Creative Experimentation Research Articles

Socio-philosophical analysis of the visualization of cultural identity in the “theater” of everyday life

The purpose of the study is to identify the specific features and socio-philosophical foundations of the visualization of cultural identity in the “theater” of everyday life. The research methodology is based on: 1) the theory of the image, which evolves from the perception of the image as a simple sign to the understanding that in some cases it can become a symbol (with broad interpretational possibilities); 2) method of sociocultural analysis in the framework of concept of theatricality of sociocommunicative manifestations of culture. The effectiveness of the concept of theatricality of sociocommunicative manifestations of culture is due to the fact that it allows you to “collect” at one point performative, medial, iconic, semiotic and other concepts of philosophical understanding of social processes and phenomena. This approach showed the need for a new look at the dramatization of life, where not only “the whole world is the theater, and the people in it are actors”, but also every person is a “theater”. A look at the modern world as a combination of individual, personal “theaters” (the scientific novelty of the research) made it possible to identify the special functions of costume and jewelry in the scenography of these “theaters”. These functions are manifested in situations that require a person to create a certain image. Then the costume and jewelry become: 1) an active component of the sociocommunicative space, as mediums of information of a certain nature; 2) a form of self-presentation; 3) a way to visualize cultural identity. It is shown that the causes of the emergence of cultural phenomena of fashion and theatricalization of life are the same: in both cases, the desire of people to “try on” different roles is realized. This correlates with the possibility of simultaneously determining several identities for one person, which means not a loss of identity or the replacement of one’s own identity (imposed), but the search for additional personal identities. Costume and jewelry provide ample opportunities for such personal creative experiments with identity/roles in the “theater” of everyday life. Characteristic features of the modern “theater” of everyday life, as well as the cultural situation in general, are dynamism, frequent changes of form and states. Therefore, the change of images (which is easily accomplished by changing jewelry and accessories) contributes to this sociocultural game.

The Making of Prints: Forms and Techniques of Printmaking in Nigeria

Printmaking is a novel medium of artistic expression whose invention transcends the necessity to pragmatically disseminate information; it also cuts across the ecstasy of creative experimentation. The print is the ingenious creation of an artist, who instead of the paintbrush and canvas has chosen printmaking tools to express himself. This medium enjoys a considerable influence among the contemporary Nigerian artists who engage in its production as an aesthetic means of expression. How are these prints produced? What form does the prints take, and what techniques are employed? Relying on field investigation, this paper reveals how printmaking artists in Nigeria have explored the possibilities of the medium to create prints in a unique style and form. Keywords: Printmaking, Nigerian art, printmaking technique, woodcut, intaglio, Bruce Onobrakpeya DOI : 10.7176/ADS/71-06 Publication date :March 31 st 2019

Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century

The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publishing houses, such as Vernyhora, Derzhavne Vydavnytstvo, Proliski, Knyhospilka and Rukh. Children's books, illustrated by P. Lapyn, are kept in the funds of the Pedagogical Museum of Ukraine, the National Library of Ukraine for Children, Ivan Fedorov Book Chamber of Ukraine and private collections. We have found about 30 of his projects. But the information about the artist himself and his life is quite limited. One of the first books he illustrated was the poem of S. Rudanskyi «Vovk, Sobaka ta Kit» («The Wolf, the Dog, and the Cat»), published in black and white in 1918. This early Petro Lapyn's work revealed his artistic outstanding peculiarities: vibrant linear drawing, harmonious combination of text and illustrations, variety of graphic techniques and skills in the representation of characteristic features. The high point of the artist's career is the illustration of «Crows and Owls», I. Franko’s fairy tale, printed in 1926 (Kharkiv, Rukh). It demonstrates the animalistic works of the artist. There are typical structural elements in fairy tale books: vignettes, drop caps. P. Lapyn uses decorative handwritten fonts and silhouette drawings for them. His graphic creations are full of emotions. Specific features of his work are: humour, emotionality, anthropomorphism, careful attitude towards literary material, and consistently high level of drawing.

