexts and how this impacts on the practices we, Art therapists, adopt, and the Art work that is produced in the presence of the Art therapist.
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Looking for a subject : Art therapy and assessment in autism
2011Co-Authors: Robin A. TippleAbstract:This research makes use of a case study methodology employing discourse analysis. It represents a reflection on the practice of Art therapy assessment in a service which provides a diagnosis of children who present with Autistic Spectrum Disorders, that is, with social impairments, communication disorders, developmental delays and behavioural problems. An investigation of Art Production in assessment and an interest in the institution’s discourses, are pursued through the construction of case reports. Four subjects (children aged 4 years, 5 years 8 months, 7 years 7 months, and 11 years 5 months) are presented in three forms. Firstly as “documentary subjects” through an analysis of the clinic’s documents. Secondly as “ekphrastic subjects” – here the subjects are presented through a description and reProduction of the Art work produced in the assessment, and thirdly as “discursive subjects”, presented through an analysis of speech and actions recorded on video. Emphasis has been given to the discursive construction of subjectivity and the relation between subjects and Art Production. The documentary subjects illustrate a story showing that difference disrupts and families seek a restoration of union through engagement with professionals. This story provides a frame which conditions the Art therapy assessment and influences Art Production. A social and cultural understanding of the Art Production in the clinic, an interpretation that does not discover signs of pathology in the Art work, shows that the Art work and its intentionality is jointly produced through negotiations between the child and the therapist. The child is able to use Art making to assess the situation and present a propositional self in an iconic form and Art Production also supports the generation of imaginary situations which enables the child to contest and explore power relations.
Jill Townsley - One of the best experts on this subject based on the ideXlab platform.
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A Search for Repetition in the Process of Art Production
2011Co-Authors: Jill TownsleyAbstract:A Search for Repetition in the Process of Art Production is an essay about the significance of repetition in the making of Art. The essay follows closely the process of Production used when building the Artwork of Jill Townsley. This book also includes images of the sculpture 'Spoons' (2008) by Jill Townsley. 100 THINGS NOT WORTH REPEATING and 100 THINGS NOT WORTH REPEATING:ON REPETITION are both pArt of Circular Walks (and the notion of repetition), a series of projects that examine the value and effectiveness of repetition as a model for progression. '100 things not worth repeating', was a public survey on the futility of assuming repetition as a model for progression, it was initiated in 2007 by Marianne Holm Hansen. Operating through online survey form, off-line presentations and events, its specific aim was to collect-to-share examples of when repetition proves futile. More than 400 people responded to the survey. Simultaneously, conversations regarding repetition in general, and the usefulness of assuming repetition as a method for progression, in pArticular, began to take place. The book, '100 things not worth repeating: on repetition', funded by the National Lottery through Arts Council England, is the result of the survey and these subsequent discussions. Published by LemonMelon in 2011, it presents 100 selected responses to the survey contextualised by essays, texts and Artworks 'on repetition' by David Berridge, Marina Gržinic, Rupert HArtley, Juliet Haysom, Roni Horn, Barbara Johnstone, Joan Jonas, James Morris, Jonathan Ree, Fred Scharmen, Mike Solomon, Sue Tompkins, Jill Townsley and Lucy Wilson.
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Moments of repetition in the process of Art Production: Temporalities, labour, appropriations and authorship
2010Co-Authors: Jill TownsleyAbstract:This practice based PhD is an enquiry into repetition found in relation to the visual Art object, specifically the repetition that operates within the process of Art Production. There is some precedence for the consideration of repetition observed as a repeated subject or object, and especially the Warholian like repeated image. Rosalind Krauss observed in The Originality of the Avant-Garde: A Postmodernist Repetition (1981) that many Artists are ‘condemned to repeating as if by compulsion, the logically fraudulent original’. This research considers a different presentation of repetition, the repeated action of labour that accumulates during the process of Production. A body of Artworks, that for the purpose of the research I describe as labourwork, was conceived and made with the concerns of repetition at the core of its process. Personal reflection and a close critical analysis of each labourwork, allowed for the identification of a number of issues that are significant to the consideration of repetition as it relates to the process of Production. They include ‘failure through repetition', ‘temporality', ‘erasure' and ‘shifting authorships'. The emergent themes are considered within the thesis, where broader theories of repetition are addressed in order to position this form of Art Production within a larger theoretical framework. The purpose of the repeated action within the labourworks was found to be more complex than a means to an end. It was not just a pre-requisite to forming a critical mass or achieving a pArticular form. When observed from the standpoint of different schema such as time, the simulacra, mimesis or theories of replication, the repetition within the labourwork was observed to be identified within many different constructs. It was seen to affect the object, its relation to the viewer, authorship and the subject. Yet, these multifarious roles are not differentiated within the single word 'repetition'. The conclusion to this thesis summarises the effect repetition has been found to have within the labourworks, separating out its roles and offering opportunities to identify its individual operations, over-and-above the general term 'Repetition'.