Готові списки джерел за темами / Other creative arts and writing

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Добірка наукової літератури з теми "Other creative arts and writing"

Автор: Grafiati

Опубліковано: 10 січня 2023

Оновлено: 28 січня 2023

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Статті в журналах з теми "Other creative arts and writing"

Williams, Ronald D., and Amber R. Williams. "Creative Writing In Alcohol, Tobacco, And Other Drug Education." Contemporary Issues in Education Research (CIER) 5, no. 4 (September 20, 2012): 327. http://dx.doi.org/10.19030/cier.v5i4.7276.

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Health educators in elementary and secondary schools should seek collaborations with teachers of other subjects to enhance health education curriculum. The strategy described in this article details a potential collaboration between health education and language arts units. The activity enhances both drug education knowledge gains and creative writing skills among junior high/middle school students.

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Clifton, Glenn. "Critical-Creative Literacy and Creative Writing Pedagogy." University of Toronto Quarterly 91, no. 1 (February 1, 2022): 51–66. http://dx.doi.org/10.3138/utq.91.1.04.

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This article builds on psychological research that claims critical thinking is a key component of the creative process to argue that critical-creative literacy is a cognitive goal of creative writing education. The article also explores the types of assignments and prompts that might contribute to this goal and simultaneously build bridges between creative writing education and other humanities disciplines.

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Stukenberg, Jill. "Deep habits: Workshop as critique in creative writing." Arts and Humanities in Higher Education 16, no. 3 (July 14, 2016): 277–92. http://dx.doi.org/10.1177/1474022216652770.

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The creative writing workshop, involving peer critique of manuscripts in progress, is deeply connected to many writerly habits of mind. As such, this article examines workshop as a signature pedagogy in creative writing. Through workshop, students develop awareness of their readers, understanding of how texts are created by readers and through process, and abilities to problem-solve in drafts and hone their personal tastes while encountering contemporary aesthetic values. At the same time, examination of the writerly habits of mind transmitted through workshop also reveals other key skills and ways of thinking that can be shortchanged when workshop is too much the sole methodology; one deleterious habit of mind, that of being overly self-critical, may even result.

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Gillam, Tony. "Enhancing public mental health and wellbeing through creative arts participation." Journal of Public Mental Health 17, no. 4 (December 17, 2018): 148–56. http://dx.doi.org/10.1108/jpmh-09-2018-0065.

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PurposeThe purpose of this paper is to explore how participation in creative arts activity can enhance public mental health and wellbeing. It is informed by both the author’s clinical practice with service users and carers and by research.Design/methodology/approachThe approach taken is to draw selectively on research in the field of creativity, creative arts and wellbeing, focusing in particular on the use of music and creative writing, and to incorporate learning from clinical experience to explore what is understood about the health and wellbeing benefits of creative arts activity.FindingsThere is evidence that creative arts activity is beneficial to mental health and wellbeing. Arts activities that involve active participation appear to offer the greatest benefits. Creative arts participation can help people with diagnosed mental health difficulties to recover from mental illness. Moreover, creative arts activities can also promote wellbeing in the general population.Research limitations/implicationsThe paper does not provide a comprehensive review of the literature in this field.Practical implicationsThe paper suggests that if nurses and other mental health professionals are to play a full role in facilitating flourishing then they will need to learn more about using creative arts in practice and will need to become involved and encourage others to do so.Social implicationsThe paper suggests it is important that creative arts activities should be participatory, so they become a vehicle not only for self-expression but also for participation in groups and communities, increasing connectedness and social inclusion.Originality/valueThis paper fulfils a need for a wider understanding of the health and wellbeing benefits of creative arts activity.

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Everington, Shanta. "Through the looking glass: Biographical writing as self-reflection." Journal of Writing in Creative Practice 12, no. 1-2 (April 1, 2019): 29–43. http://dx.doi.org/10.1386/jwcp.12.1-2.29_1.

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Combining creative writing excerpts from my Ph.D. work-in-progress, ‘The Other Mothers: Exploring adoption, surrogacy and egg donation through life writing’, with reflective commentary, this article will discuss the ways in which writing the lives of others can serve as a process of self-reflection. Inspired by my personal experience as a biological and adoptive mother, my Ph.D. project involves creative practice as research, alongside critical approaches, to culminate in the production of a multi-subject biographical narrative of women who have become mothers through adoption, surrogacy and egg donation, and their silent partners – birth mothers, surrogates and egg donors – whose stories remain largely untold.

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Runco, Mark A. "Predicting Children's Creative Performance." Psychological Reports 59, no. 3 (December 1986): 1247–54. http://dx.doi.org/10.2466/pr0.1986.59.3.1247.