Creativity and pedagogical activity of Professor V. Bystriakova

V. Bystriakov – Honored Worker of Arts of Ukraine, member of the National Union of Artists of Ukraine, creative work is well-known to the general public, and teaching activity occupies an important place in the work of the department of drawing of the National Academy of Fine Arts and Architecture. In the work of the artist, he combined his own experience and achievements of artists of past generations, it has always been and is open to creative experiments. His creative pursuits and teaching methods are important for understanding the history of artistic education, in particular the teaching of the drawing, since it reflects the main directions and peculiarities of artistic education of the second half of the 20th and the beginning of the 21st century. In his work V. Bystriakov determined that the minimum means can be achieved maximum expressiveness, to achieve a strong life experience in the work. His paintings are characterized by ease, transparency, artistry of performance, understanding of the proportion of proportion and composition. Professor V. Bystryakov's pedagogical credo is a responsible attitude to his work, professionalism in any field of occupation – whether it is drawing or painting. The main objective of the teacher in the mandatory requirements of the classical school, he believes, is to enable the student to identify his own creative vision of a task. The main thing is not to «kill» the desire to create. Among students V. Bystriakov a teachers of the academy M. Kochubei, V. Kyrychenko, Yu. Maistrenko-Vakulenko, who already convey their creative experience to students. A special place in the work of V. Bystriakov is dedicated to the Chernobyl tragedy. The tragic event for Ukraine and the world has brought to life a cycle of pictures: «Girlfriends», «When the birds do not sing», «Evacuation», «Bright still life in the dark room», «The cry of Jeremiah», «And the third angel sounded», «Sunflowers», «Spas», and also a series of paintings «And fell on the star of the earth». In each work the cycle has its own language, artistic means, its philosophical interpretation, is subject to the disclosure of the main theme – Chornobyl. V. Bystriakova's creativity characterizes him as a talented master with personal beliefs and views. He does not stay away from the problems of modern life, in particular the ecology of the environment, touches in his works important issues that make us think over the routine of life processes, through the extrapolation of the inner sense and understanding of reality. He inspires reflections on the present in his various spiritual and social aspects. Knows good and evil through the prism of confession of the soul. Combining and interweaving the images of fictional illusions and real heroes, generalizes and reproduces the experience gained in his works. The artist's paradigm is based on the principles of symbolism and surrealism. In the principles and approaches of the author to the creation of works can be traced laconic language of poster art. Using various authoring techniques, he reveals to the viewer his tension and a peculiar vision of the world, reflects internal excitement, experiences, painful. The existence in works of the existence, embodied in details and symbols, prompts philosophical reflections on life, the search for truth, comprehension and perception of the viability of nature. V. Bystriakov is an artist and a teacher, who, through a practical component, passes on his experience to students nowadays.

Actualizaciones Visuales Dinámicas en los sistemas digitales

Este artículo presenta el concepto Actualizaciones Visuales Dinámicas, para proponerlo como una herramienta conceptual en el estudio de las entidades visuales producidas y visualizadas en sistemas digitales. Ha sido desarrollado mediante el análisis de varias obras creativas que generan imágenes diversas producidas con sistemas digitales. Con un ejemplo gráfico, en el texto se identifican tres atributos de las imágenes digitales que permiten revisar diferencias estructurales y de lenguaje con relación a las creadas con procesos no digitales de construcción.
 La presentación de una estructura informática básica, la definición de vectores diferenciales y de un marco de acción, permiten proyectar un modelo estructural que pretende aportar una herramienta de análisis que potencie sus características diferenciadoras en contraposición al concepto de imagen digital y su inevitable dependencia de lenguajes predigitales. Dicho modelo se articula con una aproximación materialista de los sistemas, según la cual es posible entender el software como material expresivo.
 El texto explora las diferencias entre la imagen materia y la actualización visual. A continuación, implementa el modelo para revisar un archivo de fotografía digital, su estructura, su variabilidad y una serie de actualizaciones visuales posibles. Finalmente, se concluye que las estructuras informáticas que sustentan a las imágenes digitales son comunes a múltiples niveles de acceso a la información y a diferentes actualizaciones sensibles, lo cual permite plantear un campo de experimentación creativa donde el código es material y la imagen es proceso.

