rss_2.0Arts FeedSciendo RSS Feed for Artshttps://www.sciendo.com/subject/ARhttps://www.sciendo.comArts Feedhttps://www.sciendo.com/subjectImages/Arts.jpg700700Evaluative Self-efficacy and its Potential Role in the Evaluation and Selection of Ideas: A Metacognitive Perspectivehttps://sciendo.com/article/10.2478/ctra-2022-0010<abstract> <title style='display:none'>Abstract</title> <p>In two studies, we examined the creativity of ideas generated, as rated by judges, and metacognitive feelings as antecedents of evaluative self-efficacy and relevance of strengths and weaknesses of the idea generated and accurate idea selection as consequences within the creative process. Participants in both studies completed a measure of metacognitive feelings, evaluative self-efficacy, and a divergent thinking task. In addition, participants rated their ideas and either identified strengths and weaknesses or selected their most creative idea. Two independent judges evaluated all ideas and either assessed the relevance of the strengths and weaknesses identified by participants or selected the most creative idea. Results showed a positive relationship between judges-evaluations and evaluative self-efficacy in one study and a positive relationship between metacognitive feelings and evaluative self-efficacy in both studies. Regarding consequences, results showed a positive relationship between evaluative self-efficacy and the relevance of strengths and weaknesses and a non-significant relationship between evaluative self-efficacy and accurate idea selection. The implications of our results for metacognition and creative beliefs were explained.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2022-00102023-02-04T00:00:00.000+00:00Are Video Streaming Platforms Stifling Local Production Creativity? The Spanish Casehttps://sciendo.com/article/10.2478/ctra-2022-0015<abstract> <title style='display:none'>Abstract</title> <p>International streaming platforms have broken into the European market and are partnering with local production companies to produce content. Online consumption generates a huge database on the tastes and consumption patterns of viewers. Although the business of video streaming platforms is to attract subscribers, all this data could be used to produce content adapted to the different sensibilities of the audience. We want to investigate to what extent entry of the streaming companies has impacted the creativity of the production process in Spain and how creativity may be affected by this. We carried out semi-structured interviews with creative workers who produce for both linear television channels and video on demand platforms. The sample focuses on four workers from independent production companies with years of experience working for the television channels that have started working for new streaming companies. Their responses imply that big data does not appear to reduce uncertainty and is not applied to make decisions in the first stages of the production process. However, production of local shows has changed significantly.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2022-00152023-02-04T00:00:00.000+00:00The Generative Force of the Domain and the Field: Contributions of Highly Creative Womenhttps://sciendo.com/article/10.2478/ctra-2022-0014<abstract> <title style='display:none'>Abstract</title> <p>This study aims to explore the two less frequently researched pillars of the systems theory of creativity: domain and field, through a gender lens. Twenty-five award-winning women from different domains were interviewed. Their responses were examined using grounded theory. Results show four categories associated to domain: (1) access, including family incentive, interest in childhood, and late start; (2) relationship, reflected in high level of engagement, positive feelings, priority in life, and crisis; (3) gender barriers, encompassing family impact, financial limitations, discrimination, and being part of a minority; and (4) extra-domain, described in background and interests in other areas. Four additional categories were identified in relation to the field: (a) 10 years to gain recognition, (b) unclear criteria, (c) men hold the power, and (d) denial of gender barriers. The importance of fostering appealing domains that motivate women is discussed, along with the need for openness to interdisciplinarity and nonlinear careers. Masculinisation of the fields is problematised as an obstacle for the development and recognition of women. The personal discrimination denial paradox, in spite of accounts of the gender barriers experienced, is questioned.