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The predictive validity of the fluency index of divergent-thinking tests was evaluated, with extracurricular creative performance in seven domains as the criteria. The unique aspects of this project were (a) that gifted and talented children were represented in the sample of 150 subjects, (b) that both performance quantity and quality scores were used as criteria, and (c) that fluency, fluency2, and an interaction of IQ X fluency were tested as predictors. Hierarchical regression analyses indicated that fluency has predictive validity; however, this is limited to certain areas of performance, e.g., writing and crafts. IQ was significantly related to other areas of performance, e.g., science and performing arts, but there was little indication of a quadratic relationship or an interaction of IQ X fluency.

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Duggan, Jo-Anne, and Enza Gandolfo. "Other Spaces: migration, objects and archives." Modern Italy 16, no. 3 (August 2011): 315–28. http://dx.doi.org/10.1080/13532944.2010.507931.

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Other Spaces is a collaborative creative arts exhibition project that explores visual and material expressions of cultural identity with a particular focus on museum collections. This project aims to provide a rich examination – visual, emotional and intellectual – of the multiple cultural narratives that contribute to the social fabric of Australia through a unique marriage of contemporary photomedia and creative writing practice. This project explores the ways that migrants and refugees have found to express their cultural identity through the material objects they have brought with them to Australia. Many of these objects are not only of great personal value but often of cultural, historical and religious significance. Some are very ordinary everyday objects but they can be highly evocative and symbolic of the relationship between culture and identity, and between the places of origin and an individual's present home in Australia. This article, through a combination of photography, creative text and scholarly discussion, will focus specifically on Italo-Australian migrants and on some of the material objects that they have donated to museum collections, and use these objects to explore notions of cultural belonging and identity.

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Badenhorst, Cecile, Cecilia Moloney, Janna Rosales, and Jennifer Dyer. "Graduate Research Writing: A Pedagogy of Possibility." LEARNing Landscapes 6, no. 1 (June 1, 2012): 63–80. http://dx.doi.org/10.36510/learnland.v6i1.576.

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Graduates often find conceptualizing and writing long research projects an arduous alienating process. This paper1 describes a research writing intervention conducted at Memorial University in Newfoundland with two groups of graduate students (Engineering and Arts). One small part of the workshop was devoted to creative "sentence activities." Our argument is that these creative activities contributed to re-connecting students to themselves as researchers/writers and to others in the group. The activities engaged students in language literally, metaphorically, and performatively.

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Mason, Stephanie. "Keep Candy in the House." Art/Research International: A Transdisciplinary Journal 6, no. 2 (September 4, 2021): 442–67. http://dx.doi.org/10.18432/ari29578.

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My mother’s love of Tootsie Rolls was the only fact I could grasp after her sudden passing. I wanted to share this and other memories of her through a eulogy that was whimsical, far-ranging, and entertaining, but I struggled to write one. My struggles reminded me of other writing challenges, such as my recent dissertation proposal, although there I was partly guided by my arts-informed research methodology framework. Gradually, I found some of those methodological elements could illuminate parts of eulogy writing: formal concerns, audience, presence and engagement, subjectivity, and meaning-making all resonate with arts-informed research’s commitment to form, audience, creative enquiry, researcher presence, and holistic quality. These connections show arts-informed research affords lifelong learning opportunities apart from academic practice; in this case, arts-informed research is a resource tool for navigating lived experiences of grief and grief writing. Moreover, arts-informed research encourages affective narratives and socially-constructed meanings to produce new understandings, which I realize here by including eulogy excerpts to produce an artistic representation of “research” about my mother (including her undying love of chocolate).

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Adji, Alberta Natasia. "The fragmentation of the writing self: Using dialogic reflection to explore the writing process of an autobiographical novel." Journal of Writing in Creative Practice 14, no. 2 (September 1, 2021): 143–59. http://dx.doi.org/10.1386/jwcp_00019_1.

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In this article, the author-researcher presents three intertwined texts: excerpts from an autobiographical novel, extracts from a reflexive journal written during the writing of that novel, as well as a theorized account and analysis of the overarching creative process. These texts talk to each other as a form of intertextuality in the similar way that the three generations of a Chinese Indonesian family depicted in the novel interact with one another and present differing perspectives and fresh insights. The issues of the writer’s inner voices and multiplicity of the self feature prominently in this work, the result of a deep and critical engagement with the author-researcher’s creative writing and reflective thinking processes. Together, these three interrelated texts capture and explore multiple perspectives interacting during the writing process while at the same time present how the self and sites of meaning-making can be constructed through writing.

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Дисертації з теми "Other creative arts and writing"

Feger, Phil. "Fairdealing: Book One and Other Stories." VCU Scholars Compass, 2014. http://scholarscompass.vcu.edu/etd/590.

