scholarly journals Da crítica genética à crítica de processo: a teoria dos processos de criação e suas interfaces com a crítica de arte

2019 ◽  
Vol 24 (41) ◽  
Author(s):  
Lindomberto Ferreira Alves
Keyword(s):  
Creative Process ◽  
Critical Analysis ◽  
Art Criticism ◽  
Genetic Criticism ◽  
Creative Processes ◽  
The Creation

O artigo procura examinar os percursos teóricos da crítica de processos criativos (de base semiótica), desde a emergência da crítica genética à sua expansão via crítica de processo. Partindo de uma revisão de caráter historiográfico, pretende-se, aqui, discutir até que ponto os efeitos produzidos pelos desafios em torno dos estudos que privilegiam a análise crítica dos processos de criação foram permitindo, ao longo de meio século, a elaboração de instrumentos teóricos capazes de acompanhar a complexa rede de interações engendradas pelo ato criador. Por fim, busca-se refletir sobre as possibilidades de atualização da crítica de arte na contemporaneidade, a partir de alguns aspectos que atravessam a análise dos objetos artísticos a partir de uma crítica de seus processos de criação.AbstractThe article seeks to examine the theoretical paths of creative process criticism (semiotic based), from the emergence of genetic criticism to its expansion via process criticism. Starting from a review of historiographic character, it is intended here to discuss to what extent the effects produced by the challenges around the studies that privilege the critical analysis of the creation processes were allowing, for half a century, the elaboration of theoretical instruments able to follow the complex networking of interactions engendered by the creative act. Finally, we seek to reflect on the possibilities of updating the art criticism in contemporary times from some aspects that intersect the analysis of artistic objects from a critique of their creative processes.

«Lenataur» in the museum

2019 ◽  
Author(s):  
Оксана Александровна Абальмасова
Keyword(s):  
Creative Process ◽  
Modern Society ◽  
Art Museum ◽  
Arts And Crafts ◽  
Main Task ◽  
Joint Work ◽  
Creative Processes ◽  
Creative Project ◽  
The Creation

В статье представлен обзор выставки современного декоративноприкладного искусства Ленатавр, проходившей в Красноярском художественном музее имени В.И.Сурикова. Описание совместного творческого проекта музея и художников керамиста Елены Красновой и живописца Елены Лихацкой наглядно иллюстрирует технические трудности и творческие процессы, возникающие в совместной работе авторов произведений и куратора выставки. Автором с позиции куратора рассматривается подготовка выставки как творческий процесс и экспозиция выставки как самостоятельный художественный объект, при создании которого необходимо учесть множество взаимодополняющих факторов, соблюсти определенные условия экспонирования на музейной площади, совместить творчество разных художников, избежав диссонанса. Главная задача куратора состоит в том, чтобы представить произведения художников с такой позиции, при которой у посетителей возникает необходимость изучения творчества представленных авторов, которая вызывает побуждение к размышлению, привлекает внимание к животрепещущим вопросам современного общества, рассматриваемым в работах Елены Красновой. The article presents an overview of the Lenataur exhibition of contemporary arts and crafts, which took place in the Krasnoyarsk Art Museum named after V.I. Surikov. A description of the joint creative project of the museum and artists (ceramist Elena Krasnova and painter Elena Lihacka) vividly illustrates the technical difficulties and creative processes that arise in the joint work of the authors of the works and the curator of the exhibition. From the position of the curator, the author considers the preparation of the exhibition as a creative process and the exhibition as an independent artistic object, the creation of which requires taking into account many complementary factors, meeting certain conditions of display on the museum square, combining the work of various artists, avoiding dissonance. The main task of the curator is to present works of artists from such a position, in which the visitors need to study the works of the submitted authors, which causes an incentive to reflect, draws attention to the burning issues of modern society, considered in the works of Elena Krasnova.

scholarly journals Embodying the Site: the Here and Now in Site-Specific Dance Performance

2005 ◽  
Vol 21 (4) ◽  
pp. 367-381 ◽  
Author(s):  
Victoria Hunter
Keyword(s):  
Creative Process ◽  
Dance Performance ◽  
Site Specific ◽  
The Creation ◽  
Spirit Of Place ◽  
The Moment ◽  
The University ◽  
The Relationship

In this article, Victoria Hunter explores the concept of the ‘here and now’ in the creation of site-specific dance performance, in response to Doreen Massey's questioning of the fixity of the concept of the ‘here and now’ during the recent RESCEN seminar on ‘Making Space’, in which she challenged the concept of a singular fixed ‘present’, suggesting instead that we exist in a constant production of ‘here and nows’ akin to ‘being in the moment’. Here the concept is applied to an analysis of the author's recent performance work created as part of a PhD investigation into the relationship between the site and the creative process in site-specific dance performance. In this context the notion of the ‘here and now’ is discussed in relation to the concept of dance embodiment informed by the site and the genius loci, or ‘spirit of place’. Victoria Hunter is a Lecturer in Dance at the University of Leeds, who is currently researching a PhD in site-specific dance performance.

