Spomen-groblje streljanim rodoljubima u okupiranom Beogradu 1941-1944

The article presents the theoretical analysis and empirical research on preschool children’s creative development by means of art. We are convinced that art practices as an innovative technology should be used in order to develop children's abilities and creativity, the creativity of adults working with children. After all, the basis of art practices is art as an activity that reveals the reality in specific sensory images. We have determined that the productive activities that are most interesting for preschool children are drawing and fairy-tale situations. The empirical study used drawing and fairy-tale techniques. We selected and described the art practices to be used in work with preschool children with the aim to develop such qualities as observation, attention, memory, imagination, fantasy. These qualities contribute to the development of preschool children’s independent creative activities, which form all the best human qualities and reveal their, often hidden, talents, skills and abilities. The children from the experimental group showed more creative elements and did it clearly during tasks solving compared to the control group. They offered more original options in addition to the standard vision of objects and phenomena. Modern preschool children are characterized by decreased activity, poorer imagination. Preschoolers’ creative development lags far behind their peers from the previous century. In addition, modern children have either high or low creative development (only few children showed medium development). Children’s awareness of modern electronic devices makes them dependent on gadgets, computers and television. At the same time, the number of gifted children has increased dramatically, as well as indigo children, who are characterized by super-abilities and changes in their psyche. All these facts point to problems and contradictions existing at modern older preschoolers. Participating in art practices, preschool children can reveal their potential for the development of their creativity. Children learn to solve various creative tasks, express themselves artistically and develop hidden talents. Art promotes children's abilities, motives, knowledge and skills, so that they create something new, original, unique. The proposed art practices opens the space for educators, psychologists at children's educational institutions to develop children’s creativity, because humanity has not yet invented a better creative tools than fairy tales, drawing, games, stories. From the first years of life, children have a natural need to show their own uniqueness, individuality, to reveal their talents and creative abilities. In kindergarten, children love to draw, sing, dance, having great fun. There is no doubt that art is the language of children’s souls. It is an efficient tool for the development of preschooler’s abilities, skills and creativity. Art practice for preschool children is an interesting and bright game.

Today, the latest technologies, interactive forms of the work with students, which would promote their interest, creativity, skills of teamwork, self-organization, successful time distribution, should be used in the educational process. The modern young people are constantly in the information environment of social networks, the virtual space, which causes a lack of «live» communication with other persons and on the whole with the natural environment. Therefore, there is a necessity to strengthen this communication, which contributes to both physical and mental health. The purpose of the article is to reveal the psychological resource of the art-eco-practices using in the educational process of higher education, and, in particular, on the campus of the university – «green audience». The theoretical analysis of literature sources, surveys of the participants in the educational process (research methods), the personal experience have helped to find that such a tool promotes a sense of inner harmony, psychological well-being, activates the creative activity, the coordinated teamwork. The results: according to a survey of students of the National University «Yuri Kondratyuk Poltava Polytechnic» (76 persons), the following answers are: the question «Is it relevant to use the art practices in the educational process?» was answered as «yes» – 91.0%, as «it is relevant while they are studying the social, behavioral, and human sciences» – 8.0%, as «no» – 1.0%; the question «Which methods, forms of the work used in studying of subjects «Psychology» and «Psychology of Health and Healthy Lifestyle» have you remembered the most?» is answered by 97.0% respondents as «the art practices». The chair has a psychological workshop «The Way to Success», where during the open meetings the training sessions are held, the art exercises are performed, which are focused on the development of creativity of modern young people. Based on the own experience, students survey, there are conclusions that in the process of studying subjects «Psychology» and «Psychology of Health and Healthy Lifestyle» it is advisable to use the art-eco-practices to promote the communication with nature, the creativity development and model skills of teamwork, self-organization, successful time distribution, studying and improvement of own «I».

