rss_2.0Arts FeedSciendo RSS Feed for Artshttps://www.sciendo.com/subject/ARhttps://www.sciendo.comArts Feedhttps://www.sciendo.com/subjectImages/Arts.jpg700700Pragmatism and Creativity: Patenting the Manifesto from Dewey’s Aesthetic Experiencehttps://sciendo.com/article/10.2478/ctra-2022-0007<abstract> <title style='display:none'>Abstract</title> <p>An original way to make sense of the <italic>aesthetic experience</italic> concept – in a Deweyan perspective – is from the Art-Education binomial. After studying the pragmatist philosophical category of <italic>Experience</italic> in John Dewey, a product of Doctoral theoretical research in education, it was possible to characterize a new art movement: School Art. Hence, this conceptual-theoretical finding will expand a wide range of art movements that emerged between the nineteenth century and contemporaneity: Art Nouveau, Impressionism, Abstract Art, Futurism, Action Painting, and Children’s Art, among many others. However, because of lexical reasons and hoping to achieve greater acceptance among theorists, the so-called <italic>School Art</italic> will patent from this paper as a neologism named from now on as <italic>Artscholarism</italic>. Thus, its philosophical-historical foundations, characteristics, and description will be the article’s primary purpose. In that sense, psychological and historical discussions will emerge throughout the paper. In conclusion, the new art movement – <italic>Artscholarism</italic> – comes from Deweyan thinking and is framed by creativity and a social context.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Predictive Power of Social Environment, Grit, and Motivation for Creative Potential of Science Learnershttps://sciendo.com/article/10.2478/ctra-2022-0003<abstract> <title style='display:none'>Abstract</title> <p>The study was conducted on science learners at high school- and college-level to explore the interrelation of various factors from social environment, cognitive, and non-cognitive resources affecting their creative potential. A hierarchical regression method was used to determine how well positive behavior of parents, supportive behavior of friend groups, grit, motivation in science, and legislative thinking style could predict the creative potential of the science learners. The results revealed that supportive friend group behavior, consistency of interest (a sub-factor of grit), and legislative thinking style can predict the creative potential of science learners. Group variance explained by them was at over 53%. Legislative thinking style turned out to be the most dominant predictor, with 63% of unique variance explained by it. Positive friend group behavior came second, with 9% unique variance explained to the residual. Finally, consistency of interest could explain 12% of unique variance but with negative sign, implying it was not a component of the creative potential of science learners.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Creativity in Ibero-American Early Childhood Education Curriculahttps://sciendo.com/article/10.2478/ctra-2022-0004<abstract> <title style='display:none'>Abstract</title> <p>Given the wide diversity of conceptions of creativity, this study analyzes ten Ibero-American early childhood education curricula with the aim of finding out what concept, approach, and teaching methodology they propose for creativity. The research addresses two questions: what is the implicit or explicit notion of creativity held by the Early Childhood curricula, and what methodological recommendations are included to foster creativity in the classroom? The study used qualitative methodology, specifically content analysis completed with expert judgement. Results showed the importance of creativity in the curricula analyzed and highlighted not only the need to clarify the term at a conceptual level, but also to examine in depth the teaching and learning methodologies used. In conclusion, the study urges to strengthen artistic training in both initial and continuing education studies.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Can we Help Children Develop Creative Potential through Pretend Play? Interview with Sandra Russhttps://sciendo.com/article/10.2478/ctra-2022-0008<abstract> <title style='display:none'>Abstract</title> <p>In the interview with Sandra Russ, one of most prolific creativity researchers, we discuss her career, main areas of research interest, chosen research methods and share her thoughts about the future of research on creativity and effectiveness in scientific work.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Integrated Gamification Model in a Constructivist Learning Environment for the Promotion of Creative Skillshttps://sciendo.com/article/10.2478/ctra-2022-0001<abstract> <title style='display:none'>Abstract</title> <p>The Knowledge Society has highlighted the importance of creativity as a goal competence, which should be fostered in higher education institutions; therefore, it is necessary to integrate innovative educational experiences oriented to the development of creativity complementing the professional training of students. Recent research from psychology and pedagogy reports advances associated with the nature, evaluation, composition, and conditions for teaching creativity that have resulted in successful applications in only one facet of the creative process. In this research, we propose an integrated model for making educational interventions through online courses. This model combines contributions to the teaching of creativity from pedagogy in relation to the pedagogical model, instructional design, and conditions of the teaching-learning process required for the promotion of creativity. It also includes the contributions of psychology in relation to the cognitive processes and skills associated with creativity, the techniques and activities for the development of creative skills, as well as the principles associated with intrinsic motivation based on the theory of self-determination through its application in the learning technique called gamification. The advantage of this integrated model is that it incorporates and fosters multiple components of creativity simultaneously, with the objective of generating creative results of greater breadth and quality.