Creative Achievement Research Articles

Understanding the Gender Gap in Creative Achievement

ABSTRACT Despite minimal gender differences in creative potential and ability, there are substantial differences in the creative achievement of men and women. This article provides a brief overview of theories attempting to explain the gender gap in creative achievement and describes select research seeking to better understand the underlying assumptions of several of these theories. This work underscores the need for research-supported theories that account for how the dynamic interaction between different levels of analysis influences the gender gap in creative achievement.

Transformation of Bookplates in Ukraine in the Era of Independence: Artistic Imagery and Graphics

The purpose of the study is to highlight the transformation of the bookplate of the independence era: artistic imagery and graphics. The research methodology is to use an analytical approach to highlight the peculiarities of the development of the bookplate of the era of independence. An important element of the research was observation and description, which allowed us to explore and outline certain aspects of international cultural cooperation, including active participation in international exhibitions and competitions. The novelty of the study lies in the systematisation and generalisation of the achievements of small-form graphics, important historical and socio-cultural changes that have shown a deepened interest in it on the part of graphic artists. For the first time, the volume of the most significant publications prepared by Ukrainian scholars on the way to a thorough study of the bookplate heritage is summarised. The fulfilment of the research objectives is clearly demonstrated. Conclusions. Significant achievements of Ukrainian bookbinders during the years of Independence were the result of a major shift in the country’s political, social, and economic system. Cultural institutions, museums, and libraries became interested in the bookplate, which led to the emergence of educational publications and research that stimulated an in-depth study of the stages of its development and symbolic language. Exhibition activities intensified, and Ukrainian bookplates became known in many countries around the world and were duly appreciated for their achievements. Not only collective but also personal exhibitions of famous artists were held abroad. The emergence of new book marks was facilitated by numerous exhibitions and competitions dedicated to anniversaries held in many countries of the world, and was also reflected in the work of bookplate designers, which encouraged them not only to new creative achievements, but also contributed to the creation of a large portrait gallery of prominent cultural and artistic figures. The art of small-form graphics of the independence era is marked, first of all, by the creation of new paradigms and canons, with special attention paid to national themes. Key words: bookplate, transformation, collectors, publications, exhibitions, museums, libraries, anniversaries.

Borys Kudryk’s Piano Compositions for Young People in the Context of Music Culture of Galicia in the First Third of the Twentieth Century

The purpose of the study is to reveal the artistic and aesthetic, cognitive and didactic values of Borys Kudryk’s piano music for young people in the context of the creative achievements of the Galician compositional school of the first third of the 20th century. The research methodology is based on the following methods: retrospection, comparison, systematisation, analysis, and generalisation.The scientific novelty of the obtained results is that for the first time the piano heritage of Borys Kudryk is considered in the axiological perspective of the contribution of his works to the regional pedagogical repertoire for piano.Conclusions. The article proves the statement: the piano music of Borys Kudryk is marked by a certain eclecticism, it is more imbued with the achievements of past eras than the contemporary art world. Nevertheless, the artistic, aesthetic, cognitive and didactic value of the analysed works of the composer for young people lies in their ideological, semantic and figurative-emotional content, which is determined by the range of genre rhythmic intonations inherent in the Galician socio-cultural environment of the late 19th and early 20th centuries and assimilated according to the author's preferences. Taking into account the achievements of the world musical culture in this field, rethinking this material through the prism of national song sources and local musical traditions, B. Kudryk presented works that tend to classicist stylistics and partially to neoclassical and post-Romantic ones. They occupy a distinctive niche in the diversity of Galician piano literature, which in the first third of the 20th century professed the principles of training young musicians who would not only master the instrument with dignity, but also respect national and universal artistic values, grow up to be emotionally sensitive and intellectually rich people. Key words: Borys Kudryk, piano works, works for young people, music culture of Galicia.