Gifted Classroom Environments and the Creative Process: A Systematic Review

2021 ◽  
pp. 016235322110014
Author(s):  
Lindsay Ellis Lee ◽  
Melanie S. Meyer ◽  
Kacey Crutchfield
Keyword(s):  
Systematic Review ◽  
Creative Process ◽  
Classroom Culture ◽  
Systematic Evaluation ◽  
Future Research ◽  
Critical Examination ◽  
Process Skills ◽  
Classroom Environments ◽  
Creative Processes ◽  
K 12

As the expectations for including creativity in K–12 education continually grow, creative process skills equip students with thinking strategies to generate and evaluate ideas. This systematic review explored existing research on elementary and secondary gifted classroom environments that promote creative process skills. A database search yielded peer-reviewed literature, empirical and practitioner-focused, for systematic evaluation. A critical examination of literature published from 2011 to 2019 identified characteristics of educational environments that foster creative processes and highlighted key themes, including integrating creative process skills, adaptive environments, reflective classroom culture, and challenges to implementation. Implications for classroom application and suggestions for future research are discussed.

Cybernetic Performance Ecosystems: The Im-Medea Cycle

Leonardo ◽  
2021 ◽  
pp. 1-12
Author(s):  
Thanos Polymeneas-Liontiris ◽  
M. Eugenia Demeglio
Keyword(s):  
System Theory ◽  
Performance Practice ◽  
Creative Process ◽  
Experimental Music ◽  
Creative Processes ◽  
Art Based Research ◽  
Different Levels

Abstract This article presents a series of experimental music theatre performances that took place between 2015 and 2017. This art-based research investigates how qualities of the posthuman condition could manifest in experimental music theatre, by applying cybernetic and system theory principles at different levels (i.e. compositionally, aesthetically, dramaturgically) in the creative process. The aim of this article is to present these creative processes and to introduce this type of performance practice, namely cybernetic performance ecosystem.

scholarly journals Put Your Style at Stake: A New Use of Sustainable Entrepreneurship

2017 ◽  
Vol 39 (2-3) ◽  
pp. 397-415 ◽  
Author(s):  
Christian Garmann Johnsen ◽  
Lena Olaison ◽  
Bent Meier Sørensen
Keyword(s):  
Creative Process ◽  
Environmentally Friendly ◽  
Social Practices ◽  
Organization Studies ◽  
Sustainable Entrepreneurship ◽  
Conceptual Distinction ◽  
The Creation ◽  
Point Of Departure

This article uses the concept of style to rethink sustainable entrepreneurship. Our point of departure is the conceptual distinction between organization as style made durable and entrepreneurship as the disruption of style. We show that style is not simply an aesthetic category, but rather what ties different social practices together. While organization makes the connections between social practices durable, entrepreneurship disrupts such patterns. We further elucidate how organization and entrepreneurship are two intermingled processes – those of durability and disruption – that together enable the creation of new styles. In order to conceptualize this creative process, we explore how play can create disharmonies within the organization, but we also maintain that any new practice will remain marginal without a collective assemblage capable of adopting it. On this basis, we argue that sustainable entrepreneurship consists of making an environmentally friendly and socially conscious style durable, but also of disrupting such a style. In order to illustrate our argument, we use the example of the sustainable smartphone producer Fairphone. In conclusion, we argue that the concept of style may strengthen the dialogue between entrepreneurship studies and organization studies.

scholarly journals Creativity as a Methodological dimension of Social Research between Quantity and Quality

2019 ◽  
Vol 9 (1) ◽  
pp. e049
Author(s):  
Francesco Sacchetti
Keyword(s):  
Social Research ◽  
Quantitative Approach ◽  
Creative Processes ◽  
Methodological Choices ◽  
Personal Involvement ◽  
Qualitative Approaches ◽  
First Case ◽  
Qualitative Work ◽  
The Creation ◽  
A Performance

In this work I address creativity in the process of social sciences research, comparing quantitative and qualitative approaches. In discussing creativity I go back to Chomsky and his distinction between rule-governed and rule-changing creativity. In my analysis I suggest that the quantitative approach is characterized by rule-governed creativity, the qualitative one by rule-changing creativity: these are two models of creativity that the Chomskian vision links to a set of rules. Thus in the first case the creation of the tools by which the researcher collects information is submitted to a set of rules related to substantial and procedural competences. In the second case the creative phase does not have a place in the creation of a tool, but rather in a performance. The idea of performance as a constitutive part in qualitative research is analysed on a substantial basis, revealing the implications of distinct creative processes under different methodological choices. Whilst a quantitative approach requires using procedural and substantial competences, I suggest that in a qualitative enquiry the researcher’s fieldwork is considered as a ‘performance’ because of its adaptive character. The researcher is constantly confronted with unforeseen situations, surrounded by an unknown environment. Also, this use of the notion of ‘performance’ comprehends both elements of the process as well as of the outcome of fieldwork, as it recalls peculiar characteristics of qualitative work: action and interaction, personal involvement and, above all, orientation to a purpose (in this context, the teleological purpose of knowledge production).

