Interdisciplinarity

Exploring the Plurality of Artists' Practices: Artists as dealers and agents Tropes from the Romantic era depicted artistic practice as an expression of the artists' 'isolated genius' which, in sociological terms, translated into the 'autonomisation of intellectual and artistic production', as a form of 'auto-normativity'. This session, however, aims to subvert such compartmentalisation of artistic activities and think about artistic practices-in the plural-which extend beyond the intellectualisation of 'disegno'. In particular, we would invite papers which seek to bridge seemingly disparate areas of artistic practice and explore the activities of artists as commercial agents. Artists were involved in negotiating the complex art worlds of their day, cultivating patrons, creating support networks or supplementing their incomes through dealing in art. From the Renaissance, artists often acted for the patrons in both the primary and secondary market for collecting, shaping the taste and opportunities for artists other than themselves. Indeed, their knowledge and experience as artists was highly valued as Giovanni Maria Sasso or Gavin Hamilton operated simultaneously as restorers, dealers, agents or collectors. This session thus invites papers covering all periods of art history and exploring plural notion of 'artistic practices' as means to expanding its meaning and application. We are particularly interested in how artists' shaped taste and collections, acted as dealers, or revised their own practices in response to an increasingly international art market.

Face à certaines œuvres de Louise Bourgeois, la présence du spectateur est peut-être requise pour que s’opère le jeu d’une mort à nouveau apprivoisée parce qu’intégrée, exhibée, tout à la fois grotesque, dérangeante et drôle. Nous décrivons et analysons ici  la mise en scène d'une ritualisation profane qui détourne les tabous de la mort et de la sexualité propres à nos sociétés occidentales contemporaines. Celles et ceux que nous avons choisi de nommer les "gisant(e)s" de Louise Bourgeois sont des sculptures hybrides singulières et puissantes. Elles ont ceci d’archaïque qu’elles recèlent cette part autonome de magie païenne, de commémoration tendre ou cruelle : sculpture funéraire, tombeau toujours-encore-vivant d’un passé révolu.

The recent and growing interest of culture-historical archaeologists for what social sciences have to say about ethnic phenomena raises questions about how the borrowed information is selected, understood and used. The interpretation made without explicit recourse to the social sciences is illustrated with some recent writings of V. Bierbrauer. For the impact of their training in a research tradition which was built around the task of identifying peoples from the past on how knowledge from the social sciences is used I have chosen writings of S. Brather and F. Curta. Although there are important differences between their views, both carry on aspects of the nationalist representation of ethnicity, S. Brather mainly by leaving unexamined assumptions about human groups, F. Curta by choosing from the social sciences some ideas which are consistent with what he was educated to believe. Both fail to recognize the full implications of the mainstream representation of ethnicity in the social sciences for the archaeological research.

Interesul recent şi crescând al arheologilor din paradigma cultural istorică pentru ce au de spus ştiinţele sociale despre fenomenele etnice evocă întrebări despre cum îşi selectează informaţia preluată, cum o înţeleg şi cum o folosesc. Pentru a ilustra cum este făcută interpretarea fără a recurge în mod explicit la ştiinţele sociale am folosit scrieri recente ale lui V. Bierbrauer. Pentru impactul a ceea ce au fost educaţi să creadă, într-o tradiţie de cercetare construită în jurul sarcinii de a identifica popoare din trecut, am ales scrieri ale lui S. Brather și F. Curta. Deși există diferenţe importante între perspectivele lor, ambii păstrează aspecte ale reprezentării naţionaliste a etnicităţii, S. Brather mai ales pentru că nu examinează presupunerile despre natura grupurilor umane, F. Curta pentru că alege din știinţele sociale ceea ce potrivește cu ceea ce a fost educat să creadă. Nici unul, nici celălalt nu realizează pe deplin implicaţiile reprezentării dominante a etnicităţii în știinţele sociale pentru cercetarea arheologică.

Interviewer Janell Watson gives a brief account of my early intellectual interests, career as a teacher of literature, and work as an interdisciplinary scholar and theorist. The interview elicits my views on a range of topics relating to university life and contemporary intellectual developments, including my mid-1960s feminist activism, the increasing prominence of marketability as a concern of the academy, how I arrived at the ideas in *Contingencies of Value*, my  advocacy of an "ecological" or "dynamic" view of human cognition, and my efforts to challenge or complicate familiar but dubious conceptual dualisms, including oversimplified views of the relations between science and religion.

Opening keynote address on the 2019 conference theme of Global Digital Society: Impacts on Humanities and Social Sciences. The topic of disruptive technology and our calling suited the author's background in online education and international faculty development. The author has also worked for the impact to go the other way, from the Humanities and Social Sciences to new technologies, which tend to be rudderless or even dangerous unless guided by ethics and, in education, pedagogy. Thus the presentation encourages interdisciplinarity and outlines the history of e-learning.

