Creative Force Research Articles

Social Being of Human and Phenomenology of Death

Introduction. Phenomenology is concerned with the systematic reflection and study of the structures of consciousness and the phenomena that manifest themselves in acts of consciousness. It does not consider the world as objects interacting with each other. Therefore, many philosophers believe that phenomenology is not a philosophical school or doctrine, but rather a style of thinking, a kind of philosophical method. The phenomenology of death does not provide concrete research results; it understands it both as a creative force and as an absurd phenomenon. The key essence of death Sartre calls the absurdity, its meaninglessness, contrary to common sense. Materials and Methods. In the course of the study, methods of a predominantly theoretical and methodological nature were used: integrative, causal-genetic, the implementation of which, in conjunction with a synergistic technique, gives certain results. The empirical basis of the study was the results of the experiments of the oncologist Jeffrey Long, presented in the book “Proof of Life After Death”, Raymond Moody “Life after Life”. Discussion and Conclusion. Particularly significant in European existentialism and humanism are analyzes of the social functions of death: the equalizer of social statuses, the function of not ending life, but completion, the creative function of death lies in a person’s awareness of the essence of true existence, death, according to Schopenhauer, is the inspirer, or muzaget of philosophy. Death is an objective reality, it is destructive, puts an end to all plans, prospects. But there is also the subjective side of death – thoughts and reflections about it. They are sometimes dangerous, harmful. But on the other hand, they help to see the important, eventful, to get rid of the petty, accidental, to overcome envy, that is, they make certain adjustments to behavior, regulate it in a certain way.

Revitalizing Philippine Theater: A Framework for Theater as Creative Entrepreneurship

Purpose – Despite the rich culture of the Philippines, the country has not been able to create products, services, and experiences that sustainably cater to domestic and international markets. Instead of harnessing its creative force to drive economic growth, it remains a creative labor supplier. The country is envisioned to become “a major creative hub in the Asia-Pacific, with strong and thriving creative industries” (British Council, 2017). Performing arts, including theater, is a key creative industries sector. However, theater is beset with precarity and instability (Santiago, 2021). This study sought to analyze the challenges and opportunities for revitalizing theater as an industry. Design/Methodology/Approach – In this investigation, a critical review was employed. This methodology not only describes the phenomena, but also formulates a re-conceptualization based on an integrative review of old and current models. A comparative analysis of creative economy models was made between Philippine theater and theaters internationally. Findings – Philippine theater is not fully utilizing its economic potential because current models involve high production costs, need for highly specialized creative labor, and lack of enabling policies. Among the four creative economy models (Potts and Cunningham, 2010), Philippine theater may benefit from Model 3, the Innovation Model, which may evolve into Model 4. Mapping representative theater companies and genres across the models provides insights into directions for theater innovations. A conceptual framework for innovating Philippine theater through Creative Entrepreneurship is forwarded. Research Implications – The framework yields valuable insights for theater managers, educators, heritage and cultural advocates, tourism creatives, and entrepreneurs.

Colonial Legacies: Contemporary Lens-Based Art and the Democratic Republic of Congo by Gabriella Nugent

Colonial Legacies: Contemporary Lens-Based Art and the Democratic Republic of Congo by Gabriella Nugent

Novosibirsk Samizdat of the 1980s — early 1990s: Oleg Volov and the "Blumkin Shelter" Partnership

