Ideology Of Creativity Research Articles

중국 단편 수묵 애니메이션 <구스 마운틴>(2023)의 주제 표현에 대한 연구

Since the 1990s, traditional Chinese ink animation has declined due to its complexity, lack of entertainment value, and high production costs. Although digital technology has been introduced to innovate, there remains the problem of the pictorial nature of ink painting being sacrificed for the spatiotemporal characteristics of animation. Therefore, this paper explores human desire and nature through the character portrayal and mountain shaping in Goose Mountain. The director combines the traditional ink painting technique of “Cunfa (皴法),” Western sketching, the characteristics of the French Left Bank cinema movement, and the theory of “Breaking the Fourth Wall” to portray the characters. In doing so, Goose Mountain inherits the tradition of the “Chinese Animation School” while adapting to the development of the digital age, embracing Western film and animation techniques, and reflecting the creative ideology of “using Chinese essence with Western methods.” Through this ideology, Goose Mountain maintains the unique traditional aesthetics of Chinese ink animation—“the integration of virtual and real (虚实相生)”—while achieving a strong visual effect. As a result, Goose Mountain balances various artistic styles, reflecting the modern human condition of “worrying about gain and loss before obtaining something, and worrying about losing it after obtaining it.” Ultimately, it conveys the lesson that “life is like a rootless plant, drifting like dust on the road.” Based on this theme, this paper presents a viable visual strategy for the modern entertainment market while inheriting the culture of traditional Chinese ink painting.

Towards an Effective Architectural Form: The Composition of Squareness and Roundness Based on Scale Proportion—Evidence from the Yingxian Wooden Pagoda

Investigating the mathematical and geometric principles embedded in ancient classic architecture is a significant tradition in the history of architectural development. Drawing inspiration from the modular design and creative ideology based on the geometric proportions of squareness and roundness in ancient Chinese architecture, we propose a new mode of squareness and roundness composition based on scale proportion specifically for the design of multi-story buildings. Taking Yingxian Wooden Pagoda as the case study, we not only re-evaluate the modular system and proportional rules followed in the design of the entire pagoda, but also reveal the technical approaches and geometric rules for effectively controlling the form of multi-story buildings. In particular, the mode of squareness and roundness composition based on scale proportion, utilizing a modular grid combined with squareness and roundness drawings as decision-making tools, can control the scale and proportion of buildings across different design dimensions and organically coordinate the design of multi-story buildings’ plans and elevations. Thus, it can achieve an effective balance of multi-story architectural forms. This study has potential applications in the creation of traditional multi-story buildings and heritage restoration projects, and offers valuable insights for future research on ancient multi-story buildings.

On the Perspectives of the Scientific Precariat

This paper is a part of the discussion about creativity and the scientific precariat, initiated by I.T. Kasavin’s article. Proceeding from his proposal to revise the ideology of creativity in science through the desire of certain precariat groups for independence and freedom, the author questions the nowadays perspectives for the scientific precariat. This paper discusses the varieties of the precariat (or related to it phenomena), such as freelancing and digital nomadism. The author considers a number of advantages (independence, freedom) and disadvantages of precarization (lack of stability, uncertainty, lack of social guarantees, etc.). The author questions whether scientists can be seriously considered as candidates for the precariat and how widespread the scientific precariat is in contemporary society. It is pointed out that the collective nature of modern science and its institutionalization impose certain obligations on scientists, which sometimes confront their individual internal aspirations, including the desire for freedom. The tension between the institutional conditions for the existence of science and the personal motives of scientists, noted once by M. Weber, lead to a decrease in personal autonomy, the emergence of a “world of specialists” and make it difficult to realize scientists’ aspirations for independence and freedom. On the one hand, a number of current trends (such as academic mobility) can be viewed as a kind of precarization in science. On the other hand, the status of an independent researcher without research and educational affiliation hinders scientists’ social recognition and financial returns. The author admits that representatives of “garage science”, some public intellectuals, science, communicators, etc. can be attributed to the scientific precariat; however, in general, the scientific precariat is not a common trend. At the same time, modern postscience and post-normal science potentially make this phenomenon quite legitimate.