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The following is a collection of works of fiction set mostly in Western Kentucky, with one short story taking place in Richmond, Virginia, in the year 2063. No characters in this collecting of fiction is meant to depict any real, live person, and no setting is meant to portray an existing place on earth. These works were written between February, 2012, and April, 2014.

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Wells, Logan Scott. "Among the Stars and Other Stories." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1524325230197327.

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Kabot, Joel. "Hemlock and Other Stories." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/401.

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Hemlock and Other Stories is a collection of short stories focusing primarily on the importance of geography and cultural identity in modern America. Other stories explore similar themes but contain international and/or historical settings. Ultimately, most characters in the selected stories must find ways to reconcile heritage with present-day demands.

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Lager, Amanda Rene. "Renovations and Other Stories." Master's thesis, University of Central Florida, 2012. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5385.

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Renovations and Other Stories is a linked collection of ten fiction stories that examines the ways by which women renew or restore themselves. The collection is set in the imaginary city of St. Clair, South Carolina, a town balancing historical accuracy with the sensational tourist industry; Carolinians who trace their ancestries back to the American Revolution with suburban newcomers; and the notion of cherishing the past with moving forward. Many of the characters struggle with identity, whether it is regional or feminine individuality. The protagonists must challenge self-image when faced with situations that make them reconsider their places in their marriages, schools, jobs, and in their lives. Relationships among women, especially mother-daughter bonds, are an important motif throughout the collection. These stories cover the lifetimes of two generations of Carolinian women. A baker struggles to break free of her Northern transient upbringing. A history student yearns to escape her past as a victim of bullying to form a new, confident identity while saying goodbye to her estranged mother. Another girl explores the confused social politics of the South which alienate her from a childhood friend. I intend to examine, through fiction, how people come to appreciate one another, often a moment too late, and how sometimes we completely misunderstand ourselves.
ID: 031001372; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Includes reading list (p. 174-177).; Title from PDF title page (viewed May 21, 2013).; Thesis (M.F.A.)--University of Central Florida, 2012.
M.F.A.
Masters
English
Arts and Humanities
Creative Writing

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Childress, Catherine Pritchard. "Other: Poems." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etd/1138.

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This creative thesis is a collection of original poems entitled Other. The poems in Other reflect my study of the aesthetics of poetry as well as that of how women are represented as poets and as the subject of poems. Some of these poems are the product of my particular interest in the use of persona. Most reflect my desire to achieve self-reflection, to write from my experiences and perception, while still maintaining the universality that is an essential element of successful poems. The critical introduction situates my poems within the framework of the poetic mode Personal Classicism—poetry that is emotionally based but relies on formal techniques and controlled elements in order to maintain distance. My primary goal in the critical introduction is to link my poems to the Personal Classicist lineage, which includes H.D., Elizabeth Bishop, and Louise Gluck – to whom I will pay particular attention.

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Kinkade, Natalie. "Fox Dreams and Other Essays." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1620380678047587.

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Horack, Bruce. "Grand Isle." ScholarWorks@UNO, 2011. http://scholarworks.uno.edu/td/820.

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A novel about a man injured while working on an oilrig in the Gulf of Mexico, set primarily in Louisiana, Nevada, and California. While recovering from his injury, the protagonist is contacted by his dead brother’s daughter—a person whom he did not know existed—and he journeys to San Francisco in search of her.

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Forkapa, Dan. "The Other Side of Fun." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1513106622529833.

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Mattingly, Stacy. "The hit and other writing." Thesis, Boston University, 2012. https://hdl.handle.net/2144/32034.

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Thesis (M.F.A.)--Boston University. Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.
2031-01-02

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Ayars, Katherine. "The burgundy room and other stories." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31502.

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Книги з теми "Other creative arts and writing"

Formichelli, Linda. The renegade writer: A totally unconventional guide to freelance writing success. Oak Park, IL: Marion Street Press, 2003.

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1964-, Burrell Diana, ed. The renegade writer: A totally unconventional guide to freelance writing success. Oak Park, IL: Marion Street Press, 2003.

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W, Dawe Charles, ed. The brief English handbook: A guide to writing, thinking, grammar, and research. 7th ed. New York: Pearson/Longman, 2004.

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Robert, Dees, ed. The brief English handbook: A guide to writing, thinking, grammar, and research. 9th ed. New York: Longman, 2009.

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Van Cleave, Ryan G., 1972- and Pierce Todd James 1965-, eds. Behind the short story: From first to final draft. New York: Pearson Longman, 2006.

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Dornan, Edward A. The brief English handbook. 3rd ed. Glenview, Ill: Scott, Foresman/Little-Brown, 1990.

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W, Dawe Charles, ed. The brief English handbook: Edward A. Dornan, Charles W. Dawe. 5th ed. New York: HarperCollins College Publishers, 1996.

