Creative Experience Research Articles

Like Drifting Sand Dunes: Noisy Lessons in a Porous Field

AbstractThis paper argues that the teaching of art in Higher Educational Institutions is inherently paradoxical. Informed by the transgressive and interdisciplinary qualities of contemporary artistic practices, education nevertheless is often made to fit into a reductionist, outcome‐oriented and individualistic discourse. Taking a weeklong workshop at the Nida Art Colony in Lithuania as a practical axis for its reflections on the fluid nature of art education, the paper discusses possibilities of extending beyond pedagogical, political, human/nonhuman and other borders and treating ‘noise’ and other ‘interferences’ as opportunities for transgression and dialogue. This workshop with students from the Vilnius Academy of Arts took place in September 2022, at a time characterised by the Russia–Ukraine war. Nida's proximity to Russia's exclave Kaliningrad, its location on the narrow Curonian Spit, and its immediate environment characterised by woods and sand dunes provide this paper with a setting for a discussion about a variety of borders: territorial borders, border pedagogies, perceived borders between human and nonhuman entities, between land and sea, and so on. Borders are described as dominant indicators of power and distinction, while educational standards and instruments of measurement often replicate similar distinctions between the known and the unfamiliar. Yet, borders can also be shifted while new connections and dialogues across real and conceptual borders can be forged in a porous process that is predisposed towards flexible scenarios characterised by the ‘not‐yet’. The surrounding forest and wetlands and huge drifting sand dunes in Nida become analogies for the changing structure of the workshop, silently yet overpoweringly advocating for a mutable pedagogy. Analysed through the work of various contemporary artists, this nonhuman intrusion into a pedagogical and creative experience is both undefined and vulnerable, unlike the preordained structures of attainment targets often associated with contemporary schooling.

Творчество и религиозность как проблема философии русской культуры

This review presents an analysis of the fundamental work “Creativity and religiosity in Russian culture. Philosophical Research” was written by the Russian philosopher and cultural scientist O.A. Zhukova who has been fruitfully researching the history of Russian culture and national thought for many years. The new book is the third part of a trilogy devoted to discussing the line of succession in Russian cultural and intellectual history, which is characterized by a religious understanding of creativity. The author formulates important theoretical positions, as well as methodological approaches to the study in philosophy of Russian culture and history. The large scale work is highlighted by the original interpretation of the plots considered in it. In the book, O.A. Zhukova develops the thesis about the ideal-centering of Russian culture, she offers a philosophical-culturological model of the historical dynamics of Russian culture. The basis of this model is the creative experience of a personality.

Association Between the Creative Experience of Haiku Poetry and a Tendency Toward Self‐Transcendent Emotions

ABSTRACTHaiku is the world's shortest form of poetry, describing nature and ordinary everyday life. Previous studies and quotes from professional haiku poets suggest that haiku can foster self‐transcendent emotions, such as gratitude and awe. This study compares how those who did and did not create at least one haiku in the past month experience self‐transcendent emotions. A total of 192 haiku writers and 177 non‐writers responded to scales related to self‐transcendent emotions, such as gratitude for serenity, gratitude trait, and trait awe. The results of the Bayesian implementation of Generalized Linear Mixed models revealed that haiku writing increased the frequency of gratitude for serenity and awe, rather than general gratitude. These effects persisted even after controlling for interest in art and educational level, indicating that haiku writing has unique characteristics, including encouragement of attention to nature and a different perspective on daily life. Even in the absence of special events, a change in perspective toward everyday life occurs through creating haiku, and people appreciate and feel awe toward ordinary, everyday things. These novel findings contribute to the study of creativity and emotion.

Turkish adaptation of a brief self-report measure of fantasy proneness: The Creative Experiences Questionnaire (CEQ)