Today, the latest technologies, interactive forms of the work with students, which would promote their interest, creativity, skills of teamwork, self-organization, successful time distribution, should be used in the educational process. The modern young people are constantly in the information environment of social networks, the virtual space, which causes a lack of «live» communication with other persons and on the whole with the natural environment. Therefore, there is a necessity to strengthen this communication, which contributes to both physical and mental health. The purpose of the article is to reveal the psychological resource of the art-eco-practices using in the educational process of higher education, and, in particular, on the campus of the university – «green audience». The theoretical analysis of literature sources, surveys of the participants in the educational process (research methods), the personal experience have helped to find that such a tool promotes a sense of inner harmony, psychological well-being, activates the creative activity, the coordinated teamwork. The results: according to a survey of students of the National University «Yuri Kondratyuk Poltava Polytechnic» (76 persons), the following answers are: the question «Is it relevant to use the art practices in the educational process?» was answered as «yes» – 91.0%, as «it is relevant while they are studying the social, behavioral, and human sciences» – 8.0%, as «no» – 1.0%; the question «Which methods, forms of the work used in studying of subjects «Psychology» and «Psychology of Health and Healthy Lifestyle» have you remembered the most?» is answered by 97.0% respondents as «the art practices». The chair has a psychological workshop «The Way to Success», where during the open meetings the training sessions are held, the art exercises are performed, which are focused on the development of creativity of modern young people. Based on the own experience, students survey, there are conclusions that in the process of studying subjects «Psychology» and «Psychology of Health and Healthy Lifestyle» it is advisable to use the art-eco-practices to promote the communication with nature, the creativity development and model skills of teamwork, self-organization, successful time distribution, studying and improvement of own «I».

This study examines the relationship between artificial intelligence (AI) usage and creativity levels among students studying in faculties of fine arts. With the rapid development of generative AI technologies, artistic production processes and educational practices in art and design disciplines have been significantly transformed. In this context, understanding how students use AI tools and how these tools relate to their creativity has become an important research topic in art education. The research was designed using a relational survey model within the general survey framework. The study group consisted of 201 undergraduate students studying in faculties of fine arts at universities in Türkiye. Data were collected using the Artificial Intelligence Usage Scale and the Kaufman Domains of Creativity Scale (K-DOCS). Descriptive statistics, independent samples t-test, one-way ANOVA, and regression analysis were used to analyze the data. The findings indicated that students’ AI usage levels were above the moderate level (M = 3.80). Students reported the highest creativity levels in the domains of artistic performance and artistic creativity, while academic and scientific/mechanical creativity were found at moderate levels. Gender comparisons revealed significant differences in academic creativity, scientific/mechanical creativity, and AI usage in favor of male students. Regarding class level, significant differences were found in academic and scientific/mechanical creativity, with upper-level students reporting higher levels of creativity. However, AI usage did not differ significantly across class levels. Regression analysis showed a positive and significant relationship between creativity and AI usage, with creativity explaining 10.2% of the variance in AI usage. Among the creativity domains, only academic creativity and scientific/mechanical creativity significantly predicted AI usage. Overall, the findings suggest that creativity in fine arts students is domain-specific and that different creativity domains relate to AI usage in distinct ways. While academic and scientific creativity appear to encourage the use of AI tools, artistic creativity does not significantly predict AI usage. These results highlight the importance of integrating AI literacy and ethical AI use into art education curricula to support students’ creative development in the digital age.

This study aims to identify and analyze relevant characteristics associated with creative thinking, particularly in arts and design education. A systematic literature review was conducted following the PRISMA protocol, utilizing the Scopus database, where 292 studies were retrieved through search strings. From these, 187 studies were selected for the final analysis. The results highlight an emphasis on experiential learning, STEAM (Science, Technology, Engineering, Arts, and Mathematics), and interdisciplinary approaches as prevalent educational methodologies for fostering creative thinking. The identified techniques include interdisciplinary projects, artistic practices, nature-based activities, and the use of digital tools. The core skills identified include originality, fluency, flexibility, and elaboration. Furthermore, it was observed that most of the studies were conducted in higher education institutions. The study underscores the urgency of promoting research in specific regions, such as Latin America, to contribute to advancing and enriching the educational landscape in these areas. Additionally, it emphasizes the importance of fostering creativity from an early age. The significance of this study lies in its contribution to more effective pedagogical practices for the development of creative thinking that positively impacts education and prepares individuals for the challenges of the 21st century.