A Note on AI and the Ideology of Creativity

A Note on AI and the Ideology of Creativity

Big City as a 'Voice' and 'Image' (on Materials of the City Dnipro)

The article explores how the basic approaches in socio-humanitarian knowledge about city studies have changed. More specifically, there are some changes in the system of metaphors, which serve as a basis for studying the city space. A gradual shift from “real” space metaphors domination to the constructed dimensions is the main tendency. “Imaginary” and “symbolic” are now the core elements of the urbanistic studies. Therefore, the issue of symbolization of such places is becoming more interesting than the studies of the city topography and real objects or groups that constitute interconnected territorial units. The paper presents the results of researching the images of “creative city” as perceived by the student youth of Dnipro. The author of the article defines the differences between the above-mentioned images and the reality of Dnipro. There are several explanations of such differences. On the one hand, the youth notices the elements of the objects of the city space that fit into their ideology of creativity (some of the places-symbols, as co-workings, are important because of mere fact of their existence). On the other hand, during the process of one’s self-realization, they can face practical problems, and symbolization becomes less important. Since there are also some changes in symbolization of the city space (from changes in the holistic descriptions of the city to the dynamics of the topographic nomination system), the evolution of the generalized image of the city, which is incorporated into the citizens’ consciousness, becomes an interesting issue. The official discourse that is available for the citizens due to historical literature becomes one of the competitive projects. The article discusses the dynamics of the symbolization of the history of Katerynoslav-Dnipropetrovsk-Dnipro in traditional, soviet, and post-soviet projects. The author of the paper demonstrates the logic of changes in the systems of events and characters, which help to present the history of the city to the locals within each of the projects.

Scriabin – piano music in the context of the composer’s creative ideology. Part 3

The article is the third part of the text devoted to the profile and piano works of Alexander Scriabin. The composer had an extraordinary piano talent and the ability of coloured hearing. He worked out an innovative musical language based on a unique harmonic style. He was an unprecedented visionary of art, he had knowledge on philosophical topics, he was also a mystic who wanted to save the mankind thanks to his creative output. The article’s author asks questions about the reasons of this radical evolution of Scriabin’s musical language, the reflection of his personality and creative views and the connections of music with mystical experiences. As he believes, finding a way to a possibly authentic explanation of these issues may contribute to a better understanding of the composer’s creative intentions in the context of the artistic interpretation of his piano works. The third part of the cycle presents the interpretation of Scriabin’s mysticism in aesthetic aspect. The author of the article shows three perspectives of this phenomenon, i.e.: presentation of mystical topics in the programme of a piece, treating a music piece as a transcendent being and using a composition as a carrier of mystical experiences. An important element of this description is the reference to psychological findings of Abraham Maslov concerning the special perception accompanying such experiences (peak experience). The article concludes with a few reflections of a general performance-related character.

Bergson and the spiritualist origins of the ideology of creativity in philosophy

ABSTRACT Henri Bergson (1859–1940), the most prominent member of nineteenth-century French spiritualism, is the first philosopher who explicitly defined philosophy as a practice which consists in posing problems anew and in creating concepts. In this article, I will try to reconstruct the progressive importance acquired by the terms ‘problem’ and ‘concept’ in nineteenth-century French philosophy and how they combined in Bergson’s theories about creativity, invention and novelty. I will argue that Bergson’s conception of philosophy as a creative intellectual practice was the result of a negotiation, inside a pre-existent spiritualist framework, between, on the one hand, neo-Kantianism and, on the other hand, evolutionism which strongly influenced empirical psychology and the emerging social sciences. Bergson’s solution, influenced by the evolution of mathematics and literary theory, was just one of the possible options, and the main alternative to a new form of transcendental philosophy.

Creativity as Computation: Teaching Design in the Age of Automation

Graphic design and user-experience design are augmented by computing, including tools that use artificial intelligence (AI) to infer intent and automate various activities. The efficacy of these tools conceals an ideological commitment to human creativity that is, at its core, explainable via computational processes. Design education often unintentionally supports this ideology. This paper first examines the ideology of creativity and the designerly act as computational. Second, it examines the technical research and corporate rhetoric that support this ideology and its connection to a broader set of ideas about the relations between people and computing. Finally, some possibilities for pedagogical intervention are proposed.