Habit, Artificial Intelligence and the Ontological Performance of Trust

The rapid growth of AI technologies has led to increased concerns around their perceived trustworthiness. In response, many authors have turned to the predictable rituals and routines of habit as a crucial resource for enhancing trust in these new technologies. This paper revisits the relationship between habit and trust, but from the perspective of the more ontological and dynamic understanding developed on the philosophy of Gilles Deleuze. We argue that Deleuze's concept of habit challenges the cognitivist emphases of writings on trust and AI, providing a means instead of accounting for trust in terms of an ontological performance that no longer assumes a pre-existing subject. We unpack the implications of such an approach in three main ways. First, we highlight how the originality of Deleuze's approach to habit lies in its insistence that the material contractions of habit enjoy an ontological primacy in relation to the human subject, thus entailing a radically materialist gesture that refuses conventional metaphysical distinctions between the human and the differential forces of matter. Second, we explore how the material contractions of habit, for Deleuze, engender a simultaneous contemplation of an ecology of affects that sit beneath the level of conscious thought. This offers a sense of trust in human–technology relations as being as much an affective capacity as it is a cognitive attitude, being shaped by the performance of unconscious forces and intensities. And finally, we argue that Deleuze's understanding of habit as a fundamentally dynamic process spotlights how trust is itself a creative achievement predicated on an openness to an unknown future. This is important ethically because it pushes understanding of trust in AI beyond a moral didacticism of whether such systems are 'Good' or 'Bad', towards more immanent modes of evaluation sensitive to their capacities to incite new possibilities of thinking and relating.

Creative Achievement of Eminent Scientists in Tang and Song Dynasties of China: A Historiometric Study

ABSTRACTThe creative achievements of eminent genius in Chinese history are of enormous interest. There is, however, uncertainty about the accurate measurement of eminence and creativity. The most tenable measurement approach is historiometric. Nearly all historiometric research on eminence and creative achievement has involved Western samples. The present investigation used historiometry to test two hypotheses about creative achievement with Eastern samples. These point to developmental adversity (DA) and the “madness‐to‐genius link” thought to facilitate unusual cognitive patterns and thus a creative capacity. Here, historiometric methods were applied to a sample of 55 eminent scientists in the Chinese Tang and Song dynasties. DA and mental illness did not significantly predict Chinese scientists' creative outcomes. Other diversifying experiences, such as religious beliefs, migration, and role model mentors, had a positive relationship with eminence and creative achievement. The Tang and Song dynasties had different religious structures, so religion had a different impact on the creative achievements of scientists. In the Tang Dynasty, religion could positively predict the creative achievements of scientists, while in the Song Dynasty it could not. These findings warrant further research using other eminent creators in Chinese history.

REFLECTION OF CREATIVITY: THE EXPERIENCE OF STUDYING AND DEVELOPMENT

The article substantiates the relevance of studying and developing the creativity reflection, which determines the perspective of the development of creative potential in the process of ontogenesis and which is the “triggering mechanism” of all self-processes of personality and a condition for successful self-realisation of personality in the future. The authors give a working definition of the “reflection of creativity” concept as a meta-ability to realise creative self-processes of personality: self-exploration, self-reconstruction, self-design and self-creation, awareness of creative achievements and individual characteristics of the “Creative Self”. The authors developed a diagnostic programme and a model of creativity reflection. The ascertaining, transforming and control stages of the study were implemented in a group of younger schoolchildren. Based on the results of the ascertaining experiment, the authors developed a transformative experiment, which is a developmental programme. Based on the empirical research, the authors determine the age specificity and dynamics of development, the correlation structure of significant indicators of creativity reflection, the features of the dynamic and contradictory process of formation of creativity reflection that contribute to the development of younger schoolchildren as subjects of creative activity.