The purpose of the article is to describe the conceptual and organisational framework of the Hope! project at the 56th Venice Biennale in the context of how the art responded to the events in Ukraine which took place from 2014 to 2024. The research methodology is based on general scientific theoretical methods of analysis, synthesis and abstraction, complemented by the comparative and observational methods. The scientific novelty is that, for the first time in the Ukrainian art criticism, the Hope! project has been analysed as an ‘artistic chronicle of the war’. The study highlights the importance of Ukrainian contemporary art in the international context through this example. Conclusions. The project, which represented Ukraine, was structured as a collective exhibition of individual artistic practices. It focused the visitor’s attention on the military conflict initiated by Russia in the east of Ukraine in 2014, marking the first Ukrainian project of this nature at the Venice Biennale. In subsequent years, this trend continued as the conflict escalated into a full-scale war in 2022. The specifics of the Ukrainian National Pavilion, represented by the project Hope! and developed by PinchukArtCentre (curated by Bjorn Geldhof), is examined. The works of Zhanna Kadyrova, Yevheniia Belorusets, Artem Volokitin, Anna Zviagintseva, Mykyta Kadan, Mykola Ridnyi, and Serhii Zhadan are analysed. The project is characterised as a blend of artists’ emotional responses and reflections on particular processes and events that took place in Ukraine in 2014-2015. It is identified as a snapshot of contemporary artistic trends that merged experimental artistic practices with an emotional component (artist’s experience = audience’s emotions = perception of Ukraine’s situation). The almost ten-year break between projects from Ukraine at the 56th and 60th Venice Biennales became one of the stages of Ukrainian art's search for its own ‘I’ on the international art market and testified to the high level of empathy of domestic artists.

Students should be introducced to art history in the primary schools, and, after that, art history should constitute part of the core curriculum of secondary schools. Indeed, art history is already offered by a number of high schools in this country and in some cases has been offered by them for a number of years because of its continued success and relevance as a subject for instruction. Why is this true? First, art history is a discipline worthy of instruction in its own right, regardless of whether art production, art criticism, and aesthetics are included in the curriculum. Art history, the practice of art, art criticism, and aesthetics are distinct subjects that stand on their own pedagogically and that contribute significantly to education in different ways. Art history constitutes an integral part of the humanistic training of children; art production, an integral part of their creative and imaginative training and development; art criticism, an integral part of the training of their critical faculties in dealing with the arts; and aesthetics, an integral part of the development of their philosophic outlook about the arts. Because of the mutuality and interdependence of art history, art production, art criticism, and aesthetics, all four disciplines ought to be included in the core curricula of our public schools. Why art history? Human beings and human values lie at the heart of all subject areas currently required in our core curricula. The sciences in-

The article deals with insufficiently studied theoretical aspects of revealing and analyzing new elements and motives of artistic and compositional means of expression in folk art, as well as topical issues concerning determining principles and possible options for their creative development in modern decorative and applied art, design, and artistic practice in general. The most important structural features of shaping in traditional art in the ontologically interrelated system "nature — man — object" are analyzed. The main structurally stable elements and components in Kazakh folk ornament are distinguished and characterized, these are the circle, S-shaped element, cruciform and triangular components. The evolution of their ideological and figurative interpretation and symbolism is traced, and their role in the genesis of folk art traditions formed over thousands of years is revealed. The selected basic elements of folk ornament, as the main components of means of artistic expression, are proposed to be defined and developed in line with modern interpretations of artistic and aesthetic categories — dynamics, statics, harmony and their decorative variations in accordance with the volumetric and spatial features of form.