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W, Dawe Charles, ed. The brief English handbook. 3rd ed. Glenview, Ill: Scott, Foresman/Little-Brown, 1990.

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W, Dawe Charles, ed. The brief English handbook. 2nd ed. Boston: Little, Brown, 1987.

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Creative writing 4-5. St. Louis, MO: Milliken Pub. Co., 1989.

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Частини книг з теми "Other creative arts and writing"

Edwards, Harriet, and Julia Lockheart. "Creative Writing and the Other Arts." In A Companion to Creative Writing, 144–59. Chichester, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781118325759.ch10.

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Harper, Graeme. "Other Practicalities." In Inside Creative Writing, 149–59. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1057/978-0-230-35841-6_13.

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Harper, Graeme. "Other Creative Writers." In Inside Creative Writing, 79–89. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1057/978-0-230-35841-6_7.

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Woods, Peter, and Pat Sikes. "Creative and arts-based inquiry." In Successful Writing for Qualitative Researchers, 91–111. 3rd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003143406-6.

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Bastow, Erin. "Writing Therapy and EMDR." In EMDR and Creative Arts Therapies, 241–57. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003156932-8.

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Rist, Mary, and Sasha West. "Creative Writing for Professional Writing Majors." In Exploring, Experiencing, and Envisioning Integration in US Arts Education, 143–53. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71051-8_10.

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Bissell, David. "On Edge: Writing Non-Representational Journeys." In Non-Representational Theory and the Creative Arts, 351–58. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-5749-7_23.

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Scherlong, Nancy S., and Laura Santner. "Group Poetry and Writing Therapy With Adolescents." In Creative Arts-Based Group Therapy with Adolescents, 149–70. New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780203702000-9.

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Thorpe, Ryan. "The Workshop and Other Options." In Teaching Creative Writing to Second Language Learners, 39–52. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003043492-4.

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Gonithellis, Olga E. "Stress in the Arts-and-Entertainment World." In Counseling for Artists, Performers, and Other Creative Individuals, 175–91. New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315173566-10.

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Тези доповідей конференцій з теми "Other creative arts and writing"

Nascimento, Suely. "Marlene's house." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.

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Анотація:

As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics, on modes of acting, on the construction and presentation of an artistic work, accompanied by a reflective text. Thus, the research is being built with a memorial that houses the reflective text and a work, consisting of an installation with photography-video-sound-writing, records of my mother's house. Along the way, I talk to researcher Priscila Arantes, from São Paulo, who writes: “expanded field photography incorporates [...] the idea of dialogue, contamination and intersections of the field of photography with other fields of language and know." I also talk to the American Rosalind Krauss, who studies three-dimensional work and its expanded field. As a personal methodology, I mentally create a garden mixed with my memories of the garden of the house where I lived, where I develop the installation and the memorial. A meditation in which there is the action of artistic making. And it is in this garden that I experiment, read, research, edit photography-video-sound-written, reflect on my life path and what touches me throughout it, and write the research texts. During classes, in practical-reflective studies, I have been building my poetics, experimenting with installations in the classroom. One of them related to the kitchen of the house where I lived. I tried, in two subjects, the coffee experience with classmates. A performance I talk to Renato Cohen about, when he says that this creative act touches the tenuous boundaries that separate life and art. Each layer of the installation is perceived in the creative process of the artwork. And, based on what I perceive in my poetics, I develop conversations with the history of art, and I have conceived texts, which I named the artist's writings. With the letters, words, sentences and reflections, I write down what I thought/think about geometry, dimensions, space, the room in the house and sharing around a dining table. The poetic layers built in the creative path are countless and, in the installation, I present traces that are in me, in the garden, in the bedroom, in the kitchen and in the backyard where I lived a life in my mother's house.

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Weirauch, Angelika. "CREATIVE WRITING IN CONTEXT OF UNIVERSITIES." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end056.

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"We present an old process developed more than a hundred years ago at American universities. It means professional, journalistic and academic forms of writing. It also includes poetry and narrative forms. Creative writing has always been at the heart of university education. Today, there are more than 500 bachelor's degree programs and 250 master's degree programs in this subject in the United States. In other fields of study, it is mandatory to enrol in this subject. After World War II, it came to Europe, first to England and later to Germany. Here, ""... since the 'Sturm und Drang' (1770-1789) of the early Goethe period, the autodidactic poetics of the cult of genius prevailed. The teachability of creative writing has been disputed ever since and its dissemination has therefore always had a hard time in Germany"" [von Werder 2000:99]. It is rarely found in the curricula of German universities. At the Dresden University of Applied Sciences, we have been practicing it for five years with great response from social work students. They learn different methods: professional writing for partners and administration, poetic writing for children's or adult groups, scientific language for their final thesis and later publications. Although we offer it as an elective, more than 80% of students choose it. Final papers are also written on these creative topics or using the methods learned. ""Writing forces economy and precision. What swirls chaotically around in our heads at the same time has to be ordered into succession when writing"" [Bütow in Tieger 2000:9]. The winners of this training are not only our former students! Children in after-school programs and youth clubs improve their writing skills through play. Patients in hospitals work on their biographies. People who only write on the computer discover slow and meaningful writing, activating their emotional system. Therefore, this paper will show how clients benefit from creative writing skills of their social workers and what gain other disciplines can expect as well."

