Training opportunities in public art

Craft practitioners and designers have been involved in the production of civic art commissions for many centuries, either as recognised art workers or anonymous artisans. However, it has only been in the last couple of decades that Australia has formally acknowledged the role of public art through the development of government policy and professional accredited training

A new competence-based approach for personalizing MOOCs in a mobile collaborative and networked environment

Resumen basado en el de la publicaci??n

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.

Framing everyday experience

This practice-based research involved two blogs created within different contexts: one in the small Western Australian town of Kellerberrin, the other in the Sydney suburb of Petersham. Blogging was developed as an artform: to deepen social connection within small geographical areas; to reveal new knowledge about these specific localities; and to extend and critique traditions of socially-engaged and "relational" art practice.

Aplicaciones de filtrado adaptativo LMS para mejorar la respuesta de acelerómetros

El proyecto, “Aplicaciones de filtrado adaptativo LMS para mejorar la respuesta de acelerómetros”, se realizó con el objetivo de eliminar señales no deseadas de la señal de información procedentes de los acelerómetros para aplicaciones automovilísticas, mediante los algoritmos de los filtros adaptativos LMS. Dicho proyecto, está comprendido en tres áreas para su realización y ejecución, los cuales fueron ejecutados desde el inicio hasta el último día de trabajo. En la primera área de aplicación, diseñamos filtros paso bajo, paso alto, paso banda y paso banda eliminada, en lo que son los filtros de butterworth, filtros Chebyshev, de tipo uno como de tipo dos y filtros elípticos. Con esta primera parte, lo que se quiere es conocer, o en nuestro caso, recordar el entorno de Matlab, en sus distintas ecuaciones prediseñadas que nos ofrece el mencionado entorno, como también nos permite conocer un poco las características de estos filtros. Para posteriormente probar dichos filtros en el DSP. En la segunda etapa, y tras recordar un poco el entorno de Matlab, nos centramos en la elaboración y/o diseño de nuestro filtro adaptativo LMS; experimentado primero con Matlab, para como ya se dijo, entender y comprender el comportamiento del mismo. Cuando ya teníamos claro esta parte, procedimos a “cargar” el código en el DSP, compilarlo y depurarlo, realizando estas últimas acciones gracias al Visual DSP. Resaltaremos que durante esta segunda etapa se empezó a excitar las entradas del sistema, con señales provenientes del Cool Edit Pro, y además para saber cómo se comportaba el filtro adaptativo LMS, se utilizó señales provenientes de un generador de funciones, para obtener de esta manera un desfase entre las dos señales de entrada; aunque también se utilizó el propio Cool Edit Pro para obtener señales desfasadas, pero debido que la fase tres no podíamos usar el mencionado software, realizamos pruebas con el generador de funciones. Finalmente, en la tercera etapa, y tras comprobar el funcionamiento deseado de nuestro filtro adaptativo DSP con señales de entrada simuladas, pasamos a un laboratorio, en donde se utilizó señales provenientes del acelerómetro 4000A, y por supuesto, del generador de funciones; el cual sirvió para la formación de nuestra señal de referencia, que permitirá la eliminación de una de las frecuencias que se emitirá del acelerómetro. Por último, cabe resaltar que pudimos obtener un comportamiento del filtro adaptativo LMS adecuado, y como se esperaba. Realizamos pruebas, con señales de entrada desfasadas, y obtuvimos curiosas respuestas a la salida del sistema, como son que la frecuencia a eliminar, mientras más desfasado estén estas señales, mas se notaba. Solucionando este punto al aumentar el orden del filtro. Finalmente podemos concluir que pese a que los filtros digitales probados en la primera etapa son útiles, para tener una respuesta lo más ideal posible hay que tener en cuenta el orden del filtro, el cual debe ser muy alto para que las frecuencias próximas a la frecuencia de corte, no se atenúen. En cambio, en los filtros adaptativos LMS, si queremos por ejemplo, eliminar una señal de entre tres señales, sólo basta con introducir la frecuencia a eliminar, por una de las entradas del filtro, en concreto la señal de referencia. De esta manera, podemos eliminar una señal de entre estas tres, de manera que las otras dos, no se vean afectadas por el procedimiento. Abstract The project, "LMS adaptive filtering applications to improve the response of accelerometers" was conducted in order to remove unwanted signals from the information signal from the accelerometers for automotive applications using algorithms LMS adaptive filters. The project is comprised of three areas for implementation and execution, which were executed from the beginning until the last day. In the first area of application, we design low pass filters, high pass, band pass and band-stop, as the filters are Butterworth, Chebyshev filters, type one and type two and elliptic filters. In this first part, what we want is to know, or in our case, remember the Matlab environment, art in its various equations offered by the mentioned environment, as well as allows us to understand some of the characteristics of these filters. To further test these filters in the DSP. In the second stage, and recalling some Matlab environment, we focus on the development and design of our LMS adaptive filter; experimented first with Matlab, for as noted above, understand the behavior of the same. When it was clear this part, proceeded to "load" the code in the DSP, compile and debug, making these latest actions by the Visual DSP. Will highlight that during this second stage began to excite the system inputs, with signals from the Cool Edit Pro, and also for how he behaved the LMS adaptive filter was used signals from a function generator, to thereby obtain a gap between the two input signals, but also used Cool Edit Pro himself for phase signals, but due to phase three could not use such software, we test the function generator. Finally, in the third stage, and after checking the desired performance of our DSP adaptive filter with simulated input signals, we went to a laboratory, where we used signals from the accelerometer 4000A, and of course, the function generator, which was used for the formation of our reference signal, enabling the elimination of one of the frequencies to be emitted from the accelerometer. Note that they were able to obtain a behavior of the LMS adaptive filter suitable as expected. We test with outdated input signals, and got curious response to the output of the system, such as the frequency to remove, the more outdated are these signs, but noticeable. Solving this point with increasing the filter order. We can conclude that although proven digital filters in the first stage are useful, to have a perfect answer as possible must be taken into account the order of the filter, which should be very high for frequencies near the frequency cutting, not weakened. In contrast, in the LMS adaptive filters if we for example, remove a signal from among three signals, only enough to eliminate the frequency input on one of the inputs of the filter, namely the reference signal. Thus, we can remove a signal between these three, so that the other two, not affected by the procedure.