«ПОРОХОВЫЕ КАРТИНЫ» ЦАЙ ГОЦЯНА КАК ДИАЛОГ ВОСТОКА И ЗАПАДА В СОВРЕМЕННОМ ИСКУССТВЕ

The article considers the conception of dialogue between eastern and western art represented in the Chinese painter Cai Guo-Qiang’s creative work. The study focuses on “gunpowder pictures” created by Cai Guo-Qiang after emigration. The author analyses the peculiarities of the painter’s creative ideology and the distinctive features of his works. Providing an art criticism analysis of Cai Guo-Qiang’s symbolic “gunpowder pictures” created at the end of the XX - the beginning of the XXI century the paper examines the conception of using traditional eastern and innovative western elements in his artistic practice. The author conducts a comparative analysis of the Chinese art critics’ views regarding the painter’s creative work and his contribution to art, to the development of intercultural dialogue between the East and the West. Cai Guo-Qiang’s creative work influence on modern global art is analysed.

Scriabin – piano music in the context of the composer’s creative ideology. Part 2

The article is the second part of the text devoted to the profile and piano works of Alexander Scriabin. The composer had an extraordinary piano talent and the ability of coloured hearing. He worked out an innovative musical language based on a unique harmonic style. He was an unprecedented visionary of art, he had knowledge on philosophical topics, he was also a mystic who wanted to save the mankind thanks to his creative output. Throughout the period of around 20 years, Scriabin’s musical language transformed drastically, which is most fully shown in his piano pieces, especially miniatures and sonatas. The second part of the article presents a general characterisation of Scriabin’s piano compositions and musical language in subsequent stages of his creative work. The analysis refers to style and form-related topics, melodics and harmony he used, texture and timbre phenomena and the connections between piano and symphonic pieces. The author of the article reflects on the essence of Scriabin’s artistic orientation and the fact whether the change of his musical language can be called an “evolution” as such. An important element of the article is the presentation of the structure of each piano sonata. The included characterisation of the change of his musical language is an addition to the first part of the cycle, enabling the reference to the stages of the composer’s life juxtaposed there with the description of the transformation of his artistic views.

Scriabin – piano music in the context of the composer’s creative ideology. Part 1

The article is the first part of a cycle of texts devoted to the profile and piano works of Alexander Scriabin. The composer had an extraordinary piano talent and the ability of coloured hearing. He worked out an innovative musical language based on a unique harmonic style. He was an unprecedented visionary of art, he had knowledge on philosophical topics, he was also a mystic who wanted to save the mankind thanks to his creative output. The article’s author asks questions about the reasons of this radical evolution of Scriabin’s musical language, the reflection of his personality and creative views and the connections of music with mystical experiences. As he believes, finding a way to a possibly authentic explanation of these issues may contribute to a better understanding of the composer’s creative intentions in the context of the artistic interpretation of his piano works. The first part of the cycle presents the artist’s biography, his poetry and philosophical works. It discusses the most important events in his life, his music education and activity as a pianist and a composer, paying attention to the phenomenon called synesthesia and his idea-based creative aspirations. The analysis of the composer’s philosophical notes will allow for determining his worldview. As a result, the article will present the connections between the spheres of Scriabin’s activity, covering subsequent stages of his life and the transformation of his artistic views serving as a reference to the evolution of his musical language, which will be discussed in the next part of the cycle.

Oral history, collective memory and socio-political criticism: A study of popular culture in Cameroon

The growing popularity of contemporary Cameroonian popular cultural production is a significant indication of the value attached to the medium as well as the appreciation of the opportunity offered by the Biya regime. As opposed to the Ahidjo era, Cameroonian popular cultural products today are preoccupied with the daily concerns of the society at large and the masses in particular who have appropriated the art, with its evolving thematic and stylistic focus, thereby making it suitable as a veritable avenue for the representation of voices. Also considered as new forms of oral literature, pop culture owes invaluable contribution to public social discourse. There is no denying therefore that the present form of popular culture is a hybrid of folk or traditional art customized in step with the exigencies of contemporary Cameroonian society. This paper articulates the relationship between historico-social reality and popular culture showing how Cameroonian popular cultural musicians use history and social realities as raw material for the configuration of creative ideology. It further demonstrates that without forfeiting artistic grandeur, popular culture acts as a reservoir of memory, collective experience and sociopolitical criticism.