Kharkiv vocal school: on the path of continuity

Statement of the problem. Objectives, methods, novelty of the research. The year 2022, which marked the 105th anniversary of the Kharkiv National University of Arts, became a tragic challenge for the entire Ukrainian public, exacerbating the issue of preserving the country’s cultural traditions and its historical memory. The formation and development of the Kharkiv school of academic vocal art is an integral and bright part of the cultural history of Ukraine, which needs to be highlighted and scientifically understood. Despite the fact that the Kharkiv vocal school has educated a whole galaxy of world-class singers, there is still no fundamental scientific research devoted to it. The purpose of the article is to actualize for our contemporaries the creative achievements of the Kharkiv vocal school, represented now by the Department of Solo Singing and Opera Training of the Kharkiv I. P. Kotlyarevsky National University of Arts, to highlight the hereditary ties between the generations of its representatives, some trends in its development and the specifics of its current stage. The combination of historical-biographical, chronological-documentary, analytical, and systemic methods made it possible, based on a brief review of the historical development of the Kharkiv vocal school, to identify some characteristics of it, established in its tradition. Research results and conclusion. A brief overview of the historical development and main achievements of the Kharkiv school of academic singing, the core of which is today the teaching staff of the Department of Solo Singing and Opera Training of the Kharkiv I. P. Kotlyarevsky National University of Arts, allows us to identify certain characteristics of it, established in its long-standing tradition. This is an extremely high vocal culture, characteristic of its best representatives, among whom are People’s Artists of the USSR B. Hmyria, M. Reizen, M. Manoilo, N. Surzhina, N. Tkachenko, V. Tretiak, H. Tsypola; People’s Artists of Ukraine and former Soviet republics V. Arkanova, H. Horiushko, O. Vostriakov, I. Zhurina, M.Koval, L. Solianyk, O.Romanenko, V.Rozanov and many others, Honored Artists and laureates and graduates of international and national vocal competitions, who at different times, in different countries, on the most prestigious stages of the world successfully confirmed the high professional status of the Kharkiv vocal school: L. Morozov (Geneva, 1958), Ye. Ivanov (Sofia, 1961) , Bucharest, 1964), V. Trishin (Moscow, 1970), L. Serhienko (Geneva, 1973, Moscow, 1974), H. Tsypola (Tokyo, 1976), V. Boldyrev (Japan, 1990), O. Kramareva ( St. Petersburg, 2005), M. Paster (Moscow, 2007), N. Polikarpova (Finland, 2010), L. Kohan (Finland, 2017), Liu Xia (Italy, 2018), V. Lashko (Czech Republic, 2019) and many others. The components of this culture are perfect technical skill, “inherited” thanks to the tradition of training singers, which comes from the masters of Italian bel canto – the founders of the Kharkiv school, and a deep understanding of the artistic content of music, which is impossible without the constant attention of the teachers to the harmonious education of the students, the expansion of their creative horizons. From the beginning, the Kharkiv vocal school relied on invaluable performance experience – its teachers were usually the recognized masters of opera and chamber singing, and this tradition has been preserved. Today, in the era of the “stage director’s” theater, the concept of complex development of the vocalist has gained new relevance. Currently, the Department of Solo Singing and Opera Training of the Kharkiv National University of Arts carries out the entire complex of professional training of a singer thanks to his close cooperation with the concertmaster, conductor, choirmaster, director, teachers of acting disciplines, stage practice in the Opera Studio. As in the previous stages of its development, the Kharkiv vocal school demonstrates openness, readiness to learn the experience of other Ukrainian and international schools, which is a guarantee of constant growth. In recent decades, the number of honorary and scientific titles, bright victories of Kharkiv singers at prestigious vocal competitions has significantly increased, graduates of the department work on leading opera stages, and successfully tour abroad. With the change of generations, new pedagogical methods, aesthetics and performance styles naturally appear, vocal and technical skills are improved, but awareness of the artistic and aesthetic principles of the Alma Mater vocal school will help its young students to solve difficult professional tasks.

Creativity, Emotion Regulation, and Maladaptive Daydreaming

ABSTRACT The goal of this study was to examine maladaptive daydreaming and the associations with emotion regulation difficulties, creative processes, creative self-efficacy, and creative personal identity. A non-clinical sample of active participants (N = 361) was investigated. A series of Pearson correlations, multivariate, multilinear regressions, and moderation analyses were conducted. The study findings indicated that difficulties with emotion regulation and creative distinct experience process explained 23% of the variance in maladaptive daydreaming. In a smaller sub-sample (n = 146) creative personal identity positively predicted maladaptive daydreaming, but creative self-efficacy was a negative predictor of maladaptive daydreaming. Emotion regulation difficulty was also associated with creative anxiety, whereas a feeling of power and pleasure during the creative process was associated with greater emotion regulation. The findings in this study reinforced the need to cultivate optimal emotion regulation skills, especially in individuals who struggle with compulsive immersive daydreaming. Creative processing skills and optimal emotion regulation strategies may help individuals with maladaptive daydreaming, including increasing their creative achievement and self-efficacy.