This research addresses the construct of fantasy proneness that is unexplored in the context of Turkey by adapting and assessing the psychometric properties of the widely accepted Creative Experiences Questionnaire (CEQ), aiming to fill a significant gap in existing literature and contribute to the understanding of this construct and its correlates in a population aged between 18 and 60 years. The Turkish version of the CEQ demonstrated face validity, aligning participant responses with fantasy, imagination, and dissociation (n = 15). Exploratory Factor Analysis confirmed a single-factor solution based on the scree plot graphic, without item removal (n = 310). Reliability and validity analyses (N = 464) affirmed robustness with adequate internal consistency (Cronbach’s Alpha = 0.78, McDonald’s Omega = 0.77) and test-retest reliability (n = 110, r = .72). Convergent validity was supported by correlations with dissociative experiences (r = .51) and magical ideation (r = .51). Discriminant validity was evident in negative correlations with social desirability (r = -.10, p < .05), notably, impression management (r = -.12, p < .05), indicating unbiased capture of fantasy experiences. Predictive validity was supported by a positive correlation observed between fantasy proneness and interest in creative activities (r = .21). Participants engaged in or aspiring to engage in creative activities professionally scored notably higher, broadening implications for creativity research. Similarities between the original and Turkish versions suggested cultural variations do not significantly affect fantasy proneness in adults. Considering limitations, future research should explore age-related variations of fantasy proneness as well as its association with social desirability. Implications extend to clinical research, emphasizing consideration of fantasy proneness and its correlates in psychopathological and broader psychological health studies in Turkey and globally.

Efektivitas Kegiatan P5 dalam Meningkatkan Kreativitas Peserta Didik Kelas VIII SMPN 281 Jakarta

Creativity is an essential aspect in education to prepare learners to face complex future challenges. P5 activities (P5 Student Profile Strengthening Project) serve as an effort to enhance the creativity of students at SMPN 281 Jakarta. This research employs a quantitative descriptive approach to evaluate the effectiveness of P5 activities in improving the creativity of eighth-grade students. Data were collected through questionnaires completed by 70 students and interviews with 3 teachers, including the P5 coordinator. The research findings indicate that the effectiveness of P5 activities in enhancing student creativity reaches a very high category, with a percentage of 92%. Student creativity experiences a significant improvement, particularly in generating new ideas, viewing problems from various perspectives, seeking alternative solutions, and daring to undertake challenging tasks. However, there is still room for improvement, especially in aspects of creativity related to unconventional thinking to express oneself. Teachers and the P5 coordinator play crucial roles in designing and implementing P5 activities to create an environment conducive to student creativity growth. In conclusion, P5 activities are effective in enhancing the creativity of eighth-grade students at SMPN 281 Jakarta, yet continuous improvement is needed to achieve maximum creative potential.

Activation of varieties of cultural tourism as a factor in the development of the regional socio-cultural space

The activation of varieties of cultural tourism, which is aimed at promotion local objects of cultural and natural heritage and improvement the tourism industry, innovative activities in the socio-cultural sphere and the formation of new leisure spaces, also contributes to improving the tourist attractiveness of regions and increasing the economic viability of local communities. The aim of the work is to consider the specifics of the development of cultural tourism and the use of tools for the promotion of cultural heritage at the global level in the context of the transformation of the regional socio-cultural space, in particular virtual. The selection of methods is determined by integrated approaches to the interpretation of the varieties of cultural tourism and the use of a complex of methods of sociocultural and polysystemic analysis, which combines a systemic method, a method of cultural modeling, systematisation of materials and generalisation, a comparative method, which made it possible to determine strategic priorities for the development of regional cultural tourism. The creation of a regional tourist product, through the activation of varieties of cultural tourism, opens up new opportunities for promotion local traditions, ethno-cultural, natural and urban heritage of Ukrainian communities; motivates to visit regional cultural events and museums; creates conditions for filling travels with creative experiences and impressions from communication with various cultural communities of Ukraine. The practical value of the study consists in the expansion of ideas about the application of tools for the activation of varieties of cultural tourism in the context of the use of socio-cultural management technologies, the presentation of elements of cultural heritage and natural landscapes for the development of the regional socio-cultural sphere

Spiralling Engagement Experiences of Creativity (SEEC): A process of research-led arts creation for facilitating experiences of flourishing in participants’ lives

Research in the area of Positive Psychology typically investigates positive psychological interventions and their impact on the lives of participants, positive psychology as an approach to enhance the lives of participants, or investigations of particular populations in search of evidence of flourishing. This paper presents a research process of embodied, creative engagement to facilitate the exploration of research phenomena within community contexts. Entitled Spiralling Engagement Experiences of Creativity (SEEC), the process adapts concepts from Poetic Inquiry as the basis for exploring a phenomenon and extending participants’ engagement with that phenomenon through the facilitation of creative activities. This pilot study focused on the phenomenon of flourishing, using preliminary participant conversations to generate poetry/lyrics that tell individual, personal stories. Participants repeatedly engaged with their own positive personal stories to create an artwork that they could use to remind themselves of ways to interpret their lives. The benefit of this research process is that it prioritises participants making sense of their own lives in creative ways while exploring a phenomenon of interest. The SEEC process has the potential for use in varied contexts where the intersection of a deliberate research and arts-making framework would be helpful for exploring a phenomenon of inquiry.