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2022-00142023-02-04T00:00:00.000+00:00The Influence of Parental Autonomy Support on Creative Self-concept in the Context of Business Educationhttps://sciendo.com/article/10.2478/ctra-2022-0011<abstract> <title style='display:none'>Abstract</title> <p>The amount of attention given to creative beliefs has increased in recent years. We wanted to answer a call for more research on the antecedents of creative self-concept, assessing the influence of parental autonomy support in the context of business education. Participants were 272 college students from Mexico who completed a battery of questionnaires assessing parental autonomy support, creative self-concept, self-reported ideation, and a divergent thinking task. Results showed a positive relationship between business-specific parental autonomy support and creative self-concept. In addition, creative self-concept had positive relationships with self-reported creative ideation and creative potential in the form of an originality index. Our results suggested that parental support was important to help students have confidence and the motivation to value the process of generating novel and useful business ideas. The implications of the results were discussed.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2022-00112023-02-04T00:00:00.000+00:00Everyday Creativity in Pandemic: A Systematic Reviewhttps://sciendo.com/article/10.2478/ctra-2022-0012<abstract> <title style='display:none'>Abstract</title> <p>The article presents a systematic review of scholarly papers referring to everyday creativity in times of COVID-19. We reviewed 30 papers published between May 2020 and June 2022. We searched in SCOPUS, Google Scholar, JSTOR and PsycINFO, using combinations of the following keywords: <italic>Creativity, Pandemic and COVID-19</italic>. We follow the PRISMA guidelines for conducting systematic reviews. We established four general inclusion criteria and selected quantitative, qualitative, or mixed-design empirical papers. Three experts evaluated whether the papers met the established criteria. We analyzed the selected research qualitatively through encodings and method of constant comparisons. We built four general categories whose purpose is to systematize the main results of the papers: <italic>Creativity and Health, Increase in Creative Actions, Motivations, and Creative Growth</italic>. The analyzed papers show relationships between creative actions, well-being, and coping. The data showed increases in creative actions in times of pandemic. Enjoyment, seeking contact with others, and coping appear as the main reasons for the development of creative actions. The results highlight the importance of creative adaptation in the construction of new personal and professional development projects.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2022-00122023-02-04T00:00:00.000+00:00Image of Everyday Creativity. An Individual Case of a Person with Passionhttps://sciendo.com/article/10.2478/ctra-2022-0013<abstract> <title style='display:none'>Abstract</title> <p>The goal of the present study is to showcase the relation of creativity and passion, captured from the perspective of an analysis of experiences, subjective encounters, and feelings of an everyday creator, as well as analysis of their products. Basing on qualitative analysis of an individual case of a person with passion, the paper presents an image of their everyday creativity. In our research, we referred to the principles of everyday creativity (Richards, 1999, 2007, 2010). Analysis of the results of <italic>The Dualistic Model of Passion</italic> (Vallerand et al., 2003; Vallerand, 2008, 2010, 2015) became the theoretical frame of reference in our pursuits of the role passion plays in the examined person’s creativity. We conducted an analysis of the process and effects of everyday creativity of this individual in the context of two dimensions of harmonious and obsessive passion (Vallerand, 2015). Additionally, we analyzed and interpreted qualitative material in the context of the concept of <italic>Flow</italic> (Csíkszentmihályi, 1996) and <italic>Grit: The Power of Passion and Perseverance</italic> (Duckworth et al., 2007; Duckworth &amp; Quinn, 2009; Duckworth, 2016). We analyzed traits of the examined everyday creator in the context of the Big-Five concept of personality (McCrae, 1987; McCrae &amp; Costa, 1999). The research shows that using the theory of passion to analyze an individual’s everyday creativity can reveal two extremely different images of a person’s creative works, their personality, as well as the creative process itself. These images are differentiated by harmonious passion and obsessive passion, considered here as disparate sources of creativity.