PORTRAYAL OF VIOLENCE IN PAKISTAN FEATURE FILM: A COMPARATIVE ANALYSIS OF ZIA ERA AND DEMOCRATIC GOVERNMENT OF BENAZIR BHUTTO

This research aims to examine the portrayal of violence in Pakistani Feature Films while developing a comparative analysis during the eras of late military dictator General Zia and former Primer Pakistan Benazir Bhutto. As, the two regimes have opposite governance mechanisms; socio-political and religious approaches, wherein cultural activities were practiced with two different lenses. Gen. Zia’s regime imposed cultural sanctions on entertainment programs including films, dramas, and newscasting in the name of enforcing the Islamic system of governance, whereas Benazir Bhutto’s regime provided freedom of expression for liberal thoughts, showbiz programs, and movies on women empowerment. However, this research hypothesis the physical, verbal, and psychological violence portrayed in feature films produced during the regime of Zia was more than the violence portrayed in movies produced during Benazir’s regime. Researchers employed a quantitative approach with content analysis as a research method. Based on the equal allocation method, 5 movies in Urdu and Punjabi languages were taken from Zia’s era, and five movies from Benazir Bhutto’s era. A coding sheet was developed with the assistance of trained coders while dividing data sets into different variables involved in physical, abusive, and psychologically oppressive acts. The study approved cultivation theory as ideas cultivated through films were gratified by the viewers. The results reveal that the time and scenes portraying violence in movies produced during Zia’s era were much higher as compared to the era of Benazir Bhutto. Results showed the steps of women’s empowerment and cultural liberation were reflected in the movies. The women felt empowered and free from any religious or cultural or social taboos involved in creative achievements. The research suggested the government should step forward and design certain definite benchmarks with the recommendations to the Censor Board to adopt and ensure violence-free movies. Keywords: Abusive Language, Comparative Study, Content Analysis, Feature Films, Physical Violence, Women Empowerment

The activities of scientist agronomist S. M. Bogoyavlenskyy towards the establishment and development of the Kyiv Station for testing agricultural machines and tools (1901–1916)

The aim of the article is to reconstruct the course of events and facts of scientist agronomist Serhiy Mykolayovych Bogoyavlenskyy’s activity for the benefit of the development of agricultural science in Ukrainian lands, especially regarding the establishment and development of the Kyiv station for testing agricultural machines and tools during 1914–1916 based on the "personal files" found in the archives. Scientific novelty of the article lies in the fact that it examines information about one of the closest assistants of Professor K. G. Schindler in such a difficult, from an organizational point of view, matter of expanding the activities of the mentioned station. The "personal files" of the agronomist S. M. Bogoyavlenskyy were found and analyzed for the first time, which made it possible to outline his contribution not only to the establishment and development of the station, but also to find out his creative achievements in the field of development of agricultural mechanics and machine science. The significant creative contribution of S. M. Bogoyavlenskyy to the activities of the first station for testing agricultural machines and tools in Europe during 1901–1916, as well as his professional political contribution to the preservation of its potential in 1911–1916 as an assistant of the director – first its founder Professor K. G. Schindler, and then – Professor P. R. Sliozkin. It was established that it was S. M. Bogoyavlenskyy at the initial stage of the Station's activity who was entrusted with the task of implementing the organizational plan developed by K. G. Schindler for the introduction of field management of the institution and the construction of premises. The participation of the scientist in carrying out appropriate tests of technical tools was foreseen not only for the needs of the educational process, but also for research and production purposes throughout the territory of the European part of Tsarist Russia and, first of all, in the Ukrainian provinces. We note the role of S. M. Bogoyavlenskyy in conducting experiments in field and laboratory conditions on soil cultivation, sowing, plant care and harvesting, as well as in the development of appropriate methods and the manufacture of devices for testing agricultural tools. In addition, he is credited with the preparation and printing of the first issue of "News of the Testing Station for Agricultural Machines and Tools at the Kyiv Polytechnic Institute" (1907). The scientist conducted practical sessions with KPI students on researching agricultural machines. The article documents for the first time the fact that S. M. Bogoyavlenskyy headed the Station immediately after K. G. Schindler was dismissed in 1911–1912. The fate of the scientist agronomist after 1916 remains unknown.

