title: Constructing Artistic Integrity: An Exploratory Study

authors: Barbour, Kim Jaime

subjects: artistic integrity

abstract: This thesis explores the concept of artistic integrity. A historical foundation for
artistic integrity is laid to provide a context within which eight artists' constructions of the concept can be placed. To date, little research has been conducted to discover how artists feel about artistic integrity, despite the fact that
the concept is used frequently both in the popular media, and in arts and creative
industries policy and research.
Secondary research into European Romanticism and the growth of the creative industries traces the complex development of artistic integrity through to contemporary New Zealand. Grounded by an internal-idealist ontology, a subjectivist epistemology, and an interpretive paradigmatic framework, qualitative, semi-structured interviews with eight artists were conducted to
investigate how artistic integrity is perceived by those working within the New Zealand arts environment.
The multifaceted nature of the history of artistic integrity is mirrored in the
complexity of the responses from the artists involved in this research. Key themes
to emerge from the analysis of the interview data were the personally constructed and contextual character of artistic integrity, its importance to the artists involved, and its social contestation. However, the opinions offered on these themes were often very different, and occasionally even contradictory.
The artists' responses illuminate how differently artistic integrity could be interpreted throughout the creative community, and question the validity of current uses and definitions of the concept. Most importantly, this research
provides an opportunity for artists to offer their understandings of artistic integrity, as surely it is artists who should be determining the validity and meaning of their integrity.

text: Constructing Artistic Integrity: An Exploratory Study This thesis explores the concept of artistic integrity. A historical foundation for
artistic integrity is laid to provide a context within which eight artists' constructions of the concept can be placed. To date, little research has been conducted to discover how artists feel about artistic integrity, despite the fact that
the concept is used frequently both in the popular media, and in arts and creative
industries policy and research.
Secondary research into European Romanticism and the growth of the creative industries traces the complex development of artistic integrity through to contemporary New Zealand. Grounded by an internal-idealist ontology, a subjectivist epistemology, and an interpretive paradigmatic framework, qualitative, semi-structured interviews with eight artists were conducted to
investigate how artistic integrity is perceived by those working within the New Zealand arts environment.
The multifaceted nature of the history of artistic integrity is mirrored in the
complexity of the responses from the artists involved in this research. Key themes
to emerge from the analysis of the interview data were the personally constructed and contextual character of artistic integrity, its importance to the artists involved, and its social contestation. However, the opinions offered on these themes were often very different, and occasionally even contradictory.
The artists' responses illuminate how differently artistic integrity could be interpreted throughout the creative community, and question the validity of current uses and definitions of the concept. Most importantly, this research
provides an opportunity for artists to offer their understandings of artistic integrity, as surely it is artists who should be determining the validity and meaning of their integrity.

year: 2006

title: Rethinking motivating operations: A reply to commentaries on Edwards, Lotfizadeh, and Poling (2019)

authors: Edwards, Timothy L.

subjects: Social Sciences

abstract: As we acknowledged in our initial article (Edwards, Lotfizadeh, & Poling, 2019), the MO concept as popularized by Michael and his supporters, which we hereafter call the “current” concept, has served behavior analysts rather well. For that reason, the revisions of the concept that we proposed in our initial article, no matter how slight, should be challenged. We are grateful to the commentators, most of whom trained with Michael, for exploring the limits of our reconceptualization and for raising issues that we failed to consider. Herein we address what we view as their primary concerns. It is not our goal to argue that they are wrong and we are right, but rather to further discourse in the hope that it helps behavior analysts better understand some of the factors that modulate certain aspects of behavior.

text: Rethinking motivating operations: A reply to commentaries on Edwards, Lotfizadeh, and Poling (2019) As we acknowledged in our initial article (Edwards, Lotfizadeh, & Poling, 2019), the MO concept as popularized by Michael and his supporters, which we hereafter call the “current” concept, has served behavior analysts rather well. For that reason, the revisions of the concept that we proposed in our initial article, no matter how slight, should be challenged. We are grateful to the commentators, most of whom trained with Michael, for exploring the limits of our reconceptualization and for raising issues that we failed to consider. Herein we address what we view as their primary concerns. It is not our goal to argue that they are wrong and we are right, but rather to further discourse in the hope that it helps behavior analysts better understand some of the factors that modulate certain aspects of behavior.

year: 2019

title: The cultural perspective: Lakeweed and pest animals

authors: Douglas, Nicki

abstract: I have been with the Department of Conservation for about 15 years now and worked in Rotorua for 11 of those 15 years in various roles. I was lucky enough to be the Operations Manager for Lake Tarawera so I have a very strong association from a practitioner perspective. Practitioner is probably the key word for me. Most of my korero today will be based on experience and practice in working with communities and that is my area of expertise. I will talk about collective impact. It does say that I am talking about lake weeds and pests and I will mention them at least twice.

text: The cultural perspective: Lakeweed and pest animals I have been with the Department of Conservation for about 15 years now and worked in Rotorua for 11 of those 15 years in various roles. I was lucky enough to be the Operations Manager for Lake Tarawera so I have a very strong association from a practitioner perspective. Practitioner is probably the key word for me. Most of my korero today will be based on experience and practice in working with communities and that is my area of expertise. I will talk about collective impact. It does say that I am talking about lake weeds and pests and I will mention them at least twice.

year: 2017