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2022-00132023-02-04T00:00:00.000+00:00Octahedral Creativity Frameworkhttps://sciendo.com/article/10.2478/ctra-2022-0009<abstract> <title style='display:none'>Abstract</title> <p>Currently, Rhodes’ 4p framework of creativity is the most widely accepted framework to understand creativity. In spite of this, there are many new theories focused on some facets of creativity that shape a fragmented puzzle with pieces that overlap and intertwine in a very complex way. The absence of an integrating framework adapted to the incursion of new theories prevents us from achieving that global vision of a finished puzzle, where each theory fits perfectly. The Octahedral Creativity Framework (OCF) fills this gap. It is built on Hermagoras´ framework of seven circumstances (who, in what way, what, where, when, why, and by what means) and 26 current frameworks and theories of creativity, including Rhodes’ 4P creativity framework (Person-who, Process-How, Product-what and Press-where/when). It is shaped as an octahedron, where the six main dimensions are placed on their vertices: Person, Product, Process, Environment, Motive, and Means. Factors derived from dimension interaction are located on its corresponding edges and faces. This research shows graphically how 26 of the main creativity frameworks and theories integrate their dimensions and factors in the OCF. The OCF provides a better understanding of the construct of creativity. This global integrative framework opens new research paths based on certain factors and their interaction with other close elements. The gain in knowledge also suggests pragmatic consequences in the lines of evaluating and teaching creativity not only to enhance economic development but to enhance our personal well-being.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2022-00092023-02-04T00:00:00.000+00:00The Origins of the Scientific Mind: Interview with Gregory J. Feisthttps://sciendo.com/article/10.2478/ctra-2022-0016<abstract> <title style='display:none'>Abstract</title> <p>In the interview with Gregory J. Feist, one of most prolific creativity researchers, we discuss his career, main areas of research interest, chosen research methods and share his thoughts about the future of research on creativity and effectiveness in scientific work.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/ctra-2022-00162023-02-04T00:00:00.000+00:00THE XXVII-th INTERNATIONAL CONFERENCE of INVENTICS "INVENTICA 2023. "https://sciendo.com/book/9788367405201<DIV align=justify><P>"INVENTICA 2023" provides an opportunity for all individuals passionate about creativity across all fields to discuss and exchange research ideas. "INVENTICA 2023" is a celebration event dedicated to inventors, creators in technique and art and also, a collaborative platform in a stimulating, innovational, cultural atmosphere, cultivated over the past 50 years by the School of Inventions in Iasi. </P> <P>It aims to showcase, disseminate and promote scientific research findings and cutting-edge technological advancements, while also identifying the progress and current state of the field of creativity. </P> <P>The "INVENTICA 2023" Conference encourages scientific investigation in invention, innovative and inventive products, and brings together researchers interested in the field of invention, innovation and creativity. The primary focus area of the "INVENTICA 2023" Conference include psycho-technical creation, technical creation methods, interdisciplinary research on optimizing human performance, creativity in engineering, the intersection of science and art, and intellectual property. </P> <P>The main purpose of the Conference as a study of creativity is to establish an academic forum for scientific innovation and creativity. The event also offers a valuable opportunity to communicate, network, and share research and innovation outcomes with a broad audience of the general public and users. </P> <P>The 27th Inventica International Conference is scheduled to be held on June 22nd – 23rd 2023 at the Aula Carmen Silva of Technical University “Gheorghe Asachi” in Iasi, Romania. The event is organized by the National Institute of Inventics Iasi at “Gheorghe Asachi” Technical University of Iasi and the Department of Digital Production Systems, Faculty of Machine Manufacturing and Industrial Management. </P> <P></P> <P>Contact: inventica.conferinta@tuiasi.ro </P>BOOKtruehttps://sciendo.com/book/9788367405201Editorialhttps://sciendo.com/article/10.2478/njd-2022-0005ARTICLEtruehttps://sciendo.com/article/10.2478/njd-2022-00052023-01-17T00:00:00.000+00:00Bok Anette Sture Iversen: Samtidsdans – a way of lifehttps://sciendo.com/article/10.2478/njd-2022-0008ARTICLEtruehttps://sciendo.com/article/10.2478/njd-2022-00082023-01-17T00:00:00.000+00:00Variationsmönster i dansundervisning – lektionsdesign med som forskningsansatshttps://sciendo.com/article/10.2478/njd-2022-0006<abstract> <title style='display:none'>Abstract</title> <p>The article presents partial results from a nationally funded practical research project where the aim is to analyze and describe how lesson design can be constituted with a focus on working with parallel pirouette. The following research question was formulated, how can different patterns of variation offer