"This edited volume forms a compilation of new works on architecture, fine arts, crafts, film, music, dance, theatre, new media, design, advertising, publishing, research and development software, television and radio, which look at the dynamics and impact of the convergence of the arts within the context of the creative industries. They debate issues of engaging audiences through convergence, participation, collaboration and agency in the transformation of traditions, creation of alternative methodologies, education, digital media and design, as well as representation in the creative arts. This book promotes dialogue between and across disciplines with a focus on the varied historical, cultural and technological settings in different parts of the world in which convergence is located. The proceedings describe some of the ways that convergence is restructuring culture and society and the relationship between audiences, producers and content in Asia. Convergence involves changes in the methods culture is created and consumed."--Preface and acknowledgements.

Art is a multi-faceted part of human society, and often is used for more than purely aesthetic purposes. When used as a narrative on modern society, art can actively engage citizens in cultural and pedagogical discussions. Convergence of Contemporary Art, Visual Culture, and Global Civic Engagement is a pivotal reference source for the latest scholarly material on the relationship between popular media, art, and visual culture, analyzing how this intersection promotes global pedagogy and learning. Highlighting relevant perspectives from both international and community levels, this book is ideally designed for professionals, upper-level students, researchers, and academics interested in the role of art in global learning.

Digital literacy practices have often been celebrated as means of transcending the constraints of the physical world through the production of new social spaces. At the same time, literacy researchers and educators are coming to understand all the ways that place matters. This volume, with contributors from across the globe, considers how space/place, identities, and the role of digital literacies create opportunities for individuals and communities to negotiate living, being, and learning together with and through digital media. The chapters in this volume consider how social, cultural, historical, and political literacies are brought to bear on a range of places that traverse the urban, rural, and suburban/exurban, with emphasis placed on the ways digital technology is used to create identities and do work within social, digital, and material worlds. This includes agentive work in digital literacies from a variety of identities or subjectivities that disrupt metronormativity, urban centrism (and other -isms) on the way to more authentic engagement with their communities and others. Featuring instances of research and practice across intersections of differences (including, but not limited to race, class, gender, sexuality, ability, and language) and places, the contributions in this volume demonstrate the ways that digital literacies hold educative potential.

Creativity and the Performing Artist: Behind the Mask synthesizes and integrates research in the field of creativity and the performing arts. Within the performing arts there are multiple specific domains of expertise, with domain-specific demands. This book examines the psychological nature of creativity in the performing arts. The book is organized into five sections. Section I discusses different forms of performing arts, the domains and talents of performers, and the experience of creativity within performing artists. Section II explores the neurobiology of physiology of creativity and flow. Section III covers the developmental trajectory of performing artists, including early attachment, parenting, play theories, personality, motivation, and training. Section IV examines emotional regulation and psychopathology in performing artists. Section V closes with issues of burnout, injury, and rehabilitation in performing artists. - Discusses domain specificity within the performing arts - Encompasses dance, theatre, music, and comedy performance art - Reviews the biology behind performance, from thinking to movement - Identifies how an artist develops over time, from childhood through adult training - Summarizes the effect of personality, mood, and psychopathology on performance - Explores career concerns of performing artists, from injury to burn out

Proceedings of the 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023), July 20–24, 2023, San Francisco, USA

It has long been accepted that participating in music, either as a performer, listener, or composer, can contribute to human happiness and well-being. This volume, part of The Humanities and Human Flourishing series, explores a fourth musical activity--the act of music scholarship--and reveals how engagement with the cultural, social, and political practices surrounding music contributes to human flourishing in a way that listening, performing, and even composing alone cannot. Music and Human Flourishing contains essays by eleven prominent scholars representing the fields of musicology, ethnomusicology, and music theory. The essays are divided into three general categories and cover a broad range of topics and music traditions. In Part I, Contemplation, contributors explore a specific facet of music's connection to human flourishing and contemplate new approaches for future action. Part II, Critique, contains essays that challenge past assumptions of the various roles of music in society and highlight the effects that unconscious bias and stereotyping have had on music's effectiveness to facilitate human flourishing. Part III, Communication, features essays that explore how ethnicity, gender, religion, and technology influence our ability to connect with others through music. Collectively, these essays demonstrate how the process of thinking and writing about music and human flourishing can lead to revelations about cultural identity, social rituals, political ideologies, and even spiritual transcendence.

This book traces the history of engagements between dance and the visual arts in the mid-twentieth century and provides a backdrop for the emerging field of contemporary, intermedial art practice. Exploring the disciplinary identity of dance in dialogue with the visual arts, this book unpacks how compositional methods that were dance-based informed visual art contexts. The book provokes fresh consideration of the entangled relationship between, and historiographic significance of, visual arts and dance by exploring movements in history that dance has been traditionally mapped to (Neo-Avant Garde, Neo-Dada, Conceptual art, Postmodernism, and Performance Art) and the specific practices and innovations from key people in the field (like John Cage, Anna Halprin, and Robert Rauschenberg). This book also employs a series of historical and critical case studies which show how compositional approaches from dance—breath, weight, tone, energy—informed the emergence of the intermedial. Ultimately this book shows how dance and choreography have played an important role in shaping visual arts culture and enables the re-imagination of current art practices through the use of choreographic tools. This unique and timely offering is important reading for those studying and researching in visual and fine arts, performance history and theory, dance practice and dance studies, as well as those working within the fields of dance and visual art. Chapter 1 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com