THE FRIENDSHIP OF WITOLD FRIEMANN AND ADAM MITSCHA WITH KAZIMIERZ BROCZYK RECORDED IN CORRESPONDENCE

In their youth in Lviv, Kazimierz Broczyk, a writer, and two musicians, Witold Friemann and Adam Mitscha, made an acquaintance that in time turned into a devoted lifelong friendship. Even though their fates were separated because of the WW II hardships, and they found themselves in different cities, this is how we have their correspondence kept up among them and uncovering a wide variety of different topics. Its main body is the existentialism related to their lives and moral choices. The letters exchanged by Broczyk and Friemann date back to the period of 1954 and 1967, whereas the letters of Broczyk and Mitscha are from 1962-1967.Broczyk and Friemanns friendship was of a literary and musical nature as Broczyk was the librettist of Giewont Friemanns first, unfinished operatic piece; unfortunately, the work has not survived except for small fragments in the form of songs. Mitscha was in turn Friemanns student in the Lviv period, and with time he became his faithful friend and first biographer. The Broczyks, even though not professionally connected with music, proved to be fond of it (his wife Eugenia sang in a choir) and fascinated by Friemanns compositions presented on the Polish Radio.The three friends and their families constantly suffered from health problems, which undoubtedly resulted from their war experiences and everyday hardships, as well as poor housing conditions in case of the Friemanns, whereas in case of Broczyk, also his stays in prison and deportation. Apart from that, in the letters we read about the moral dilemma they had, their attitudes and deliberations pertaining to religious beliefs. The artists also shared their creative achievements and the differences they noticed between music and words while expressing themselves (censorship issues). To that we should add diligent teaching work plus editing and translation activity, which are the essence of the epistolography referred to here. All three of them were also authors of Memoirs, which still today constitute a testimony to the bygone era as well as their personal fate and the fates of their loved ones and other people significant in their lives, all of which were part of that era too.Holiday and nameday greetings and the very touching tone of the letters and mutual concerns for each other fully show the notion of a true friendship the friendship that was strengthened by their meetings in person in Cracow, which occurred during the Friemanns holiday trips to that city.In all three houses like protective spirits our heroes wives appear full of dedication, self-sacrifice, and devotion, often adding their names to what their husbands wrote, and also their sons, who frequently caused their parents a lot of worry and trouble. Their dilemmas and dramas like in reference to Broczyks only son Szczsny are also depicted in the letters presented here in a very heartrending way.Broczyk dedicated a significant part of his letters to his fascination by nature, which he admired together with his wife, and deep reflection on evanescence, he rebuked himself for no creative fever as compared to the always creative Friemann, and for being torn, which bothered him ([...] Everything Ive done in my life has been loomed over by this curse of incompletion. Ive never properly finished anything because Ive never been exclusively devoted to anything [...]). He also had to face the passing of his beloved wife.

PORTRAYAL OF VIOLENCE IN PAKISTAN FEATURE FILM: A COMPARATIVE ANALYSIS OF ZIA ERA AND DEMOCRATIC GOVERNMENT OF BENAZIR BHUTTO

This research aims to examine the portrayal of violence in Pakistani Feature Films while developing a comparative analysis during the eras of late military dictator General Zia and former Primer Pakistan Benazir Bhutto. As, the two regimes have opposite governance mechanisms; socio-political and religious approaches, wherein cultural activities were practiced with two different lenses. Gen. Zia’s regime imposed cultural sanctions on entertainment programs including films, dramas, and newscasting in the name of enforcing the Islamic system of governance, whereas Benazir Bhutto’s regime provided freedom of expression for liberal thoughts, showbiz programs, and movies on women empowerment. However, this research hypothesis the physical, verbal, and psychological violence portrayed in feature films produced during the regime of Zia was more than the violence portrayed in movies produced during Benazir’s regime. Researchers employed a quantitative approach with content analysis as a research method. Based on the equal allocation method, 5 movies in Urdu and Punjabi languages were taken from Zia’s era, and five movies from Benazir Bhutto’s era. A coding sheet was developed with the assistance of trained coders while dividing data sets into different variables involved in physical, abusive, and psychologically oppressive acts. The study approved cultivation theory as ideas cultivated through films were gratified by the viewers. The results reveal that the time and scenes portraying violence in movies produced during Zia’s era were much higher as compared to the era of Benazir Bhutto. Results showed the steps of women’s empowerment and cultural liberation were reflected in the movies. The women felt empowered and free from any religious or cultural or social taboos involved in creative achievements. The research suggested the government should step forward and design certain definite benchmarks with the recommendations to the Censor Board to adopt and ensure violence-free movies. Keywords: Abusive Language, Comparative Study, Content Analysis, Feature Films, Physical Violence, Women Empowerment

