Alisa Stunžaitė, Pavel Skorupa, Tatjana Dubovičienė
The global impact of the COVID-19 pandemic has had far-reaching consequences, including those within the realm of higher education. The flipped classroom method was adopted as an innovative teaching tool and creative approach within English for specific purposes classes at Vilnius Gediminas Technical University Antanas Gustaitis’ Aviation Institute to increase student motivation and enhance the teaching and learning process. The study’s results demonstrated that the flipped classroom method yielded both positive and negative outcomes, including more efficient mastery of learning material, improved planning of in-class and out-of-class activities, opportunities for additional research on covered topics, increased workload and time consumption, and other.
{"title":"FOSTERING CREATIVE ENGLISH FOR SPECIFIC PURPOSES STUDIES: IMPLEMENTATION OF FLIPPED CLASSROOM METHOD DURING COVID-19 PANDEMIC AT ANTANAS GUSTAITIS’ AVIATION INSTITUTE, VILNIUS GEDIMINAS TECHNICAL UNIVERSITY, LITHUANIA","authors":"Alisa Stunžaitė, Pavel Skorupa, Tatjana Dubovičienė","doi":"10.3846/cs.2024.17818","DOIUrl":"https://doi.org/10.3846/cs.2024.17818","url":null,"abstract":"The global impact of the COVID-19 pandemic has had far-reaching consequences, including those within the realm of higher education. The flipped classroom method was adopted as an innovative teaching tool and creative approach within English for specific purposes classes at Vilnius Gediminas Technical University Antanas Gustaitis’ Aviation Institute to increase student motivation and enhance the teaching and learning process. The study’s results demonstrated that the flipped classroom method yielded both positive and negative outcomes, including more efficient mastery of learning material, improved planning of in-class and out-of-class activities, opportunities for additional research on covered topics, increased workload and time consumption, and other.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":"2016 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140416381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Andika Putra Pratama, S. Maryunani, M. Badriyah, Dini Hajarrahmah
A creative enterprise (i.e. enterprise in the creative industries) can be understood as an enterprise that relies principally on the creativity of individuals engaged in it. Thus, creativity can be said to define the entire pursuit of creative enterprises. This paper highlights the motivational aspect of creativity in the notion of ‘creative vision’ based on interviews with founders of creative enterprises in three different regions in Indonesia (Bandung, Yogyakarta, and Bali), encompassing three creative sectors (cuisine, craft, and fashion). Three forms of creative vision have been discovered (collective self-actualization, collective altruism, and co-creation), with each form predominantly signifying each region sampled. Through a collaborative effort of sensemaking in the research team, the current preliminary study contributes to discourses about the nature of creativity or what it entails; it is derived not from the conscious understanding of what creativity is or means by experts and the likes, but from the actual vision of practitioners of creativity from the field where creativity is the soul. The findings emphasize how creativity can be defined: what does it mean to be creative?
{"title":"A PRELIMINARY STUDY OF REGIONAL CREATIVE VISION: INSIGHTS FROM CREATIVE ENTERPRISES’ FOUNDERS IN INDONESIA","authors":"Andika Putra Pratama, S. Maryunani, M. Badriyah, Dini Hajarrahmah","doi":"10.3846/cs.2024.16079","DOIUrl":"https://doi.org/10.3846/cs.2024.16079","url":null,"abstract":"A creative enterprise (i.e. enterprise in the creative industries) can be understood as an enterprise that relies principally on the creativity of individuals engaged in it. Thus, creativity can be said to define the entire pursuit of creative enterprises. This paper highlights the motivational aspect of creativity in the notion of ‘creative vision’ based on interviews with founders of creative enterprises in three different regions in Indonesia (Bandung, Yogyakarta, and Bali), encompassing three creative sectors (cuisine, craft, and fashion). Three forms of creative vision have been discovered (collective self-actualization, collective altruism, and co-creation), with each form predominantly signifying each region sampled. Through a collaborative effort of sensemaking in the research team, the current preliminary study contributes to discourses about the nature of creativity or what it entails; it is derived not from the conscious understanding of what creativity is or means by experts and the likes, but from the actual vision of practitioners of creativity from the field where creativity is the soul. The findings emphasize how creativity can be defined: what does it mean to be creative?","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":"1 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140438780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article is devoted to the study of folklore activities of Ukrainian playwright, writer, poet, translator, theatrical and cultural figure, director, philanthropist, director of the first Ukrainian professional theater, the so-called “theater of luminaries”, Mykhailo Starytsky (1840–1904) and the founder of the Ukrainian national opera, composer, pianist, conductor, folklorist, public figure Mykola Lysenko (1842–1912). The main attention is paid to the analysis of the playwright’s use of descriptions of rituals, customs, traditions, folk morals of Ukrainians, as well as examples of the use of small folk genres, phraseology. It was found that for the Ukrainian community the study and preservation of folk traditions in the second half of the 19th century played an important role in the formation of national self-identification and national consciousness. The origins, features and functions of ethnography in Starytsky’s works are determined, in particular it is proved that the playwright’s use of descriptions of Christian and pre-Christian rites was primarily aimed at a true image of traditional Ukrainian society, an important component of which were ancient rituals, games, music and drama actions. It is shown how the rites of the winter and summer cycles of the folk calendar are reflected in various ways in the artist’s work, which is the most saturated with various bright rituals and customs. It is proved that the study of folk music significantly influenced the composer’s creativity. It is confirmed, that folklore in the works of Starytsky and Lysenko had a positive effect on the formation of the Ukrainian professional theater as a music and drama one.