opportunities for learning where the teaching content deals with parallel pirouette within the framework of the Jazz dance genre? The study uses Learning study as a research approach where phenomenographic analysis was used to process the collected material. The study is carried out by two researchers and a team of dance teachers. The outcome space contains three categories of knowing, Flinging, Wobbling and Spinning as well as critical aspects of what distinguishes knowing at the three levels. Based on the critical aspects, the research team planned, implemented and analyzed the lesson design of three different research lessons regarding the learning object parallel pirouette. The article presents the lesson design with a focus on two specific situations and how different patterns of variation were used. The article ends with a discussed about opportunities and challenges of lesson design based on various patterns of variation.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/njd-2022-00062023-01-17T00:00:00.000+00:00Tango i kroppen; Hvordan danse- og bevegelsesterapeutiske metoder kan styrke selvfølelsen til tangodanserehttps://sciendo.com/article/10.2478/njd-2022-0007<abstract> <title style='display:none'>Abstract</title> <p>During the height of the COVID-19 pandemic, social mixing was generally restricted based on the Corona Pandemic Infection Control Provisions. As a result, those of us who dance Argentinian tango were not allowed to practise together.</p> <p>A survey carried out among members of the Oslo Tango Queer (OTQ) club in Oslo found that people missed tango, felt tango withering in their bodies, and believed that their dancing skills were about to disappear.</p> <p>The survey also documented a sense of despair and loss of self-esteem. Practising dance movement therapy (DMT) recalled the feeling of tango in my body, thus strengthening my self-understanding as a tango dancer and my self-esteem. Therefore, I put together a collection of practical DMT exercises and invited the members of OTQ to participate in a pilot group. In addition to recreating a sense of (tango) community, the purpose was to support individuals’ positive feelings of themselves as tango dancers and strengthen their self-esteem.</p> <p>Nine dancers participated. Four DMT sessions lasting one and a half hours were carried out; these included exercises performed individually, in couples and in groups. All the exercises were conducted following anti-COVID-19 regulations, that is, without physical contact and using face masks when necessary.</p> <p>The DMT exercises had an effect on the individuals’ subjective experiences. Feedback from the participants highlighted that exercises involving grounding, training of body movements and possibilities, mirroring, and playing out an imaginary dance embrace recreated the feeling of tango in their bodies.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/njd-2022-00072023-01-17T00:00:00.000+00:00Buildings Erected with Unconventional Materials in Grajewo and Rajgród Communes, N-E Poland: Results of Field Surveys in 2021https://sciendo.com/article/10.24427/aea-2022-vol14-no2-01<abstract> <title style='display:none'>Abstract</title> <p>In October 2021 a series of field surveys were performed in the gminy (communes) of Grajewo and Rajgród in north-eastern Poland, to assess the present-day occurrence of old semi-vernacular buildings that had been made with unique materials or unconventional structures. The secondary objective was to develop and test the best methods of recording such buildings, assuming that they are an important part of the local architectural heritage. Eventually, six rammed earthen buildings and two cordwood masonry houses were found, assessed and recorded. However, the authors failed to find two other cordwood masonry buildings that had been mentioned in earlier writings. Old hollow brick buildings were also found and mentioned as important elements of rural landscape due to their ornamental values.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.24427/aea-2022-vol14-no2-012023-01-03T00:00:00.000+00:00Industrial Open-Air Museums in Poland – Adaptation to the Expectations and Requirements of a Modern Audiencehttps://sciendo.com/article/10.24427/aea-2022-vol14-no2-03<abstract> <title style='display:none'>Abstract</title> <p>The subject of open-air museums has been and continues to be extensively researched in Poland. The world’s first open-air museum called ‘Skansen’ was established in 1891 on the Stockholm island of Djurgården. The oldest open-air museum in Poland, the Teodora and Izydor Gulgowski Kashubian Ethnographic Park in Wdzydze Kiszewskie, was founded in 1906. Initially, open-air museums presented exclusively heritage facilities related to rural culture. Gradually, the exhibitions were supplemented with examples of small-town, worker, manor and industrial buildings. Over time, industrial open-air