Using Custom-Built, Small-Scale Educational Solutions to Teach Qualitative Research Literacy

This chapter considers ways in which educators can create their own educational applications to integrate into their teaching. It is argued that interactive uses of technology can aid student engagement and encourage uptake of skills presented to them. Today, tools available allow everyone to create not only static websites, but also functional applications. It is possible to get started without knowing how to code, empowering anyone with an interest in technology to become a creator. While these no and low code solutions may come with some restrictions, they may encourage users to explore more traditional ways to engage with code and its possibilities for teaching. The chapter aims to encourage readers to look at technology as a creative practice to include into their teaching. It suggests strategies to help readers select the most appropriate tool for their projects.

Simulation of Creative Manifestation by Functional Ensembles of Intellectual Agents Based on Live Information in Various Spheres of Life Activity

Neural networks with deep learning and reinforcement are able to compose poetry and music, draw paintings, and write short stories, as well as come up with scripts for films. Functional ensembles of harmoniously interacting intellectual agents with living information can virtually model creativity for various spheres of life activity. Virtual modeling of creativity by harmoniously interacting intellectual agents is carried out based on living creative processes represented by acts of creation accumulated by humanity in a certain sphere of life. Live information of creative acts of creation for functional ensembles from harmoniously interacting intellectual agents is revealed from the effective creative practice of specialists in specific conditions and presented in the format of smart ethical communicative-associative cases. To model creativity, a virtual environment of a certain sphere of activity is formed, in which the ensemble gives birth to a creative fruit according to the plan of a specialist. Functional ensembles of harmoniously interacting intellectual agents with live creative practice can cooperate with a person, and can also independently virtually model the creative creation of new designs of a specialist, if the ensemble has enough acts of creation.

Musical and theatrical reflection of the creative practice of N.N. Sinelnikov: a cultural dimension

The purpose of the article is to carry out a culturological dimension and define as a synthetic phenomenon the musical-theatrical aspect of the artistic activity of the outstanding actor, director, theater teacher, and entrepreneur Mykola Mykolayovych Sinelnikov (late 19th – early 20th century). The methodology of research is based on the use of a complex of general scientific and specific scientific methods in accordance with the cultural discourse. In order to study the problem in a historical sequence, the historical method was applied. Setting the goal of illumination and analytical measurement of the constituent components of the problem under study, the system-analytical method is applied. The system-structural method is used to study a cultural phenomenon as a system of interrelated and interacting elements. The hermeneutic method is used to study and interpret the theoretical provisions of the problem under study. In order to study the life path of a creative person, illuminate her inner world, and understand the motives of her activity, the biographical method is used. The generalization method was applied to determine the general conclusions of the study. The scientific novelty lies in the musical and theatrical reflection of the creative phenomenon of the outstanding artist-reformer of the late 19th – early 20th centuries Mykola Sinelnikov. Conclusions. Consideration of the issue raised in the article made it possible to state the importance of the presentation of the creative practice of N.N. Sinelnikov as a representative of musical and theatrical syncretism. Research of the phenomenon of N.N. Sinelnikov made it possible to illuminate the system of artistic principles of the creator, which fully corresponded to the nature and content of the modern era. It was determined that the musical and theatrical segments of N.N. Sinelnikov’s works are harmonious integrity, that is, they represent musical and theatrical syncretism. Keywords: musical and theatrical syncretism, a creative phenomenon, syncretism, cultural studies, theater, music, musical and theatrical reflection, socio-cultural space.

Country Calls: A Creative Practice of Deep Time Walking in Darug Country

This article presents my personal story, as a non-Indigenous settler woman, of walking along a ridge close to my home at the foot of the Blue Mountains west of Sydney, after the fires of 2019 to 2020. In this article, I want to invite the reader into my love of this country through sharing my record of this walking over a 12-month seasonal cycle. Every walk presented me with new understandings of this Country where I live, which I already knew as Darug Country, having explored the nature of this country in collaboration with my Darug friends Jacinta and Leanne Tobin.

Creative industries in the Arctic: a review of Russian scientific literature

The article reviews the points of view of Russian researchers on the development of creative industries in the Arctic. The main issues that are considered by domestic authors in the works on the development of creative industries in the Russian Arctic are identified, the opinions of the authors on the potential and problems of the development of the Arctic creative industries in the Russian Federation are analyzed. It is concluded that the works of Russian researchers mainly consider such issues as the essence of the concept of "creative industries", the relevance of the development of Arctic entrepreneurship in the Russian Federation, the prospects for the development of creative industries in the Arctic regions of Russia, the level of development of creative industries as a measure of economic development, potential of creative practice in the Arctic region, issues of forming an active creative class, the attractiveness of the Arctic region for the development of creative industries and key problems of the development of creative industries in the Russian Arctic. According to most authors, the main task of the creative industries in the Russian Arctic is to ensure the dynamic development of small businesses in this macroregion. The potential of creative practice in the Arctic region, from the point of view of domestic authors, lies in the development of tourism and social innovation, as well as in the preservation and reproduction of the national culture of the indigenous peoples of the North and the Arctic. The formation of an active creative class in the region is difficult due to the impact of such factors as the mono-sectoral nature of local economies, a high concentration of capital in the field of environmen.