Perfect (im)Perfections–the choreographer’s reflections on the creative process

2015 ◽  
Vol 6 (1) ◽  
pp. 48-53
Author(s):  
Philip Channells
Keyword(s):  
Creative Process ◽  
Life Experience ◽  
Full Length ◽  
Personal History ◽  
Creative Processes ◽  
Cultural Boundaries ◽  
Diverse Backgrounds ◽  
Successes And Challenges

Abstract In 2014 Australian director/choreographer Philip Channells (Dance Integrated Australia) was commissioned by DansiT–Senter for Dansekunst i Sør-Trøndelag to collaborate with 20 members of the Danselaboratoriet and Danseteateret 55+ companies. The end result was a full-length intergenerational, disability-inclusive work that merged poetry, dance, theatre and music. Perfect (im)Perfections–stories untold was created with an international cast of artists with diverse backgrounds and life experience. The work premiered at the Multiplié Dansefestival in Trondheim on 3 April 2014. In his article, Channells shares his personal history and dance background before focusing on the collaboration. He discusses the inspiration behind the work, the creative processes and the successes and challenges in working across cultural boundaries.

Learner-Developed Case Studies on Ethics

2018 ◽  
pp. 131-163
Author(s):  
Lesley S. J. Farmer
Keyword(s):  
Higher Education ◽  
Decision Making ◽  
Knowledge Base ◽  
Case Studies ◽  
Ethical Behavior ◽  
Critical Analysis ◽  
Ethical Standards ◽  
Professional Lives ◽  
The Creation

This chapter explains how case studies can be used successfully in higher education to provide an authentic, interactive way to teach ethical behavior through critical analysis and decision making while addressing ethical standards and theories. The creation and choice of case studies is key for optimum learning, and can reflect both the instructor's and learners' knowledge base. The process for using this approach is explained, and examples are provided. As a result of such practice, learners support each other as they come to a deeper, co-constructed understanding of ethical behavior, and they make more links between coursework and professional lives. The instructor reviews the students' work to determine the degree of understanding and internalization of ethical concepts/applications, and to identify areas that need further instruction.

Chance and Indeterminacy in Music

Artful Noise ◽  
2020 ◽  
pp. 97-106
Author(s):  
Thomas Siwe
Keyword(s):  
Creative Process ◽  
Compositional Style ◽  
John Cage ◽  
Square Root ◽  
Compositional Process ◽  
Morton Feldman ◽  
Use Of Time ◽  
Early Use ◽  
The Creation

The incorporation of degrees of chance in the creation and realization of music captured the imagination of composers in the late 1950s and early 1960s. Led by the American iconoclast John Cage—the most prominent champion of chance and indeterminacy—composers began to include chance operations in the creative process. In so doing, they relied upon the performer to understand each work’s compositional style and to respond to and interpret the notation used, often graphic in form. This chapter examines the percussion works of John Cage, Morton Feldman, Roman Haubenstock-Ramati, and Herbert Brün. Cage’s transition from his use of the square root formula to his relinquishing control over every aspect of the compositional process is explored through his works 27’ 10.554” and Child of Tree. Feldman’s use of “time boxes” in the percussion solo The King of Denmark and his desire to remove both pulse and attack from his music is illustrated. Brün’s early use of a computer to create music brings the chapter to a close.

Creativity of the Dream and Sleep State

2019 ◽  
pp. 124-149 ◽  
Author(s):  
Robert Stickgold
Keyword(s):  
Rem Sleep ◽  
Creative Process ◽  
Anterior Cingulate ◽  
Sleep State ◽  
Creative Processes ◽  
Dorsolateral Prefrontal ◽  
Full Speed ◽  
Stored Information ◽  
The Individual ◽  
The Brain

Rapid eye movement (REM) sleep is a stage of sleep that evolved in part to provide a privileged time in each day when the brain is disconnected from sensory input and freed of intentional, directed thought. The neurochemistry and neurophysiology of the brain during REM sleep is optimized for the exploration of normally ignored connections and associations within the brain’s vast repertoire of stored information. This includes changes in the activity of dorsolateral prefrontal, anterior cingulate, and medial orbital frontal cortices and the hippocampus, and reductions in norepinephrine and increases in acetylcholine in the cortex. This exploration of normally weak associations is critical to the creative process, and REM sleep can thus be considered a period of unbridled creativity. Much of this creative process is reflected in the content of dreams. Even without waking dream recall, changes within associative networks produced by the brain mechanisms of dream construction can leave these brain networks—and the individual—primed for reactivation at a later time, leading to the “discovery” of creative insights. Some, but not all, of these brain changes are also seen during periods of quiet rest with activation of the default mode network (DMN). When active, this network can likewise provide a state of enhanced creativity. Nevertheless, REM sleep and dreaming provide a protected two hours every day when creative processes run at full speed.

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