Visual illusions as a means of aestheticisation of the object-spatial environment

The article’s relevance lies in the need to enrich the designer’s creative experience, open up new possibilities for visual communication, and elevate visual culture to a new level. The article’s aim is to outline the role of visual illusions in the aestheticisation of the object-spatial environment, using examples of techniques that enable designers to achieve visual effects when arranging creative spaces. The article discusses the role of visual effects in the design of object-spatial environments, which result in visual illusions. They represent perceptual distortions of reality, where there is a discrepancy between the physical parameters of an object or subject and how the human brain interprets incoming visual information. By evoking vivid sensations, visual effects can contribute to a deeper emotional connection between the environment and the audience, making it memorable and recognisable. People actively apply visual illusions in arranging their living environment to change or adjust existing forms and spaces. This allows for a fresh perception of the surrounding world, accomplishing a psychoemotional “renewal”, and satisfying the need for novelty in cognitive and emotional experience. The use of visual illusions can significantly enrich a designer’s creative arsenal, open new horizons in visual culture, encourage unconventional thinking, and go beyond the boundaries of traditional approaches to visual communication. By experimenting with various forms of illusions, designers can develop new methods to influence perception and emotions, thus expanding the horizons of their creativity. The ability of designers to use unconventional images in design, and their capability to create deep, emotionally resonant, and memorable designs will attract the audience’s attention, forming a vivid first impression of the object-spatial environment. The practical value of the work lies in its actualisation of the role of visual illusions in aestheticising the object-spatial environment, in satisfying human needs for novelty and artistic arrangement of space

다문화 음악교육을 위한 컵타 합주 교수 · 학습 방안 연구: 뱅크스의 다문화 교육이론을 바탕으로

The purpose of this study was to investigate a teaching and learning approach with a cup percussion ensemble to provide an effective lesson in multicultural music education. To develop a lesson plan that achieved the study’s purpose, this study selected a cup percussion as a medium of interaction and this study examined the multicultural education theory porposed by James Banks. This study adapted the lesson model of the multicultural transformation approach in social studies suggested first-grade middle students music curriculum to help students increase their academic achievement and develop positive attitudes toward multiculturalism. Through this study, First, cup perussion instrumental activities can provide a special musical experience to teachers as well as students, and in the practice process through ensemble, it can be extended to creative experience activities linked to creative and cooperative learning for each group. Second, to promote understanding of cup percussion, this study discussed the definition of rhythm, looked into the concept and characteristics of cup percussion and how they use oral consonants, and analyzed the educational functions of cup percussion and included in middle school music textbooks. Third, Playing a cup song while singing folk songs from different countries promoted interest and positive interactions among the students. It is hoped that this study will help you learn about the cultural background of each country's unique value through multicultural music education, and will be a study to professionally understand the concept, principle, theory, and practice of multicultural music education through the Cup percussion ensemble as an effective response task.

Способ быть, или Межпоколенческая преемственность творческого опыта

The philosophical generation is an important historical and cultural topic. From our point of view, it is not just about what the representatives of the generation did. This is a question about established professional connections, scientific communications, corporate and friendly social circles in the context of Russian intellectual and cultural history - this is a question about traditions and continuity of creative experience.

Access to the European cultural heritage of settlements and towns in the Danube macro-region through interoperable strategies digital transformation

