scholarly journals Heroínas de una Sociedad Misógina. Hildergard von Bingen y la Revelación de lo Oculto. Visionarias en el Arte Contemporáneo.

2021 ◽  
Vol 9 (2) ◽  
pp. 133
Author(s):  
Natividad Navalón Blesa ◽  
Alejandro Mañas García ◽  
Teresa Cháfer Bixquert
Keyword(s):  
Women Artists ◽  
Creative Process ◽  
Creative Work ◽  
Hildegard Von Bingen ◽  
Artistic Work ◽  
Selection Of ◽  
Arte Contemporáneo

This is the second article of a whole series of reflections in which our main objective is to recover the space that the women should never have lost. In them we review those heroines, combatants in a misogynistic society, who have been influential thinkers in the creative work developed by contemporary women artists. This article is centered on the figure of Hildegard von Bingen, a versatile and visionary nun, who left her legacy in different disciplines such as writing, painting, music, science, among others. A heroine, in which many artists have set their sights as a benchmark for empowerment and have directed their artistic work towards mysticism, generating a connection between art and spirituality. We collect a selection of artists who have used mysticism, silence and visions in their creative process to give voice to a gender problem in this society and to work in the fight for the recovery of a space that should always have belonged to the woman. Artists who, through their work, claim a place in a phallocentric society. Hildegard is a clear example of what we call female heroines in a misogynistic society.

scholarly journals Heroínas de una Sociedad Misógina. Teresa de Jesús Atrincherada en la Morada. Mística en el Arte Contemporáneo

2017 ◽  
Vol 5 (1) ◽  
pp. 17
Author(s):  
Natividad Navalón Blesa ◽  
Alejandro Mañas García ◽  
Teresa Cháfer Bixquert
Keyword(s):  
Contemporary Art ◽  
Women Artists ◽  
Creative Process ◽  
Creative Work ◽  
Teresa De Jesus ◽  
Selection Of ◽  
Arte Contemporáneo

This article is the first in a series of reflections in which our main objective is the recovery of space that should never lose women. We review those heroines women in a misogynist society, who have been influential thinkers in the creative work of contemporary art. This text is dedicated to Saint Teresa of Jesus, a heroine, in whom many artists have set their sights as a benchmark for empowerment and they have directed their work toward mysticism, creating a connection between art and spirituality. We collect a selection of artists who have used the mystical, pain, purple, silence, visions, and finally, ecstasy, in their creative process, to give voice to a gender problem in this society and to work in the struggle for the recovery of a space that had always belonged to women. Artists who, through their work, claim a place in a society culturally articulated by man. They are a clear example of what we have called heroines women in a misogynist society.

DE REDACTEUR EN HET BUITENLAND

2019 ◽  
Vol 3 (1) ◽  
pp. 2-27
Author(s):  
Wouter Egelmeers ◽  
Joris Vandendriessche
Keyword(s):  
Creative Process ◽  
General Circulation ◽  
International Level ◽  
Historical Knowledge ◽  
Historical Texts ◽  
Disciplinary Field ◽  
Dutch History ◽  
The Relationship ◽  
Selection Of

IMPORTING TEXTS FROM ABROAD Editors’ reuse of foreign historical texts in Dutch periodicals, 1780-1860 This article explores the ways in which the editors of five Dutch history journals and three magazines for general circulation copied historical texts from abroad, between 1780 and 1860. By comparing original texts with reprinted versions, we show that the editors’ work involved not only ‘passive’ duplication (reprinting in full), but also more active forms of intervention, from the selection of text fragments to their translation, modification or critical review. These varied editorial practices point to a broader creative process through which historical knowledge was tailored to an emerging and nationally-oriented academic audience. Editors here assumed the role of mediators, gatekeepers even in the sense that their judgment determined the very choice of texts. At a time when the study of history was evolving at both the national and international level, and when the relationship between actors making up the disciplinary field was also in flux, editors thus became influential figures.

scholarly journals SOCIAL ENGINEERING AS A CREATIVE PROCESS

2021 ◽  
pp. 35-42
Author(s):  
Tetiana Koliada ◽  
Nazarii Koliada
Keyword(s):  
Social Work ◽  
Creative Process ◽  
Effective Means ◽  
Social Institutions ◽  
Social Engineering ◽  
Creative Work ◽  
Social Design ◽  
Creative People ◽  
Social Phenomena ◽  
Promising Area