museums began to be established. Open-air museums can be divided into three categories. The first comprises displays of ethnographic items with the focus on folk culture. The second category comprises museums of technology and industry. In the third group there are ethnographic museums with separate sections of industrial exhibitions as well as museums displaying industrial equipment and machinery against the background of ethnographic heritage facilities. The aim of this treatise is to present the diversity of Polish open-air industrial museums, classify them, present their activities, evaluate them and discuss the conditions to be met so that open-air industrial museums can be recognised as a tourist product. Polish museums of technology and industry in the open air or with industrial outdoor exhibitions can be divided into museums related to sailing, shipbuilding and fishing, military, aviation, railway, firefighting, road building, beekeeping and mining, and others. The financial standing of outdoor museums of technology and industry varies, but is usually bad. In order to make open-air museums profitable it is necessary to modernise their offer. Since the traditional, static model of presenting museum resources is the least attractive nowadays, it is necessary to shift away from passive displays towards active dissemination.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.24427/aea-2022-vol14-no2-032023-01-03T00:00:00.000+00:00Case Study of an Old Farmhouse in Olszewo: https://sciendo.com/article/10.24427/aea-2022-vol14-no2-02<abstract> <title style='display:none'>Abstract</title> <p>In 2021, the authors performed a series of field surveys in Podlaskie region, northeastern Poland, looking for culturally significant specimens of vernacular architecture. The search in Brańsk commune (gmina Brańsk) have resulted with fin-ding a small but extremely interesting farmhouse, built some 80 years ago, i.e. in the early 1940s, with the use of locally obtained materials. In this article the authors present their findings; namely, they have documented the unique history and essential features of this farmhouse in terms of its construction, materials, layout, architectural form and adornment. All these aspects also witness a tangled history of the village and its surroundings, as well as intricacies of the local culture. An observed accumulative nature of the house and the uniqueness of its long history attribute the house with moral values of commemoration. Both that reason and the recently-observed rapid deterioration of the house compose a rationale for its documenting.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.24427/aea-2022-vol14-no2-022023-01-03T00:00:00.000+00:00Review of Mussolini’s Theatre: Fascist Experiments in Politics and Theatre by Patricia Gaborik Published by Cambridge University Press, 2021https://sciendo.com/article/10.2478/mik-2022-0011ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2022-00112022-12-08T00:00:00.000+00:00Adaptations of Prosper Mérimée’s “The Bear” in Different Media and Genres: Correction and Recontextualizationhttps://sciendo.com/article/10.2478/mik-2022-0008<abstract> <title style='display:none'>Summary</title> <p>Adaptation research demonstrates that the narrative of a particular work may be transferred to different media and/or contexts. In the analysis of such adaptations, it is possible to observe that in the context of both cinema and theatre, the often debated discourses around the connection between literature and and its adaptations in another media, are dialogical and conflicting. Although these discussions still dominate many texts, a considerable number of researchers agree that there are significant connections between adaptations of the same work and the original narrative. For example, Regina Schober describes adaptations as the process of emerging relationships.<sup>1</sup> Such a definition refers both to the relationship between the literary source and its adaptation to another medium, and the relationships between other adaptations created in the same or different media. The definition also encompasses the possibilities of narrative transformation in different cultural contexts. Prosper Mérimée’s work – the short story “The Bear”, in which 19th century Lithuania is reflected by combining fiction and reality – was selected for detailed investigation. The selected adaptations include, on the Lithuanian theatre stage, the opera “The Bear” (2000) created by composer Bronius Kutavičiuss and director Jonas Jurašas, and Łukasz Twarkowski’s “Lokis” (2017), staged at the drama theatre. The opera includes important additions to the short story. The adaptation by Lukasz Twarkowski and playwright Anka Herbut of the stage performance presents the idea of Mérimée’s work in today’s context, combining it with real stories of artists of our time. Two of the listed adaptations of “The Bear”, representing different genres – opera and contemporary drama theatre, as well as the relationship with the original text – became the objects of further research analysis. These case studies explore the use of media tools in the interpretation of the textual narrative, assess each adaptation within the overall field of previously produced adaptations, and seek to decipher the intertexts, and to notice the connections (as well as the differences).