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Creativity Ratings of Fashion Outfits Presented on Instagram: Does Gender Matter?https://sciendo.com/article/10.2478/ctra-2022-0002<abstract> <title style='display:none'>Abstract</title> <p><bold>Rationale</bold>: Creativity assessment can be influenced by rater characteristics, including social group membership, such as gender. As raters are often male, the gender composition of rater panels in the <italic>Consensual Assessment Technique</italic> (CAT) could introduce unintended implicit biases into this measurement methodology. The present study analyzed such biases by examining gender differences in creativity assessment.</p> <p><bold>Method</bold>: We applied the CAT and asked male (<italic>n</italic> = 26) and female (<italic>n</italic> = 39) judges to rate the creativity of fashion outfits presented on <italic>Instagram</italic>. We then examined gender differences in mean creativity ratings and rater consistency (inter-rater reliability). In an additional qualitative analysis, we analyzed implicit theories of creativity of female and male raters by comparing the criteria that these raters applied when assessing creativity.</p> <p><bold>Results</bold>: We found no systematic support for gender differences in the level of creativity ratings, but observed that rating consistency was significantly higher for female than for male judges. Additional content analysis suggested that female and male raters attached different relative importance to various assessment criteria, indicating gender differences in rating criteria.</p> <p><bold>Discussion</bold>: Our study suggests that rater panel composition can indeed affect aspects of creativity assessment, although we do not obtain strong support for a gender-related bias in the CAT methodology.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Arts and Creativity in Hong Kong Kindergartens: A Document Analysis of Quality Review Reportshttps://sciendo.com/article/10.2478/ctra-2022-0005<abstract> <title style='display:none'>Abstract</title> <p>In Hong Kong, the Education Bureau (EDB) regularly assesses the quality of services provided by publicly subsidized kindergartens to children aged 3 to 6. Quality Review (QR) reports are written by government officials and published on the EDB’s website. This study analyzes the feedback pertaining to Arts and Creativity to better understand the role this learning area plays in Hong Kong kindergartens. Lexical and content analyses were applied on 164 QR reports published between 2017 and 2020. Findings showed that: (1) the role of Arts and Creativity in the QR reports is relatively minor, which suggests that this learning area is somewhat secondary in Hong Kong kindergartens; (2) presence of the various art forms differs significantly, with Music and Visual Arts being more frequent than Drama and especially Dance; and (3) classroom activities seem to be teacher-centered, product-oriented, and reproductive. Findings suggest that the Arts and Creativity pedagogies enacted in Hong Kong kindergartens are not fully consistent with the official kindergarten Curriculum Guide, which draws on a Western conceptualization of creativity in the arts. We argue that this curriculum/practice gap reveals the need for local stakeholders to embrace a “glocalization” paradigm. Limitations, future research, and implications are discussed.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Facilitating Creativity through Multimodal Writing: An Examination of Students’ Choices and Perceptionshttps://sciendo.com/article/10.2478/ctra-2022-0006<abstract> <title style='display:none'>Abstract</title> <p>Creativity has long been central in multimodal writing. Unlike traditional writing, which uses text alone, multimodal writing relies on the use of a combination of modes to convey meaning such as text, speech, images, audio, gesture, and space. Scholars of multimodal writing stressed that using multiple modes allows for greater creativity and newness. Recently, however, scholars have questioned whether creativity is so straightforward in students’ multimodal writing. Students may resist producing new types of writing. Their creativity outcome is dependent upon their preferences and their goals in the writing assignment. This article examines students’ choices when given the freedom to compose in any mode and their perceptions of their multimodal writing experience in comparison with traditional essay writing. Drawing on data from students’ multimodal products, surveys, and interviews we show how students simply used available resources in their multimodal composing and how creativity was negotiated. Although they identified several affordances for multimodal writing and described it as more interesting than conventional essay writing, they seemed to resist incorporating a variety of semiotic resources into their projects because their goal was to showcase their writing skills. We argue that developing explicit knowledge about various modes helps improve students’ understanding of multimodal writing as creative design.