Almost fourty-five years ago, Joseph Kerman proposed the notion of getting out of analysis, in fact a strategy through criticism to broaden its formalist parameters (Kerman, 1980). Kerman’s argument was flawed in many respects as Agawu pointed out; analysis was necessary in his view to teach “undergraduate music theory” and “basic musical literacy,” (Agawu, 2004: 269) something Kerman would not have denied. Yet these debates, and their continuation (Horton 2020; Cavett et al. 2023) have missed something more fundamental, especially as ideological ivory towers and territories needed protection. Over the last fourty years the rise of theory courses, has led to a schism between theory as a discipline and theory as a necessary precursor to practice (for learning repertoire, improvisation and composition); this is till prevalent in Universities and conservatoires today. This issue has not been helped by the interdisciplinarity of musicology, by the concomitant continual expansion of the curriculum, and the move away in many university departments from study of ‘the dots’ to other equally-valid forms of engagement with music. Part of this separation results from an educational ideal that differentiation is necessary before integration, something that the somatic thinker Mosche Feldenkrais advocated, but the ‘integration’ element, has more often been left to chance. This study seeks to make a pedagogical synthesis between theory improvisation and composition, allowing the teacher and student to move freely between these areas, and the student to develop their own sense of autonomy. Artistic research is premised on knowing something, on having some ‘petrol in the tank’, and especially on the ability to make aesthetic choices. This paper develops a critical and reflexive method to do begin this task. It begins by presenting a creative rethinking of species counterpoint, a foundation for thinking in Schenkerian analysis (Forte and Gilbert, 1983, also played out through Kennan 1987, Schubert 2003, Davidian 2015, and Denisch 2017) through Bach’s Goldberg Variations (1741). This develops a resource for pedagogy and practice through teaching musical techniques of composition. I present a layered-cake of musical lines against the figured bass of the theme (moving from semibreves to quavers) as an exercise that inculcates various aspects of var. 1 of the ‘Goldbergs’, and then I explore the codes and ramifications of this that allow both historical sensitivity and creative development. This contextualized exercise provides a stepping-stone to a discussion of Variation 1 (prefigured in my species example), and the development of complete variations beginning with a given “invention” (Dreyfus 1997), and then moving to the composition of new ideas. I suggest how these exercises can be used for teaching improvisation and show how this invaluable connection can be developed through other models (‘la folia’ for example). This model of thinking is historically connected to partimenti (Gjerdingen 2010, 2020), and, following Feldenkrais’s thinking (Sholl 2019, 2021), I provide different solutions to the same exercises. This strategy attempts to promote an “adaptive flexibility” (Thelen and Smith 2004) in which students can enactively and organically learn musical and technical fluency, while also developing their creativity and autonomy.

This creative arts research project provided me with an opportunity to develop new understanding within the field of contemporary art practice. The project focused on making new artistic productions within a recursive presentation cycle. The project afforded me significant creative growth and development as an artist and researcher. What I experienced was the development of artistic form generated through the efforts of a small team, and I acknowledge the co-authorship of the creative works with my collaborators. The project began with a gallery based installation work in 2008, followed by artistic productions presented to the public in performance spaces, a multi-purpose arts venue, and then back to a conventional exhibition space. In 2013, one of the artistic productions premiered at the Brisbane Festival and marked a high point but not the end point. The development and presentation of artistic production operated in a continuum rather than moving towards a culminating event. Exploration and discovery trace the creative process through inception, production, presentation and archival phases to illuminate what intermediality means to the 'narrative' of my practice within contemporary arts. A love of art making compels the journey. The thought of intermedia as a research area started with a naive inclination towards interdisciplinary processes for developing creative works. Rather than providing evidence for an expert understanding of intermediality, it is an idea that requires testing against the currency of my practice and in the presentational context understood by society. Being creatively engaged with the interplay of media and with the processes of materiality, media and the body has driven my artistic practice. It has allowed me to generate forms of contemporary art involving interdisciplinarity and collaboration. The intermedial emphasis of my creative process has a marked impact on how I understand the pluralistic conventions of contemporary art. Intermediality is, for my way of thinking, a process that simplifies levels of complexity so that more levels of complexity can assert themselves in future practices. Intermedia converges and reconciles the areas of my practice that are related to media arts and spatial practices that are performative and sculptural. The artistic productions represented in this project test intermediality within the collaborative and institutional setting. What resolves are specific knowledge centres which enhance innovations in practice, process and theory. Through performative action within a practice-led methodology, an epistemological framework is formed by what bounds generative knowledge in artistic production. Conceptual narratives and themes generate professional practice, collaboration and reflection. An auto-ethnographic approach to documenting the enquiry allows multidimensional entry points within a terrain of interconnected sites of research focus. The project resembles a membrane of vectors and ideas that offer ambiguous pathways. The journey does not pose deterministic answers to questions about research veracity. Instead, intermediality manifests a complex and creatively diverse artistic process. These attributes celebrate the interdisciplinarity of contemporary art practice. In so doing, the process questions the sliding tolerance between conventional forms that tend to announce genre specific artistic production. For example, the project's internal logic develops artefacts for exhibition in a gallery and simultaneously spatial sequences for the performance space. Therefore, the actions defined within the creative development exemplify a process of intermediality. A small arts business co-directed by the researcher provides the infrastructure that administrates development and presentation of the artistic process in partnership with sponsors and venues. The research project focuses on the production and presentation cycle informed by the contributions of a core collaborative team. The practice-led method is an instrument that engages action, process tracing, temporal bracketing and performative analysis through iterative phases over several years. The public presentation of important artworks, along with audio-visual documentation represent dimensions of valorisation beyond the actions of practice-led research. The recursive cycle articulated an approach with underlying systems of innovation, implementation and reflexivity. The emergence of new work in the continuum of practice is a temporal rupture that exists as an ephemeral series of action units moving towards the context of presentation. The documentation and auto-ethnographic account are the residues of the primary manifestation of semi-annual productions. The documentation of artistic trajectories forms a media archive: The Exquisite Resonance of Memory, 2008; Whispering Limbs, 2009; Cove, 2010; Sweet Spot and Nerve Engine, 2011 – 2014; and Terrestrial Nerve, 2012 – 2013. The media archive is residual and secondary; it illuminates a set of indicative concepts significant for the future of intermediality in the researcher's practice. The impact of the research develops understanding and generates interest in the contemporary collaborative arts. The value of the research broadens the domain of artistic practice and will be of interest anywhere that creativity becomes managed between disciplines, such as software developers, performance ensembles, artists, designers, fabricators, creative partnerships.