{"title":"ABOUT FOLKLORE IN THE CREATIVE ACTIVITY OF MYKHAILO STARYTSKY AND MYKOLA LYSENKO AND ITS INFLUENCE ON THE FORMATION OF THE UKRAINIAN PROFESSIONAL MUSIC AND DRAMA THEATER","authors":"L. Kokhan, Larysa Kokhan","doi":"10.3846/cs.2024.15009","DOIUrl":"https://doi.org/10.3846/cs.2024.15009","url":null,"abstract":"The article is devoted to the study of folklore activities of Ukrainian playwright, writer, poet, translator, theatrical and cultural figure, director, philanthropist, director of the first Ukrainian professional theater, the so-called “theater of luminaries”, Mykhailo Starytsky (1840–1904) and the founder of the Ukrainian national opera, composer, pianist, conductor, folklorist, public figure Mykola Lysenko (1842–1912). The main attention is paid to the analysis of the playwright’s use of descriptions of rituals, customs, traditions, folk morals of Ukrainians, as well as examples of the use of small folk genres, phraseology. It was found that for the Ukrainian community the study and preservation of folk traditions in the second half of the 19th century played an important role in the formation of national self-identification and national consciousness. The origins, features and functions of ethnography in Starytsky’s works are determined, in particular it is proved that the playwright’s use of descriptions of Christian and pre-Christian rites was primarily aimed at a true image of traditional Ukrainian society, an important component of which were ancient rituals, games, music and drama actions. It is shown how the rites of the winter and summer cycles of the folk calendar are reflected in various ways in the artist’s work, which is the most saturated with various bright rituals and customs. It is proved that the study of folk music significantly influenced the composer’s creativity. It is confirmed, that folklore in the works of Starytsky and Lysenko had a positive effect on the formation of the Ukrainian professional theater as a music and drama one.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":"123 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140451878","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Changes that occur often in the world around us in accordance with each period’s change. It is a common trend in writing to introduce new tendencies, and the Gothic subgenre exhibits this tendency. The term Gothic has its roots in the early 16th century and refers to a mysterious quality that appears in some metaphysical items. This paper is a humble attempt to explore the history of the Gothic novel and demonstrate how mystery alone recreates this genre in British literature. The ability of intangible components to incite fear in readers was lessened with the rise of the mysterious portrayal of a story in day-to-day life. As the Gothic novel began to examine reality, readers’ desire to learn the truth increased. This paper investigates to understand the reasons for the abrupt disappearance of metaphysical components and increased focus and importance on existential and social issues by examining a few randomly chosen modern novels and comparing them to the earlier Gothic classics. It highlights the differences occurring in readers’ views according to the various times while also evaluating the variance occurring within the Gothic genre.