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Contemporary Take on the Linear Continuous System By Oskar Hansen. Case Study of City of Poznańhttps://sciendo.com/article/10.24427/aea-2022-vol14-no1-02<abstract><title style='display:none'>Abstract</title><p>The aim of this text is to analyse and characterize the spatial-functional and urban structure of the city of Poznań, in particular its northern part, i.e. the Piątkowo district, in relation to the assumptions of the linear city concept by Oskar Hansen, the so-called Linear Continuous System. The text attempts to present this concept in terms of the historical development of the city. Reference was also made to the period when this concept was developed but not officially implemented. Thus, the authors try to examine the spatial relationships between the theoretical concept and the form of the modern city. They try to answer the questions whether it had any impact on the spatial development of the city and its current structure.</p></abstract>ARTICLE2022-07-28T00:00:00.000+00:00“Open Source” Movement in Architecturehttps://sciendo.com/article/10.24427/aea-2022-vol14-no1-01<abstract><title style='display:none'>Abstract</title><p>The IT-rooted idea of “open source” and its derivatives in architecture, have been analysed from historic viewpoint and with respect to wider cultural context, as well as with regard to the specific present-day phenomenon of a drift of notions and ideas that had originated inside IT business, then became widespread in popular culture and eventually have been implemented in architectural design and theory. Based on a bibliography survey, the milestones of “open source architecture” have been recognised and arranged chronologically. Moreover, the bibliography survey aimed at collecting numerous past reflections, remarks and opinions relevant to the subject matter, and to merge such a vast cloud of critical thoughts into a “critical framework to define open source architecture”. After all, we conclude that, in spite of its two-decade evolution and development, “open source architecture” have still been sort of subculture; namely, architectural subculture.</p></abstract>ARTICLE2022-07-28T00:00:00.000+00:00Threads of participation: Crafting female agency in a collaborative art project in Denmarkhttps://sciendo.com/article/10.2478/tjcp-2022-0003<abstract> <title style='display:none'>Abstract</title> <p>In 2020, Trapholt (a Danish museum of modern art, craft and design) and textile designer Iben Høj launched a grand collaborative art project involving almost 800 embroiderers. The project, named Stitches Beyond Borders, was part of the centenary celebratrions of Denmark’s reunification with Southern Jutland, and participants were asked to embroider their personal vision of borders. By using a mixed method approach we firstly analyse how Stitches Beyond Borders, as a collaborative art project, created a strong sense of community and cultivated creative agency. Secondly, we focus on the discursive nature of the female public created by the art project. Taking into account the rich and complex history of embroidery as an underestimated female activity tied to repressive power mechanisms, we discuss whether the project ends up merely (re)creating an innocuous female public by favouring a personal take on the border theme.</p> </abstract>ARTICLE2022-07-04T00:00:00.000+00:00Showing progress. Defining self-tracking as an aesthetic audio-visual genrehttps://sciendo.com/article/10.2478/tjcp-2022-0004<abstract> <title style='display:none'>Abstract</title> <p>This article analyses videos of men talking about and documenting their lack and growth of hair via Finasteride and Minoxidil. We explore these male self-representational videos on YouTube as a specific form of self-tracking enabled by the camera within a specific platformed environment. We argue that the camera is not solely a tool, but rather an aesthetic practice with performative effects. In other words, self-tracking must be understood as always already entangled in and inseparable from mediating and aesthetic processes. The article then outlines the main characteristics of self-tracking videos as a self-representational audio-visual genre, defining them as momental videos and longitudinal videos. It is our claim that these defining characteristics constitute the central aesthetic principles of Finasteride and Minoxidil self-tracking videos, but that they are also applicable to other forms of videos preoccupied with representing and tracking transformation.</p> </abstract>ARTICLE2022-07-04T00:00:00.000+00:00Introduction: Death, dying and participatory media + open sectionhttps://sciendo.com/article/10.2478/tjcp-2022-0006ARTICLE2022-07-04T00:00:00.000+00:00Affective positioning in hyper-mourning: sharers as tellers, co-tellers and witnesseshttps://sciendo.com/article/10.2478/tjcp-2022-0005<abstract> <title style='display:none'>Abstract</title> <p>In an age of social and digital media, users’ engagements with (social) media related to death, dying and mourning vary widely across different social and cultural contexts and changing platforms. Based on the discussion of selected examples, I illustrate how users’ social media engagements related to death, dying and mourning vary, depending on the narrative positions that sharers take up as <italic>tellers</italic>, <italic>co-tellers</italic> or <italic>witnesses</italic> to shared stories. As I will argue, the potential and limits of such engagements can be better understood in the context of three over-arching, dynamic modes of practices of hyper-mourning, namely <italic>entrepreneurial, connective</italic> and <italic>activist</italic>. These are associated with distinct types of <italic>affective positions</italic> for sharers, audiences and displays of affect, forming the basis for projecting participants’ identity and affective claims. The article shows how the way we die and mourn is extended as much as limited by social and digital media story affordances and norms.