“Calling it a Crisis”: Modes of Creative Labour and Magic in an Elite Architect Company

In recent years we have seen a resurfacing of magic as an analytical category in anthropological literature, with particular emphasis on modern forms of occultism and witchcraft. Magic has yet to prove itself a useful analytical tool within the anthropology of organizations, and this article aims at understanding everyday work processes through the concepts of myth and magic. The discussion is based on empirical data from an internationally acclaimed architect company based in Norway, with a particular focus on a period of downsizing in the aftermath of the global financial crisis in 2008. The architects try to uphold an egalitarian, social-democratic ideology of creativity within a capitalist system and make use of a range of magical practices in order to succeed. The article shows how narrative flexibility transforms the brutality of downsizing into a mode of creative labour, and concludes that the internal dynamic between risk taking and risk reducing is inherent in both magical practices and capitalist systems.

The Ideology of Creativity and Challenges of Participation.

Anna Craft, a leading researcher on creativity and education, described a condition that many of us have watched accelerate: “Creativity is an important element of the zeitgeist in the early twenty-first century, worldwide” (2005, p. ix), encompassing discourses on genius and individualism, democracy and politics, the social good, technological advances and educational practice, among others (Banaji, Burn, & Buckingham, 2006 as cited in Craft, 2010). It is important to note just how distinctive our times are in this regard. The ancient world did not subscribe to a psychological view of creativity, and during the Middle Ages in Europe in most places to assert that someone was creative would have been blasphemous (Weiner, 2000). God created. People only made things. In other words, we do not need a psychological concept of creativity to write great literature, develop philosophies, lay the foundations of democracy or build beautiful temples and cathedrals. In addition, the idea of “creating” or being “creative” retained implications of the dangers as well as the promises that come with change until the late nineteenth century. Then a wholly positive view of creativity largely eclipsed its negative connotations as dangerous, hubristic and potentially destructive (Mason, 2003). Since creativity came to be viewed as almost wholly positive, its importance has steadily grown. In particular, an ever-broader range of creativity theories in psychology and sociology have contributed to the creativity zeitgeist. There is a consensus definition of creativity in social science: producing something novel and of value in a context. As it turns out, though, that definition is just a starting point for a wide range of controversies. Early psychological views of creativity included sublimated infantile desires (Freud’s views of the sources of creative ideas and motivations), sudden restructuring of perception (Gestalt views of insight) and the traits of divergent thinking (ideational flexibility, fluency and originality). Then the humanistic psychologists argued that creativity was the expression of a universal self-actualizing drive and its development was necessary to be a “fully functioning person” (Rogers, 1969, p. 278). Since the cognitive revolution in the mid-twentieth century, psychologists have developed a range of cognitive views from creativity as systemic evolution of thought (Gruber & Wallace, 1999; Wallace & Gruber, 1989) to creativity as decision making (Sternberg, 2003; Sternberg & Lubart, 1991) to creativity as a cognitive variation-selection process (Simonton, 1999). Meanwhile, sociocultural theorists have gone beyond the individual to locate creativity within the dynamics of the social and material worlds (Csikszentmihalyi, 1997, 1999; Glaveanu, 2014b; Sawyer, 2010). This Cambrian explosion of creativity theories has contributed to a conceptually rich and socially powerful concept within culture. At the same time, the proliferation of theories put the very social scientists who developed them in an increasingly fragmented field without a clearly defined subject of interest. These theorists regularly decry the fact that we do not have a clear view of what we are studying. As another leading creativity researcher, Teresa Amabile, and her associates described well: “Creativity researchers are often accused of not knowing what they are talking about” (Amabile et al., 1996, p. 19).