60’lı yıllar birçok alanda hak arayışlarının en çarpıcı biçimiyle yaşandığı yıllardır. Yaşamla doğrudan bağlantılı olan sanat ortamı da bu bağlamda değişikliğe uğramış; alışılagelmiş sanat pratikleri yoğun bir şekilde tartışılırken bu hak arayışları sanat pratiklerine de yansımıştır. Geleneksel sanat tarihi anlatısında, modernizmin kahramansı yaratıları olan deha, ustalık, yetenek gibi kavramlar, erkeklere mal edilerek kadın sanatçılar dışlanmıştır. Feminist hareketten yola çıkan ve ataerkil toplum zihniyetine karşılık; çevreci mücadeleyi sanatla birleştiren ekofeminist anlayış da böyle bir ortamda ortaya çıkmıştır. Doğanın dişil çağrışımından da yola çıkarak sanatçılar, tahrip edilen doğaya dikkat çekmiş, kadınlar üzerindeki eril hakimiyet ile doğanın sömürülmesi arasında bir bağ olduğu düşüncesi üzerinde durmuşlardır. Ekofeminizm bu süreçte; odağına doğayı, çevre bilincini, hem kadın hem de doğa üzerinde kurulan tahakküme dair eleştiriyi koyan ve genellikle ortaklaşa çalışma, onarım, yenileme gibi kavramları içeren bir akım olarak karşımıza çıkmıştır. Literatür değerlendirmesine dayalı olan bu çalışmada bu alandaki yazın taranmış, insanın doğayla olan ilişkisine yeni bir bakış açısı sunan, sanat ve feminist hareketin kesiştiği noktada ortaya çıkan ekofeminist sanat anlayışının kavramsal boyutu ve tarihsel olarak gelişim süreçleri incelenmiştir. Sanatçılar üzerinden yapılan çözümlemeler neticesinde, sanatın çevresel farkındalık yaratmak amacıyla bir aracı olarak konumlandırılması, çalışmanın önemini vurgulamaktadır.

