The objective was to analyse, from the perspective of the participants, creative processes developed in isolation and social distancing by COVID-19 pandemic. The main interest was to study transformations in daily, family and work life, focusing on the creation of new practices and projects. Likewise, it was relevant to study emotions, obstacles and difficulties perceived by the participants. The study was qualitative, the participants (N = 25) were selected by non-probabilistic convenience sampling. All the participants lived in intermediate or small towns in Argentina. Data collection was carried out in September, 2020. Semi-structured interviews and online qualitative research were the data collection instruments. The Atlas.ti 8 program was used for the qualitative analysis of textual and audio-visual data. The results indicated significant modifications in the lives of the participants from isolation and distancing. These changes demand flexibility and adaptability as well as creative processes for generating alternatives and solving problems. In the context of the home, transformations of times, spaces and relationships were observed. Work and leisure activities also were reconfigured. Sadness appeared as the predominant emotion. However, some participants experienced enthusiasm and joy for the new projects. The purpose of this study was to build knowledge that contributes to the design of health promotion project.
{"title":"CREATIVE PROCESSES AND EMOTIONS IN COVID-19 PANDEMIC","authors":"R. Elisondo","doi":"10.3846/cs.2022.14264","DOIUrl":"https://doi.org/10.3846/cs.2022.14264","url":null,"abstract":"The objective was to analyse, from the perspective of the participants, creative processes developed in isolation and social distancing by COVID-19 pandemic. The main interest was to study transformations in daily, family and work life, focusing on the creation of new practices and projects. Likewise, it was relevant to study emotions, obstacles and difficulties perceived by the participants. The study was qualitative, the participants (N = 25) were selected by non-probabilistic convenience sampling. All the participants lived in intermediate or small towns in Argentina. Data collection was carried out in September, 2020. Semi-structured interviews and online qualitative research were the data collection instruments. The Atlas.ti 8 program was used for the qualitative analysis of textual and audio-visual data. The results indicated significant modifications in the lives of the participants from isolation and distancing. These changes demand flexibility and adaptability as well as creative processes for generating alternatives and solving problems. In the context of the home, transformations of times, spaces and relationships were observed. Work and leisure activities also were reconfigured. Sadness appeared as the predominant emotion. However, some participants experienced enthusiasm and joy for the new projects. The purpose of this study was to build knowledge that contributes to the design of health promotion project.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43536531","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}
S. Kryshtanovych, V. Bilyk, O. Matvienko, L. Stepanenko, H. Tsvietkova
The main purpose of the study is to determine the influence of psychological conditions on the development of creative imagination. As a result of research, we applied several key methods that allowed us to achieve this goal. First of all, it is a method of theoretical analysis and synthesis. Also, methods of correlation analysis and a number of empirical methods were used for the existing experimental group (observation, conversation, questionnaire, testing). The analysis of the psychological conditions of the correlation matrix showed that there is a noticeably high connection between the influences of psychological conditions on the development of creative imagination, thereby confirming our assumption. According to the results of the study of the development of creative imagination, the dominance of the middle and low levels of its development was established. In addition, the criteria of creative imagination were diagnosed, which included the originality of images, flexibility of images, performance of images, speed of the created image. It was found that the most developed is the originality of images, the least developed is the performance of images.