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Franco, Jorge. "A Decolonized Mood of Creating a Three-dimensional Digital Space Based on Integrating Transdisciplinary Knowledge." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.66.

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This experimental artwork has attempted to produce a decolonized mood of researching and creating Three-dimensional (3D) Virtual Reality (VR) digital spaces based on using and integrating transdisciplinary knowledge. These research and creative 3DVR digital spaces processes have been connected with applying the concept of Digital Transformation (DX) within Educative Computational Practice (ECP) proceedings, addressing the idea of empowering people. The mentioned ECP proceedings have occurred through designing and carrying out 3DVR digital spaces by using 3D computer graphics programming techniques, bringing about individuals’ developing digital and visual communication skills with support of employing Web3D-based technologies, such as the Extensible 3D (X3D) language and the X3Dom framework, as Open Educational Resources (OER). Low cost and accessible Web3D technologies have allowed practicing, analyzing and extending our open-ended long-term investigation at K-12 education levels referent to sharing 3DVR and computer graphics programming knowledge, aiming to inspire individuals’ engagement in computing practices encompassing coding and visual literacy skills. These educational processes have also been sustained by art and its learning and expressing opportunities in the digital age. With support of Web3D technologies and lifelong learning and teaching experiences, we have taken part of a course called “Projeto Espetáculo em Realidade Aumentada”, at Fabrica de Cultura Diadema. Through this course, there has been designed and implemented a 3DVR artwork which has extended our research and digital knowledge acquisition processes through producing a decolonized content by interconnecting conceptual knowledge referent to the visual artwork of Rubem Valentim’s mix of Afro-Brazilian, Amerindian and European cultures and Jacob Lawrence’s Afro-American culture symbolic representation. Both artists have trajectories of lifelong learning and using geometry and colorful forms in their artwork composition. Their artwork has expressed knowledge related to Afro-Brazilian and Afro-American cultures, contributing to reduce a gap, at official education, in the teaching of black culture contributions to the worlds of arts, sciences and technology. Interacting with these artists’ trajectories and artworks has lead to research, apply and share knowledge related to ancient Africa, having as reference the Egyptian civilization use of mathematics, geometry (at some extent sacred geometry) shapes and colors knowledge for building and decorating pyramids and other monuments. Such transdisciplinary knowledge confluence has made part of researching and forming the bases of computer graphics libraries and techniques in databases, allowing through educative 3D computer programming practices, to integrate in this 3DVR artwork features referent to digital sculpture, installation and net art, be it within a standalone way and/or through a blog based interface online. This knowledge confluence has brought about using 3D computer graphics programming proceedings for building and visualizing symbolic representation of Afro-Brazilian, European and Amerindian Enchanted Beings’ sacred adornments and instruments. It includes, based on the artwork another Brazilian educator and artist, Abdias do Nascimento, learning to research and utilize knowledge from people of the West Africa related to a writing system, the Adinkra, which is a group of symbols that express and represent ideas in proverbs. In addition, this artwork participatory development has stimulated individuals enhancing cognitive and technical skills, including their complex and spatial thinking abilities.

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Cooper-Novack, Gemma. "Creative Writing as a Way of Knowing Each Other in Digital Spaces." In 2022 AERA Annual Meeting. Washington DC: AERA, 2022. http://dx.doi.org/10.3102/1891955.

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Poce, Antonella, and Francesca Amenduni. "Creative writing and Critical Thinking Enhancement at Higher Education." In Fifth International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9221.

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Currently, educational policymakers identify Critical Thinking (CT) as an essential aspect of progress and knowledge growth in any field and in the broad society. Peer interactions and individual writing are helpful pedagogical strategies for CT development that could be enhanced by the use of technologies (Guiller, Durndell, & Ross, 2008). Starting from the above-mentioned evidence, a university module was designed by combining collaborative and creative writing with the critical analysis of literary texts and the fruition of figurative arts. 123 students worked in groups and their CT level was assessed at different times of the course. Most of the students’ groups showed an increase in their CT level whilst a few did not. The difficulties in the management of group dynamics corresponded to the decreasing CT level. On the contrary, groups able to organize their work improved their CT throughout the course. Additionally, students’ work modes had an impact on their performance at different CT tasks. The research results could be used to improve university course design for CT education.