Existential Focus of Reality in “Silent Poetry”

Ukrainian literature of the 1960-80s is notable for the creative achievements of the Sixtiers, the hermeticism of Kyiv school poetry, Samvydav activity, and dissident nonconformism, which was aesthetically enriched by the poetic movement of “silent poetry”. His creative practice involved a latent rejection of the political state, which imposed its ideological criteria on the culture. Poets continued to defend the right to creative self-realization, which gave impetus to the ideological and artistic formation of “silent poetry” by the efforts of I. Zhylenko, S. Yovenko, A. Kychynskyi, V. Pidpalyi, L. Skyrda, L. Talalai, P. Movchan, D. Cherednychenko and others, whose aesthetic dominants of creativity are characterized by existential, cordo-centric and natural philosophical motives. This generation was in search of an individual manner, expressed national consciousness and recognized the autonomy of the poet and art.

Playing with time to escape time and space: Slow Music Improvisation in an online space for Mindfulness

This article is an exegetical look at a series of improvisational concert/performance/co-creations that started in the lockdown of March 2020 in New Zealand. This informal series of livestream concerts has continued to develop since that time, with a range of collaborative performers. This article serves to unpick some of the creative practice and conceptual framework that outline this series from the point of view of individual creative reflection and mindfulness. This series of events were designed to provide space for shared improvisation as a tool for mindfulness in uncertain times. It was also designed to provide some collective moments of reflection through a shared remote experience. But at the core, this series is in exploring ideas of slow improvisation. Working in a purely online context utilising the limitations of video and sound sharing technology to create specific new performative experiences. As a part of this process we as performers are places into a situation that works between individual awareness (as you are in a space by yourself) and collective experience (as you perform together online). This experience is very intuitive and the participants are forced to embrace the uncertainty of the environment and technology, and recognise the spontaneity of improvisational experiences that are mediated through the experience of shifting time, and the disembodied nature of Zoom to create music that has a sense of release and connection.

Samoan identity through music composition: The agony of asking

<p>In this thesis, Samoan music and identity are woven together and expressed simultaneously through new composition, critical reflection, and performance. This thesis explores creative practice in both Samoa and New Zealand, and it engages with critical insights in order to produce a body of new creative work in music. Through these efforts, this thesis contributes a new original understanding for how to articulate Samoan identity in current musical composition. In Samoa, cultural practices exist alongside global influences. These are found in song, language, contemporary music and dance in a variety of social contexts, and it is in this space of crossing boundaries where I explore my own identity as a Samoan-born, New Zealand composer, and a broader Samoan communal identity. The two contexts of my journey in Samoa and New Zealand offer sustained influences on my compositions both as a professional musician and educator. They provide very different expectations and cultures that I have negotiated, and have formed the basis of my creative work in this thesis. Adapting the Pasifika-centred framework of Epeli Hau’ofa in “Our Sea of Islands” (1993), in this thesis I provide a personal blueprint for a Samoan interpretation of creative practice in music, based on close readings and interpretations of concepts in new music composition. Through this work I deconstruct my own colonial past to rise above cultural stereotypes, and instead move towards finding connections with local-based styles and values of music. In doing so, my creative output offers an original voice as a composer that is firmly based in Samoan realities, just as it extends to experiences and with a diversity of musical practices. Through my creative work I offer unique musical spaces and mediums that expresses my Samoan identity, in both music and culture. In this way, new composition is a means of navigating and negotiating musical creativity. As I have discovered, I am not the only one moving in and out of these contexts as a Samoan musician and composer. I have worked together, alongside other Samoan composers such as Natalia Mann (based in Queensland, Australia), Metitilani Alo (based in Dunedin, New Zealand), Igelese Ete (based in Fiji) and Maori artists such as Riqi Harawira (based in Kaitaia, New Zealand) and artist BJ Natanahira (based in Kaitaia) sharing ideas and engaging in discussions around process of creativity and identity. In creating our own musical voices, we also take control of the forms and shapes used to express our identities musically and culturally. As Thomas Turino points out in Music as Social Life (2008) this is about navigating and negotiating our identity according to the spaces we move within, and the music we associate with through composition and performance. This is that journey.</p>