{"title":"NEW CREATIVE PERSPECTIVE ON EXISTENTIAL AND SOCIAL UNDERCURRENTS IN BRITISH GOTHIC NOVELS","authors":"Aswathy A. S. Nair, L. Dwivedi","doi":"10.3846/cs.2024.18825","DOIUrl":"https://doi.org/10.3846/cs.2024.18825","url":null,"abstract":"Changes that occur often in the world around us in accordance with each period’s change. It is a common trend in writing to introduce new tendencies, and the Gothic subgenre exhibits this tendency. The term Gothic has its roots in the early 16th century and refers to a mysterious quality that appears in some metaphysical items. This paper is a humble attempt to explore the history of the Gothic novel and demonstrate how mystery alone recreates this genre in British literature. The ability of intangible components to incite fear in readers was lessened with the rise of the mysterious portrayal of a story in day-to-day life. As the Gothic novel began to examine reality, readers’ desire to learn the truth increased. This paper investigates to understand the reasons for the abrupt disappearance of metaphysical components and increased focus and importance on existential and social issues by examining a few randomly chosen modern novels and comparing them to the earlier Gothic classics. It highlights the differences occurring in readers’ views according to the various times while also evaluating the variance occurring within the Gothic genre.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139838462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Changes that occur often in the world around us in accordance with each period’s change. It is a common trend in writing to introduce new tendencies, and the Gothic subgenre exhibits this tendency. The term Gothic has its roots in the early 16th century and refers to a mysterious quality that appears in some metaphysical items. This paper is a humble attempt to explore the history of the Gothic novel and demonstrate how mystery alone recreates this genre in British literature. The ability of intangible components to incite fear in readers was lessened with the rise of the mysterious portrayal of a story in day-to-day life. As the Gothic novel began to examine reality, readers’ desire to learn the truth increased. This paper investigates to understand the reasons for the abrupt disappearance of metaphysical components and increased focus and importance on existential and social issues by examining a few randomly chosen modern novels and comparing them to the earlier Gothic classics. It highlights the differences occurring in readers’ views according to the various times while also evaluating the variance occurring within the Gothic genre.
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There is a growing academic interest in respect for critical game studies from the domains such as cultural studies, literature, ludology, and gender studies. However, the research done on videogames from the perspective of the political discourse is not broad enough. Rocksteady Studios’ Batman: Arkham Asylum (2009, director Sefton Hill) is a franchise that has redefined the superhero videogame genre. Although previous Batman transmedia adaptations would usually portray Gotham City as the prime location to narrate the story from the perspective of Batman, the videogame utilizes the carceral setting of Batman to subvert the traditional narratives and makes it completely a Joker’s (character) game. Therefore, this version of storytelling carries a character with a more nuanced demeanor and a setting with socio-political influence. The current paper examines the underlying structural inequality present in Batman using Giorgio Agamben’s bare life theory and the subsequent discourse of resistance using the theoretical framework of Mikhail Bakhtin. The analysis reveals the various carnivalesque elements present in the game and illustrates how the game takes advantage of them to mount an attack against the bare life status of the antagonists that are usually seen in Batman transmedia universe. Furthermore, the paper elaborates on the posthuman traits of Joker’s becoming through a Gilles Deleuze-inspired perspective.
学术界对来自文化研究、文学、文学研究和性别研究等领域的批判性游戏研究的兴趣日益浓厚。然而，从政治话语角度对电子游戏的研究还不够广泛。Rocksteady 工作室制作的《蝙蝠侠：阿卡姆疯人院》（2009 年，导演塞夫顿-希尔）重新定义了超级英雄电子游戏的类型。虽然以往的《蝙蝠侠》跨媒体改编作品通常会将高谭市作为主要地点，以蝙蝠侠的视角来叙述故事，但该电子游戏利用蝙蝠侠的囚禁设定来颠覆传统叙事，使其完全成为小丑（角色）的游戏。因此，这一版本的故事承载了一个更细致入微的人物性格和具有社会政治影响力的背景。本文利用乔治-阿甘本（Giorgio Agamben）的 "赤裸生命理论"（bare life theory）研究了《蝙蝠侠》中潜在的结构性不平等，并利用米哈伊尔-巴赫金（Mikhail Bakhtin）的理论框架研究了随后的反抗话语。分析揭示了游戏中存在的各种狂欢元素，并说明了游戏如何利用这些元素对《蝙蝠侠》跨媒体宇宙中通常出现的反面人物的赤裸生命状态发起攻击。此外，本文还通过吉尔-德勒兹（Gilles Deleuze）启发的视角，阐述了小丑成为后人类的特征。