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Lu, Zhang. "THE INTERTEXTUALITY OF RUSSIAN LITERATURE AND RUSSIAN PAINTING IN THE 19TH CENTURY." In INNOVATIONS IN THE SOCIOCULTURAL SPACE. Amur State University, 2020. http://dx.doi.org/10.22250/iss.2020.21.

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The background color of Russian literature and Russian painting art in the 19th century is gloomy and heavy, and there exists text intertextuality between them, which is different from single text and single painting. Literary words and painting invisible words quote, permeate, insinuate and rewrite each other. Literature is the writing of painting, and painting is the color of literature. The main line of literature development and the main line of painting development seem to be twisted together like a rope, presenting spiral development, closely linked, complementary and inseparable.The same value orientation and aesthetic purpose have intertextuality, mutual influence, mutual interaction and mutual transformation, no matter in creation method, theme, artistic style or creation background. Direct description or sharp pen, or by the protagonist of indirect irony, using realistic and critical realism creation method, revealing the tsarist autocracy savage, dissatisfaction with the reality in protest of rebellion, as well as being bullied and oppressed pain and struggle, at the same time reflects the immortality of the Russian national literature and art achievement.

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Wolfe, Byron, and Seher Erdoǧan Ford. "How Do We Work? Metacognition in Creative and Collaborative Practices." In 2019 Teachers Conference. ACSA Press, 2019. http://dx.doi.org/10.35483/acsa.teach.2019.64.

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constitute best practices for initiatingand maintaining sustainable collaborations?These questions arise regularly within the context of our institution, Tyler School of Art and Architecture, which is part of TempleUniversity in Philadelphia, Pennsylvania. The school includes the departments of Architecture and Environmental Design, Art Education and Community Arts Practices, Art History, Studio Art, and Graphic and Interactive Design. It recently updated its structure and adopted a name that captures its breadth of programs to support cross-disciplinary study and reflect current understanding of creative practice and research.One of us being a professor in Studio Art with a background in Photography and the other in Architecture and EnvironmentalDesign, our collective experience and shared interests in interdisciplinary engagements motivated us to design and co-teach a new, graduate-level course focusing on collaboration and the creative process. Following preparations and planning for about a year, we taught the course titled “ Collaboration and Creativity” three times since its first iteration in the fall of 2017. Each semester varied widely in terms of the number of students enrolled, background and expectations both on the part of the students as well as us, as instructors. So far the cohort has included students from architecture, photography, ceramics, glass, painting, printmaking, sculpture and film and media programs.To facilitate research-based collaborative work, we considered place-based topics, allowing for various modes of research, which would generate connections with the local environment. Since students from diverse disciplinary backgrounds and with different skill-sets enroll in the course, we deliberately selected a neutral topic of study, a locally sourced stone, in order to encourage a shared experience of discovery. Taking its name from the creek that defines the northwestern arm of the city of Philadelphia, the Wissahickon schist stone—a metamorphic rock—is widely used in historical construction in the area and well-recognized for its distinct specks of shiny mica and multi-toned layers of gray, blue, brown, and black. We decided to work with this stone as a departure point for diverse lines of inquiry into physical, historical, cultural, and social domains.

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Vasconcelos, Ana. "Eisenman’s Conceptual-Generative Diagram: A Creative Interface between Intention, Randomness and Imagination and Space-Form." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002331.

