rss_2.0Sciendo RSS Feed for Artshttps://www.sciendo.com/subject/ARhttps://www.sciendo.comhttps://www.sciendo.com/subjectImages/Arts.jpg700700https://sciendo.com/article/10.2478/ctra-2023-0002<abstract> <title style='display:none'>Abstract</title> <p>Although teaching mathematics for creativity has been advocated by many researchers, it has not been widely adopted by many teachers because of two reasons: 1) researchers emphasized and investigated mathematical creativity in terms of product dimension by looking at what students have at the end of problem-solving or -posing activities, but they neglected the creative processes students use during mathematics classrooms, and 2) creativity is an abstract construct and it is hard for teachers to interpret what it means for students to be creative in mathematics without further guidance. These can be eliminated by employing techniques of mathematical connections as tools because using mathematical connections can help teachers make sense of how to promote the creative processes of students in mathematics. Because making mathematical connections is a process of linking ideas in mathematics to other ideas and this is a creative act for students to take to achieve creative ideas in mathematics, using the strategies of making mathematical connections has the potential for teachers to understand what it means for students to be creative in mathematics and what it means to teach mathematics for creativity. This paper has two aims to 1) illustrate strategies for making mathematical connections that can also help students’ creative processes in mathematics, and 2) investigate the relationship among general mathematical ability, mathematical creative ability, and mathematical connection ability by reviewing theoretical explanations of these constructs and several predictors (e.g., inductive/deductive ability, quantitative ability) that are important for these constructs. This paper does not only provide examples and techniques of mathematical connection that can be used to foster creative processes of students in mathematics, but also suggests a potential model depicting the relationship among mathematical creativity, mathematical ability, and mathematical connection considering previously suggested theoretical models. It is important to note that the hypothesized model (see Figure 4) suggested in the present paper is not tested through statistical analyses and it is suggested that future research be conducted to show the relationship among the constructs (mathematical connection, mathematical creativity, mathematical ability, and spatial reasoning ability).</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2023-00022023-12-07T00:00:00.000+00:00https://sciendo.com/article/10.2478/ctra-2023-0005<abstract> <title style='display:none'>Abstract</title> <p>In today’s world, humanity is confronted with an increasing number of complex challenges. The Anthropocene’s core tenet, the impact of humans on the world, leads us to aspire to a more sustainable future, putting the possible at the centre of societal development. Educational contexts provide a unique platform for future citizens to engage with the possible, calling for the advancement of strategies that can intentionally contribute to expanding opportunities for embracing the possible. This commentary explores how contemporary challenges can be a driving force to redesign educational contexts to effectively embed the possible in their practices and pedagogies, in an effort to raise awareness and elicit a sense of urgency about the importance of the possible as a field of study.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2023-00052023-12-07T00:00:00.000+00:00https://sciendo.com/article/10.2478/ctra-2023-0003<abstract> <title style='display:none'>Abstract</title> <p>One of the more important questions about creativity is what makes a creative production a revolution? The present contribution follows the analysis of the development of scientific knowledge proposed by Kuhn (1962) in ‘<italic>The Structure of Scientific Revolutions</italic>,’ to propose a typology that may contribute to an answer. This typology, based on a retrospective analysis of a given domain of productions, distinguishes between two types of creativity: normal creativity and revolutionary creativity. Creative revolutions refer to ‘game changing’ productions in the domain, creating a turning point in the development of this domain. These creative revolutions constitute major disruptions within the domain, since they display both a high degree of novelty and sufficiently high value for future creative productions to take them as a new <italic>point of reference</italic>. The proposition to distinguish between normal and revolutionary creativity is explored as a complementary view to other typologies on creativity.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2023-00032023-12-07T00:00:00.000+00:00https://sciendo.com/article/10.2478/ctra-2023-0006<abstract> <title style='display:none'>Abstract</title> <p>Numerous scholars, philosophers, and experts in aesthetics have underscored the profound significance of a life enriched by the presence of beauty. Consequently, the appreciation of aesthetic experiences is considered pivotal for achieving self-discovery and self-transcendence (Howell et al. 2017). Despite theoretical prominence, limited qualitative research has been conducted on this topic. To address this gap in research, this study’s objective emphasized two questions guiding the inquiry; What is the role of aesthetic encounters in aiding self-realization or individuation? and, how do these experiences foster self-transcendence?