The Pirate Archives, William Ready Division of Archives and research collections, McMaster University

Purpose The purpose of this paper is to discuss the history and contents of an archival resource that is of interest to scholars of historical marketing. The Pirate Group Inc. archive, held by McMaster University Library’s William Ready Division of Archives and Research Collections consists of over 27,000 sound recordings and 84 metres of textual records, documenting the work of Pirate, an award-winning Toronto-based advertising company founded in 1990. The comprehensiveness of the archives, which includes tens of thousands of advertising “spots”, gives researchers unprecedented access to the creative forces behind some of the most memorable advertisements produced in Canada. Design/methodology/approach This paper aims to answer the following questions: what is the Pirate Group Inc. and what is their documentary legacy? How can scholars of marketing history benefit from the records contained within the Pirate Group Inc. archive? How can researchers access the material at McMaster University Library’s William Ready Division of Archives and Research Collections? Findings The authors assert that the Pirate Group Inc. archive may be of particular interest to scholars engaged in research on the following topics: Canadian nationalism in marketing campaigns, the advertising history of companies whose histories are under-studied due to a lack of archival resources and the recent history of radio and television political ad campaigns. Originality/value The paper contributes to historical research in marketing by asserting that the Pirate Group Inc. archive has continuing value for further research. The Pirate archive, which allows for unprecedented access into the study of Canadian advertising due to its comprehensiveness and its uniqueness among archival collections from the contemporary era, makes it a strong primary source for marketing historians.

Kangur – totem czy esencja? Dwie koncepcje krajobrazu

The paper analyzes landscapes of indigenous societies. Howard Morphy, in his work focusing on the Aborigines, treated the landscape as a representation of past mythical events. Such an approach involves taking a closer look at the material aspects of landscape and emphasizes the existence of realties between contemporary Aborigines and the past. A different theoretical approach was developed by Tim Ingold, conceptualizing landscape as a human-land relationship based on essence, where all beings derive their essential form and substance directly from the land, which embodies the creative forces of the ancestors. Ingold’s understanding of landscape led me to rethink my research in the Altai Mountains of Southern Siberia, conducted 25 years ago. I argue that the relationship with the land is crucial for the Altaian people. The land’s essence is not changeable and all living beings are its emanation. The landscape is therefore not a record of the past, but an active field in which the relationship between human and non-human subjects and the land is established.

Doors and Chords: Explorations from Music to Architecture

<p>Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason. Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function. Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.</p>

Doors and Chords: Explorations from Music to Architecture

<p>Architecture and music have a long intertwining history.These respective creative forces many times have collaborated into monumental place, harboured rich occasion, been catalyst for cultural movement and defined generations. Together they transcend their respective identities. From dinky local church to monstrous national stadia, together they are an intense concentration, a powerfully addictive dosage where architecture is the place, music is the faith, and people are the reason. Music is a programme that architecture often celebrates in poetic and grand fashion; a superficial excuse to symbolise their creative parallels. But their relationship is much richer and holds more value than just the opportunity to attempt architectural metaphor.While music will always overshadow the architecture in the sense of a singular event, architecture is like the soundman behind the mixing desk. It’s not the star front and centre grabbing your attention, but is responsible for framing the star. It is the foundational backdrop, a critical pillar. Great architecture can help make great music. In this sense music is a communication of architecture, it is the ultimate creative function. Christchurch, New Zealand, is a city whose story changed in an instant. The seismic events of 2010 and 2011 have become the overriding subject of its historical narrative, as it will be for years to come. Disaster redefines place (the town of Napier, struck by an earthquake in 1931, exemplifies this). There is no quantifiable justification for an exploration of architecture and music within the context of Christchurch. The Town Hall, one of New Zealand’s most architecturally significant buildings, is under repair. The Christ Church Cathedral will more than likely be rebuilt to some degree of its former self. But these are echoes of the city that Christchurch was.They are saved because they are artefact. Evidence of history.This thesis makes the argument for the new, the better than before, and for the making of opportunity from disaster, by proposing a ‘new’ town hall, conceived from the sound of old.</p>