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Digital diagrams are constituted as strategic-communicative-productive intermediate space-matrices among architecture, the architect and the digital machine, and between architecture and other disciplinary fields. According to Stan Allen, diagrams are a map of the possible worlds, a description of potential relationships, where a plethora of functions, actions and configurations are implicit in time, subject to continuous modifications.Alluding to the notions of diagrams, machinic and figural of Deleuze and Guattari, Eisenman’s conceptual-generative diagram functions as a hypertext and a creative and affective interface between intention, randomness and imagination, and architectural space and form. Proposing a new type of reality in a permanent state of evolution and of form-thinking and form-making, they have become a technique or poetic operation that, in addition to representing, also present and evoke, in between order and chaos, intention and the unexpected, mechanical and organic, real and virtual, presence and absence. For Eisenman, diagrams function as a heuristic instrument of criticism in the design process, in search of other spatial and conceptual qualities for a reflection within the discipline of architecture itself. Diagrams are a space-matrix, or as Eisenman puts it, a “meta-writing” in terms of the field of orientations and possibilities to be apprehended and inscribed, first in the project and later in the construction of the architectural place. These possibilities and orientations, guidelines or meanings are not totally contained within the diagram itself, rather they also reside in the intermediate space between the diagram and the observer, creator or architect. Diagrams are an evocative and inspiring space-formal matrix, the contents or evocations of which are not found “embedded” or “enclosed” in their shape or material, rather they are indicated or outlined, in varying degrees of explicitness, as signals or traces, evoking multiple interpretations and reflections. Eisenman uses digital diagrams as a mediating agent or instrument to investigate, explore, create and draw the architectural space within the thematic basis of the interstitial–“the “in-between”. He does so through a process that is intentional, random, interpretive, esthetic and poetic, all at the same time. In contrast to the traditional quest for form that is synthesized in the idea of a box or container, Eisenman proposes an alternative means, through which form or space can be found through a long process in which rational approaches and computerized drawing intermingle, introducing formal randomness, in which the diagram is the mediator. Eisenman refers to that procedure as “spacing”, ”espacement” or ”espaciamiento”, in opposition to “forming”.Eisenman’s conceptual-generative diagram constructs and develops a matrix field of forces and geometries that, acting in the project as a spatial-formal guide, opens up from the first record or first intention, to many possibilities of configuration/definition of the object or architectural place. Consequently, it makes possible the exploration and discovery in architecture of other ways of thinking, imagining and manifesting forms and spaces, that investigate new ways of occupancy and promote other possible ways of life. It is an architecture in which diagrams are constituted as an expression of the figural/imprecise/blurred condition, the traces of which persist in the space-form of the building; a diagram that is both a creative interface between the intrinsic exploration of its defined concepts and the final configured complexity of its spatialities and functional superpositions.

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Chandnasaro, Dharakorn. "The Series of Archaeological Dance: A Historical Study and Dance Move Recording with Labanotation | ระบำ􀄕ชุดโบร􀄕ณคดี: ก􀄕รศึกษ􀄕เชิงประวัติศ􀄕สตร์ และก􀄕รบันทึกท่􀄕ร 􀄕ด้วยล􀄕บ􀄕นโนเทชัน". У The SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts (SPAFACON2021). SEAMEO SPAFA, 2021. http://dx.doi.org/10.26721/spafa.pqcnu8815a-26.

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The Series of Archaeological Dances is a creative work of Thai dance inspired by information and evidence of ancient antiquities and sites discovered in Thailand to make the archaeological evidence found to be alive again in the form of Thai theatre and dance. The name of the historical period of art identified by the scholars are used to define the names of five performance of the Archaeological Dances, namely, Dvāravatī Dance, Srīvijaya Dance, Lopburi Dance, Chiang Saen Dance, and Sukhothai Dance. Each performance has its own unique style with no related content to each other. This series of dances were premiered on 25 May 1967, in front of King Rama IX and Queen Sirikit. Regarding to the movement of the body, there is unique identity that reflects the ethnicity of the area and the civilization from the land where the archaeological evidence of each era was discovered. They were created according to the imagination of the choreographers of the dance posture. In addition, The Series of Archaeological Dances are popularly performed on various occasions continuously until present day. ระบ􀄬ำชุดโบรำณคดี เป็นผลงำนสร้ำงสรรค์ด้ำนนำฏศิลป์ของประเทศไทยที่ได้รับแรงบันดำลใจจำกข้อมูลและหลัก ฐำนด้ำนศิลปะโบรำณวัตถุสถำนที่ถูกค้นพบได้ในพื้นที่ประเทศไทย เพื่อต้องกำรให้หลักฐำนโบรำณคดีที่ค้นพบได้ กลับมำมีชีวิตชีวำอีกครั้งในรูปแบบของนำฏศิลป์ โดยใช้ชื่อยุคสมัยทำงศิลปะที่นักวิชำกำรประวัติศำสตร์ระบุไว้ มำ ก􀄬ำหนดเป็นชื่อของกำรแสดงจ􀄬ำนวน 5 ชุด คือ ระบ􀄬ำทวำรวดี ระบ􀄬ำศรีวิชัย ระบ􀄬ำลพบุรี ระบ􀄬ำเชียงแสน และระบ􀄬ำ สุโขทัย กำรแสดงแต่ละชุดเป็นลักษณะแบบเอกเทศ ไม่มีเนื้อหำเกี่ยวข้องกัน จัดแสดงรอบปฐมทัศน์เมื่อวันที่ 25 พฤษภำคม พ.ศ. 2510 ต่อหน้ำพระที่นั่งของในหลวงรัชกำลที่ 9 และพระรำชินีในรัชกำลที่ 9 ในด้ำนกำรเคลื่อนไหว ร่ำงกำยมีเอกลักษณ์ที่สะท้อนควำมเป็นชำติพันธุ์ของพื้นที่และอำรยธรรมดินแดนที่ค้นพบหลักฐำนโบรำณคดีแต่ละ ยุคสมัย ซึ่งใช้รูปแบบกำรสร้ำงสรรค์ของนำฏศิลป์ไทยตำมจินตนำกำรของผู้ประดิษฐ์ท่ำร􀄬ำ นอกจำกนี้ระบ􀄬ำชุด โบรำณคดีได้รับควำมนิยมในกำรจัดแสดงอย่ำงต่อเนื่องในวำระต่ำง ๆ มำจนถึงปัจจุบัน