{"title":"CARNIVALESQUE, CREATIVITY, AND THE BECOMINGS: A CRITICAL ASSESSMENT OF THE POLITICS OF RESISTANCE IN BATMAN: ARKHAM ASYLUM","authors":"Anupama Kodencheri, G. K. Chithra","doi":"10.3846/cs.2024.17447","DOIUrl":"https://doi.org/10.3846/cs.2024.17447","url":null,"abstract":"There is a growing academic interest in respect for critical game studies from the domains such as cultural studies, literature, ludology, and gender studies. However, the research done on videogames from the perspective of the political discourse is not broad enough. Rocksteady Studios’ Batman: Arkham Asylum (2009, director Sefton Hill) is a franchise that has redefined the superhero videogame genre. Although previous Batman transmedia adaptations would usually portray Gotham City as the prime location to narrate the story from the perspective of Batman, the videogame utilizes the carceral setting of Batman to subvert the traditional narratives and makes it completely a Joker’s (character) game. Therefore, this version of storytelling carries a character with a more nuanced demeanor and a setting with socio-political influence. The current paper examines the underlying structural inequality present in Batman using Giorgio Agamben’s bare life theory and the subsequent discourse of resistance using the theoretical framework of Mikhail Bakhtin. The analysis reveals the various carnivalesque elements present in the game and illustrates how the game takes advantage of them to mount an attack against the bare life status of the antagonists that are usually seen in Batman transmedia universe. Furthermore, the paper elaborates on the posthuman traits of Joker’s becoming through a Gilles Deleuze-inspired perspective.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139790165","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There is a growing academic interest in respect for critical game studies from the domains such as cultural studies, literature, ludology, and gender studies. However, the research done on videogames from the perspective of the political discourse is not broad enough. Rocksteady Studios’ Batman: Arkham Asylum (2009, director Sefton Hill) is a franchise that has redefined the superhero videogame genre. Although previous Batman transmedia adaptations would usually portray Gotham City as the prime location to narrate the story from the perspective of Batman, the videogame utilizes the carceral setting of Batman to subvert the traditional narratives and makes it completely a Joker’s (character) game. Therefore, this version of storytelling carries a character with a more nuanced demeanor and a setting with socio-political influence. The current paper examines the underlying structural inequality present in Batman using Giorgio Agamben’s bare life theory and the subsequent discourse of resistance using the theoretical framework of Mikhail Bakhtin. The analysis reveals the various carnivalesque elements present in the game and illustrates how the game takes advantage of them to mount an attack against the bare life status of the antagonists that are usually seen in Batman transmedia universe. Furthermore, the paper elaborates on the posthuman traits of Joker’s becoming through a Gilles Deleuze-inspired perspective.
学术界对来自文化研究、文学、文学研究和性别研究等领域的批判性游戏研究的兴趣日益浓厚。然而，从政治话语角度对电子游戏的研究还不够广泛。Rocksteady 工作室制作的《蝙蝠侠：阿卡姆疯人院》（2009 年，导演塞夫顿-希尔）重新定义了超级英雄电子游戏的类型。虽然以往的《蝙蝠侠》跨媒体改编作品通常会将高谭市作为主要地点，以蝙蝠侠的视角来叙述故事，但该电子游戏利用蝙蝠侠的囚禁设定来颠覆传统叙事，使其完全成为小丑（角色）的游戏。因此，这一版本的故事承载了一个更细致入微的人物性格和具有社会政治影响力的背景。本文利用乔治-阿甘本（Giorgio Agamben）的 "赤裸生命理论"（bare life theory）研究了《蝙蝠侠》中潜在的结构性不平等，并利用米哈伊尔-巴赫金（Mikhail Bakhtin）的理论框架研究了随后的反抗话语。分析揭示了游戏中存在的各种狂欢元素，并说明了游戏如何利用这些元素对《蝙蝠侠》跨媒体宇宙中通常出现的反面人物的赤裸生命状态发起攻击。此外，本文还通过吉尔-德勒兹（Gilles Deleuze）启发的视角，阐述了小丑成为后人类的特征。
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Because digitalisation of the aesthetical experience, a process speeded up by the not-yet-finished COVID-19 pandemic, should be considered in the context of growth or loss of artistry/creativity, this paper aims to assess the influence of the participation form in the aesthetical situation by receivers on the level of artistry/creativity potential loss. Assessment of the quality of participation by the receivers in each of five types of arts (musical arts, performing arts, literary arts, audio-visual arts, visual arts) was done using the same ten criteria for each type of art: satisfaction, pleasure, engagement, the possibility of experiencing catharsis, contact with the artwork itself, contact with the performer itself, comfort of participation, possibilities of shaping the aesthetical experience, own motivation to participate, easiness of participation. The literature review was run using NVivo Pro software. Data analysis (n = 221) was executed using IBM SPSS and Microsoft Excel. Answering the research hypotheses: H1) the digital form of participation in arts determines the level of quality of participation in the aesthetical situation by receivers; H2) the form of participation in art shapes the level of quality of participation in the aesthetical situation by receivers of each type of art differently: in musical arts, performing arts, literary arts and visual arts, in-real participation gives higher quality than digital participation; in audio-visual arts, in-real participation gives lower quality than digital participation. The research results may be helpful for: art creators wanting to choose the optimal way of distributing their artworks; art managers to better understand art receivers’ perspectives and their opinion about participation in arts in real or digitally; art receivers to compare their private opinion about the ways of participation in arts with the general opinion of art receivers.