Tangible cultural heritage is a strategic resource for the development of rural and urban settlements. Cooperation with stakeholders from EU countries and regions within the Danube macro-region, such as cultural heritage institutions and competent authorities, allows to agree on the preparation and adaptation of compatible digital innovation strategies in local initiative groups in the Republic of Moldova and Ukraine, as well as on impact mapping through a set of pan-European socio-economic indicators. Objectives of the study: to analyse the available European best practices and methodology for adaptation in the integration of the regions of the Republic of Moldova and Ukraine in the interregional innovation partnership on the smart specialisation "Cultural and Creative Regional Ecosystems" (CCRE-S3) [1]. The overall horizontal objective of the integration into the platform should be to add value to the common characteristics of the cultural and creative sector and to create a permanent discovery mechanism that will carry out activities to identify strategic investments and the use of innovation transfer tools. Previous works: previous concept, research and experience are described in the articles [2] and [3]. Approach: European benchmarking, comparative analysis, bibliographic research. Outcome: recommendations aimed at stimulating new ideas and opportunities related to cultural and creative experiences for local communities and residents by involving several groups of professions that use, apply and implement new technologies in the cultural and creative industries sector. The European Programmes provide resources to support their implementation. In this way, the Danube Strategy participating States [4], by supporting partnerships between the cultural heritage sector and other sectors such as higher education and vocational education and training, creative industries and sustainable cultural tourism, will be able to stimulate innovation for new services and applications in their regions.

서예진흥의 필요성과 정책방향에 관한 연구

Modern society has transformed from a writing culture to a tapping culture through the daily life of computers and smartphones. As a result, the culture of exclusive attack has changed from an emotional recording culture to a culture of contemplative patience to a culture of impatience that shouts quickly. A culture that was accustomed to expressing emotional implications while writing and drawing changes to an exclusive emotion that strikes, spouts, and attacks while tapping, leading to school violence by being considerate of others, holding back anger, or failing to follow the rules. Therefore, arts and physical education and character education must be strengthened to reduce violent tendencies and cultivate feelings of patience and consideration, and calligraphy is a field that can satisfy this at the same time.&#x0D; The normalization of calligraphy education is a prerequisite for promoting calligraphy, and the normalization of calligraphy education is to expand calligraphy education in the elementary and secondary curriculum. To this end, an institutional mechanism is needed to experience calligraphy through non-subjects in children's and adolescents, such as a policy to revitalize calligraphy education in art subjects as a pilot project under national support, and to actively support after-school classes or creative experience activities. In other words, if support policies such as accessibility, professionalism, and education budget are prepared at the national level, the ripple effect of calligraphy education can be expected.&#x0D; In addition, even if professional manpower is trained based on Article 7 of the Calligraphy Promotion Act (cultivation of calligraphy education professionals, etc.), a mid- to long-term policy to supply and demand professional manpower should be prepared. According to the Calligraphy Promotion Act, professional manpower has majored in calligraphy or has been in the calligraphy field for more than 10 years, and after retraining them at a professional manpower training institution, an alternative to where and how to use them is needed. In other words, it is urgent to prepare a policy that can be assigned as professional manpower who can be in charge of research, education, planning, and administration at the national level. To this end, establishing a policy to institutionalize professional manpower into a separate 'calligraphy educator' (tentative name) and assign it to related institutions will provide the minimum opportunity for the calligraphy field to play any social role or contribute.&#x0D; On the other hand, the proportion of calligraphy in contemporary art is very low. In other words, although the calligraphy population is relatively large, there are still many apprenticeship education and competition-oriented work activities due to the nature of the field, so there are relatively few majors compared to the general art field. In addition, work activities centered on competitions and group competitions rather than individual exhibitions, and works based on generalized composition and similar repetition rather than creative works due to the nature of the event are prominent. For this reason, in other general art fields, there are many cold or sometimes outspoken criticism and disparagement of calligraphy, and even calligraphy is treated very insignificant in contemporary art. However, there is a problem that the art ecosystem is destroyed due to the marginal treatment of calligraphy in the public art market, such as the purchase of works by museums and art galleries, and the provision of invitation exhibition opportunities for artists in each field. It suggested a policy-making direction to solve this problem.

The Body-Camera Approach: Teacher Identity through Video Elicitation and Video Essay to Create Shared Heritages

This paper presents an approach to teacher identity heritage as a result of the implementation of a research device created through Arts-Based Research (ABR) methods, specifically with video elicitation and video essays used as research tools. Two main objectives were addressed. The first one was to establish the real relevance of focusing performance on teacher identity. The second one involved testing a new methodological proposal specifically designed for this purpose, but still useful in other contexts where heritage identity is as present as in teaching. The device, a body camera, involves a process that allows new ways to understand the creation of identities using video to encourage the production of new meanings through visual and oral data. The participants were teachers in training during their internship period. Some notions about teachers’ identity heritage were revealed, and also preserved, firstly through personal perspectives by video elicitations, and secondly through collective perspectives by video essays. Both are video structures used in ABR which mix creative experience, memories, life experiences, relationships, and links that shape the teachers’ professional identity.