As we run in or through the city, can we also metaphorically ‘run' it? This chapter introduces four tactics of ‘running art-fully’ as a mobile method within the city. Set against the backdrop of running as a mass fitness practice and a world in frenetic commotion, I draw on my own art practice, and include practices and concepts from the Situationist International and the Chinese philosophy of Daoism (Taoism). I want to catalyse people from all walks – artists, non-artists, runners, non-runners – to consider the poetic implications and applications of running, and how that interplays with mobilities and visual art, and to invent yet other ‘strong minded acts of imagination’ to interrogate the status quo.

The scientific network “Entangled Histories of Art and Migration: Forms, Visibilities, Agents” is funded by the German Research Society (2018 - 2021). It sets out to conduct research on the interrelationship of migration and globalization as an important phenomenon of social transformation in the 20th and 21st centuries and in its role for art historical research and artistic production.

In the upcoming 3 years, it will enhance the research on migration with art-historical perspectives and methodologies in a field that has been primarily focusing on social- and political scientific as well as anthropological studies.

The network connects therefore with recent international art historical migration research and outlines three central and overlapping fields of research that interweave histories of art and migration: 1. Forms and aesthetics of migration; 2. Actors in the field of migration; 3. Visibility: image politics and visualization strategies in the context of migration

This paper is a thesis resulting from a 2-years long course of research in an Integral Master's Degree, into Intersubjective Awareness Practices (We Space). The author uses an Integral Methodological Pluralist approach, additionally adopting Intuitive Inquiry, to present a response to the question: What are We Space practices, and why are they emerging now? First-person methods of inquiry include Intuitive Inquiry along with a (developmental) Psychometric Analysis (SCTI). The second person methodology is coding and extracting themes from a series of interviews done with practitioners of We Space.

The main bulk of the paper comes from coding and explicating interviews done with ten people who hold various intersubjective practices.

Since 2013, much development has happened in this field, theoretically and practically. I plan on adding an addendum in the coming weeks.

Both inter-disciplinary collaboration and project-based learning are popular topics in today’s classroom. This is especially true in the field of design. Despite theoretical interest in disrupting disciplinary silos to solve 21st century problems, however, there has been little study of links between collaborative techniques cultivated in the classroom and their professional application after graduation. This poster describes a research project that asked Bachelor of Interior Design alumni of an ‘Interdisciplinary Practices’ course (2008-2015) to reflect on the course’s lasting learning lessons in the context of their subsequent professional experience. Survey responses from 63 graduates and transcripts from 16 open-ended interviews provided a rich data set. Respondents reported on a range of design practice in both mode and scale, with variable rates of direct opportunity to apply course lessons. Nevertheless, their vivid recollections and thoughtful insights reveal an unexpected emotional dimension embedded in the authentic collaborative classroom experiences. An indirect influence of the course was revealed in value statements about daily professional experiences of navigating conflict, respecting disciplinary integrity, and honouring the team rather than the individual.

Invited contribution to Edge Condition: an open on-line journal at - http://www.edgecondition.net.
Responding to the theme of ‘Teaching the Future’, I wrote this brief philosophical examination of a signature undergraduate course “Interdisciplinary Design Practices” that I had taught each winter term for almost a decade. Using the palimpsest as shifting, generative metaphor for design disciplines in a state of flux, contrasted with the notion of a tactic as a practical operation, I explored some of the pedagogical strategies developed for the course.

In 1783, a sequence of five strong earthquakes shook Calabria, later that year the Laki fissure eruption of 1783 blanketed parts of the northern hemisphere with a dry sulfuric fog. The most popular working theory was that earthquakes in Italy had caused the sulfuric-smelling dry fog. Contemporaries believed that they lived in the time of a “subsurface revolution.”

A suite of 4 new Collaborative Doctoral Scholarships have just been advertised for exceptional researchers looking to enter ANU's Interdisciplinary Cross-Cultural Research Program next year. Scholarship holders will be jointly located at a world-class research university and one of the flagship national institutions partnering with this initiative – the National Archives of Australia, the National Film and Sound Archive, the National Museum of Australian and the Australian Parliamentary Library.


More information at: https://cass.anu.edu.au/study/scholarships/phd/collaborative-doctoral-program-phd-scholarship?fbclid=IwAR1je5P9aj5uCACcbFlCQBpdFsfPqlJEUsA8ZPd-5ADpYtHINENgenntAG4