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V.S., Chegge. "PROJECT ACTIVITY AS A TOOL OF ESTABLISHING ARCHITECTURAL LITERACY OF STUDENTS OF ALL DIRECTIONS." In OF THE ANNIVERSARY Х INTERNATIONAL SCIENTIFIC AND PRACTICAL CONFERENCE «INNOVATIVE TECHNOLOGIES IN SCIENCE AND EDUCATION» («ITSE 2022» CONFERENCE). DSTU-Print, 2022. http://dx.doi.org/10.23947/itse.2022.207-209.

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The first intake of students from T–University took place at the Don State Technical University, a project within the framework of the university transformation program, in 2021-2022 academic year. The Humanities and Arts module, among other disciplines, included an Introductory course of architecture. During 6 hours of classroom work in the format of project activity, students had to master the basics of architectural literacy: learn to read the simplest drawings, compare them with a three-dimensional model, analyze the influence of the environment and other factors onto an architectural project, operate with some fundamental terms and present their own ideas in the form sketches. Students completed the task in a short time and defended their work, and the information received was used in the work on the course project on the module. However, problems were identified, some difficulties in working with students that require attention and further elaboration. All students, regardless of the level of artistic training and the presence of creative talents, as well as experience working with drawings, in the course of project activities to some extent coped with the task and showed creative abilities, volumetric thinking and creativity.

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Hearn, Greg, Marion McCutcheon, Mark Ryan, and Stuart Cunningham. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Geraldton. Queensland University of Technology, August 2020. http://dx.doi.org/10.5204/rep.eprints.203692.

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Grassroots arts connected to economy through start-up culture Geraldton is a regional centre in Western Australia, with 39,000 people and a stable, diverse economy that includes a working port, mining services, agriculture, and the rock-lobster fishing industry (see Appendix). Tourism, though small, is growing rapidly. The arts and culture ecosystem of Geraldton is notable for three characteristics: - a strong publicly-funded arts and cultural strategy, with clear rationales that integrate social, cultural, and economic objectives - a longstanding, extensive ecosystem of pro-am and volunteer arts and cultural workers - strong local understanding of arts entrepreneurship, innovative business models for artists, and integrated connection with other small businesses and incubators

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Cunningham, Stuart, Marion McCutcheon, Greg Hearn, Mark Ryan, and Christy Collis. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Sunshine Coast. Queensland University of Technology, December 2020. http://dx.doi.org/10.5204/rep.eprints.136822.

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The Sunshine Coast (unless otherwise specified, Sunshine Coast refers to the region which includes both Sunshine Coast and Noosa council areas) is a classic regional hotspot. In many respects, the Sunshine Coast has assets that make it the “Goldilocks” of Queensland hotspots: “the agility of the region and our collaborative nature is facilitated by the fact that we're not too big, not too small - 330,000 people” (Paddenburg, 2019); “We are in that perfect little bubble of just right of about everything” (Erbacher 2019). The Sunshine Coast has one of the fastest-growing economies in Australia. Its population is booming and its local governments are working together to establish world-class communications, transport and health infrastructure, while maintaining the integrity of the region’s much-lauded environment and lifestyle. As a result, the Sunshine Coast Council is regarded as a pioneer on smart city initiatives, while Noosa Shire Council has built a reputation for prioritising sustainable development. The region’s creative economy is growing at a faster rate that of the rest of the economy—in terms of job growth, earnings, incomes and business registrations. These gains, however, are not spread uniformly. Creative Services (that is, the advertising and marketing, architecture and design, and software and digital content sectors) are flourishing, while Cultural Production (music and performing arts, publishing and visual arts) is variable, with visual and performing arts growing while film, television and radio and publishing have low or no growth. The spirit of entrepreneurialism amongst many creatives in the Sunshine Coast was similar to what we witnessed in other hotspots: a spirit of not necessarily relying on institutions, seeking out alternative income sources, and leveraging networks. How public agencies can better harness that energy and entrepreneurialism could be a focus for ongoing strategy. There does seem to be a lower level of arts and culture funding going into the Sunshine Coast from governments than its population base and cultural and creative energy might suggest. Federal and state arts funding programs are under-delivering to the Sunshine Coast.

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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.

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