{"title":"INFLUENCE OF PSYCHOLOGICAL CONDITIONS ON THE LEVEL OF CREATIVE IMAGINATION","authors":"S. Kryshtanovych, V. Bilyk, O. Matvienko, L. Stepanenko, H. Tsvietkova","doi":"10.3846/cs.2022.15196","DOIUrl":"https://doi.org/10.3846/cs.2022.15196","url":null,"abstract":"The main purpose of the study is to determine the influence of psychological conditions on the development of creative imagination. As a result of research, we applied several key methods that allowed us to achieve this goal. First of all, it is a method of theoretical analysis and synthesis. Also, methods of correlation analysis and a number of empirical methods were used for the existing experimental group (observation, conversation, questionnaire, testing). The analysis of the psychological conditions of the correlation matrix showed that there is a noticeably high connection between the influences of psychological conditions on the development of creative imagination, thereby confirming our assumption. According to the results of the study of the development of creative imagination, the dominance of the middle and low levels of its development was established. In addition, the criteria of creative imagination were diagnosed, which included the originality of images, flexibility of images, performance of images, speed of the created image. It was found that the most developed is the originality of images, the least developed is the performance of images.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42179115","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 study explores whether a design activity could promote creative learning expression and development among students regarding arts and culture issues through cultural product design. Therefore, students engage in designing a cultural product model. The study aims to analyze their ability to develop arts and culture through sketches and an appearance model. The research project was conducted to observe students (aged 18–20 years) as they negotiated and shared creative ideas during the process of cultural product design, interaction with fellow students, and the design presentation. The results indicate that design activities significantly contributed to students’arts and culture learning by developing creative ideas through cultural product design. Moreover, students developed reasoning, communication, and collaboration skills during the development of their work.
{"title":"ARTS AND CULTURE AS CREATIVE LEARNING OF STUDENTS THROUGH CULTURAL PRODUCT DESIGN","authors":"Jong Boonpracha","doi":"10.3846/cs.2022.14307","DOIUrl":"https://doi.org/10.3846/cs.2022.14307","url":null,"abstract":"The study explores whether a design activity could promote creative learning expression and development among students regarding arts and culture issues through cultural product design. Therefore, students engage in designing a cultural product model. The study aims to analyze their ability to develop arts and culture through sketches and an appearance model. The research project was conducted to observe students (aged 18–20 years) as they negotiated and shared creative ideas during the process of cultural product design, interaction with fellow students, and the design presentation. The results indicate that design activities significantly contributed to students’arts and culture learning by developing creative ideas through cultural product design. Moreover, students developed reasoning, communication, and collaboration skills during the development of their work.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48110663","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 stereotypical view of creativity as an emblem of youth, and old age as a signifier of decline can hold grave consequences for filmmakers in the second half of life, as this misconception can result in negative attitudes, a decline in media coverage, and less funding for film production. Thus, ageing male film directors might face a collisional intersection, when the gender-based status that provides social privileges, meets with older age-based status, which leads to social weakening. This qualitative study explored the means which male directors in the second half of life use to remain creative and make films in an ageist, vastly changing world. The study is based on a dataset of transcribed semi-structured interviews with 13 well-known Israeli male directors over the age of 55. The findings led to the formation of a model of creativity in older age, which consists of the following six pathways: inspiration, adaptation, innovation, preservation, circumvention and imagination. While some of the interviewed directors emphasized their ability to change and adapt to the new cinematic world, others adhered to their old filmmaking language. The understanding of the cinematic creation as based upon the art of storytelling was common among both “camps”.
{"title":"“WHAT IS RIGHT AND REAL – IS THE STORYTELLING”: MASCULINITY, MEDIA AND CREATIVITY","authors":"Shlomit Aharoni Lir, L. Ayalon","doi":"10.3846/cs.2022.15383","DOIUrl":"https://doi.org/10.3846/cs.2022.15383","url":null,"abstract":"The stereotypical view of creativity as an emblem of youth, and old age as a signifier of decline can hold grave consequences for filmmakers in the second half of life, as this misconception can result in negative attitudes, a decline in media coverage, and less funding for film production. Thus, ageing male film directors might face a collisional intersection, when the gender-based status that provides social privileges, meets with older age-based status, which leads to social weakening. This qualitative study explored the means which male directors in the second half of life use to remain creative and make films in an ageist, vastly changing world. The study is based on a dataset of transcribed semi-structured interviews with 13 well-known Israeli male directors over the age of 55. The findings led to the formation of a model of creativity in older age, which consists of the following six pathways: inspiration, adaptation, innovation, preservation, circumvention and imagination. While some of the interviewed directors emphasized their ability to change and adapt to the new cinematic world, others adhered to their old filmmaking language. The understanding of the cinematic creation as based upon the art of storytelling was common among both “camps”.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46760624","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 COVID-19 pandemic poses several challenges transforming the learning organization. The retention of sustainability in the context of COVID-19 pandemic uncertainty requires immediate response. Therefore, this paper addresses the following research question: how does organizational creativity contribute to managing challenges in the context of COVID-19 pandemic uncertainty as a precondition for resilience? Thus, the paper offers several contributions. First of all, the research dwells on the conceptual attributes of the learning organization: the object is identified and substantiated, the ways the learning organization’s vulnerability manifests itself through are presented; the factors creating the learning organization’s COVID-19 pandemic vulnerability are discussed; it is identified what capacities are necessary and in what learning processes they develop to reduce the learning organization’s COVID-19 pandemic vulnerability. Secondly, the paper identifies and discusses critical challenges to the learning organization caused by COVID-19 pandemic uncertainty, the ones that the organization must react to immediately to reduce its COVID-19 pandemic vulnerability: rapid social innovation cycle, expansion of organizational learning and optimisation of perceived organizational support for employee trust and commitment. Thirdly, the paper discuss how creativity is important for response.