</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2022-00082022-12-08T00:00:00.000+00:00A Critique on Authenticity and Integrity in Reconstruction: Perception of Architectural Heritage and Cities of Postwar Era from Europehttps://sciendo.com/article/10.2478/mik-2022-0010<abstract> <title style='display:none'>Summary</title> <p>Interaction with heritage objects, which represent the transition between the past and present, is part of people’s daily lives in historical cities. However, even though heritage is a cultural asset, it is also the outcome of the social and political conditions regarding the selection, protection, and management of heritage objects. After the Second World War, different European countries developed diverse approaches regarding the rebuilding process of their cities, which were heavily destroyed due to air raids. While some followed the strategy of constructing a modern city from scratch, some decided to reconstruct the prior structures before the cities were demolished. Furthermore, there are examples where the authorities have selectively chosen what they wanted to remember and build. When these strategies are analysed in today’s conditions, they raise the question of how these different approaches affected the appreciation of these cities in the contemporary world, concerning their perceived authenticity and integrity, since perception can vary regarding the issues related to heritage objects. In most cases, while experts emphasise the protection of the environment and safeguard the authenticity of the historical objects, for the general public, the visual integrity and the impact of the changes to their daily lives might be more critical, which establishes a difference towards the social value of the authenticity. Therefore, this paper aims to demonstrate the possible diversity of ethical and aesthetic approaches to restoration and reconstruction, from the perspective of authenticity and integrity, by comparing three cities from different parts of Europe with similar demographics. The selected cities in this research are Coventry (United Kingdom), Dresden (Germany), and Gdańsk (Poland), which were all damaged by air raids during the Second World War and implemented different reconstruction approaches to their cities after the war.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2022-00102022-12-08T00:00:00.000+00:00Watercolours and Drawings of Count Konstanty Tyzenhauz – the Romanticised Testimony of the Timehttps://sciendo.com/article/10.2478/mik-2022-0004<abstract> <title style='display:none'>Summary</title> <p>The goal of this article is to analyse and evaluate from an art-historical perspective the artistic legacy of Count Konstanty Tyzenhauz (1786–1853) in view of his multifaceted activities and in the context of his time, by applying formal and iconographic methods of art criticism. The Count’s work is a captivating and noteworthy legacy, a testimony to the amateur creativity of aristocracy. Various publications have published or mentioned only single works by Tyzenhauz; no attempt, however, has been made to study them as a whole with regard to the art-historical approach, moreover, some of the works had not yet been published. The analysis revealed that a number of sparsely preserved works, be it drawings or watercolours, are at variance with the stylistic rendering and artistic expression, thus disclosing the Count’s creative experiments and a notable influence of his teachers Orłowski and Norblin. The views representing historical heritage objects (the Koknese, the Vilnius Gediminas, and the Trakai castles) reflect in the main the Romantic tendencies and constitute the group of the most mature Count’s artworks. However, taking account of his unique style and individual manner, images of Rokiškis and the surrounding areas, as well as drawings of birds, stand out for the distinctive interpretation and comprise the most original group. They are romanticised, authentic visual fragments of his time and familiar environment. Art was not the Count’s main and professional endeavour, likewise for a number of noblemen of the epoch, but his artistic inclination let him adapt his talent for scientific purposes. No doubt, Tyzenhauz’s works that feature birds and various architectural objects are of important scientific, historical and iconographic value.</p> </abstract>ARTICLEtruehttps://sciendo.com/article/10.2478/mik-2022-00042022-12-08T00:00:00.000+00:00en-us-1