Arte contemporânea e meio ambiente no Museu Inhotim

Este estudo apresenta uma breve análise sobre o Museu Inhotim, considerado o maior museu a céu aberto do mundo. Nele, são expostas obras de Arte Contemporânea inseridas no meio ambiente, num processo de diálogo com a natureza, presente numa reserva florestal que era uma antiga fazenda. Entre jardins, arquitetura e arte, as obras também se relacionam entre si. No local são oferecidos passeios culturais, artísticos e educacionais, pois o museu conta com um setor educativo voltado para a educação através da reflexão sobre as obras de arte expostas e o meio ambiente, quanto à preservação do patrimônio ambiental e cultural. A arte, nesse contexto, ganha uma análise baseada em alguns conceitos sobre Arte Contemporânea, que se fundamentam em estudos propostos por autores como Giulio Carlo Argan, Umberto Eco, Michael Archer, Ernst Fischer, Fayga Ostrower, entre outros.

Criança e arte: expressão da cultura regional em um ambiente de aprendizagem em arte de uma escola municipal de educação infantil de Rio Grande/RS

Esta dissertação buscou identificar a presença dos aspectos da cultura regional nas situações cotidianas vivenciadas por um grupo de crianças de quatro anos de idade no Ambiente de Aprendizagem em Artes e Ciências Naturais da EMEI Oscar de Moraes, pertencente à rede municipal do Rio Grande (RS). A proposição da investigação partiu da mudança proposta pela Lei Federal nº 12.287/2010, que alterou o segundo parágrafo do artigo 26 da LDB 9394/96. A nova redação estabelece que ―O ensino de arte, especialmente em suas expressões regionais, constituirá componente curricular obrigatório nos diversos níveis da educação básica, de forma a promover o desenvolvimento cultural dos alunos‖ (BRASIL, 2010, p. 1). Trata-se de uma pesquisa de abordagem qualitativa, tendo o estudo de caso como importante elemento de compreensão do ambiente pesquisado e a observação e o registro em caderno de campo como as estratégias utilizadas para a produção de dados. A inserção no Ambiente de Aprendizagem em Artes e Ciências Naturais da EMEI Oscar de Moraes permitiu identificar a utilização desse ambiente para registro, através de diferentes modos e linguagens do trabalho realizado com projetos, e também a possibilidade de descobertas e brincadeiras por meio das produções e criações artísticas das crianças. A análise dos dados foi realizada com base nos seguintes autores: Derdyk (1990), Richter (2004), Edwards (1999), Duarte Júnior (1981), Horn (2007), Ostetto (2000), Rinaldi (2012), Cunha (2014), Brougère (1998), Bertoni (2014). Os resultados expressaram que a presença da família na escola pode ser considerada uma das formas de inserção da cultura regional na escola, promovendo a convivência com diferentes pessoas e ampliando, dessa forma, o repertório de vivências e aprendizados das crianças. Os resultados também evidenciaram a presença da utilização das datas comemorativas nas situações cotidianas do Ambiente de Aprendizagem em Arte e Ciências Naturais, levando em consideração, nesse aspecto, a documentação abordada no estudo e os referenciais utilizados; considerei também como uma possibilidade de inserção e apropriação da cultura regional na escola