Twenty Irish songs with trio accompaniment (WoO 153) by L. Van Beethoven: at the intersection of national and author styles

The purpose of the article. The research reveals and justifies some of the principles of the interaction of the national, traditional style of Irish folk songs with the classic style of L. van Beethoven. The methodology of the research is to apply genre-style and compositional-structural methods. The first method aims to trace the features of the composer's interpretation of genre-style and intonational characteristics of the folklore source. The second helps to uncover the whole and its components, in this case, it is a comprehensive overview of the collection at different levels of musical content. The scientific novelty of the work consists in the introduction into the Ukrainian-language musicology of the given sphere of creativity L. van Beethoven, since the composer's chamber vocal inheritance in the genre of folklore processing is still beyond the attention of scholars, while the works of great shape are becoming a priority for research. Beethoven's arrangements are examples of small forms that have become for the composer a channel of creative experiments, the crystallization of methods and approaches of the German master to the genre of processing, and their consideration complements – confirms or refutes – already known knowledge of the process of composer thinking. Conclusions. An analysis arrangement of twenty Irish songs proves the presence of stylistic absorption in them by the classical principles of thinking, compositional and intonational logic, assimilation of folklore and a professional composer's school, the discovery of a new artistic potential in a folk song, which can be either an example of traditional Irish music, or transformed into a work of professional art.

‘Place-Less’ Making? Re-Articulating the Power-Geometries of Digital Platforms in China Through Tactical Co-Creation

What happens when makers, or people who use tools to hack, remix and create things, interact on virtual or 'place-less' rather than physical or 'locally situated' spaces? What happens when they encounter other digital actors – the kind who want to control them? This article is about 數據線 Shujuxian, or 'drinking from the data line', a creative experiment with digital makers in China that was inspired by Furtherfield's DIWO (Do It With Others) call in 2006 for decentralized endeavors that would disrupt hierarchies through networked collaborations. By engaging in 'place-less making', projects like Shujuxian attempt to playfully subvert censorship algorithms through co-creation.

Visions and Revisions in Katherine Anne Porter's "The Jilting of Granny Weatherall"

Visions and Revisions in Katherine Anne Porter's "The Jilting of Granny Weatherall" Christine L. Grogan In "How I Accompanied Katherine Anne Porter on the Last Great Pilgrimage of Her Life," Charlotte Laughlin recounts a conversation she had with Porter regarding "The Jilting of Granny Weatherall." Like most readers of "Jilting," Laughlin was curious about the destiny of Ellen Weatherall. She questioned: "despite all Granny Weatherall's good work, the priest had been in the house the second time and the 'bridegroom' had not come. 'Was it because she had never forgiven the man who jilted her? … Is that why she couldn't go to heaven?'" Porter responded that she did not know where Ellen went when she died, adding that "We all have too much to forgive." After a pause, Laughlin noted that her voice became "nearly mischievous," as she said, "But the first bridegroom had given her plenty." After receiving puzzled looks, Porter clarified: "The baby. She fainted you know" (238). One of Porter's most popular stories, "The Jilting of Granny Weatherall" leaves many questions to ponder, among them the identity of the baby to whom Porter refers. In a 1975 interview with Mary Anne Dolan of The Washington Star, Porter states that this "particular story has brought more letters from students and teachers. Hundreds of them in the last 25 years" (181). Indeed, this story has been one of Porter's most anthologized out of her many highly crafted works. However, the version that the majority of us read and teach is not the one she originally published. Even though the later version does not make explicit all the ambiguous parts in the original, a comparison of the first one published with the version collected just seven months later reveals that Porter made significant changes that merit exploration and that somewhat clarify the protagonist's relationships with other characters. Crafting her story in 1927, Porter first printed the tale of Ellen Weatherall's last day in the February 1929 (fifteenth) issue of Eugene [End Page 49] Jolas's transition, the literary magazine widely regarded as the most influential in shaping the modernist avant-garde. Already published in Century, she was still building her name, reputation, and confidence. Most likely, Porter's friends Josephine Herbst and Matthew Josephson encouraged her to submit her stories to transition. Never really a member of the so-called Lost Generation, Porter nonetheless published "The Jilting of Granny Weatherall" and "Magic" alongside the works of James Joyce, Gertrude Stein, and Ernest Hemingway, all of whom went to Paris while Porter went to Mexico. According to Joan Givner, the publication of these two stories in a magazine of international standing marked a turning point in Porter's career: "their completion was a significant achievement because they show that she was at last finding her own subject matter and establishing some control over it" (197). On September 11, 1930, the story appeared in revised form in Porter's first collection of short stories, Flowering Judas, a slim volume (comprising "María Concepción," "He," "Magic," "Rope," "The Jilting of Granny Weatherall," and the title story, "Flowering Judas") with a limited run of six hundred copies published by Harcourt, Brace that established her critical reputation. With slight modifications to spelling, punctuation, and capitalization, this 1930 version of the story was reproduced in three subsequent volumes published by Harcourt, Brace during Porter's lifetime: Flowering Judas and Other Stories in 1935, a revision of sorts to the 1930 collection that published all of the 1930 stories and an additional four ("Theft," "That Tree," "The Cracked Looking-Glass," and "Hacienda"); The Old Order in 1955; and the version recognized as the definitive one, The Collected Stores of Katherine Anne Porter in 1965. Several recent articles read Porter's collected stories in relation to their original magazine publications. In her 2015 article, "Katherine Anne Porter, Magic, and transition," Kerry Hasler-Brooks charts the role of "Magic" in the transformation of Jolas's magazine from a transnational monthly into what Jolas subtitled "an international quarterly for creative experiment" (222). She credits Porter's story for speaking the political potential of patois...