The object of the study is the Novosibirsk samizdat of the 1980s - early 1990s, the subject is the socio–cultural ties underlying its creation and distribution. The aim of the work is to present a picture of the existence of the Novosibirsk samizdat of the late Soviet period on the example of the local art community and its involvement in the cultural context of the region. Special attention is paid to the interrelationships between various artistic, literary and musical circles operating in the general field of unofficial culture of the late Soviet era and the first post-Soviet years. The study is not limited to Novosibirsk, it also analyzes the precedent of a large number of republications between independent publications in Novosibirsk and Kostroma. At the center of the study is the figure of the leader of the cultural community (kulturtrager), around whom creative forces unite. The study used comparative historical, source studies, textual methods, the method of content analysis, as well as general scientific methods of analysis and synthesis. The work introduces for the first time into scientific circulation a wide range of sources related to the history of Novosibirsk samizdat and the field in which it was distributed, describes the mutual influences of various local communities of Novosibirsk, which were based on informal publishing practices. The article considers in detail the samizdat magazine "Zelen'", which appeared at the turn of the 1980s - 1990s and is an example of late Soviet samizdat, the traditions of which were preserved in the regional book culture throughout the 1990s. The data given in the article will further serve to recreate the real cultural landscape of Novosibirsk of late Soviet and post-Soviet times with an emphasis on the informal sector of book culture.

Conscious Systemic Leadership

Conscious systemic leadership (CSL) is a theoretical construct that draws from Shiva consciousness. Through major parts of history, theories and narratives have taken an individualistic approach to leadership focusing on the person as a leader. However, systemic leadership (SL) is an emergent phenomenon that draws on synergies and concerted efforts of several people and institutions operating across several places and levels to create a more purposeful and meaningful existence for us. If SL is about shifting the focus from the self to the wider scheme of existence, a consciousness-based approach is necessary. A consciousness-based approach enables us to undergo a mind-shift from the individual to the collective, from short-term to long-term, from rigidity to fluidity, from holding-on to letting-go, and from results-focus to learning-orientation. The philosophy of Shiva is drawn on to understand that consciousness is the substratum of reality, an insight used to build the theoretical construct of CSL. In Shiva consciousness, reality is embodied in our experience of the world through a transcendental and eternal process of fusion and dance of energies between the opposing archetypes of the purusha and prakriti; pure consciousness and the creative force, respectively. Everywhere, in each minute attribute of reality, a “self” is present, which is the universal consciousness of Shiva. CSL demands a set of new thinking and practices to bring this concept to life. With the integration of consciousness, CSL makes a new addition to the field of SL as the first attempt in the literature to draw on perspectives from Hindu philosophy, more specifically the Shiva philosophy.

Reorienting GIScience for a data-intensive society

In this commentary, I explore the potential future for GIScience to broaden its focus from technological advancements to examining the dynamic interactions between geographic information system (GIS) technology, its users, and the places where it is being utilized. Drawing on the postphenomenological perspectives of Don Ihde and his followers, this commentary re-imagines GIScience by emphasizing its ability to shape and be shaped by human experiences and various creative forces across bodies and places. This reorientation decenters GIScience beyond the human body by also encompassing non-human entities such as animals, bots, and algorithms. In the face of a rapidly growing data-intensive society, this commentary underlines the importance of adopting a caring stance when it comes to the use and development of GIS. This perspective of care can enhance our understanding and empathy toward ourselves, the planet, and all other beings. This reorientation of GIScience plays a significant role in shaping future trajectories of GIScience and the discipline of geography, enabling us to effectively tackle the theoretical and practical challenges posed by a rapidly evolving data-intensive society.

In Praise of Misreading (On Contingency and Creativity)

This article argues in favor of misreading as a creative act. There is something involuntary in every creative act, and this involuntariness is itself a force of creation that arrives at the threshold of every act of repetition in and through time. Creativity is always shaped by unexpected encounters with ideas, arguments, and artworks. My defense of misreading as a creative act, however, asks for a broader description of contingency that includes accidents, misprisions, and fortuitous faults in memory generating flights of fancy and unbidden and unexpected imaginative analogies. These erosions of intention by internal or external events are one way of anticipating the freedom for new creation. Before it is expressed in actions, creativity arises in imagination, and to those open to it, imagination is fed by both the inner contingencies arising in memory and imagination and the outer contingencies of surprise encounters with ideas, texts, and other creative works.