</p> <p>A thematic analysis was performed on the online interviews conducted (<italic>N=25</italic>), and their results revealed seven themes pertaining to self-realization: a) Losing Yourself to Find Yourself; b) Relatability and Self-Reflection in Art; c) Identity as a Collection of Skills; d) Art as a Medium for Self-Expression and Acknowledgment; e) Aesthetic Genres and Taste as Identity; f) Belonging and Social Identity through Art; and g) Personal Interests and Choices in Artistic Consumption. Furthermore, seven themes for the second research question of self-transcendence were also discovered: a) Mother Nature’s Beauty; b) Intense, Passionate, and Overwhelming Experiences of Heightened Consciousness; c) Sacred Symbolism, Archetypal Imagery, and the Collective Unconscious; d) Collective Effervescence, Social Connection, and Shared Meaning; e) The ‘Profound’ Found in the Mundane; f) Feelings of Spiritual Elevation and Wellbeing; and g) Self-Referential Meaning-Making through Art. These findings evidenced the transformative potential of aesthetic experiences, shedding light on the facets of personal growth and meaning that individuals derive from such encounters.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2023-00062023-12-07T00:00:00.000+00:00https://sciendo.com/article/10.2478/ctra-2023-0004<abstract> <title style='display:none'>Abstract</title> <p>Lead users are invaluable resources to generate user-centric radical innovation, but they remain difficult to detect and recruit in the general population. Lead userness, which draws both on the ability to identify unstated customer needs and find creative solutions to those needs, has been conceptualized as domain-dependent: this means that a lead user may generate innovation only in a specific domain for which they are an expert. In the present study, we aim to better understand the extent to which lead userness is a domain-dependent state (as elaborated in the literature) or a domain-independent trait. Following a questionnaire survey with 126 participants, we managed to reliably assess the empathetic side of lead userness (ability to identify needs) and showed that it was related both to domain-dependent characteristics (competences) and domain-independent trait (emotional intelligence). These results open up new avenues for implementing the lead user method in innovation projects.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2023-00042023-12-07T00:00:00.000+00:00https://sciendo.com/article/10.2478/ctra-2023-0001<abstract> <title style='display:none'>Abstract</title> <p>It is a common belief that travel allows us to grow, get inspired, and reach fulfillment. Travels offer a highly conducive combination of cognitive resource maximization, positive emotions, and, most importantly, new, out-of-ordinary experiences, enabling creativity to flourish. However, for travel to affect creativity in any way, some conditions must be met. Of key importance are characteristics of travel destinations and travelers’ Openness to experience. This study explores the creativity-traveling relationship by analyzing occurring interactive, mediating, and correlational effects. Also, it compares how traveling and living abroad predict creativity to address the ongoing debate. The analysis comprising 136 participants demonstrated that the traveling-creativity link is stronger among people low on the Openness trait. Further, an indirect effect of creative self-efficacy in the relationship between traveling and creativity was observed. These findings suggest the potential of facilitating creativity through traveling experiences among some groups, but at the same time, they call for more in-depth research on the topic.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2023-00012023-12-07T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0008<abstract> <title style='display:none'>Summary</title> <p>The study deals with the possibilities of integrating the folk experience of creating Ukrainian games and toys into modern visual culture. An ethno-cultural pattern that synthesizes the artistic image, national form, natural materials, and game principles of interaction into an integral structure based on the analysis of folklore materials and artistic folk products from the territory of Western Polissia in Ukraine has been formed. The result of the study is the classification of Ukrainian folk toys and games of the population of Western Polissia organized as a holistic multifaceted visual and communicative system of interaction between folk games and toys. It has been proved that integration of ethno-cultural patterns into modern visual culture is carried out on three levels: subject, environmental, and socio-cultural. The study presents the theoretical basis for designing a modern visual and communicative environment for life, learning and rest, which is able to attract a child to the deep traditions of national culture in a natural way.