"In the vanishingly short period of time video rental stores were a part of the cultural landscape, thousands of mom-and-pop shops... Show more"In the vanishingly short period of time video rental stores were a part of the cultural landscape, thousands of mom-and-pop shops codified a surprisingly unified visual identity. VIDEOLAND collects over 100 logos from independent video stores during the 1980s and '90s, thematically and chronologically arranged. Assembled by Andy Sturdevant, primarily from local newspaper advertisements."--Publisher's website. Show less
As an educator, I see the need for alternative facilities because there are limited resources for Philippine Contemporary Art in academic... Show moreAs an educator, I see the need for alternative facilities because there are limited resources for Philippine Contemporary Art in academic institutions. I am also a gallery owner. So, at the same time, I do recognize the possibility of the gallery space as a venue for learning and engagement. These dual roles led to the investigation of the potential of the commercial art gallery as an extended learning site. Based on the idea of the “for-profit exhibition space” as a platform for interactions and engagements about Philippine contemporary art, I explored in this thesis its accessibility as a research and resource center for art education. I examined the following: What is the potential of a commercial art gallery as an extended learning site for visual art education in the Philippines? What is the impetus for the commercial gallery to consider its space as an extended learning site for art schools, students, and teachers? Vice versa, what would incite these potential participants to consider the commercial art gallery as a venue to enhance learning? Lastly, how is this study beneficial to visual arts education and its stakeholders in the Philippines? Drawing on related literature, interviews, and site observations done in Metro Manila, combined with my experiences as an educator and gallery owner, the collected data identified the factors that contributed to the fruition of this study. The feedback I gathered, the ideas and opinions from its stakeholders, determined, assessed, and acknowledged their needs and the project’s relevance. Findings indicated that the presence of educational programs in commercial art galleries and their symbiotic partnership with academic institutions are considered favorable and beneficial. However, in order for such collaborative efforts to be lucrative, productive, and meaningful, I recommend that their directions, objectives and intent should be, if not mutual, agreeable and transparent to all participants. Further analysis of the data revealed an emerging issue in art education locally, which could be a prospective research study. The culmination of this thesis hopes to be a starting point for the application of education programs in the commercial art galleries which I believe can help address these critical issues in art education. By employing the transformative power of art at these potential learning sites, it will also aid in its understanding in a larger community context. Show less
Past and recent losses of loved ones have left me thinking about a room’s ability to hold some of the essence of a person after they are... Show morePast and recent losses of loved ones have left me thinking about a room’s ability to hold some of the essence of a person after they are no longer in the space. This is akin to how an artist’s touch can be felt in the works that they make. I began making paintings of living rooms—from memory—that belonged to deceased loved ones. This encouraged me to examine how my artistic process creates a record of my touch that can outlive me, and to look deeply at the role materiality plays in my practice. Painting living rooms that belonged to departed loved ones made me reflect on the history of the Parlor Room. Sourcing imagery from memory led distortions of the objects depicted. I began to examine perception and its relationship to beauty—beauty as something visual and as an action. Show less
This thesis is available to be read online with no restrictions. It is not available for download.
With minimal existing research on the application of art therapy and biofeedback, this research investigated the effectiveness of art... Show moreWith minimal existing research on the application of art therapy and biofeedback, this research investigated the effectiveness of art therapy sessions for enhancing the long-term effectiveness of biofeedback. This study implemented an experimental pre/post/post design to address the question, “is there a difference in the frequency of engagement in relaxation techniques after discharge between headache patients who receive art therapy post biofeedback sessions as compared to those who do not while in inpatient treatment?” The research question responds to one of the major goals of biofeedback, transferring biofeedback learning and skills, such as relaxation, into everyday life, by measuring how frequently individuals engage in relaxation techniques before versus after treatment (Peper, Ancoli & Quinn, 1979). A review of the literature is included to provide an overview of headaches, chronic pain, biofeedback, and art therapy. Participants consisted of 24 patients who were receiving inpatient care for chronic headaches at Diamond Headache Unit in Chicago, IL. Quantitative results provide evidence of the value of art therapy for increasing long-term engagement in relaxation techniques. The study highlights the benefits of art therapy as a supportive treatment method for biofeedback, specifically by supporting social dimensions of care and facilitating the creation of a product. Show less
This thesis is embargoed for a period of two years (Spring 2021). The full thesis will be available online at that time, but will not be available for download.
With the rise of films and documentaries concerning important social issues, the filmmakers and producers need to catch up with new... Show moreWith the rise of films and documentaries concerning important social issues, the filmmakers and producers need to catch up with new social formats in the distribution of their films. Taking two 2018 films (Roma and Minding the Gap) distributed on Subscription Video-on-Demand (SVOD) platforms as examples, this study observes the prevalence of SVOD and social media platforms in relation to independent film distribution, and thus explores how SVOD and social media platforms have changed the traditional distribution model as well as the way in which viewers interact with independent films. I focus specifically on independent films that aim to generate social impact and I explore the role SVOD and social media platforms play in assisting these films to address social issues. The research is conducted with qualitative and quantitative studies. I analyze the films’ distribution strategies based on their social media campaigns, SVOD presence, official website and offline promotional activities. I collect platform and viewer data from a wide range of market research and data analysis organizations including the Digital Entertainment Group, Statista, Motion Picture Association of America, National Audience Survey, and Nielsen Media. Related literature deals with media studies including mass culture, media impact and technological revolution. Meanwhile, time-updated reports and correlative criticisms are also consulted for in-depth analysis. By comparing the two cases in the context of current film distribution and social network landscape, this study argues that SVOD and social media platforms are power tools for independent filmmakers, impact agencies and NGOs who intend to drive social impact. This study aims to enhance filmmakers, social activist and audiences’ understanding of the opportunities and threats of SVOD and social media platforms. Show less