Romantic Characteristics of Harmony in the Chamber and Vocal Works of Viktor Kosenkо on the Poems of Symbolist Poets

The vocal and chamber work of the outstanding Ukrainian composer of the 20th century Viktor Kosenko is a reflection of the lyrical musical and poetic features of his artistic world. For the author, this is a field of constant search for new means of musical expression and at the same time a solid base for mastering the traditions of past and present creative achievements. That is why romances occupy an important place in the composer's work.
 Romantic lyrics dominated his work until the end of the 1920s, but still Viktor Kosenko's romances have not lost their relevance. The music complements the experience of the modern listener with numerous allusions to the romantic era. It sometimes resemblessty listic fusion sof elements of the music allanguage of composers of the past – S. Rachmaninov, P. Tchaikovsky, O. Scriabin, impresses with a palette of harmonious colors of late romanticism, impressionism, which shows the directions of the composer's musical and aesthetic preferences, especially in harmony. It is this important aspect that remains the least studied in musicology, therefore the study of harmonic phenomena in Vіktor Kosenko's chamber and vocal lyrics has all the signs of relevance.

The Investigation of Psychological Motives of Creative Abilities in The Omani Musical Intelligence

The Sultanate of Oman is characterized by a huge and creative musical heritage that remains mostly preserved. One hundred forty-two different traditional musical genres and styles (funun) have been registered in the Sultanate. This study aimed to investigate the Omanis’ musical creative achievements and the psychological motives behind Omani musical creative achievements. The present qualitative study adopted ethnographic research. The two study’s questions were answered in two stages: firstly, by analysis of relevant documents of Omani genres, and secondly stage based on analysis of documentary films and direct observations. The study showed that the Omanis created such musical achievements, including many genres, rhythms, instruments, and ways of performing. Furthermore, research has shown psychological motives that motivated Omani people to create these various genres, such as provocation of enthusiasm, meditation, religious motivations, poetic competition, and emotional motivation. For each motive, musical genres have been presented.

Self-Regulation of Creativity: Toward Measuring Strategies of Creative Action

ABSTRACT How are creative ideas transformed into creative behavior, products, and achievements? We posit that this transformation is facilitated by self-regulation of creativity. The present study develops a self-report scale and provides initial evidence of validity in assessing two major aspects of self-regulation of creativity: expectations about the creative process before the task and strategies of regulation during the creative task. Cross-validated factor analyses identified three dimensions of expectations: expecting a nonlinear process, importance of task completion, and expecting criticism, and four dimensions of regulation strategies during the creative process: adjusting approach, planning, fragile regulation, and embracing risk. Convergent and discriminant validity was supported in relation to measures of general self-regulation, personality, well-being, and motivation. Finally, we provide support for the predictive validity of self-regulation of creativity scales for creative achievement beyond openness to experience. We discuss the need for research on the nature of the process of transforming and realizing creative ideas.

The hidden loss of creative potential at school: Is girls’ creative potential under-identified?

Gender disparity is increasingly visible in creative achievement as people age despite there being little evidence for gender differences in creative potential. The source of gender disparity has been explained in several aspects including thinking potential, age, personality, and beliefs. However, the way creative potential is identified at school is understudied as a source of gender disparity. The present study aimed to examine the gender difference in the creativity gap—defined as the discrepancy in the creative potential that students exhibited between inside and outside of school to provide insight into the gender disparity. The study analyzed 553 South Korean students’ responses to a 36-item questionnaire (Creative Activity and Accomplish Checklist) using diagnostic classification models to obtain diagnostic information for individual students’ creativity gaps between inside and outside of school. The results indicated that the creativity gap was pronounced as evidenced by a substantial number (14.4%≤Gap≤ 20.6%) of students’ creative potentials being under-identified at school. The creativity gap was significantly more noticeable in girls while no significant gap was found in boys, implying that girls were at a higher risk of loss of creative potential at school than boys. Girls tended to be lower in creative self-efficacy than boys. Moreover, the lower creative self-efficacy, the more creativity gap for girls in four domains while this pattern was held for only one domain in boys. The implications were discussed in terms of the school climate as well as the cultured beliefs about a traditional gender stereotype.