I believe that the election in 1994 of the first democratic government in South Africa has presented a challenge to all South Africans in different ways. I believe that one of the principal challenges that the 1994 elections presented to my conservative Calvinistic Afrikaner community was to address its personal, family, community, national and international identity/ies. Arising out of this perspective and perception, I have explored my and my family memory/ies to answer questions about my identity. My study is a journey of awareness: a self-study exploring my identity through critical self-reflection and the development of my art practice. My self-study is multi- disciplinary: it employs interchangeable methodologies allowing for various forms of knowledge generation. My journey of awareness is a “living theory” in which I have developed my “living standards of judgement” and addressed my “living contradictions” (Whitehead 1985; 1989; 2008a; b; c; d). My study illustrates the symbiotic research and creative process of developing an understanding of my identity as a white Afrikaans woman through practicing my art. My art practice assisted in the action/reflection process as well acting as a tool for social action and transformation.

The article highlights methodological foundations of visual arts masters’ professional training in higher education institutions in the United States. It has been established that the examined phenomenon represents a holistic, innovation-oriented system that integrates conceptual, technical-technological, and research-analytical components. The methodological structure of this system is aimed at fostering critical thinking, interdisciplinary collaboration, and development of individual artistic identity among students. A key role in the educational process is assigned to project-based learning, which ensures direct engagement with real-world artistic practice and contributes to the development of both professional and transversal competences. Students are actively involved in curatorial practices, exhibition projects, and cultural initiatives, often implemented within the framework of grant programs, which further strengthens their managerial and communication skills. The integration of the research and reflective components is achieved through such visually oriented methods as photodocumentation, photo-elicitation, and visual essays, which enable in-depth analysis of sociocultural phenomena from an artistic perspective. The digitalization of the educational process, particularly through the use of 3D modeling, animation, augmented and virtual reality (AR/VR), and interactive media, significantly expands the tools of visual communication and enhances the interdisciplinary awareness of students. The learner-centered instructional model, grounded in mentorship, critical dialogue, and artistic reflection, creates favorable conditions for the development of professional and creative thinking. The implementation of arts-based teaching and learning transforms the educational process into an artistic practice, wherein the instructor acts not only as a teacher but also as a co-creator of meaning. In this paradigm, learning outcomes are treated as artistic artifacts – unique expressions of the student’s conceptual and creative journey.

The pertinence and worth of arts in Quebec primary schools vary considerably from one institution and school administration to another. In this paper it is argued that well-integrated arts education would bring a large array of pedagogical benefits to students, not the least of which is the preservation and the development of aesthetic perception and creativity. Actually, teachers can rely on the syncretistic and amodal perception of the young child, a learning mode that is analogous to the aesthetic experience and fostered by art practices. The paper draws notably on Ehrenzweig and Winnicott to advocate that the school, through arts education, should preserve and make use of this precious perceptive faculty, and temper the educational bias that largely favours the logical or analytical mode of the child. It advocates for an essential developmental balance between the child’s intuitive and analytical faculties, a healthy equilibrium that arts education has the potential to instil. Children and society both have much to gain from the school’s fostering of arts education and aesthetic perception: children from their balanced development and society from future creative citizens’ contributions.

The article examines the transformation of Ukrainian artistic consciousness and artistic lingual practice during the period of the full-scale invasion. It demonstrates how the war has fundamentally reshaped the poetic and artistic-publicistic worldview, generating new linguomental profiles of the concept “war.” Special attention is paid to the role of artistic discourse as a highly sensitive indicator of collective experience: it captures shifts in modes of conceptualizing war, the reconfiguration of evaluative dominants, and the emergence of new semantic axes that structure contemporary representations of wartime reality. The study outlines the growing convergence between artistic consciousness and everyday lingual experience, driven by the rapid militarization of the lexicon, the formation of new semantic relations, and the intensification of emotional and existential components. Artistic language is shown not only to reflect but also to model collective ways of experiencing war – fear, loss, pain, expectation, and hope. Within artistic texts, a renewed conceptual space emerges in which war becomes a central category shaping the architecture of artistic thinking and serving as a key marker of contemporary Ukrainian lingual identity. The article highlights the significance of artistic practice in registering and interpreting new meanings of war. It analyzes the shift from earlier metaphorical uses toward direct, experience-based representation and identifies the evaluative asymmetry between depictions of war as an aggressive, destructive force and its understanding as a historical trial that consolidates society. It is emphasized that artistic consciousness has become an essential domain for crystallizing memory, experience, and meaning-making under the conditions of wartime reality.