</p> </abstract>ARTICLE2022-07-04T00:00:00.000+00:00A Sort of Permanence: Digital Remains and Posthuman Encounters with Deathhttps://sciendo.com/article/10.2478/tjcp-2022-0001<abstract> <title style='display:none'>Abstract</title> <p>Digital remains, in the shape of devices and traces of digital content and interaction stored on the devices them selves and online, left behind by the deceased have come to play important parts in the lives of those who live on. With a posthumanist perspective we explore how user-driven engagement with digital remains are changing and diversifying existing practices related to loss and grieving. The digital remains can be seen to contain the “essence” of the deceased person embodied within the digital device. Based on interviews and observations gathered from the contexts of Israel, the UK and Sweden, we investigate the role of digital remains in bereavement and what implications the eventual obsolescence of these remains might have for continuing bonds. In doing so we seek to increase our understanding of the (post)human encounter with death and the human capabilities of digital remains.</p> </abstract>ARTICLE2022-07-04T00:00:00.000+00:00The drama of contemporary dance in Latvia and the dance performance https://sciendo.com/article/10.2478/njd-2022-0003<abstract> <title style='display:none'>Abstract</title> <p>Based on Henrik Ibsen’s famous drama <italic>Brand</italic>, Olga Žitluhina’s dance performance <italic>Out (Ārā</italic>, 2013) presents certain parallels with the choreographer’s artistic and pedagogic strategies and the development of contemporary dance in Latvia. First, both Ibsen’s play (often also defined as a tragedy) and Žitluhina’s pedagogic activities trace the pursuit of personal ideals as a journey of overcoming mistakes and physical and mental challenges. Second, just as the tragic protagonist of <italic>Brand</italic> and <italic>Out</italic> can see beyond what ordinary people can see to predict and envision the future, Žitluhina has a vision of contemporary dance in Latvia and has worked tirelessly since the mid-1990s to develop this genre from scratch. She has contributed to dance with many major initiatives: establishing a professional dance association; producing dozens of dance performances; leading the artistic direction of the international contemporary dance festival Time to Dance; and creating a study programme at the Latvian Academy of Culture dedicated entirely to contemporary dance. This creative process has always been accompanied by funding difficulties, organizational problems and negative attitudes towards Žitluhina, her personality and her uncompromising artistic stance. Inspired by Olga Žitluhina’s dance performance <italic>Out</italic>, this article explores her contributions as choreographer and teacher to the development of contemporary dance and art in Latvia.</p> </abstract>ARTICLE2022-07-04T00:00:00.000+00:00Editorialhttps://sciendo.com/article/10.2478/njd-2022-0001ARTICLE2022-07-04T00:00:00.000+00:00Kollaborativ danskonstnärlig process – en övning i demokratihttps://sciendo.com/article/10.2478/njd-2022-0004<abstract> <title style='display:none'>Abstract</title> <p>This article refers to an investigative study of a design in a creative project at Estetiska programmet Dans at an upper secondary school. The didactic choices, tools and methods used in the project was analysed from a design­for­learning­perspective. The study was exploring how a design in an artistic collaborative process can provide knowledge development in an artistic process. The data was analysed by using the vocabulary of Staffans Selander (2017), such as <italic>dialogical approach, domain specific knowledge, and meaningful context.</italic> The result shows that Value Clarification/Rundan as a method in combination with deliberative conversation can provide and develop knowledge in creating dance as well as a practice in deliberative democracy.</p> </abstract>ARTICLE2022-07-04T00:00:00.000+00:00Inversion? Circus Hand-Balancing and the Discourse of the Upright Bodyhttps://sciendo.com/article/10.2478/njd-2022-0002<abstract> <title style='display:none'>Abstract</title> <p>In the history of the body, upright posture has been the theme of philosophical reflections on human nature and the object of scientific explorations and practical measures ensuring social norms. It is even possible to locate a certain discourse of the upright body as a model for understanding what it means to be human. However, humans have long experimented with the opposite: the inverted position. The handstand is probably the epitome of this endeavour to invert upright posture. Within circus performance, hand-balancing has been developed into an art form of its own. This article examines how hand-balancing relates to the upright body. The article argues that circus hand-balancing participates in the discourse of the upright body in a paradoxical way, both inverting and reinforcing it. The article argues that this is expressed not only on a representational level but also on the technical and experiential levels of the practice.</p> </abstract>ARTICLE2022-07-04T00:00:00.000+00:006. Design – Synthesis Phenomenon: Art, Science and Technologyhttps://sciendo.com/article/10.2478/rae-2022-0026<abstract> <title style='display:none'>Abstract</title> <p>In the nineteenth century, the century of electricity and railways, radio and cinema, in the process of vertiginous technical progress, within the industrial civilization, appears a new phenomenon of creative, artistic and scientific activity – design. It gave birth to a “way of industrial thinking”, oriented towards creating useful and functional objects, but at the same time able to delight the eye with their beauty without recurring to ornament and decoration effects.</p> </abstract>ARTICLE2022-04-30T00:00:00.000+00:00en-us-1