Correspondence of Anatoly Fedorovich Koni with liberal lawyers as a source on the political sentiments of legalists in 1860–1910

In the Russian Empire, subjects wrote letters to each other daily, in which they poured out their souls, shared their emotions and feelings, were indignant, worried. Separate letters represented samples of Russian literature. One of the most prolific writers was Anatoly Fedorovich Koni. He wrote daily up to 1015 letters. Much of this correspondence has been preserved. Thanks to the letters, we can reveal the psychological makeup of the famous lawyer, establish numerous personal connections in which he was involved and in which he played an important role. Koni was a politician, one of the leaders of the legalist (legal) movement in the late empire. We felt that identifying and analyzing these letters would allow us to better understand the motivations of the leaders of this movement. Accordingly, the subject of our study is the political worldview of the liberal lawyers of the Russian Empire based on the materials of Konis letters and letters to him. Considering the history of correspondence, we chose the chronological approach as the main method, trying to trace the evolution of the legalists views from moderate optimism to deep pessimism. This is the first time such a reconstruction has been carried out in relation to the legalist movement and contributes to our historical knowledge. A number of preliminary conclusions can be formulated. The letters are an important source on the history of the political sentiments of the empires liberal jurists. They not only reflected emotional reactions to the ongoing processes, but also proposed ideas for restructuring the state. Along with the criticism of the state, we fix the naive faith of the followers of B.N. Chicherin into the democratization of an authoritarian state, liberalization, into the Constitution, as a way to solve the main problems, into a God-bearing people, in which some creative forces are dormant. All these dreams are dispelled by the end of the XIX century, and only a deep spiritual decline remains, which means a crisis and collapse of the movement.

Democratizing Finance: The “Citizen Fund”as an Institutional Proposal to Structurally Consider Non-Pecuniary Returns in Investment Decisions

An important element to explain the current multi-dimensional crises is the inability of capitalist institutions to consider non-pecuniary returns to investments (NPRI) in investment decisions. Orthodox economics highlights the creative force of the monetary profit motive, which translates into cultural habits and political decisions leading to overinvestment in harmful activities and underinvestment in desirable sectors. The flipside of this excessive trust in the monetary profit motive and markets is the weakening of the democratic institutions and the mistrust from the citizenry. Here, an archetype of a novel instrument for democratic finance is presented, to measure NPRIs, reconciling individual and collective action, harmonizing innovation, investment, and democracy.

Manifesting creativity in the learning activity process of early school-age students

In this article, we analyze the specifics of the manifestation of creativity in the process of the learning activity of students of small school age. In general, at early school age, the educational process fully requires the activation of the student's creative forces. Stepping on the threshold of school, children are trained in assiduous and continuous intellectual work, largely unknown to them. In such a situation, life experience and previously accumulated knowledge prove to be insufficient for obtaining a positive result. And then, children activate their creative potential. That is, it appeals to intuition, manifests intellectual initiative, attributes elements of fantasy to the element of knowledge: unexpected comparisons and associations, unusual hypotheses.

Mick Moloney (1944–2022)

Mick Moloney (1944–2022)

Stalingrad: The feat of creation

Based on archival documents introduced into scientific circulation for the first time, the process of postwar restoration of Stalingrad is discussed. During the Battle of Stalingrad, which became one of the key battles of the Second World War, Stalingrad suffered colossal destruction: not a single one of the 126 enterprises survived, while 48 factories were razed to the ground; the civilian population of the city was reduced to 1515 people. Already in December 1942 - January 1943, the city and oblast authorities decided to begin restoration. Although the fighting in the city was still ongoing, on April 4, 1943, a resolution of the State Defense Committee (GKO) was adopted On Priority Measures to Restore the Economy of Stalingrad and Stalingrad Oblast. The process of developing an urban planning concept and searching for an architectural and artistic solution was rather difficult. The best creative forces of the Soviet Union took part in this work: A.V. Shchusev, B.M. Iofan, K.S. Alabyan, E.V. Vuchetich, and others. The final project for the development of the center of Stalingrad was prepared by a group of the Academy of Architecture under the leadership of Alabyan in 1946; however, after the adoption in 1955 of the resolution of the CPSU Central Committee On the Elimination of Excesses in Design and Construction, this project was not implemented in full. An important milestone in the formation of the modern appearance of Stalingrad (Volgograd) was the construction of the memorial ensemble to the heroes of the Battle of Stalingrad on Mamayev Kurgan in 1959−1967 according to the design and under the direct supervision of the sculptor E.V. Vuchetich and engineer N.V. Nikitin.