</p> <p>The outlined levels of integration are closely related with modern practices of eco-design, ethno-design, and art-therapy, which act as a strategic basis for the formation of modern visual culture and are aimed at the sustainable development of society.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00082023-11-29T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0003<abstract> <title style='display:none'>Summary</title> <p>Theatre can be interpreted as a place where various modes of participation in the community or patterns of citizen behaviour can be rehearsed. In pre-pandemic Lithuanian theatre (as well as theatres of other Baltic countries) various forms of audience engagement were conspicuously emerging, ranging from physical co-creation practices to interactive forms of entertainment. After the global lockdown of theatre institutions the emerging forms of “virtual theatre”, ranging from performance recordings to zoom theatre, redefined the role of theatre spectatorship, in particular the notions of “active”, “passive”, “collective”, “individual”, fundamental for the understanding of the role of publics. Analysing the abundant examples of “pandemic theatre” one starts to think about the return of the digital “fourth wall”, where audiences are becoming distant spectators. This poses important questions to theatre research: whether these forms of theatre are strengthening the feeling of passivity and isolation, serve as platforms for much-needed psychological escapism or offer a critical revaluation of the essential principles of theatre art.</p> <p>With the help of two case studies, this paper will define and analyse the prevailing practices of pandemic Lithuanian theatre and will outline whether and how the fundamental categories associated with the spectator’s experience of theatre have changed in the post-pandemic era.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00032023-11-29T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0006<abstract> <title style='display:none'>Summary</title> <p>When modernism started to be seen in architectural spheres, it did not emerge just with an architectural language for design but also with new architectural typologies. Due to the main discourse of the Modern Movement with the famous quote of Louis Sullivan, “Form follows function”, new building types which were explicitly designed for their functions have appeared. However, over time, while some of these functional buildings kept their functions, some of them either lost their function entirely already, or the technology which created that function is in a downward trend. Zeppelin/airship hangars are amongst those buildings constructed for a specific function in the early 20th century which have lost that function in the present. Therefore, even though they might not reflect any tangible qualities, the function can operate as an intangible cultural reference. The object of this paper is one of those zeppelin hangars, which is located in Edirne, Turkey. The research attempts to categorise the architectural typologies that appeared by modernism, and apply a case study method to the Edirne Zeppelin Hangar to gain insight towards the problem, which is related to the consequences created by the language of the Modern Movement due to the emphasis of the function, and to discuss the possible adaptive reuse strategies regarding these artefacts which totally lost their functions. It is concluded that it is not possible to transform all the building stock that emerged in the built environment into museums, including the Edirne Zeppelin Hangar; however, inconsequential to the designated purposes, it is crucial to leave intangible references to the previous function in its design process.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00062023-11-29T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0002<abstract> <title style='display:none'>Summary</title> <p>This article analyses Lithuanian landscape photography that reflects the cultural landscape of the 20th century, revealing not only the natural phenomena of the land, but also the historical development of the country, social memory and national identity. Landscape photographs are abundant with cultural codes implicated in visual structures of landscapes, which are read and distinguished with the help of the palimpsest model. An interdisciplinary methodological approach is applied to the understanding of the functioning of photography in the spatial and local planes and to the purposeful use of the concepts of <italic>place</italic> and <italic>space</italic>, combining the phenomenological insights of humanistic geography, the theory of spatial production of the sociologist Henri Lefebvre, and the art historical analysis of visual texts. This interdisciplinary study introduces the cultural layer that is characteristic of the 20th century landscape, provides a sense of historical time shifts, and clarifies the prevailing stylistic movements in photographic landscapes.