{"title":"CHALLENGES TO THE LEARNING ORGANIZATION IN THE CONTEXT OF COVID-19 PANDEMIC UNCERTAINTY: CREATIVITY-BASED RESPONSE","authors":"Vestina Vainauskienė, Rimgailė Vaitkienė","doi":"10.3846/cs.2022.15109","DOIUrl":"https://doi.org/10.3846/cs.2022.15109","url":null,"abstract":"The COVID-19 pandemic poses several challenges transforming the learning organization. The retention of sustainability in the context of COVID-19 pandemic uncertainty requires immediate response. Therefore, this paper addresses the following research question: how does organizational creativity contribute to managing challenges in the context of COVID-19 pandemic uncertainty as a precondition for resilience? Thus, the paper offers several contributions. First of all, the research dwells on the conceptual attributes of the learning organization: the object is identified and substantiated, the ways the learning organization’s vulnerability manifests itself through are presented; the factors creating the learning organization’s COVID-19 pandemic vulnerability are discussed; it is identified what capacities are necessary and in what learning processes they develop to reduce the learning organization’s COVID-19 pandemic vulnerability. Secondly, the paper identifies and discusses critical challenges to the learning organization caused by COVID-19 pandemic uncertainty, the ones that the organization must react to immediately to reduce its COVID-19 pandemic vulnerability: rapid social innovation cycle, expansion of organizational learning and optimisation of perceived organizational support for employee trust and commitment. Thirdly, the paper discuss how creativity is important for response.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42087323","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 refers to anthropological, sociological and pedagogical aspects of reframing – in a creative way – the rituals addressed to children at the threshold of puberty. Based on a presentation of a new ritual of farewell to childhood, the paper is a theoretical reflection on the need of introducing new rituals that create ground for animation-educational practice. This practice – by revivifying creativity in areas considered so far closed and exclusive – makes it possible to overcome socially unfavourable structures of performance, and the inceptions of new, legitimized and empowering forms of subjective representations. Ritual’s creative qualities – in Victor Turner’s conceptualization – have inspired the authors to emphasize the need to replace a hegemony of thinking with a heterogeneity of thinking about the rites of passage. This undertaking is directed towards creating a space in social consciousness for rituals that are other than religious ones. Following Gert Biesta’s thinking, we argue that the farewell to childhood in the form we propose can be seen as an expression of pedagogical interruption and a practice of commonality which is a common good, one endlessly fragile and requiring cultivation. The secular children’s rite of passage and other secular rituals that arise not in opposition to religious rituals, but alongside them, are such common goods.