由于审美体验的数字化进程因尚未完成的 COVID-19 大流行而加速，因此应在艺术性/创造性增长或丧失的背景下加以考虑，本文旨在评估接受者在审美情境中的参与形式对艺术性/创造性潜在丧失程度的影响。对五类艺术（音乐艺术、表演艺术、文学艺术、视听艺术、视觉艺术）中每一类艺术的接受者的参与质量进行评估时，采用了相同的十项标准：满意度、愉悦感、参与度、体验宣泄的可能性、与艺术品本身的接触、与表演者本身的接触、参与的舒适度、塑造审美体验的可能性、自身参与的动机、参与的容易程度。文献综述使用 NVivo Pro 软件进行。使用 IBM SPSS 和 Microsoft Excel 进行了数据分析（n = 221）。回答研究假设：H1)艺术的数字化参与形式决定了接受者参与审美情境的质量水平；H2)艺术的参与形式对每类艺术的接受者参与审美情境的质量水平的影响不同：在音乐艺术、表演艺术、文学艺术和视觉艺术中，真实参与的质量高于数字化参与；在视听艺术中，真实参与的质量低于数字化参与。研究结果可能有助于：艺术创作者选择最佳的艺术作品传播方式；艺术管理者更好地了解艺术接受者的视角以及他们对以实物或数字方式参与艺术的看法；艺术接受者将他们对艺术参与方式的个人看法与艺术接受者的普遍看法进行比较。
{"title":"CREATIVITY MANAGEMENT WITHIN THE AESTHETICAL SITUATION REGARDING THE IN-REAL OR DIGITAL FORM OF PARTICIPATION IN ARTS: ART RECEIVERS’ PERSPECTIVE","authors":"M. Szostak, Łukasz Sułkowski","doi":"10.3846/cs.2024.16418","DOIUrl":"https://doi.org/10.3846/cs.2024.16418","url":null,"abstract":"Because digitalisation of the aesthetical experience, a process speeded up by the not-yet-finished COVID-19 pandemic, should be considered in the context of growth or loss of artistry/creativity, this paper aims to assess the influence of the participation form in the aesthetical situation by receivers on the level of artistry/creativity potential loss. Assessment of the quality of participation by the receivers in each of five types of arts (musical arts, performing arts, literary arts, audio-visual arts, visual arts) was done using the same ten criteria for each type of art: satisfaction, pleasure, engagement, the possibility of experiencing catharsis, contact with the artwork itself, contact with the performer itself, comfort of participation, possibilities of shaping the aesthetical experience, own motivation to participate, easiness of participation. The literature review was run using NVivo Pro software. Data analysis (n = 221) was executed using IBM SPSS and Microsoft Excel. Answering the research hypotheses: H1) the digital form of participation in arts determines the level of quality of participation in the aesthetical situation by receivers; H2) the form of participation in art shapes the level of quality of participation in the aesthetical situation by receivers of each type of art differently: in musical arts, performing arts, literary arts and visual arts, in-real participation gives higher quality than digital participation; in audio-visual arts, in-real participation gives lower quality than digital participation. The research results may be helpful for: art creators wanting to choose the optimal way of distributing their artworks; art managers to better understand art receivers’ perspectives and their opinion about participation in arts in real or digitally; art receivers to compare their private opinion about the ways of participation in arts with the general opinion of art receivers.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":"58 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139594478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Learning methods play a significant role and receive more and more attention in this digital era where everyone wants something exciting, dynamic, effective, and interactive. This paper argues that one of the essential tasks of the current communication age and of a modern-day teacher is the enhancement of presentation literacy through the encouragement and development of students’ creative, communicative, and interactive skills. The article provides some of the reasons why present-day teaching should lay account on a new type learner, i.e. a net gener, and his needs as well as his expectations in the learning environment in the 21st century. The skill of effective public speaking or the practice of the commonly called presentations is brought into focus alongside. The study employed a survey on the usefulness and effectiveness of the presentation assignment which integrated TED Talks and topic-related creative activities. The research involved the students of Creative Industries study program at Vilnius Gediminas Technical University, Lithuania. As a result, a more creative and interactive learning method of delivering presentations and becoming more self-confident speakers proved to be beneficial among students. Their reflections revealed their attitude towards the effectiveness of the activity and offered insights into the learning process on how to help teachers cater to changing students’ needs. The implications of this article are relevant to all stakeholders in higher education.
