Immersion: An OJS Theme Demo <p>Lorem ipsum dolor sit amet, consectetur adipiscing elit. Etiam viverra vulputate est, et feugiat velit euismod at. Donec at malesuada lacus. Mauris eros neque, blandit ac ante commodo, convallis pellentesque metus. Suspendisse at consectetur tellus. </p> en-US <p>Authors who publish with&nbsp;<em>Art/Research International</em>&nbsp;agree to the following terms:</p> <p>a. Authors retain copyright and grant the journal right of first publication and the right to sublicense the Contribution, in the form in which it is published by the journal, to others under the terms and conditions of the of the Creative Commons&nbsp;<a href="" target="_blank" rel="noopener"><strong>Attribution-NonCommercial-NoDerivs (CC BY-NC-ND)</strong></a>&nbsp;that allows others to download the work and share the work&nbsp;<ins cite="mailto:Jaime%20Beck" datetime="2015-05-06T08:59"></ins>with others with an acknowledgement of the work's authorship and initial publication in this journal, but they cannot change the work&nbsp;<ins cite="mailto:Jaime%20Beck" datetime="2015-05-06T08:59"></ins>in any way or use any part of the work commercially.</p> <p>b. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive public distribution and display of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.</p> <p>c. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See&nbsp;<a href="" target="_blank" rel="noopener">The Effect of Open Access</a>).</p> <p>d. Authors wishing to include items (such as images or other media, or any creative works of others whether previously published or not) must contact the original copyright holder to obtain explicit permission to publish these items in Art/Research International. Writing permission should include: the title(s) of any copyrighted work, original place of publication if applicable, and an acknowledgement of having read Art/Research International's copyright notice. Authors are responsible for obtaining this permission and keeping it in their own records for later verification.</p> (Kevin Stranack) (Kevin Stranack) Tue, 30 Oct 2018 00:00:00 -0700 OJS 60 MashUp at the Vancouver Art Gallery: “In Review” [onto]Riffologically <p>[onto]Riffology, a “plug in and play” method of inquiry that riffs across technological platforms and with all manner of material, finds easy resonance in mashup and remix, and we turn our riffological sights to the Vancouver Art Gallery which hosted MashUp[1] from February 20th through June 12th, 2016. Creative and combinatorial, mashup is identifiable in popular discourse as fundamentally humanist and epistemological in nature; however, as an interdisciplinary, ontological practise of repurposing and reconstituting, acts of mashup also exist in geological activity, far outside of humanity, and here we apply ontological focus through riffological measures. We are interested not in seeing merely what is being exhibited, but deterritorializing what is being curated. Our emergent senses of new materialisms inform our riffology here as we ceaselessly (re)encounter the exhibition; experienced as a riff arcadeof dream like experience that one mayn’t exit; like the arcades of Benjamin’s mammoth project of 1927 to 1940.</p> Richard Wainwright, Shannon Stevens Copyright (c) Wed, 31 Oct 2018 00:00:00 -0700 Critical Autoethnography Conference 2016: A Factionalized Review <p>In this factionalised script, I provide a review of the Critical Autoethnography (CAE) Conference, which took place in Melbourne, Australia, July 21-22, 2016. Participants gathered from across the globe to discuss the themes of affect, animacies, and objects from a critical autoethnographic vantage point.</p> Esther Fitzpatrick Copyright (c) Wed, 31 Oct 2018 00:00:00 -0700 Teaching for the Ambiguous, Creative, and Practical: Daring to be A/R/Tography <p>This purpose of this inquiry is to explore how an a/r/tographic model of shared inquiry led to deeper insights about learner-centered pedagogy. Invited to teach and redesign a very large ‘Art &amp; Society: Visual Arts’ course at a large university with a 21st century issues-based focus, together with my commitment as a constructivist, learner-centered teacher, the current phenomenological study was born. The phenomena studied was whether a large, lecture-style class taught from a more non-traditional, non-lecture, art-as-experience, learner-centered epistemology might affect students’ balanced thinking and perceptions about their learning. Students’ perceptions, along with the regulatory role of emotions, are critical factors in motivation and behavior; students’ self-beliefs about learning and their capabilities affect their behavior, resilience, and persistence in the face of challenge.</p> Delane Ingalls Vanada Copyright (c) Wed, 31 Oct 2018 00:00:00 -0700 Reimagining Cancer through Painting: An Arts-based Authoethnography <p>We interweave arts-based inquiry, painting, and autoethnography, to critically examine one researcher's fearful narratives around cancer, death, dying, and family myths. These methods give us the distance to deconstruct Christine's past schema in order to take away its powerful influence on her life. This destabilized illness narrative leads to a transformational narrative of peace. Arts-based inquiry invites the viewer/reader to engage in similar acts of deconstruction and transformation.</p> Christine Dunagin-Miller, Jodi Jan Kaufmann Copyright (c) Wed, 31 Oct 2018 00:00:00 -0700 Concrete Research Poetry: A Visual Representation of Metaphor <p>In this paper, the author employs concrete research poetry as a visual representation of a metaphor analysis. Using autoethnographic methods, she explores the experiences of eight single mothers of children and young adults with mental illness. She conducts a metaphor analysis of semi-structured interview data and generates concrete poetic structures from metaphors that emerged from the data. In the process, she transforms data into art.</p> Marcy Meyer Copyright (c) Wed, 31 Oct 2018 00:00:00 -0700 Editorial Diane Conrad Copyright (c) Wed, 31 Oct 2018 00:00:00 -0700 Artful Inquiry and the Unexpected Ethical Turn: Exploring Identity through Creative Engagement with Grades 9-12 Students in Guatemala and Canada <p>This paper presents a research project conducted with Grades 9-12 students in Canada and Guatemala where the visual arts were used to explore identity. Participants engaged in a short-term artful inquiry in which they were asked to create a piece of visual art that represented their cultural roots, self in present society and hopes for the future. Various modes of representation including drawing and collage were used. When considering the data, emergent themes and the overall project, unexpected reverberations about the ethical impact of doing arts based work emerged. These questions led to further questions about how creative engagement, individual and collective transformation within the classroom environment does/does not occur as a result of creative engagement.</p> Mindy Carter Copyright (c) Wed, 31 Oct 2018 00:00:00 -0700