{"title":"TOWARDS A RITUALIZED PUBLIC SPACE ABOVE DIVISIONS: CREATIVE (RE)CONSTRUCTION OF CHILDREN’S RITES OF PASSAGE","authors":"M. Mendel, A. Kłonkowska","doi":"10.3846/cs.2022.12887","DOIUrl":"https://doi.org/10.3846/cs.2022.12887","url":null,"abstract":"The article refers to anthropological, sociological and pedagogical aspects of reframing – in a creative way – the rituals addressed to children at the threshold of puberty. Based on a presentation of a new ritual of farewell to childhood, the paper is a theoretical reflection on the need of introducing new rituals that create ground for animation-educational practice. This practice – by revivifying creativity in areas considered so far closed and exclusive – makes it possible to overcome socially unfavourable structures of performance, and the inceptions of new, legitimized and empowering forms of subjective representations. Ritual’s creative qualities – in Victor Turner’s conceptualization – have inspired the authors to emphasize the need to replace a hegemony of thinking with a heterogeneity of thinking about the rites of passage. This undertaking is directed towards creating a space in social consciousness for rituals that are other than religious ones. Following Gert Biesta’s thinking, we argue that the farewell to childhood in the form we propose can be seen as an expression of pedagogical interruption and a practice of commonality which is a common good, one endlessly fragile and requiring cultivation. The secular children’s rite of passage and other secular rituals that arise not in opposition to religious rituals, but alongside them, are such common goods.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49422721","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 aim of this quantitative research is to design, build and analyze the use of the web application for the teaching-learning process on bank savings. This web application builds creative educational virtual spaces where students learn and analyze the mathematical procedure related to monthly interest rate, initial balance, final balance, interest and savings account. Also, data simulation of the web application for the teaching-learning process on bank savings allows that students have an active role in the learning process through the interaction and control of the contents about bank savings. The ASSURE model facilitates the planning, organization and construction of the web application for the teaching-learning process on bank savings through the stages of analysis, setting, selection, use, requirement and evaluation. The participants are 43 students who took the Financial Mathematics course during the 2018 school year. The results of linear regressions (machine learning) indicate that the construction of creative educational virtual spaces through the web application for the teaching-learning process on bank savings influences positively the assimilation of knowledge about the bank savings, simple interest and financial mathematics. The decision tree technique identifies 3 predictive models about the use of the web application for the teaching-learning process on bank savings in the educational field. The implications of this research allow that teachers analyze the impact of information and communications technology during the realization of school activities. Therefore, educational institutions can promote the construction and use new technological tools. Finally, the web application for the teaching-learning process on bank savings is a web application that allows the construction of creative educational virtual spaces where students personalize the learning and have flexibility of time and space during the educational process on bank savings.
{"title":"DESIGN OF CREATIVE VIRTUAL SPACES THROUGH THE USE OF A WEB APPLICATION DURING THE EDUCATIONAL PROCESS ABOUT BANK SAVINGS","authors":"R. Salas-Rueda, C. Alvarado-Zamorano","doi":"10.3846/cs.2022.12304","DOIUrl":"https://doi.org/10.3846/cs.2022.12304","url":null,"abstract":"The aim of this quantitative research is to design, build and analyze the use of the web application for the teaching-learning process on bank savings. This web application builds creative educational virtual spaces where students learn and analyze the mathematical procedure related to monthly interest rate, initial balance, final balance, interest and savings account. Also, data simulation of the web application for the teaching-learning process on bank savings allows that students have an active role in the learning process through the interaction and control of the contents about bank savings. The ASSURE model facilitates the planning, organization and construction of the web application for the teaching-learning process on bank savings through the stages of analysis, setting, selection, use, requirement and evaluation. The participants are 43 students who took the Financial Mathematics course during the 2018 school year. The results of linear regressions (machine learning) indicate that the construction of creative educational virtual spaces through the web application for the teaching-learning process on bank savings influences positively the assimilation of knowledge about the bank savings, simple interest and financial mathematics. The decision tree technique identifies 3 predictive models about the use of the web application for the teaching-learning process on bank savings in the educational field. The implications of this research allow that teachers analyze the impact of information and communications technology during the realization of school activities. Therefore, educational institutions can promote the construction and use new technological tools. Finally, the web application for the teaching-learning process on bank savings is a web application that allows the construction of creative educational virtual spaces where students personalize the learning and have flexibility of time and space during the educational process on bank savings.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44070182","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}
Kamil Łuczaj, Iwona Leonowicz-Bukała, Olga Kurek-Ochmańska
Richard Florida claims that members of the “creative class” move to cities, perceived as open and conducive to creative work – a phenomenon which Florida insists is a fundamental economic driver in the Western world. This includes academics and researchers and results in the transfer of knowledge and skills. As the concept of “creative class” was coined in the United States, we may pose the question if it is applicable in other social contexts. The geographical focus of the current paper is on the Polish borderlands. We investigate how international academic commuters, i.e. academics travelling to work in Poland from the neighbouring countries, contribute to the knowledge transfer, or more broadly, the “creative transfer”. This study, a part of a broader research project involving 100 foreign-born scholars working in Poland, uses a sub-sample of the 16 in-depth interviews with international commuting scholars (as opposed to those who presently live in Poland). The results show that most of the internationally commuting scholars come to Poland strictly to deliver teaching. Focused on this goal, they do not take part in social or cultural life in Poland. Although not earning enough money in their home countries, they do not want to move permanently to Poland. Instead, they use the opportunities given by living near the border. These practices make them more similar to regular economic migrants, rather than members of the “creative class”, although some traces of the “creative transfer” can be identified.