Music from beyond (or how to deal with a musical forgery)

Rosemary Brown (1916-2001), a housewife from South-London, was one of the most famous mediums of her time. Throughout her lifetime, famous composers such as Liszt, Beethoven, Schubert, Debussy and Chopin sought her from the realm of the dead to dictate their posthumous compositions. Brown’s ‘received’ musical pieces became a case study for musicians and psychologists. None, however, ever came up with a convincing explanation for the pieces’ existence. Rather than being a story of sheer madness or clairvoyance, in this paper I read Brown’s musical forgeries as a ‘testament’ to twentieth‐century Western culture’s fascination with originality and the cult of genius. Ideologies of authorship and authenticity shape our aesthetic appreciation, so that music’s essential value is for us more than just ‘sounding good’. Drawing on recent philosophical discussion in aesthetics, I question this cultural framework by scrutinizing the concept of artistic creativity. It is because art is a form of creative achievement that history and provenance count as central factors of our evaluation. This, in turn, may reveal us something about the value of musical forgeries.

Concepts and criteria of patentability of invention, utility model and industrial design

Purpose.The purpose of the work is to analyze the concepts and criteria of patentability of an invention, utility model, and industrial design. Methodology.The methodology includes a comprehensive analysis and generalization of the available scientific and theoretical material and the formulation of relevant conclusions and recommendations. The following methods of scientific knowledge were used during the research: terminological, functional, systemic-structural, logical-normative. Results: In the research process, it was recognized that patent law covers a set of norms regulating relations related to the creation, design and use of inventions, utility models and industrial designs, which include both personal and property rights. A patent is a document that confirms the right to intellectual property in relation to an invention, a utility model or an industrial design. Issuance of a patent is a consequence of the need to define the right to a creative achievement, as well as the possibility for parallel development, since the first person who disclosed knowledge to the public should have the right vested in him. Scientific novelty. In the research process, it was established that if the technical essence of the object needs to be protected, an application for an invention or a utility model can be submitted, and when it is necessary to protect the appearance, an industrial design is used. Thus, an invention and a useful model are the result of human intellectual activity in any field of technology, and an industrial model - in the field of artistic design. Practical significance. The results of the research can be used in law-making and law-enforcement activities.

Exploring the Protection of Copyright for Firework Performances

China’s economy and culture keep moving forward, and atypical works appear more and more in the process of development. After the latest revision of the Copyright Law came into force, there are still controversies over the relevant atypical works. The copyright issues behind the creative achievements, such as the ten scenic hairstyles of West Lake, martial arts performances, musical fountains and fireworks shows, have also received wide attention. The copyright protection of fireworks performances faces the dilemma of the vague standards of creativity and unclear measure of infringement determination. It is necessary to analyze the legal connotation of fireworks performances, propose the standard of originality and clarify the standard of infringement to improve the copyright protection of fireworks performances.

Resting-State Functional Connectivity Reveals Differences in Large-Scale Network Interactions Between Eminent and Non-Eminent Thinkers

ABSTRACT Prior work suggests that differences in brain morphology and task-evoked neural activity may underlie extraordinary creative achievement. Here, we extend these findings by focusing on resting blood oxygen level–dependent (rsBOLD) functional connectivity differences between eminent creators from diverse fields of expertise and a “smart” comparison group of age- and education-matched non-eminent thinkers. Participants underwent rsBOLD imaging, along with a high-resolution structural brain scan, and completed a series of demographic and behavioral measures. The results revealed significant differences in rsBOLD connectivity between the eminent and noneminent thinkers. Eminent thinkers showed increased connectivity between (a) the right central operculum and the bilateral parietal operculum, right supramarginal gyrus, and left precentral gyrus; (b) the right precentral gyrus and the right postcentral gyrus; (c) the left parietal operculum and the right central operculum and the right sensorimotor cortex; and (d) the posterior cingulate gyrus and the right precentral gyrus. In contrast, they showed decreased connectivity between (a) the posterior cingulate gyrus and the left supracalcarine cortex and (b) between the left occipital fusiform gyrus and the left frontal operculum. These results suggest that extraordinary creativity may be associated with measurable differences in functional connectivity, particularly in areas that support creative functions.