A. Blok and poetic strategies of postmodernism

Анализируется поэзия А. Блока, ее взаимосвязь с реалистическими, семантическими и перфомативными аспектами творчества русских постмодернистов. Тексты рассматриваются как способ мотивирования поэтических знаков в постмодернистской традиции. Они позволяют контекстуализировать модели выразительности в авангардистской поэзии и выделить основные парадигмы в ее трактовке, адаптировать художественные приемы и поиски нового языка. Отдельное вимание уделяется особенностям поэтического высказывания и ее взаимодействию с пространством стиха. Интерес акцентируется на диалектике разрушительных и созидательных сил в деконструктивизме наследия Вс. Некрасова, Д. Пригова, Т. Кибирова и др. Обсуждается актуальная проблема для теории современной поэзии: что стало с постмодерном как языком описания эпохи в XXI столетии. Особое внимание уделяется преемственности новых концепций с предыдущей культурной традицией в негативной и позитивной версиях. Тема особенно актуализируется благодаря выраженному стремлению представить тексты А.Блока и постмодернистской поэзии как культурное выражение новейшего времени. An analysis is made of the poetry of A. Blok, its relationship with the realistic, semantic and performance aspects of the work of Russian postmodernists. Texts are explored as a way to motivate poetic signs in the postmodern tradition. They make it possible to contextualize models of expressiveness in avant-garde poetry and highlight the main paradigms in its interpretation, adapt artistic techniques and searches for a new language. An attention is paid to the peculiarities of the poetic expression and its interaction with the space of the verse. The interest is focused on the dialectic of destructive and creative forces in the deconstruction of the legacy of Vs. Nekrasov, D. Prigov, T. Kibirov, etc. The paper discusses the actual problem for the theory of modern poetry: what has become with the postmodern as the language of describing the era in the 21st century. Particular attention is paid to the continuity of new concepts with the previous cultural tradition in negative and positive versions. The theme is especially actualized due to the expressed desire to present the texts of A. Blok and postmodern poetry as a cultural expression of modern times.

Creative Forces programming with military families: Art therapy, dance/movement therapy, and music therapy brief vignettes

LAY SUMMARY Creative arts therapists (art therapists, dance/movement therapists, and music therapists) administer assessments and interventions that support the holistic well-being of military families affected by traumatic brain injury (TBI) and posttraumatic stress disorder (PTSD). Through participation in the Creative Forces: United States National Endowment for the Arts Military Healing Arts Network, military families discovered strengths, inspired connections, and improved understanding of their relationships. Creative arts therapies (CATs) motivated engagement, which ultimately boosted family resilience. CATs are an integral part of interdisciplinary care to address behavioural and rehabilitative conditions of military families impacted by TBI and PTSD. Future research should examine the efficacy of creative arts therapies in improving resilience in military families.

INTERACTION OF GIFTED PERSONALITY WITH ARTISTIC CULTURE WITHIN THE CONDITIONS OF OPEN EDUCATIONAL AND CULTURAL SYSTEMS: EXPERT ANALYSIS

The purpose of the article is to analyze the opportunities and prospects for the development of open educational and cultural systems in Ukraine, aimed at meeting the special cultural needs of gifted individuals. The methodology of the research is general scientific principles of systematization and generalization of the researched problem, as well as interdisciplinary approach, which allows to study the problem with wide involvement of scientific achievements from different fields of knowledge, including culturology, art history, theory and practice. socio-cultural activities. Methods of questionnaires, surveys and expert analysis of written documents and video courses revealed the peculiarities of the development of open educational and cultural systems. The scientific novelty of the study is to identify the features of the interaction of a gifted person with artistic culture, opportunities to activate its creative forces and intellectual abilities by engaging in open resources of education and culture. During the research, students of National Academy of Managerial Staff of Culture and Arts (Kyiv) were involved in working on the platforms "Coursera" and "Prometeus", after which their written feedback was analyzed. A survey of managers and specialists (hereinafter referred to as experts) working in the field of management, planning and development of artistic culture in Ukraine (2,100 respondent experts) was also conducted. The article presents the results of a study of the patterns of functioning of art (past, present and future) in the context of its impact on the cultural development of a gifted person; the possibilities of using the potential of open educational and cultural systems in order to meet the special cultural needs of a gifted person are analyzed. Conclusions. The results of the research work showed that in the process of interaction of a gifted person with art, there are certain problems in activating his creative forces and intellectual abilities, due to limited access to many types of artistic and creative activities in reality during quarantine. To this end, it is necessary to use the potential of open educational and cultural systems online, which contributes to the internalization and exteriorization of cultural values, meeting the cultural and artistic needs of the gifted individual in the structure of his professional activities and daily life; allows to more actively involve the young generation of Ukraine in virtual creativity, artistic design and modeling.

Soviet Poetic Underground in Critical and Scientific Coverage (First Article)

The results of a research of literary critical works devoted to the study of Soviet under-ground poetry in the 1960s and 70s are presented in the review article. It is shown how the process of liberation of unofficial poetic culture from the collectivist attitudes of Soviet ideology and the search by its representatives for the spiritual and moral foundations of life and creativity was highlighted in the sam- and tamizdat periodicals. Special attention in the review is payed to the reflection of uncensored criticism in relation to the problems of restoring the connection with the literary tradition of the Silver Age by nonconformist poets and the formation of new principles of artistic writing in their work. In the context of these processes, the value nature of the phenomenon of “Christian Renaissance” in underground poetry, its role in the development of modernist poetic culture in the second half of the 20th century is revealed. In the light of literary-critical reception, the concept of “cultural movement” is considered as a strategy for uniting creative forces in the literary underground, which determines the value horizons of unofficial poetry. It is substantiated that the “cultural movement” was interpreted by uncensored criticism from the standpoint of its ideological and institutional self-sufficiency, the ability to be an active subject of Russian and world culture.