Экзистенциальный страх как категория творческого эксперимента в повести Л. Н. Толстого «Крейцерова соната»

Экзистенциальный страх как категория творческого эксперимента в повести Л. Н. Толстого «Крейцерова соната»

American Catholics and the Church of Tomorrow: Building Churches for the Future, 1925–1975 by Catherine R. Osborne

Reviewed by: American Catholics and the Church of Tomorrow: Building Churches for the Future, 1925–1975 by Catherine R. Osborne Jay M. Price American Catholics and the Church of Tomorrow: Building Churches for the Future, 1925–1975. By Catherine R. Osborne. Chicago: University of Chicago Press, 2018. 288 pp. $45.00. There is a growing literature on religious architecture in the twentieth century with scholars such as Gretchen Buggeln and Dale Dowling discussing the intersection between the built environment and theological and social changes taking place at the same time. Catherine Osborne's survey of Catholic modernism is a thoughtful, sophisticated analysis of the Catholic Modernist movement from its development in the 1920s through the 1970s. She shows how Catholic modernist figures challenged a faith tradition that had come to see the architecture of the Middle Ages and the Renaissance as ideals to maintain. By contrast, the modernists embraced an organic, biological narrative to understand Catholic faith that should adapt to its environment much as an actual organism would. Osborne pays particular attention to how the movement's figures were interested in current building projects with an eye to what the church of the future (both as building and institution) would be like. In many cases, these ideas showed up in plans and models for unbuilt structures that celebrated what could be rather than what would be. By the 1960s, these speculations became especially fanciful, with long conversations about what a chapel on the moon or an undersea chapel/submarine might be like. Osborne focuses especially on the Liturgical Arts Society, whose journal Liturgical Arts was perhaps the most sophisticated platform for Catholic modernism in the United States from the 1930s through the [End Page 73] 1970s. The colorful career of the society's key figure, Maurice Lavanoux, runs like a leitmotif through the story. While influential, Catholic modernist circles consisted of a relatively small cohort of artists, thinkers, consultants, and writers. As in pages of Liturgical Arts itself, the ordinary lay person appears as a side character in this book, the intended audience of all this effort. For all the discussion of greater participation in the service, ordinary people were more built for than brought into the discussions. Osborne does not just limit her discussion to architecture, however. Instead, she skillfully shows how those who commented and guided worship and construction were also part of a milieu that included the work of Pierre Teilhard de Chardin, the creative experimentation of university Newman Centers, social justice movements in the 1960s, and the consciousness altering effects of LSD. The story culminates in the 1960s, when the speculations of the future clashed with the social justice realities of the era. Osborne perhaps encapsulates this best when she outlined the distinction of "Catholics who wanted church buildings better suited to the future from those who saw no future for dedicated churches at all." Into this maelstrom of competing issues that included white flight, urban renewal and urban decay, ecumenism, and civil rights came the Second Vatican Council. Vatican II was mentioned through the book but does not appear as a major feature until the last chapter, when its pronouncements gave way to a fervor of experimentation with new architectural forms, new liturgies, house churches, mobile mass celebrations, and remodeling efforts of existing edifices. Rather than providing a renewal, however, Osborne suggests a period of exhaustion by the 1970s. Laced with stories and examples, many of them taken from Minnesota and Oklahoma, the book's chapters can stand alone as their own essays. Yet taken together, the different parts form an engaging and sweeping narrative of religious change. The story ends abruptly, however, with the reader arriving almost breathless to an anticlimactic conclusion that is perhaps the work's least successful section. With little discussion of what became of the movement's figures and vision since the 1980s, readers are left to make sense of it all on their own. That said, the rest of the book is a valuable insight into mid-century Catholicism, one that gets us beyond the simplistic pre and post Vatican II periodization to reveal a more complicated and, yes, holistic understanding. [End Page 74] Jay M. Price Wichita...