Richard Florida声称，“创意阶层”的成员搬到了城市，被认为是开放的，有利于创意工作——佛罗里达州坚持认为这是西方世界的基本经济驱动力。这包括学术界和研究人员，并导致知识和技能的转移。由于“创造性阶级”的概念是在美国创造的，我们可能会提出一个问题，即它是否适用于其他社会背景。本论文的地理重点是波兰边境地区。我们调查了国际学术通勤者，即从邻国前往波兰工作的学者，如何对知识转移或更广泛地说，“创造性转移”做出贡献。这项研究是一个涉及100名在波兰工作的外国出生学者的更广泛研究项目的一部分，使用了对国际通勤学者（而不是目前居住在波兰的学者）的16次深入采访的子样本。研究结果表明，大多数国际通勤学者严格来波兰授课。他们专注于这一目标，不参与波兰的社会或文化生活。尽管他们在本国赚的钱不够，但他们不想永久搬到波兰。相反，他们利用居住在边境附近的机会。这些做法使他们更像是普通的经济移民，而不是“创造性阶层”的成员，尽管可以发现一些“创造性转移”的痕迹。
{"title":"CREATIVE CLASS IN THE BORDERLANDS? THE CASE OF COMMUTING SCHOLARS IN POLAND","authors":"Kamil Łuczaj, Iwona Leonowicz-Bukała, Olga Kurek-Ochmańska","doi":"10.3846/cs.2022.12289","DOIUrl":"https://doi.org/10.3846/cs.2022.12289","url":null,"abstract":"Richard Florida claims that members of the “creative class” move to cities, perceived as open and conducive to creative work – a phenomenon which Florida insists is a fundamental economic driver in the Western world. This includes academics and researchers and results in the transfer of knowledge and skills. As the concept of “creative class” was coined in the United States, we may pose the question if it is applicable in other social contexts. The geographical focus of the current paper is on the Polish borderlands. We investigate how international academic commuters, i.e. academics travelling to work in Poland from the neighbouring countries, contribute to the knowledge transfer, or more broadly, the “creative transfer”. This study, a part of a broader research project involving 100 foreign-born scholars working in Poland, uses a sub-sample of the 16 in-depth interviews with international commuting scholars (as opposed to those who presently live in Poland). The results show that most of the internationally commuting scholars come to Poland strictly to deliver teaching. Focused on this goal, they do not take part in social or cultural life in Poland. Although not earning enough money in their home countries, they do not want to move permanently to Poland. Instead, they use the opportunities given by living near the border. These practices make them more similar to regular economic migrants, rather than members of the “creative class”, although some traces of the “creative transfer” can be identified.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43320910","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 explores the communication of social critique in contemporary art. The article aims to reveal the connections between art and politics existing in the theory of art aesthetics and art practice. Empirical research: the content analysis of critical reviews allowed to determine that the pronouncements of the authors and the official agenda presentation of a work of art that potentially articulates a political message but is considered hermetic affect and indicate the direction of reception. An example of contemporary opera was deliberately chosen for the research. Contemporary opera is often considered as a hermetic domain of creativity, solving only aesthetic, but not sociopolitical challenges. However, from the very first examples, the opera genre has been treated as an improvised and aestheticized public sphere, enabling to communicate ideology principles of the dominant political power or, conversely, to demonstrate social criticism to those in power. Opera research that focuses on political aspects is usually based on the musicological paradigm conducted on the basis of analysis of aesthetic regime -opera as a work of art communicating a socio-political message is still rarely explored. However, contemporary artists often creatively rely on politically active narratives and themes. This enables the opera genre to be seen as a platform for political communication.