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00022023-11-29T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0001<abstract> <title style='display:none'>Summary</title> <p>Michael Fried’s 1967 essay “Art and Objecthood” is one of the most well-known and influential pieces of art criticism ever written, and continues to generate novel interpretations. Its overtly theological cast, however, has never been the subject of close study. This article focuses on Fried’s decision to use a lengthy quotation from Perry Miller’s biography of the theologian Jonathan Edwards as his epigram, and contends that Fried’s essay is informed in significant ways by Edwards’ notions of history and grace, and characterized by wordings that reveal an active engagement with Miller’s text. Certainly, the contexts in which Edwards and Fried worked were irreducibly different. Nevertheless, an examination of the ways in which Fried drew on Miller’s text and Edwards’ ideas demonstrates that he was productively influenced by both in composing “Art and Objecthood.”</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00012023-11-29T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0005<abstract> <title style='display:none'>Summary</title> <p>This article analyses the development of standard designs of primary school buildings in Lithuania during the 1920s and 1930s. This process aimed to create simple and comfortable standard school buildings and provide them to the primary schools operating in the country. The article presents the development of standard designs that took place at that time, explaining the circumstances of their emergence, and comparing the main designs of such buildings developed at that time. To reveal this process as best as possible, the influence of the then Ministry of Education of Lithuania, local former Lithuanian county municipalities, and various architectural specialists in the standardisation of buildings for primary schools and the development of standard designs are presented and analysed. This aims to introduce the readers to the still little-known process that took place in the architecture of Lithuania during the 1920s and 1930s.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00052023-11-29T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0007<abstract> <title style='display:none'>Summary</title> <p>The Romanian Workers’ Party – the political party that led Romania from 1947 until 1965 – need for legitimisation led to the rewriting of history in a way that the history of Romania was presented as a linear progression finally leading to communism. In art history, art also became a linear phenomenon, progressively advancing towards Socialist Realism.</p> <p>The tactics of constructing the new narrative in art history during the 1950s and the beginning of the 1960s can be read as a form of the social history of art. Although the methodology could have led to remarkable results, ethical boundaries were violated: only some historical episodes and moments from artists’ biographies were selected.</p> <p>Within this context, this study investigates whether papers and monographs about Romanian painters active in the second half of the 19th century and the beginning of the 20th century can be read as a form of social history of art.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00072023-11-29T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0004<abstract> <title style='display:none'>Summary</title> <p>Wabi Sabi is a Japanese concept that, despite lacking a universal definition, comprises three principles: nothing is perfect, nothing is finished and nothing lasts forever.¹ While in 2018, an adapted version of Wabi Sabi started to become trendier in the Western world², this Westernized concept accidentally starts to have parallels with the way in which contemporary circus artists experience their embodiment. The research showed that contemporary circus artists are constantly trying to focus more on what a body can do and how it can do instead of body appearance, they are accepting that bodies are not perfect and share an understanding of the importance of embracing this imperfection. Moreover, contemporary circus artists are having in mind constant bodily changes and reflecting it correspondingly by developing positive relationships with their bodies. This article will be a sociological outlook of interconnections among the already existing beliefs in the contemporary circus field and the new trend of Westernized Wabi Sabi ideas.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00042023-11-29T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0010<abstract> <title style='display:none'>Summary</title> <p>The article reveals the features of the graphic language of coded information by identifying, systematizing, and combining QR-codes and AR-codes at the present stage of graphic design development. The analysis of coded information in different types of graphic design is presented: advertising, environmental, motion, print, packaging, set prop, web, mobile app, art, and illustration graphic design. The role of a graphic designer in the development of digital codes of various types for various fields of application is described. It is proved that the coded information is a trigger between the online and offline worlds. The article also reveals the importance of using coded information for the formation, development, and improvement of the brand.