Pierre Klossowski. L’acte créateur de l’écrivain-peintre

The Creative Act of the Writer-Painter Klossowski, who had originally started as a religious seeker of truth in his younger years, will – after his « reversal » – feel himself invested with the role of a « heretic » struggling with the libidinous search for truth. Even as the creator of a perverted metaphysics, he remains a seeker of the revelation of being, now in the role of the divine « adversary » who, thrown back on himself, tends to imitate a religious mystic. The divine is replaced by the whispers of the demon, which Klossowski experiences as « la complicité d'une force "démonique" » in the creation of his artworks. The Diana myth becomes a parable for the act of artistic creation. Sexuality, understood as the primordial ground of creative force that shapes the signe unique, the phantasm, shifts metaphysics to « phantasmaphysics » (Foucault), in which the mystery of the divine is exposed as a delusion (Wahnbild).

Journal of Genius and Eminence Creating order in the mind: Borges’ paradoxical mirror

In this essay we propose, based on the ideas of L. Rapkine and J. Monod on the physical reasons for aesthetic appreciation, that the interest of creative scientists in Jorge Luis Borges’ works is produced by an apparently contradictory effect: on the one hand, the serenity that these texts induce in the mind of an innovative person and, on the other, the modification of the cognitive balance that causes the complexity of these texts and that operates as a creative force. We illustrate this idea with the specific case of the story “Blue Tigers”. We show that this text by Borges, in a reader who is sensitive to it, injects information that puts the mind in a state far from the level of cognitive equilibrium. When it comes to solving a scientific problem, the search for new ways to solve the problem is enhanced by this condition in which the cognitive balance is cancelled. That is the condition in which the creation of new ideas seems possible.

Creative Economy and Sustainable Development: Shaping Flexible Cultural Governance Model for Creativity

With the development of cultural democratization, countries have attached increasing importance to the protection of cultural rights and the promotion of sustainable cultural development. The establishment of a flexible cultural governance model may release the transformative force of culture and creativity, gradually spread cultural values and ideas into governance, and shift activities to more sustainable behavior. This research was divided into two stages. In the first stage, CiteSpace was used to conduct a co-citation analysis of documents published between 2013 and 2022 in the Web of Science database. The results were combined with existing cultural development and value indicators from many countries to design cultural impact indicators suitable for evaluating the sustainable development of creative industries. In the second stage, a questionnaire survey was conducted on the cultural industry, the creative economy, and cultural consumption. Through statistical analysis, six dimensions were obtained, and 20 indicators were cultural sustainability, cultural democracy, cultural innovation, cultural industrialization, cultural vitality, and cultural policy systematization. The cultural governance framework of the creative economy and sustainable development was established through AMOS software. This study found that the humanistic rationality of cultural governance has a significant improvement and stable role in promoting the governance of cultural policies. Adjustable cultural impact indicators are effective cultural practices for shaping and framing creative industries, which should be invented, stabilized and improved.

Emotional Communication and the Construction in Interactive Rituals

Human emotion is a meaningful form of symbolic communication in terms of its transmission. And it is the basic supporting force and creative force of mankind. Also, emotions need to be stimulated, interacted and shared. Through the stage of "interaction rituals", on the one hand, a new interactive emotional space of sincerity, equality and respect has been created; on the other hand, a new emotional culture has been displayed, spread and constructed, which has played an important role in shaping emotional civilization, promoting social unity and building public emotions.