Conceptual Slippages: Reading between the Lines of the Roberto Chabet Archive

This paper takes the recently established archive of Philippine conceptual artist Roberto Chabet (1937–2013) as a starting point for discussing how the histories of performance art and conceptualism in Southeast Asia have come to be mapped via archive building. Compiled by artist Ringo Bunoan after Chabet's passing away, the archive drew largely on the private collections of his former collaborators, friends and colleagues who donated the bulk of the materials in the collection. These include photographs capturing the artist at work, off-guard and in the midst of creative experimentation, as well as correspondence, itineraries and publicity materials.

Unknown Pages of Pyotr Staronosov and Nikolay Kotov’s Artistic Trip to the Pamir Mountains in 1932

The article is dedicated to artistic trips of Soviet painters and graphic artists to Central Asia — a bright and, at present, practically unknown phenomenon of the Soviet Union’s artistic life. The article aims to fill, at least in part, the gap existing in the study of the USSR’s artistic life of the 1930s. It focuses on the trip of Pyotr Staronosov and Nikolay Kotov, as members of the Academy of Science’s expedition to the Pamir Mountains, in 1932. According to previously unpublished archival materials and soviet periodicals, the author reproduces the route of the artists, shows the specifics of creative work in the expedition, describes and analyzes little-known paintings of Pyotr Staronosov and Nikolay Kotov.The article deals with technical and artistic problems faced by Staronosov and Kotov in the Pamirs: from the choice of tools and paints to the problems of spatial perspective construction and color transfer. The artists’ creative experiments were largely due to the specific nature of the Pamirs: the variety of landscapes with plains and rocks changed the perception of space, and the Eastern sun transformed colors, opening a vast field for experiments with the palette. In addition, the appearance of local residents, their way of life, clothing and jewelry were strikingly different from the European realities. In this regard, the painters were looking for a line between the ethnographic approach and the complete denial of the traditional East, often found among artists and writers of that time.The article also focuses on the reporting exhibition “Tajik SSR — the Pamirs”, organized on the basis of the artistic trip. Hundreds of drawings and sketches created by the artists during the trip to the Pamirs provide an opportunity for further in-depth research.