Glamor Above, Precarity Below: Immaterial Labor in the Video Game Industry

This article foregrounds the concept of immaterial labor to theorize the tension between the precarity of below the line workers and the glamor of above the line workers in the video game industry. I argue that even the most seemingly secure sections of the gaming workforce have a tendency to drift toward the economic precarity most acutely felt across below the line workers. In other words, we, as researchers, may need to question the presumed hard break between the above and below the line work experiences of employees in the game industry in light of the increase in processes of deskilling, outsourcing, and financialization. Moreover, I assert that workers, like game testers, are attracted to below the line positions as through-ports to the glamorous core sections of game labor: design, art, and programming. As such, they are interpellated to the ideology of creativity and practices of hope labor. The theoretical insights developed in the article draw on 2.5-year ethnographic work in a medium-sized game studio in the US, during which above and below the line digital laborers, and their spouses, were interviewed alongside participatory observation.

John Paynter, music education and the creativity of coincidence

My purpose is to develop better understanding of John Paynter's professional life and work, and by examining his pedagogic principles, discern something of the system of beliefs that underlay his commitment to finding a place for music within a system of general education. A number of significant influences are identified that bear upon his thought and practice and which in conjunction with his vocation as a composer-teacher come to privilege a process of making that is thought to bring order and coherence not only to musical thought but by analogy to life lived creatively. Portraying John as existential-humanist, although reductive, has a two-fold purpose; it exposes and invites critique of the creative ideology John so zealously promoted and at the same time provides a basis for a wider critique, and in particular, critique of current and future ideas about music, music education and its practice. In this way, John's life and work can be viewed as a vital source of long-living value.

The DIY Careers of Techno and Drum ‘n’ Bass DJs in Vienna

My empirical research on electronic dance music scenes in Vienna, Austria, explores an area of cultural production that unites the ideology of creativity with the aspirations of social networks and individual entrepreneurship. The model for a DJ's career is a hybrid of inspired musician, compelling performer, marketing genius and business strategist. An economically successful career depends not only on performing in clubs; DJs are also involved in music production, making records, marketing themselves through the media, organizing club nights and running labels. Social and cultural capital is invested in creative freedom, a do-it-yourself ethos, and collective enjoyment, yet these DJs tend to promote the neoliberal economic ideal of the autonomous cultural entrepreneur combining self-organisation and self-marketing with unregulated labour and gendered constructions of artist identity. Taking Bourdieu's work on the field of cultural production as a theoretical framework, my analysis of the DJs' modes of self-(re)presentation suggests that the opposition Bourdieu made between art and commerce tends to blur.

J‐pop: from the ideology of creativity to DiY music culture

The paper examines the development of J‐pop under the post‐Fordist condition and its ideological formation over the last two decades. J‐pop, invented as a fashionable sub‐genre by a FM radio station in the late 1980s, expanded its category throughout the 1990s and covers virtually all musical genres for young people in Japan. However, due to the lasting economic recession, the development of digital technology and the transformation of young people’s lifestyle, the record industry faced a serious crisis during the 2000s. The paper explores ideological formations between the success of J‐pop and the emergence of freeters’ (young part‐time workers) culture in Japan, by focusing on their nationalist sentiment and the idea of creativity, and tries to find a new way of reclaiming ‘creativity’ in DiY (Do it Yourself) music culture today.

Borrowed Lives (review)