서예진흥의 필요성과 정책방향에 관한 연구

Modern society has transformed from a writing culture to a tapping culture through the daily life of computers and smartphones. As a result, the culture of exclusive attack has changed from an emotional recording culture to a culture of contemplative patience to a culture of impatience that shouts quickly. A culture that was accustomed to expressing emotional implications while writing and drawing changes to an exclusive emotion that strikes, spouts, and attacks while tapping, leading to school violence by being considerate of others, holding back anger, or failing to follow the rules. Therefore, arts and physical education and character education must be strengthened to reduce violent tendencies and cultivate feelings of patience and consideration, and calligraphy is a field that can satisfy this at the same time.&#x0D; The normalization of calligraphy education is a prerequisite for promoting calligraphy, and the normalization of calligraphy education is to expand calligraphy education in the elementary and secondary curriculum. To this end, an institutional mechanism is needed to experience calligraphy through non-subjects in children's and adolescents, such as a policy to revitalize calligraphy education in art subjects as a pilot project under national support, and to actively support after-school classes or creative experience activities. In other words, if support policies such as accessibility, professionalism, and education budget are prepared at the national level, the ripple effect of calligraphy education can be expected.&#x0D; In addition, even if professional manpower is trained based on Article 7 of the Calligraphy Promotion Act (cultivation of calligraphy education professionals, etc.), a mid- to long-term policy to supply and demand professional manpower should be prepared. According to the Calligraphy Promotion Act, professional manpower has majored in calligraphy or has been in the calligraphy field for more than 10 years, and after retraining them at a professional manpower training institution, an alternative to where and how to use them is needed. In other words, it is urgent to prepare a policy that can be assigned as professional manpower who can be in charge of research, education, planning, and administration at the national level. To this end, establishing a policy to institutionalize professional manpower into a separate 'calligraphy educator' (tentative name) and assign it to related institutions will provide the minimum opportunity for the calligraphy field to play any social role or contribute.&#x0D; On the other hand, the proportion of calligraphy in contemporary art is very low. In other words, although the calligraphy population is relatively large, there are still many apprenticeship education and competition-oriented work activities due to the nature of the field, so there are relatively few majors compared to the general art field. In addition, work activities centered on competitions and group competitions rather than individual exhibitions, and works based on generalized composition and similar repetition rather than creative works due to the nature of the event are prominent. For this reason, in other general art fields, there are many cold or sometimes outspoken criticism and disparagement of calligraphy, and even calligraphy is treated very insignificant in contemporary art. However, there is a problem that the art ecosystem is destroyed due to the marginal treatment of calligraphy in the public art market, such as the purchase of works by museums and art galleries, and the provision of invitation exhibition opportunities for artists in each field. It suggested a policy-making direction to solve this problem.

Webi Draw: Unleashing Creativity with Handcrafted Air Drawings

Webi Draw: Unleashing Creativity with Handcrafted Air Drawings

THE RELATIONSHIP BETWEEN THE CONSTRUCTION OF SELF AND BURNOUT IN TEACHERS

The objective of this research was to understand whether there is a relationship between burnout syndrome and the false self, described by Winnicott in his studies on primitive emotional development. Faced with the great demand for productivity established by the capitalist system and contemporary culture, most people feel exhausted, often becoming chore people. The culture of tiredness does not enable the experience of creativity and authenticity, often resulting in various pathologies, including burnout syndrome, which presents a growing and impactful demand on the lives of the working individual and the collective. Based on the indication of possible stressors in the work of teachers, from public institutions of primary and secondary education, in a city in the interior of São Paulo, an exploratory research was carried out with 38 teachers, 7 male and 31 female, age minimum of 23 years old and maximum of 62 years old, with teaching experience in primary schools. For data collection a questionnaire was used, prepared by the researchers based on the theoretical basis on the false self, with the aim of identifying its characteristics and also the Brazilian Burnout Scale (EBBurn) for preliminary identification of burnout in the population of this study. The findings from the quantitative analysis showed there is no significant relationship between the two constructs, however, from a thorough qualitative analysis it was possible to perceive a convergence between the false self and burnout, since the false self presents characteristics of focusing on environmental demands, as well as the subject's lack of perception of their most genuine needs, such as rest, which, over time, can culminate in burnout.

