Evaluating artistic work : balancing competing perspectives

The artist is frequently uncertain, when he or she begins to create a work, how the completed work will look or sound. However, the corporate business model, which is premised on a rational and instrumental worldview, suggests that in a market environment, art should be evaluated objectively, based on clearly stated and measurable objectives - often prior to that work being commenced. This paper explores the difficulties that art has in fitting into a corporatist worldview. First, the paper examines the historical materialization of the corporate model, and how it has infiltrated non-profit arts. Second, the paper investigates the likely reasons as to why instrumental rationality and managerialism have been embraced so enthusiastically by bureaucrats, arts marketers and funders. And third, the paper suggests a research approach by which artists, managers and audiences can evaluate art within a framework that is sympathetic to the art and the artist.

Festivals, art and mentoring : disseminating knowledge, enhancing skills and developing networks in regional Victoria

Many regional festivals use art as a vehicle to engage with a broader cross-section of the community; highlight the artistic talent of their region; introduce art to their region; and to distinguish theirs from others. Regional Arts Victoria and Arts Victoria recently piloted a mentoring program, Directions, for regional festivals that indicated an interest in developing their artistic direction. Three experienced artistic directors were selected to participate in the program as mentors, and each of these mentored two festival directors whose festivals are located in Regional Victoria. The aim of this paper is to highlight the potential of mentoring within the context of festival management by exploring the outcomes of Directions. A case study approach is used, and although this limits the generalisability of the results to other festivals, the information gained provides insights into managing festivals within the context of artistic direction. A number of themes emerged from the study that appear to have broadened the perspective of 'art' in those festivals participating in the program. Furthermore, the program has highlighted that while festivals and artistic directors in regional locations experience varying degrees of isolation, they have a great deal of creativity and skill. Directions provided organisers of the festivals with the confidence to make decisions that enable them to capitalise on their extant creativity and skills. Festivals are then able to be marketed against their competitors with unique selling positions, which is important for sustainability. The results obtained through the evaluation of this pilot program provide Regional Arts Victoria and Arts Victoria opportunities to effectively assess the need for such programs for festivals in regional Victoria in the future.

Mentoring volunteer festival managers : evaluation of a pilot scheme in regional Australia

Festival managers in regional locations often have limited access to didactic experiences in their field. As such, developing strategies that enhance the skills of festival management in regional locations can be challenging. This paper, set within the context of the Australian regional arts festival sector, evaluates a pilot mentoring scheme developed by Regional Arts Victoria and Arts Victoria to assist volunteer festival managers to enhance the management, and focus the artistic direction, of their festivals. The results of the evaluation, based on six case studies, indicate that mentoring is highly suited to this scenario. Recommendations are made with regard to the future application of mentoring within this context, particularly in relation to communication and formalisation.

Western Australia intercultural arts research project : an investigation into culturally and linguistically diverse art and artists in Western Australia

Background: The introduction of the Australia Council's 'Arts in a Multicultural Australia Policy' (AIMAP) (2000) represented a shift in how the arts in multicultural communities were viewed. It has long been recognised that the arts play a significant role in promoting social cohesion, social policy goals, economic growth, and shaping a nation’s sense of identity. However, prior to the introduction of this policy, multicultural arts was typically seen as involving cultural retentive activities which had their roots in expressions of migrant cultural traditions. The introduction of the policy heralded the beginning of an era in which culturally and linguistically diverse (CaLD) Australians were seen as integral to the fabric of the Australian arts sector. Evaluation of the policy in 2005 however, revealed that culturally and linguistically diverse Australians were under-represented in most artistic categories. Western Australia is the most culturally diverse state in Australia. It is therefore of great interest to the State Government to have a comprehensive picture of the situation in that state. Hence, the Office of Multicultural Interests (OMI) commissioned Deakin University to undertake an investigation into the participation rates of CaLD artists in the arts sector in Western Australia.

Scope: The project examined the participation in the arts of CaLD artists in Western Australia. The arts sector comprises many more individuals and organisations than artists. For example, there are arts agency administrators, venue operators, policy officers, curators, and countless others who work together to make up the arts sector. This project focused on the artists, the individuals such as those who make music, visual art, dance and theatre performances. In the past it has been shown that CaLD populations are not well represented in the broader arts sector. This research aimed to discover the current position for CaLD artists in terms of participation in the broader arts sector and what factors influence their situation.