{"title":"CREATIVITY AS SOCIAL CRITIQUE: A CASE STUDY OF THE OPERA HAVE A GOOD DAY!","authors":"Justina Paltanavičiūtė","doi":"10.3846/cs.2022.15026","DOIUrl":"https://doi.org/10.3846/cs.2022.15026","url":null,"abstract":"The article explores the communication of social critique in contemporary art. The article aims to reveal the connections between art and politics existing in the theory of art aesthetics and art practice. Empirical research: the content analysis of critical reviews allowed to determine that the pronouncements of the authors and the official agenda presentation of a work of art that potentially articulates a political message but is considered hermetic affect and indicate the direction of reception. An example of contemporary opera was deliberately chosen for the research. Contemporary opera is often considered as a hermetic domain of creativity, solving only aesthetic, but not sociopolitical challenges. However, from the very first examples, the opera genre has been treated as an improvised and aestheticized public sphere, enabling to communicate ideology principles of the dominant political power or, conversely, to demonstrate social criticism to those in power. Opera research that focuses on political aspects is usually based on the musicological paradigm conducted on the basis of analysis of aesthetic regime -opera as a work of art communicating a socio-political message is still rarely explored. However, contemporary artists often creatively rely on politically active narratives and themes. This enables the opera genre to be seen as a platform for political communication.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46748965","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 analyses creative society political communication in Lithuania. Creative society (as a separate society type) is grounded by the increasing (and starting to dominate since 2000) amount of creative class in contemporary society, and by recent phenomenon of creative industries. Contemporary scientific research is mainly limited by creative society features, creative society economics and creative industries; however, there is lack of creative society analysis by public policy instruments. The article aims to make a model of creative society policy and, having evaluated the Lithuanian practice according to it, to define directions of implementation of this policy. Firstly, attitudes of researchers towards creative society were generalized, presenting its features, and the importance, alternatives, and possible directions of such policy. Secondly, having performed simulation and the case study (directions’ determination and implementation of creative society policy in Lithuania), the model of creative society policy was made (this model demonstrates how creative society policy might be formed and implemented in other countries), and directions of implementation of this policy were defined. The article summarizes main results of author’s prepared doctoral dissertation. Directions for further research can be analysis of directions of creative society policy, investigation of dream society (as a future type).
{"title":"POLITICAL COMMUNICATION OF CREATIVE SOCIETY: THE ASPECTS OF PUBLIC POLICY","authors":"Aurimas Venckūnas","doi":"10.3846/cs.2022.15923","DOIUrl":"https://doi.org/10.3846/cs.2022.15923","url":null,"abstract":"The article analyses creative society political communication in Lithuania. Creative society (as a separate society type) is grounded by the increasing (and starting to dominate since 2000) amount of creative class in contemporary society, and by recent phenomenon of creative industries. Contemporary scientific research is mainly limited by creative society features, creative society economics and creative industries; however, there is lack of creative society analysis by public policy instruments. The article aims to make a model of creative society policy and, having evaluated the Lithuanian practice according to it, to define directions of implementation of this policy. Firstly, attitudes of researchers towards creative society were generalized, presenting its features, and the importance, alternatives, and possible directions of such policy. Secondly, having performed simulation and the case study (directions’ determination and implementation of creative society policy in Lithuania), the model of creative society policy was made (this model demonstrates how creative society policy might be formed and implemented in other countries), and directions of implementation of this policy were defined. The article summarizes main results of author’s prepared doctoral dissertation. Directions for further research can be analysis of directions of creative society policy, investigation of dream society (as a future type).","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43944074","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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