The article considers the essence of the concepts «project», «design», «social project», «social design». Social design is considered a creative process of social reality led by a man. It has been specified that all kinds of social formations cannot be created and realized without a person, his/her initiative creative work, one of the results of which is social design.  The presence of social projects in society testifies to its maturity and deeper perception and understanding of reality, penetration into the society of the idea that everyone is responsible for the fate of their land, people and that it is impossible to build a comfortable life detached from what is happening around. Social projects are created by socially active, creative people for the development and progress of their country. Thus, the subject of social design can be both one person and a group of people (organizations, teams, social institutions, etc.). It is established that any social grouping is impossible to imagine without a person, his/her active public position and creative work, one of the results of which is social design. A creative person as a social being based on social connections and interactions changes the future for the better, creating micro-and macro-groups, associations, and later communities. Social design, despite the huge typology, originates from the awareness and development of innovations in social work. A promising area of further research in this aspect is the features of social design as an effective means of solving social problems in the context of the development of modern social work. It is noted that social design is aimed at all types of human activities, but only with an innovative view and a systematic creative approach is the possible optimal design of social phenomena and processes. The existing approaches to the classification of social projects are considered, the features of social projects are defined and generalized: goal setting, innovative, time, territorial, socially determined, social-institutional, resource, organizational, social-informational.

The Computer Medium in Digital Art's Creative Process

2011 ◽  
pp. 1-25 ◽  
Author(s):  
Adérito Fernandes Marcos ◽  
Pedro Branco ◽  
João Álvaro Carvalho
Keyword(s):  
Information Content ◽  
Creative Process ◽  
Design Space ◽  
Digital Art ◽  
Raw Material ◽  
Art Objects ◽  
State Of Mind ◽  
Computer Based ◽  
Artistic Work ◽  
Digital Artists

Art objects might be described as symbolic objects that aim at stimulating emotions. They reach us through our senses (visual, auditory, tactile, or other). They are displayed by means of physical material (stone, paper, wood, etc.) and combine some patterns to produce an aesthetic composition. They convey some message, normally to suggest some state of mind or to induce an emotion and the consequent feeling on the side of the viewer. Digital art differs from conventional art pieces by the use of computers and computer-based artifacts that manipulate digitally coded information, inheriting the almost unlimited possibilities in interaction, virtualization and manipulation of information the computer medium offers. In this chapter the authors propose to analyze and discuss the concepts and definitions behind digital art, emphasizing how the computer medium is itself the tool and the raw material in its creation, especially if we stress the fact that the conception and design of artistic information content is at the heart of any artistic work. Furthermore the authors present a framework for digital art creation that consists of a common design space where digital artists can smoothly progress from the concept until the final artifact while exploring the computer medium to its maximum potential.

Hidden Creators, Silent Authors

2016 ◽  
Vol 2016 ◽  
pp. 379-385
Author(s):  
Paola Secchin Braga
Keyword(s):  
Creative Process ◽  
Active Role ◽  
Point Of View ◽  
Main Issue ◽  
Contemporary Dance ◽  
Creative Work ◽  
Paris Opera ◽  
The People ◽  
Brazilian Version ◽  
The Creation

To be interpreter and at the same time creator seems to be the rule in contemporary dance. It is expected of the dancer to contribute to the making of the piece in which he will appear. Similarly, the choreographer's assistant (also referred as rehearsal assistant) has an active role in the process of creating a dance piece. This paper proposes an analysis of a creative process in which the question of authorship emerges—in our point of view—as the main issue. The onomastic pieces of French choreographer Jérôme Bel will serve as the basis of our analysis, and especially the piece called Isabel Torres, in which the interpreter and the choreographer's assistant had a much more important role in the creation than the choreographer himself. Premiered in 2005, Isabel Torres was supposed to be a Brazilian version of Véronique Doisneau (created in 2004, for the Paris Opera). The creative work made by the dancer and the rehearsal assistant made of it more than a mere version: Isabel Torres is an autonomous piece—so autonomous that Bel offered it to both dancer and assistant, to present it wherever they wished. Who signs Isabel Torres? In which terms is it presented in programs? Do dancer and assistant consider themselves as authors? How does the choreographer deal with it? The absence of the choreographer, the people involved in it, and the kind of work developed in the creative process makes us question the notion of authorship in contemporary dance pieces.

scholarly journals Personal exploration: Serendipity and intentionality as altering positions in a creative process

2016 ◽  
Vol 9 (1) ◽  
Author(s):  
Maarit Mäkelä
Keyword(s):  
Creative Process ◽  
Active Role ◽  
Research Process ◽  
Creative Work ◽  
Diverse Range ◽  
Creative Mind ◽  
Creative Practice ◽  
Ceramic Art

Artists and designers have recently begun to take an active role in contextualising the creative process in relation to their practice. Thus, understanding how the creative mind proceeds has been supplemented with knowledge obtained inside the creative process. In this way, the spheres of knowledge, material thinking and experience that are fostered through creative work have become entangled and embedded as elemental parts of the research process. This article is based on documentation and reflection of the author’s creative practice in contemporary ceramic art at the beginning of 2015. The article discusses how the creative process proceeds by alternating between two positions: serendipity and intentionality. By describing the different phases of the process, it reveals the interplay between the diverse range of activities and how these gradually construct the creative process

