About: Dartington College of Arts is a based out in . It is known for research contribution in the topics: Temporality & Soundscape. The organization has 17 authors who have published 20 publications receiving 235 citations. The organization is also known as: Dartington School of Art.
TL;DR: In this paper, the differential response of two forms of social failure-primary and secondary-to two different forms of treatment (a skills-acquisition procedure and an anxiety-reduction technique) was studied.
Abstract: The differential response of two forms of social failure-primary and secondary-to two forms of treatment—a skills-acquisition procedure and an anxiety-reduction technique-was studied. Twenty socially unskilled (primary) patients and 20 socially phobic (secondary) patients were given either systematic desensitization (SD) or social skills training (SST). The unskilled patients responded more to SST, as predicted, in that they reported significantly less difficulty in social situations, went out more, and improved on their personal behavioral deficits. The phobic patients responded equally well to both therapies. The success of SST in both kinds of problems is explained in terms of an unpredicted dual role, in that it reduced anxiety as well as facilitated behavior change. This is discussed in the light of current theories of anxiety reduction.
TL;DR: The artwork way from home as mentioned in this paper employed such practices as a performative, participatory and interventional methodology for eliciting and representing the transnational experiences, affects and significances of place for refugees and asylum seekers across the UK.
TL;DR: In the Homing Place project as discussed by the authors, a set of context-based and participant-led experiments involved inhabitants of Plymouth, UK, who are asylum seekers and refugees, in spatial, relational and dialogic art processes of wayfinding, mapping and walking.
Abstract: This essay enquires how certain performative mechanisms deployed in the practice-as-research project Homing Place might be conceived as homing devices, mechanisms that create relational and dialogic interspaces of orientation, dwelling, and emplacement and methods of bodily attunement to places. How might they be a homing place or homing places – describing both a place of inhabitation that exists in and through movement and a method of action, a way of finding, making and inhabiting that place? In Homing Place, a set of contextually based and participant-led experiments involved inhabitants of Plymouth, UK, who are asylum seekers and refugees, in spatial, relational and dialogic art processes of wayfinding, mapping and walking. This essay considers the underlying conceptual concerns of this project – how do those performative mechanisms employed create place or are place-making, and how is emplacement performed? Key conceptual tools for this discussion are Tim Ingold's conceptions of wayfaring and inhabi...
TL;DR: This paper is to question and explore why this ostensibly benign and increasingly common procedure of soundscape recording/sampling/abstracting, editing, retouching, transforming, mixing, recontextualising may result in a durable confrontation with ‘terror’ accompanied by ethical compromise.
Abstract: As if the (terrified) Photographer must exert himself to the utmost to keep the Photograph from becoming Death. But I, already an object, I do not fight. (Barthes 1988: 14)Perhaps this is the ultimate way of playing with reality. (Baudrillard 1997: 38)Every day the urge grows stronger to get hold of an object at very close range by way of its likeness, its reproduction. (Benjamin 1992: 217)This paper is born out of my experience as an electroacoustic composer/sound artist and consumer, who passionately engages in the procurance, employment and exchange of soundscape recordings: an ambivalent engagement which is aesthetically rewarding, yet on further reflection deeply unsettling. The aim of this paper is to question and explore why this ostensibly benign and increasingly common procedure (i.e. the routine of soundscape recording/sampling/abstracting, editing, retouching, transforming, mixing, recontextualising . . . ) may result in a durable confrontation with ‘terror’ accompanied by ethical compromise. To articulate a personal and intuitive response, I will refer to critical writings on photography to illuminate sound (i.e. utilising the photograph as a counterpoint to the sonic record). I will be focusing in particular on the recording and the reappropriation of human utterance in electro-acoustic music, as it is probably the most intimate, as well as familiar, sonic material to humans. You cannot escape from your own voice.
TL;DR: The most successfully integrated of humanity's animal "others", the dog surpasses all other animals in the length and complexity of its relationship to human beings as mentioned in this paper, and it is the most successful integrated of all the other animals.
Abstract: The most successfully integrated of humanity's animal "others," the dog surpasses all other animals in the length and complexity of its relationship to human beings. To initiate a "cartography of the canine" is both to remember a rich history and to envisage, along with many artists, new possibilities for this enduring companionship.
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