Pilot development and initial validation of the Black spiritual creativity scale

ABSTRACT There is a lack of research dedicated to understanding and evaluating how African Americans engage in spiritual creativity as a form of cultural empowerment in order to thrive in the face of systemic oppression. The Black Spiritual Creativity Scale (BSCS) is a new measure that was designed to address this gap in the literature. The BSCS measures the experience of creativity, rhythm, and soul as spiritual forces that contribute to a sense of personal transformation as well as resistance and liberation among African Americans. The present pilot exploratory factor analysis study was conducted with a pilot sample of 126 participants and produced a 15-item, two-factor model. Reliability and validity analyses supported the initial promise of this new scale. Future research implications are discussed.

Beyond Openness: A Variety of Creative Experiences Increases Flexibility and Originality of Visuospatial Divergent Thinking

ABSTRACT Despite strong empirical evidence linking openness to experience and creative ideation, exactly how openness is associated with the generation of novel ideas is unclear. Additionally, although many studies examine verbally-prompted divergent thinking, less attention has been devoted to creative idea generation in response to perceptual or visuospatial stimuli. The current study assesses if individuals’ voluntary engagement in a wider range of creativity-related activities contributes to flexible and original idea generation on less-often explored perceptually-based divergent thinking tasks, and if more varied experience provides incremental predictive value for flexibility and originality beyond what is predicted by openness. The study further newly compares human-based ratings of flexibility and originality with automated computational assessment of the semantic distance between participants’ responses (“SemDis”) for two perceptually-based stimulus sets. Hierarchical linear regression analyses of the responses of 132 young adults revealed that variety of creative activities was significantly predictive of idea flexibility and originality, over-and-above the contribution of openness. For both stimulus sets, SemDis was strongly positively correlated with human-rated flexibility and originality, demonstrating the applicability of this automated measure to perceptually-prompted divergent-thinking tasks. The findings underscore the value of both openness and providing opportunities for engaging in varied creativity-related activities for fueling innovative thinking.

Sensory versus personal environment as antecedents of the creative food tourism experience

This research contributes to the study of food tourism by analyzing the antecedents and consequences of a novel concept named creative food tourism experience (CFTE). The paper is based on the Balance Theory and the Service Triangle to propose a collaborative perspective between restaurants and their employees to contribute to the creation of creative experiences for food tourists. Specifically, this study develops a theoretical framework in which the sensory environment created by restaurants, based on food appeal and the restaurant atmosphere, and the personal environment provided by employees, in terms of service excellence, co-create the CFTE for visitors. Based on a sample of 407 food tourists, the empirical analysis shows that the suggested drivers are significant, and service excellence has the greatest impact. Memorability and, indirectly, intention to repeat/recommend are shown to be relevant outcomes of the CFTE. Practical implications for restaurant managers and the hospitality industry are also provided.

Два поэтических парадокса ХХ века: Гертруда Стайн в диалоге с Алексеем Крученых

In this article, we will begin with two almost simultaneously written paradoxes of modernism / avant-garde. The first paradox is Gertrude Stein’s miniature “Sacred Emily”, a one-line poem that reads “Rose is a rose is a rose”. The second paradox is Alexey Kruchenykh’s abstract poem “Dyr byl schyl”. Both texts suggest a transition from a negative emotional state to a positive one, creating a complex aesthetic experience. At the heart of this experience is a re-evaluation of the poetic code as a meaningful and symbolic system, a source of meaning and knowledge. The reader interacts with this code as a collaborator and co-creator, adapting it to their own reality and giving it new meaning. These texts reflect the global artistic trends of the era, which were characterized by a shift towards a different type of representation, one that emphasizes the transmission of feelings and impressions. This vector is inherent in the creative works of both Gertrude Stein and Aleksey Kruchenykh. The artist's task is to induce a complex range of reactions in the recipient, which form a cognitive and creative experience, resulting in an epistemological reconfiguration. Focusing on a new approach to imitation (imitating an experience of reality, not reality itself), both Stein and Kruchenykh sought to accomplish a cognitive recalibration of the reader's mind through experimentation with language. Both Gertrude Stein and Alexey Kruchenykh identify peripheral and associative aspects of experience, create a complex of experiences based on these elements, and recreate them through language. This process is made possible by the suggestive, associative, and connotative power of language and artistic form.