Developmental patterns of individiuals within a sensory-based learning environment in art education : insights emerging from a case study /

My research permitted me to reexamine my recent evaluations of the Leaf Project given to the Foundation Year students during the fall semester of 1997. My personal description of the drawing curriculum formed part of the matrix of the Foundation Core Studies at the Ontario College of Art and Design. Research was based on the random selection of 1 8 students distributed over six of my teaching groups. The entire process included a representation of all grade levels. The intent of the research was to provide a pattern of alternative insights that could provide a more meaningful method of evaluation for visual learners in an art education setting. Visual methods of learning are indeed complex and involve the interplay of many sensory modalities of input. Using a qualitative method of research analysis, a series of queries were proposed into a structured matrix grid for seeking out possible and emerging patterns of learning. The grid provided for interrelated visual and linguistic analysis with emphasis in reflection and interconnectedness. Sensory-based modes of learning are currently being studied and discussed amongst educators as alternative approaches to learning. As patterns emerged from the research, it became apparent that a paradigm for evaluation would have to be a progressive profile of the learning that would take into account many of the different and evolving learning processes of the individual. A broader review of the student's entire development within the Foundation Year Program would have to have a shared evaluation through a cross section of representative faculty in the program. The results from the research were never intended to be conclusive. We realized from the start that sensory-based learning is a difficult process to evaluate from traditional standards used in education. The potential of such a process of inquiry permits the researcher to ask for a set of queries that might provide for a deeper form of evaluation unique to the students and their related learning environment. Only in this context can qualitative methods be used to profile their learning experiences in an expressive and meaningful manner.

State-of-the-art for entity-centric repository and authoring environment for multimedia

Many projects, e.g. VIKEF [13] and KIM [7], present grounded approaches for the use of entities as a means of indexing and retrieval of multimedia resources from heterogeneous sources. In this paper, we discuss the state-of-the-art of entity-centric approaches for multimedia indexing and retrieval. A summary of projects employing entity-centric repositories are portrayed. This paper also looks at the current state-of-the-art authoring environment, Macromedia Authorware, and the possibility of potential extension of this environment for entity-based multimedia authoring.

SCOPE Galleries Art Award: Art Concerning Environment

Curated by Liza McCosh, a major exhibition of pre-selected artwork that includes painting, drawing and sculpture. The exhibition included fifty five preselected artists/artworks from across Australia.The Art Concerning Environment Award is a national biennial award and the exhibition attempts to provide a platform that facilitates debate and promotes art as a catalyst for change.  The exhibition was supported by a public lecture on Climate Change (June 2, Warrnambool Art gallery) and facilitated by Guy Abrahams (guest judge).

See:  
www.scopegalleries.com
www.warrnambool.vic.gov.au/index.php?q=node/1266
Ziegeler, Bonnie, "Artworks with a green hue vie for %5000 award in Warrnambool", The Standard, June 3, 2012.

Sound Art and Public Engagement in the Built Environment: Reflections from an Architecture Center

This article explores the deployment of sound in architectural-curatorial and community engagement contexts through the work of PLACE, a multidisciplinary not-for-profit architecture center in Belfast, Northern Ireland. The author, who worked with PLACE and contributed to the projects discussed here, contextualizes architecture centers and their relationship with sound before examining the specific case of sound and sound art in Northern Ireland and case studies of projects delivered by PLACE. Specifically, the article evaluates two sound installation artworks and three community engagement projects for young audiences. As a means of curating urbanism and architecture, sound-art-as-public-art affords useful strategies to examine, describe or critique the environment as alternatives to traditional architecture exhibition formats. Sound’s temporality and materiality allow sound art works to exist as temporary sculptural interventions in the urban sphere, with attendant implications for public art procurement and urban acoustics. Rich territories of engagement are opened when using sound in a community participatory context.