A.S. Pushkin’s Works in the Graphics of M.V. Dobuzhinsky

The article introduces into scientific discourse, and examines a number of M.V. Dobuzhinsky’s works: it traces the process of working on them, identifies their sources (literary and visual), analyzes the stylistic features and the specifics of the graphic techniques. These tasks are performed within the context of interaction between literature and fine arts. This topic is relevant because M.V. Dobuzhinsky’s illustrations to the stories “Stationmaster” and “Squire’s Daughter”, the play “Covetous Knight”, and the poem “Magnificent City, Poor City...” by A.S. Pushkin are studied as works of fine art for the first time.The scientific novelty of the article lies in the fact that it introduces an experience of defining the stylistic affiliation of the said works, and reveals a number of their visual sources. The author uses the method of complex analysis, combining the source analysis of M. Dobuzhinsky’s memoirs and his letters, the works of the artist’s contemporaries devoted to the Russian art of the beginning of the 20th century, and the traditional formal analysis of his works in comparison with those of Rembrandt, A. Benois, A. Dürer, F. Tolstoy, Japanese engravings of the 18th — beginning of the 19th century. This allows a significant expansion of existing ideas about visual and literary sources of the artist’s works.The article reveals that Rembrandt’s etching “View of Amsterdam from the Northwest” influenced the artistic solution of the illustration “In the Carriage” for the story “Stationmaster”; Hiroshige’s sheets influenced the illustration “Vyrin at the Entrance of Minsky’s House” for the same story. A. Dürer’s woodcuts influenced the solution of the illustration “Scene 1” for the play “Covetous Knight”; F. Tolstoy’s silhouettes influenced the vignettes and the artistic solution of the illustrations and decorations for the story “Squire’s Daughter”. The article also finds that H.Ch. Andersen’s tales “The Old House” and “The Old Street Lamp” had predetermined M. Dobuzhinsky’s appeal to the story “Stationmaster”, and the graphic solution of St. Petersburg in the picture “View of the St. Petersburg House”. The author concludes that M. Dobuzhinsky’s illustrating of Pushkin’s works was in line with his intense creative experiments: searching for a new solution to the image of St. Petersburg in book graphics, rethinking and “quoting” the masters of the past.

ALTERNATIVE SCENARIOS OF HABITAT (ASH) - HOC EST VIVERE BIS, VITA POSSE PRIORE FRUI

The article considers the authors concept of the architectural process based on the articulation of the conflict between the pragmatic attitudes of the system and the humanitarian values of architecture. Using the example of creative experiments of modernism masters and our own projects, we demonstrate the complex nature of the relationship between the aspirations of architects to express high meanings of culture and the concern of clients with the problem of survival and comfort. The authors feel justified consensus with the client when the architect still manages to maintain the draft the spirit to overcome the routine norms of the system and transform into a new form the ethos of dwelling in it. We are talking about the experience of creating such projects, which are based on the idea of changing insights, the shape of the house and, accordingly, the meaning of living in it. The author emphasizes the connection of this concept with the architectural experiments of two mutually integrated epochs: modernism and postmodernism, in the phenomenal history of which the task of architecture is reinterpreted, surpassing the current (and in General - profane) idea of architecture as the embodiment of the generally accepted. The design ideas of Le Corbusier, Mies van der Rohe, Theo van Dusburg, Gerrit Rietveld, Carlo Mollino, and other conceptual architects always show an attitude of opposition to self-evident standards, starting from the form and ending with the way of life. What we call alternative scenarios of habitation - ASH - can be considered as a unique reality that combines design developments and a special type of new gesamtkunstwerk that returns us to the idea of transforming reality by means of an artistic work, specifically, by means of an architectural form. In the proposed ASH concept, we rely on the theoretical research and design experiments of our joint workshop.

PETSCII – A Character Set and a Creative Platform

PETSCII is the built-in character set used on 8-bit Commodore computers, such as the PET, C-64 and Plus/4. The character set and the BASIC environment provided an entry point to rudimentary graphic editing for a generation of hobbyists. Over the years PETSCII has been used for a variety of creative purposes: for example games, demos, telecommunications, videos, books and fine art have been created using the graphical symbols. Through the analysis of existing art works and our own hands-on project – a graphics editor – we dig deeper into the specific properties of the character set. In this article we show how the fixed symbols set the frame for what is possible and how, on the other hand, they provide grounds for creative experimentation, display of skill and recognizable styles.