Review: Gastropolitics and the Specter of Race: Stories of Capital, Culture, and Coloniality in Peru, by María Elena García

Review: <i>Gastropolitics and the Specter of Race: Stories of Capital, Culture, and Coloniality in Peru</i>, by María Elena García

The evolutionary origin of psychosis.

Imagination, the driving force of creativity, and primary psychosis are human-specific, since we do not observe behaviors in other species that would convincingly suggest they possess the same traits. Both these traits have been linked to the function of the prefrontal cortex, which is the most evolutionarily novel region of the human brain. A number of evolutionarily novel genetic and epigenetic changes that determine the human brain-specific structure and function have been discovered in recent years. Among them are genomic loci subjected to increased rates of single nucleotide substitutions in humans, called human accelerated regions. These mostly regulatory regions are involved in brain development and sometimes contain genetic variants that confer a risk for schizophrenia. On the other hand, neuroimaging data suggest that mind wandering and related phenomena (as a proxy of imagination) are in many ways similar to rapid eye movement dreaming, a function also present in non-human species. Furthermore, both functions are similar to psychosis in several ways: for example, the same brain areas are activated both in dreams and visual hallucinations. In the present Perspective we hypothesize that imagination is an evolutionary adaptation of dreaming, while primary psychosis results from deficient control by higher-order brain areas over imagination. In the light of this, human accelerated regions might be one of the key drivers in evolution of human imagination and the pathogenesis of psychotic disorders.

Art and culture — the screen of the people’s spiritual being

For centuries, art and culture have established themselves as fundamental forms of activity, through which man manifests his visions of the world. Having the man and his creation at their center, they also defi ne the human way of existence, becoming the symbol of man’s creative force. Th at is why they are always in the center of attention of scientists, people of art and culture, including filmmakers, who have released an indefinite number of films on this theme on the world’s screens. One of them is the filmmaker Vlad Druc, for whom art and culture are his favorite themes. His films can serve as argument: Arta, Maria Codreanu, Ion Creangă, Ploi de dor, Firul viu, Goblen, Tata, Meșterul anonym, …și neobosite mâinile tale, Vai, sărmana turturică, Obsesie, Aria, etc. On the basis of the feature film Timp de a trăi (Time to Live), we will try to highlight the spectrum of interests of the director Vlad Druc in the fi eld of art and culture, the visions and the ways of expression through the cinematographic language of the invaluable matter subjected to cinematic investigations in order to elucidate his identity paradigm.

The World within a Play or Playing within the World: Re-animating the Author through the Actor’s Voice

The critical argument around deconstruction destabilises the author and the relationship between the authorial authority over the text and the meaning-making process. A similar deconstructive turn also questioned the actor’s positioning within the larger production apparatus in relation to the dramatic text. Looking at the changing ideological construction around the author in relation to the actor and performance, this paper argues that the re-animation of the author in the recent critical arena has opened up spaces where we can re-imagine the actor as well. The exclusion of the author from the bourgeois authority of the text has freed the text to be re-connected with the actor. Through this re-connection, the method of meaning-making gets a new dimension where neither the author nor the actor has full authority over the text. Still, they remain active part-takers in the meaning-making process. This paper contextualises how deconstruction as a theoretical premise and autobiographical narratives as active writing have a dialogue that portrays writing as a performing narrative: a creative synthesis between the narrating self and experiencing self. It is an enquiry into that ‘theatrical’ space where the autobiographical ‘author’ and actor melts down to become an organising function which can question the earlier production apparatus and simultaneously become a creative force. This paper is an objective epistemological endeavour to destabilise the production apparatus, thus opening up new possibilities of meaning and interpretation in examining the text, author, actor, and beyond.