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00102023-11-29T00:00:00.000+00:00https://sciendo.com/article/10.2478/mik-2023-0009<abstract> <title style='display:none'>Summary</title> <p>This paper constitutes a reflexive and theoretical approach to the study of iconographies from a cultural perspective. Its aim is to depict iconographies as the structural order which makes images representative of the social frameworks from which they stem. By analysing the stable principles which participate in the production of such representativity in any given iconography, and by considering the cultural agents which socially regulate them and make images culturally specific, it is possible to understand the cultural mechanisms by which the social construction of reality is projected onto images. Consequently, this approach favours a conceptualisation of iconographies as cultural systems through which the identity of social frameworks is conveyed thanks to the use of images.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2023-00092023-11-29T00:00:00.000+00:00https://sciendo.com/book/9781683923206This revised text is designed to demonstrate the process of converting static images to an effective animation of characters and effects. Unlike many of its competitors, <i>Storyboarding</i> uses the accompanying DVD to show the storyboards in conjunction with a final short film and script. Material on game scripting, Motion Graphics, and Web comics has been added. The text and tutorial disc take an in-depth view on the step-by-step process for developing characters, scenes, and camera angles through the full production of a finished project. The book includes numerous techniques for analyzing scripts, provides a comprehensive look at the various types of storyboards, and covers methods used in both film-making and video game storyboards.<br /><br />Features:<br /><br />• Uses the companion DVD with an original short film, <i>Overtime</i>, to demonstrate the storyboards in conjunction with the script<br />• Includes video game, motion graphic, animatic, motion comic, and e-learning storyboards with selected sample projects<br />• Loaded with projects, figures, tips, and interviews that offer practical advice<br />• Includes in-text commentaries on the storyboards by both the director and artist<br />• Includes a comprehensive glossary of key terms used in the film industry<br />BOOKtruehttps://sciendo.com/book/97816839232062023-07-18T00:00:00.000+00:00https://sciendo.com/book/9781938549731This book provides the in-depth information, exercises, and worksheets that will provide readers with the tools to become successful, enlightened filmmakers. Most novices are unaware of the “business” aspects of the film world or that producing Hollywood films will involve contracts, budget constraints, personnel, scheduling, legal issues, insurance, and safety regulations. Many first time filmmakers spend all their time on their “creative endeavors” and often forget to establish production management strategies or consider business ethics as integral parts of the process. In many cases the result is litigation or insurance problems that can lead to financial hardship and/or the inability to distribute the film. The book includes a companion CD-ROM containing the forms and documents covered in the text. Solutions to exercises and PowerPoint slides are available to instructors.BOOKtruehttps://sciendo.com/book/97819385497312013-04-15T00:00:00.000+00:00https://sciendo.com/article/10.24427/aea-2023-vol15-01<abstract><title style='display:none'>Abstract</title> <p>Białystok, the capital of the Podlaskie region, N-E Poland, covers 102 km&amp;sup2; and has <italic>ca. </italic>293 000 inhabitants. In recent centuries the city has been incorporating its suburban villages. In effect, relics of village-like plot structures have been retained and immersed into the whole cadastral structure of the city. In the article, distribution of cadastral relics of extreme land fragmentation have been surveyed, based on two www GIS portals: http://gispodlasia.wrotapodlasia.pl and https://gisbialystok.pl. We extracted data about areas with extremely narrow and elongated plot structure, i.e. plots which are 1 to 20 m narrow while hundreds of meters long, sometimes of geometric proportions even as extreme as 1:600. About 50 areas with relics of extreme land fragmentation have been recognized, of which 15 areas seem to be essential for the city functional structure. Therefore, Białystok can be seen as an unique city in terms of its rural-derived structure with numerous remnants of extreme land frgmentation.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.24427/aea-2023-vol15-012023-11-14T00:00:00.000+00:00https://sciendo.com/article/10.24427/aea-2023-vol15-02<abstract><title style='display:none'>Abstract</title> <p>Włodzimierz Naumiuk is a recognized folk woodcarver and sculptor from Kaniuki, Podlaskie voivodeship, N-E Poland. He was “discovered” in the 1960s and invited for art exhibitions, and his sculptures were subjects of press notes, newspaper articles and also research works, including, among others, an extended paper by Jacek Wołowski, published in 1985 in “Polska Sztuka Ludowa”. In this paper, some hitherto unknown aspects of Naumiuk’s technical proficiency related to woodworking and carpentry are presented, with focus on his vernacular carpentry skills and knowledge. The objective of this work is to bridge the gap between Naumiuk’s art and carpentry skills and knowledge, in order to place his art in a wider technology context. This work is based on personal interviews with Włodzimierz Naumiuk, on 05.04.2021, 03.09.2022 and 01.11.2022.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.24427/aea-2023-vol15-022023-11-14T00:00:00.000+00:00en-us-1