Doing little justices: speculative propositions for an immanent environmental ethics

This article develops a series of speculative propositions for an immanent environmental ethics that is responsive to the challenges of the Anthropocene epoch. The article is framed within a new materialist approach to environmental education, and specifically works to re-imagine the notion of justice in terms of performative gestures, multiplicities, processes, and speculative thought experiments. Drawing on Whitehead’s speculative philosophy in conjunction with recent new materialist thought, the article proposes the concept of ‘doing little justices’ as a way of enacting micropolitical interventions into everyday patterns of environmental thought, learning, sociality, and behaviour. The concept of ‘little justices’ is further elaborated through the analysis of vignettes that problematise issues of climate change, human exceptionalism, ecological sovereignty, and environmental justice with university students in the fields of education and the philosophy of law. The article concludes that an immanent ethics cannot be reduced to a set of predetermined values or prescriptions for environmental education, but should proceed through a speculative process of creative experimentation and negotiation in the pursuit of unforeseen openings and potentials for co-existence.

Immersed in Design: Using an Immersive Teaching Space to Visualise Design Solutions

AbstractA significant component of design pedagogy is the need to foster critical design thinking and to support students in understanding links between educational exercises and their potential application in professional design practice. Problem solving is central to design so it is also essential that students understand that there can be multiple solutions to a design brief, and are supported in creative experimentation and in generating imaginative outcomes. This article examines some innovative approaches to addressing these pedagogical needs. It investigates the effectiveness of pedagogical design incorporating the Immerse Lab, a three‐wall projection room at an Australian university, as a learning context for design practice, for generating ideas and for supporting learning involving the comparative display of design outcomes. Anonymous student survey results revealed that the majority of students found learning in the Immerse Lab to be beneficial; comparative review more effective than in standard tutorial rooms; that the activity generated new ideas; it encouraged students to think differently about their designs; and it inspired students to develop their existing designs or create new ones. The project demonstrated that curricula involving immersive spaces can be effective in supporting engaging and relevant design pedagogy.

Replaying Our Process: Video/Art Making and Research

This article charts a collaborative and multimodal inquiry practice between a professor and a doctoral student who met during a visual methods course, Doing Visual Research With Children and Youth. Our collaboration focused on blurring the border between art making and research as a means to analyze and re-represent photographs taken by children. In stepping outside our comfort zones as researchers, we shared the same preoccupation: How much creative/artistic license would we exert regarding our use of the children’s photographs? This article explores the making of a video montage in ways that created new ways of seeing and knowing that took us by surprise and helped us rethink the interplay between methodological and ethical imperatives. We hope the article invites other professors and students to fashion collaborations that support such creative experimentation and reflection.

Cool Factory: Recurrent Change as Strategy for Advantage

This field study at a project led by a pioneering design studio builds theory about how cool factories reconfigure dynamic capabilities to sustain their positions as avant-garde leaders. Working from three years of participant observation and unstructured interviews with key informants, I draw on the resource-based-view in strategy to observe and explain an organizational response to imitation that mirrors the wider creative industry imperative to recurrently change the offering. The study reveals that members exploit slack and simultaneously engage in the exploration of new opportunities on the same project, which is recognizable in routines for slack cultivation, adaptation and creative experimentation.

The Drawing in the Future Students - Graphic Designers Teaching

The aim of the article is to identify the professional and pedagogical principles of the optimal and most effective methods of teaching such a fundamental academic discipline as Drawing in modern conditions, to determine the correlation between the traditions of the universal academic school and innovations in the teaching process. Methodology of the research is looking for new forms of teaching academic drawing i.e. a combination of the classical natural study is aimed at mastering the main principles of creation of three-dimensional image on the flat and the method of creative experiment, the essence of which is to integrate the fundamental artistic disciplines and the application of the latest technological tools for practical implementation of images. Scientific novelty of the paper is to expand the view of a constructive approach to the teaching drawing and of the specialists’ development. Conclusions. The importance of drawing in design education in the conditions of rapid development of digital technologies is emphasized, the correlation between the traditions of the academic school and new achievements in the field of design is determined, the essence of the offered methodology is described and the task of the teacher is set.