Measuring audience response on-line : an evaluation of the portable audience response facility (pARF)

If it is the case that artists and art explore organization of the brain (Zeki & Lamb, 1994), then the investigation of response to artistic performance holds promise as a window to perceptual and cognitive processes. The portable Audience Response Facility (pARF) is an instrument for recording real‐time audience response (Stevens et al. 2009). Twenty, handheld, Personal Digital Assistants (PDAs) collect responses on customizable skin interfaces. The pARF server transmits the customizable options, synchronizes devices and collects data for export. In this paper we report ratings of the usability of the pARF that were collected after 37 participants had used it to continuously rate engagement along a single dimension while a female dance artist gave two performances of a short solo contemporary dance work. The motion of the dancer was also captured as she performed the piece but only usability rating data are reported here. Ratings indicate that the cognitive load imposed by continuously rating engagement while watching a dance performance was manageable and the pARF was easy to use. An extended familiarization phase may further reduce dual task demand.

Picture words : toward an art-critical methodology

“Phiction: Lies, Illusion and the Phantasm in Australian Photography” is a curatorial experiment in assembling a survey exhibition from a significant collection. Its formulation, presentation and the outcomes of its tour of eleven regional and metropolitan Victorian galleries provide a case study for this paper. The exhibition Phiction (the title amalgamates photography and fiction) challenges audiences’ reading of photographs, and confronts some curatorial assumptions, by juxtaposing the images with extracts of Australian fiction instead of the usual gallery fact sheet, list of provenance or expert gloss. In this way the exhibition forces a confrontation between ‘dumb’ image and ‘blind’ text and while examples are examined, a review of the exhibition is not the purpose of this paper. A consideration its process and effect is discussed in the paper to propose a comparative tool in the study, investigation and evaluation of art. It is offered to visual art school researchers, lecturers and students contemplating the most appropriate and effective, or alternative, methodologies to employ. With reference to the dominant systems of critique which have come to us from other disciplines, the paper considers the art practitioner’s perspective by drawing on the example of Phiction to pose the open question; “How might we use one artform to explore another?”.

Comparative evaluation of pedestrian detection methods for mobile bus surveillance

We present a comparative evaluation of the state-of-art algorithms for detecting pedestrians in low frame rate and low resolution footage acquired by mobile sensors. Four approaches are compared: a) The Histogram of Oriented Gradient (HoG) approach [1]; b) A new histogram feature that is formed by the weighted sum of both the gradient magnitude and the filter responses from a set of elongated Gaussian filters [2] corresponding to the quantised orientation, called Histogram of Oriented Gradient Banks (HoGB) approach; c) The codebook based HoG feature with branch-and-bound (efficient subwindow search) algorithm [3] and; d) The codebook based HoGB approach. Results show that the HoG based detector achieves the highest performance in terms of the true positive detection, the HoGB approach has the lowest false positives whilst maintaining a comparable true positive rate to the HoG, and the codebook approaches allow computationally efficient detection.

Reclaiming the shrew: Beacon for Wales final project evaluation

FInal Project reoprt for The Beacon's For Engagement Funded performance project entitled: Reclimaing the Shrew; a partnerhship between Beacon for Engagement, Wales, University of Glamorgan and Valleyskids aimed to engage and retain young people at risk in creatiing a personally meaningful art project for their communities. The research drew on Csikzemmyhaliyi's work that promotes effortful physical activity to induce flow in adolescents couple with devising and phsyical theatre practice that enables a democratic creative experience for participants.

Beyond the market: alternate possibilities for valuing art

In our creative workshop we recreate the three 'types' of society by asking our audience to enact a society in which one particular mode of evaluation is dominant and subsequently enact another society based on another mode of evaluation. Participants will experience how different types of evaluation affect how we assemble ourselves as a society and ontologically. We make use of artworks that are representative of the three different eras as sensemaking devices of how societies have been ordered through different modes of evaluation.