Reviews139 essarily complicates his semiotics, but I agree with Brooks that the portmanteau category "irony" does not answer the problem. Marcel Cornis-Pop argues for a mimetic function in poststructuralist American novels, "a form of radical hermeneutics, ... a delayed 'analytical codification' " that shifts attention to "the discursive layering of cultural 'reality'" (p. 130). Joel Black's incisive and entertaining essay on "Mixed Signals in the Body Languages of Sexual, Commercial , and Extraterrestrial Discourse" focuses on the disparity between the ubiquitous nonerotic discourse ofsexuality and the violendy sexy "disembodied image" that the body has become. Jerry Herron gives Black's semiotics another habitation and a name. His "Mailing of the Semiotic" traces the ramifications of the shift in the cultural market paradigm from a university and department store dominated "downtown" to a placeless flux oftelevision and mall simulacra. Both essays are feats of media-theoretical info-tainment that do not have to be entirely followed to be enjoyed. In nine capable hands the hegemony of the sign proves worryingly—and exhilaratingly—alive. Princeton UniversityStanley Corngold Borrowed Lives, by Stanley Corngold and Irene Giersing; 189 pp. Albany: State University of New York Press, 1991, $44.50 cloth, $14.95 paper. "Moment upon moment, pattering down, like the millet grains," one of Beckett's characters muses, "and all life long you wait for that to mount up to a life." Borrowed Uves, a recent novel in the SUNY series, The Margins of Literature, is written very much in the spirit of this grave assessment. Corngold and Giersing tell the story of Paul van Pein, an uneasy history professor who responds to an advertisement by Margot Stevens in the New York Review ofBooks concerning a house for rent in the south of France. Having decided to spend his sabbatical leave in the house, the protagonist relies on letters from Margot in mapping his unfamiliar surroundings. Her instructions are detailed and virtually exhaustive, including a guide to local social life and the best places to shop for French wine. The increasingly mysterious Margot whose letters seem to anticipate Paul's every thought and emotion becomes something of an obsession for the professor whose friend observes that Margot has literally "possessed " him. Paul's attempts to organize experience into meaningful and livable taxonomies are vividly depicted as his epistolary relationship with the subtly manipulative Margot becomes entangled in his—at times quixotic—quest for 140Philosophy and Literature creative originality, stable identity, carnal pleasure, and a readable life unmarred by threatening inauthenticity. Borrowed Lives brilliandy allegorizes themes and problematics of current literary theory and philosophy, playfully engaging bones of critical contention such as the possibility of centered subjecthood, the ideology of creativity, the notion of endless textuality, and the viability of a self-conscious metafiction. Faced with the vicissitudes of selfhood in private as well as in the memorably satirized academic marketplace, the protagonist's life is dictated by the demands of his peculiar interdependence with an epistolary other, a constellation that constandy threatens to undermine the vivacity of that precious "honey of experience " (p. 21). The futility ofthe protagonist's spiritual and intellectual quest calls into question the text's own mode of original production by pointing to the impossibility of endowing the subjective life with concrete or material existence . The tendency within contemporary critical theory to posit an omnipresent textuality is also problematized by Corngold and Giersing when Paul, in a hilarious reverie, casts proponents of this orthodoxy as "oblates who sang together at the Litde Church of Deconstruction around the corner: ? believe, yea, I believe: all is Textual' " (p. 36). In other moments the authors foreground current literary themes. In one such scene Paul is physically and emotionally overpowered by an international gang of surreal riffraff who engage him in a sadomasochisticorgy, ceremoniously liberating Paul from his inhibited existence by cutting his skin and destroying Margot's house, a literalized metaphor of her body or "surfaces." This narrative gesture evokes the final scene of Patrick Stiskind's masterpiece of postmodern pastiche, The Perfume, in which the unloved protagonistJean-Baptiste, having achieved his foremost ambition in life, the construction of identity through the acquisition of an odor, is finally cannibalized by a riffraff troop of...

アメリカの革命

This treatise, in short, beings with a description of the tendency of unification of the American Colonists of the British Empire and considers finally American Revolutionary Theory involving the complicated cirumstances of following affairs: various Acts of the British Government toward the American colonies, corresponding committees and the first and second Continental Congresses in American against these Acts, British policy and stationary troops, the entanglement of courses and situations of these affairs during the war, the international aspects of the war, the American patriots final victory and America's independence from its mother country, the British Empire, and the social and political changes in America after the Revolutionary War.The value of historical studies lies not in the knowledge of the past it gives. It lies rather in the insight which it furnishes into the future. This treatise, from this point of view, shows that American belief in natural right, liberty, separation of Church and State, republican form of government, etc. have their origins in the deep roots that grew up from the time of the Revolutionary War.American political scholarship like American statesmanship has been primarily problem-conscious rather than metaphysical and doctrinaire. The American Revolution was not a revolution of any principles of original philosophy or creative ideology. That is to say, there was no political theory in America. One of the characteristics of the American people at that time was to deal with current situations rather than to think in terms of abstract ideas. The American Revolution was based on such reasoning. Then we may call it a conservative revolution which was different from the French, Russian and English revolutions.From the first, the American people developed their new country with hunting knives in an effort to live. In this, the pioneer spirit was born. And that pioneer spirit has become the distinguishing trait of pragmatism from the time of the American Revolution up to the present day. This treaties is a discussion of these affairs.