The anthropology of creativity in the context of S.N. Bulgakov’s sophiology

2019 ◽  
pp. 140-153
Author(s):  
O.V. Shchekaleva
Keyword(s):  
Creative Process ◽  
Human Life ◽  
Creative Work ◽  
Creative Activity ◽  
Ontological Status ◽  
Artistic Creativity ◽  
Artistic Creation ◽  
True Meaning ◽  
The Impact

This paper deals with Bulgakov’s doctrine on the human being and creative work. The reason why it is possible to interpret and understand Bulgakov’s conception of creativity in the light of anthropology is justified in the paper. It is indicated that many researchers of Bulgakov's philosophy did not make an explicit connection between anthropology and creativity and did not raise the question why man is capable of creativity. Anthropology and the concept of creativity are reconstructed using Bulgakov's texts. The role of Sofia in the creative process and her role in human life as a whole are determined. The change of the ontological status of man as a result of the original sin is analyzed. The specificity of Bulgakov's understanding of the creative act and its influence on man is revealed. The impact of creativity on a person is analyzed in the paper. It is proposed to consider artistic creation separately from self-creation, as it is fundamentally different from artistic creativity. It is emphasized that according to Bulgakov, self-creation can lead a person to salvation and even to Holiness. It is argued that self-creation as the implementation of one's own idea-norm is the true meaning of human life. Attention is drawn to the tragedy of creativity, which every person-creator experiences. In conclusion, it is pointed out that in the future the concept of Bulgakov's creativity can be ap-plied to the evaluation of works of art. The article concludes that, according to Bulgakov's philosophy, the main characteristics of a person that make him capable of creativity are his freedom, genius and talent. This way the importance of creative activity, both for an individual and for the whole world, is proved and the eschatological role of creativity is indicated.

scholarly journals Kromosomer – an Experience in Shared Creative Work and Expression

2013 ◽  
Vol 6 (2) ◽  
Author(s):  
Heidi Dahlsveen ◽  
Catarina Carneiro de Sousa
Keyword(s):  
Social Media ◽  
Virtual Worlds ◽  
Second Life ◽  
Creative Process ◽  
Virtual World ◽  
The Other ◽  
Creative Work ◽  
Stage Design ◽  
Main Work ◽  
Work Method

This article is a reflection on the Kromosomer project, a storytelling performance held in both physical and virtual worlds, which was implemented and disseminated through digital, virtual and social media. The aim of the whole project was to search for an expression that could combine physical experience with virtual world. The project was also looking at how to deal with social inclusion.The motto for this enterprise was the traditional Norwegian legend characters who represent “the other,” the “not-normal,” as a pretext to address the question of alterity. These legends’ characters were re-created as avatars in the metaverse, where they were also freely distributed in virtual installations as unfinished artifacts, open to mutation. In the Second Life virtual world, participants could pick up avatars and create their own stories through snapshots, machinima, etc. The physical performance later used these participants/produsers’ interpretations and narratives of the avatars in stage design and in the storytelling performance itself.We describe and analyse the main work method used for this project — a shared creative process of collective and distributed creativity. The project encompasses different forms of expression therefore we will also focus on how metaphors constitute themselves as paramount to our way of working.

scholarly journals COURAGE AND CREATIVE PROCESS IN OSMAN AYOB'S AUTHORS THROUGH EMPANGAN TUGAL NOVEL

2020 ◽  
Vol 3 (11) ◽  
Author(s):  
Nurul Husna Mat Nor
Keyword(s):  
Creative Process ◽  
Aesthetic Experience ◽  
Literary Work ◽  
The Novel ◽  
Creative Processes ◽  
The People ◽  
Aesthetic Consciousness ◽  
Simultaneous Process ◽  
The Mind ◽  
Selection Of

This paper aims to discuss courage with the creative process of creating a novel within the author. The limitation of this study is the study based on the novel Empangan Tugal by Osman Ayob's. In addition, this qualitative study and approach to the library will also discuss the bravery and creative process of creating the work. This study is supplemented by the research documentation related to Theory Rasa-Fenomenologi by Abdul Aziz. According to the theory of Rasa-Fenomenologi, aesthetic experience is an experience experienced when a simultaneous process takes place in the mind of the reader. Second, the literary work undergoes transformations into aesthetic objects and the third is the common awareness of transforming into aesthetic consciousness. Analysis of this study found that Osman Ayob did not miss the novel using the creative process. This study focuses on the bravery and creative process of Osman Ayob's authorship through the Empangan Tugal novel. This study looks at how the values of bravery and creative processes in Osman Ayob's authorship are used in the text. The selection of the Empangan Tugal novel is because this novel highlights the value of courage in the text surrounding the life of the people today.

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