{"title":"ENHANCING LEARNERS’ AWARENESS OF PRESENTATION LITERACY TO STIMULATE INTERACTIVE AND CREATIVE LEARNING IN TERTIARY EDUCATION","authors":"Ivona Baranovska-Vasiljeva","doi":"10.3846/cs.2024.12560","DOIUrl":"https://doi.org/10.3846/cs.2024.12560","url":null,"abstract":"Learning methods play a significant role and receive more and more attention in this digital era where everyone wants something exciting, dynamic, effective, and interactive. This paper argues that one of the essential tasks of the current communication age and of a modern-day teacher is the enhancement of presentation literacy through the encouragement and development of students’ creative, communicative, and interactive skills. The article provides some of the reasons why present-day teaching should lay account on a new type learner, i.e. a net gener, and his needs as well as his expectations in the learning environment in the 21st century. The skill of effective public speaking or the practice of the commonly called presentations is brought into focus alongside. The study employed a survey on the usefulness and effectiveness of the presentation assignment which integrated TED Talks and topic-related creative activities. The research involved the students of Creative Industries study program at Vilnius Gediminas Technical University, Lithuania. As a result, a more creative and interactive learning method of delivering presentations and becoming more self-confident speakers proved to be beneficial among students. Their reflections revealed their attitude towards the effectiveness of the activity and offered insights into the learning process on how to help teachers cater to changing students’ needs. The implications of this article are relevant to all stakeholders in higher education.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" 1169","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139617232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Arvydas Kuzinas, Rasa Pilkauskaitė-Valickienė, M. S. Poškus
Proportions are one of the primary components of successful image composition during the visual art creation process, which, in turn, is determinant of the variety of effects of images on the viewer, including emotional reactions, attention, and aesthetic preference. The importance of image width and height ratio is especially visible in the current trend to adopt the widest possible screens in a variety of modern creative media applications: photo, video, computer games, etc. In the present study emotional and aesthetic evaluations of the three most popular aspect ratios that are used in digital media devices were compared. This was achieved by assessing emotional arousal and valence ratings together with the interest and appeal evaluations of realistic photos presented in 4:3, 16:9, and 21:9 aspect ratios. The results demonstrated that the widest images did not have an inherent advantage – photos presented in the mid-wide aspect ratio of 16:9 could be considered as more effective, because they were rated as evoking the most positive emotional reactions and as the most liked pictures. This demonstrated that single design features can have an independent emotional effect, which needs to be considered in visual design aiming to evoke emotional reactions to the viewer.
{"title":"CREATIVE PROCESSES OF EMOTIONAL IMAGES: THE EFFECTS OF ASPECT RATIO ON THE EMOTIONAL AND AESTHETIC PROPERTIES OF IMAGES","authors":"Arvydas Kuzinas, Rasa Pilkauskaitė-Valickienė, M. S. Poškus","doi":"10.3846/cs.2024.16396","DOIUrl":"https://doi.org/10.3846/cs.2024.16396","url":null,"abstract":"Proportions are one of the primary components of successful image composition during the visual art creation process, which, in turn, is determinant of the variety of effects of images on the viewer, including emotional reactions, attention, and aesthetic preference. The importance of image width and height ratio is especially visible in the current trend to adopt the widest possible screens in a variety of modern creative media applications: photo, video, computer games, etc. In the present study emotional and aesthetic evaluations of the three most popular aspect ratios that are used in digital media devices were compared. This was achieved by assessing emotional arousal and valence ratings together with the interest and appeal evaluations of realistic photos presented in 4:3, 16:9, and 21:9 aspect ratios. The results demonstrated that the widest images did not have an inherent advantage – photos presented in the mid-wide aspect ratio of 16:9 could be considered as more effective, because they were rated as evoking the most positive emotional reactions and as the most liked pictures. This demonstrated that single design features can have an independent emotional effect, which needs to be considered in visual design aiming to evoke emotional reactions to the viewer.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139532318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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