Is interdisciplinarity an unavoidable dimension and feature of research nowadays? This points to the ethics of interdisciplinarity. In what way is this concept inspiring research programmes and fostering originality? Should we all necessarily be interdisciplinary, or rather could we still produce high-quality research remaining in traditional niches? Are there specific topics or studies within moral and political philosophy that require or call for interdisciplinary methodologies and approaches? How is the ideal of interdisciplinarity changing the landscape in academia and helping shape humanities disciplines? This relates to the politics of interdisciplinarity. Is interdisciplinarity reshaping humanities to the point that it is not allowed not to be interdisciplinary? If interdisciplinarity is seen as a combination of methods and concepts from two or more disciplines, this might result in an opposition, rhetorically argued to justify new approaches and legitimise innovation and impact. Are differences among disciplines highlighted in order to make interdisciplinarity work? The seminar Humanities at the Crossroads explores the new directions of interdisciplinary research in the humanities generally, and more specifically in moral and political philosophy. It does so by inviting presentations on case studies in moral and political philosophy where interdisciplinarity plays a prominent role. But also by exploring generally the ethics and politics of interdisciplinarity in academia. This seminar examines questions like why and to what extent we should promote interdisciplinarity, the rhetorics of interdisciplinarity, and the topics or fields that particularly demand an interdisciplinary approach in moral and political philosophy. The ethical and political dimensions are therefore understood broadly, as applied both to themes and case studies in ethics and politics, and also as an opportunity to reflect on purposes and methods. https://www.uma.es/civicconstellation/info/105396/interdisciplinarity-doctoral-seminar

Academic autonomy as institutional and individual self‐determination in the sphere of education and scientific research faces a wide scope of challenges, caused by the fundamental changes in the life of contemporary society. Both primary and secondary schools expected to provide knowledge and training, necessary for human development, respecting choices of students and their parents. High expectations for the quality of curriculum and the impact of science are prescribed by modern standards of the human economy, unifying the global world. Such expectations are often reflected in legislation, policies, and regulations imposed in reaction to activities of different pressure groups, blaming teachers, scholars, and universities for the lack of sufficient integrity and capacity to satisfy public demand. Measures to defend academic autonomy (particularly, in legal studies) are proposed, such as socialization and popularization of education and science, public discussion of knowledge policies, interdisciplinary research and training targeted to solve practical problems of public interest, and strengthening critical thinking with a deeper usage of mathematical methods.

Sheliazhenko, Yurii. "Academic autonomy and perspectives of interdisciplinary research: mathematical analysis of law." Scientific Papers of the Witelon State University of Applied Sciences in Legnica 32, no. 3 (September 2019): 155-62.

A musical theatre collaboration by nature involves a multidisciplinary team that must combine their specialist skills to produce one cohesive artistic work. This fusion of personalities, experience and expertise can inspire both innovation and conflict. Previous studies of interdisciplinary collaborations present a dichotomy of views: advocators of collaborative working (John Steiner (2006), Sawyer (2008) and Tharp and Kornbluth (2013)) cite developmental and aesthetic advantages, whilst others suggest the existence of 'incompatible differences' caused by the 'pre-existing cultural boundaries that define artistic disciplines' (Haydn and Windsor, 2007). This paper focuses on the musical theatre creative team as a functionally diverse, multidisciplinary group, and investigates the impact of this diversity on its ability to work effectively. In an attempt to conciliate the polarised views of the value working of within an interdisciplinary creative team, phenomenological evidence from contemporary musical theatre composers will be considered within a framework of socio-psychological, organisational and creative collaboration theory. The musical theatre environment is shown to be a setting in which by consciously exploiting diversity as a resource, a composer can both enrich their compositional practice and learn to collaborate more effectively.

Cilj suvremene pedagogije je proširiti svoje polje djelovanja i otvoriti se novim izazovima. Jedan od izazova predstavlja spajanje i integracija različitih nastavno-stručnih struktura putem korelacije i interdisciplinarnoga pristupa. Važan udio u tom procesu dodijeljen je
predmetima umjetničkoga karaktera, od kojih izdvajamo glazbenu i dramsku umjetnost. U današnjem odgojno-obrazovnom sustavu glazba se shvaća kao autonomna umjetnost, pretežito izvođačkoga karaktera, a dramski odgoj rijetko se sustavno provodi u vertikali, kao ni učenje o komunikacijskim i socijalnim vještinama. S druge strane, aktivno
poznavanje (stranih) jezika postaje osnovna potreba obrazovanoga društva i pravo je bogatstvo pojedinaca koji se njima služe. Upravo iz potrebe da se različiti sadržaji shvate temeljem korelacije, nastala je SEM koncepcija (Stage-English language-Music) koju su utemeljile profesorice engleskog jezika, dramske i glazbene kulture. Praktični doprinos SEM koncepcije učenja ogleda se u povezivanju različitih, a opet sličnih odgojnoobrazovnih sadržaja umjetničko-jezičnoga područja te ostvarivanju zadataka na kreativan, inovativan i suvremen način. Integracijom, korelacijom i interdisciplinarnim pristupom umjetnosti i jeziku omogućuje se djeci predškolske i školske dobi bogaćenje novim
spoznajama, znanjima i iskustvima, kao i razvoj kritičkoga i kreativnoga mišljenja te stvaralaštva. U radu ćemo opisati projekt „Putovanje Europom”, specifičnog načina učenja zamišljenog za učenike petih i šestih razreda osnovne škole. Učenje i razvoj umijeća temelje se na
slušanju, upoznavanju i analizi umjetničke glazbe, izvođenju glazbenih djela, zatim na dramskim dijalozima, izražavanju i stvaranju te učenju engleskoga jezika kroz komunikaciju povezanu s glazbom i dramom.