Creative Subjects Research Articles

Analysis on Indoor Ventilation Environment of House Type Based on Architectural Aesthetics

Architectural aesthetics mainly creates architectural beauty according to the law of beauty and realizes the interaction between creative subject and object, and receptor. Its essence has been soaked and attached to all kinds of materialized carriers and behavioral subjects in the living environment. Through the aesthetic optimization of residential house type, this paper analyzes the ventilation efficiency of representative house type, which affects the prevention and control of community infectious diseases and the physical and mental health of residents. Take multiple measures to strengthen the aesthetic design of residential house type, and promote the healthy development of community ecology and the cultural inheritance of harmonious society. It is helpful for architectural designers to improve their understanding of the effect of natural ventilation and provide reference means for designers to reasonably organize indoor natural ventilation in architectural design.

Review: A Revolution in Movement: Dancers, Painters, and the Image of Modern Mexico, by K. Mitchell Snow

Review: A Revolution in Movement: Dancers, Painters, and the Image of Modern Mexico, by K. Mitchell Snow

Existential-personal phenomenology of the reflexive development of the processes of the “I” self as a subject of culture-creating scientific creativity (to the 100th anniversary of the S. L. Rubinstein school)

Existential-personal phenomenology of the reflexive development of the processes of the “I” self as a subject of culture-creating scientific creativity (to the 100th anniversary of the S. L. Rubinstein school)

Unom Humanity as the Boundless Mysterious Potential of the Managing Personality and the Ontological Basis of Victory in the War of Aggression

Four reasons for actualizing the question of the essence of the individual are revealed. They clearly testify to a perverted view of the essence of the whole world, to the fact that man has not yet recognized his true, single, tri-hypostatic – spiritual-bio-social nature and has not unraveled the meaning of his main archetype – freedom-responsibility. Superficial-scientific, dialectically-invented anti-human postulates contributed to the mortification of living processes, when they were subjected to semi-conscious scientific castration, which changed consciousness and world perception in an anti-essential way, prevented the ascending understanding that it is the integral personality that is the basic free-responsible creative subject of all integral economic transformations in the life-affirming format of love and humanity. The war takes place and marks the fact that a person does not know and does not adhere to his spiritual hypostasis. Ideology as a tool for the formation of the corresponding superficial consciousness is always a social form of violence-denial of the true spiritual world, true spiritual values and motives of integral life. The formation of a scientific, unspiritual secular worldview – humanism inevitably gave rise to anti-humanity, and wars became a life-killing outcome of worldview anti-human cataclysms that kept accumulating. The clouding of human consciousness, when the idea of God turned into a discourse of inhumanity, and man began to glorify himself as an arbitrary creator and to feel almost omnipotent, to see himself as an absolute power-lover.When secular power began to blind everything divine and human, a devastating anti-human war was unleashed. It was the culmination of godless depopulation, a situation of realization of the extreme form of domination of racist society over the individual. Keywords spiritual-bio-social nature of man; freedom-responsibility; personality, unom of humanity; spiritless humanism; war; depopulation.

Effects of Regional Cultural Differences on the Aesthetic Orientation of Square Dance Style

As a unique regional culture, it is closely related to the formation of dance aesthetic style. It is mainly manifested in that regional cultural differences affect the formation of square dance style. Square dance style reflects the essence of different regional cultures and systematically shows the relative dialectical relationship of art. Studying and exploring the relationship between regional culture and square dance style has very important theoretical research value, whether it is to promote the development of different regional cultures or to promote the progress of square dance style. Dance Aesthetics starts from perceiving and creating artistic value, creates different artistic images through body dynamic language, and expresses the aesthetic feelings and different understandings of the creative subject. It takes the influencing factors of regional culture, the formation of dance aesthetic style and the influence of regional culture on the aesthetics of square dance style as the main framework, A comprehensive and in-depth study and elaboration on the relationship between regional culture and the aesthetic orientation of square dance style is of great significance to the improvement of aesthetics and the development of design, and provides a feasible theoretical reference for the innovative development of dance.

Проблема конструирования женского субъекта в творчестве З. Гиппиус в контексте гендерной теории Вейнингера

The paper deals with the issue of interrelation of the feminine and masculine in human nature in the aspect of possibility of constructing of the feminine creative subjectivity in literature and art — one of the key issues in Zinaida Gippius studies. The main principles of her gender theory are formulated by Gippius in the context of critical analysis of the Otto Weininger's book “Gender and character”. The authors analyse the reflection of those principles in Gippius' critical article “Zverebog” and in her other articles on gender and love and some of her poems, establishing the relation of them with Gippius and Merezhkovskiy's religious ideas. The study shows that while Gippius shares with Weininger his concept of bisexuality and androgynity of human nature, she also critically reconsiders the meaning and role of feminine principle as strictly objective (even in the form of divine principle of eternal femininity) and comes to an altogether different understanding: the feminine principle is the basis of feminine subjectivity that is in essence equal to masculine and is ultimately realized in divine nature. The paper addresses several poems to illustrate this point: “She” (1), “She” (2), “Non-existent”, “Eternally feminine”. The authors also dwells upon views of Gippius on Berdiaev and Soloviev's gender ideas as well as her reception of Ibsen's literary heroines.

Feminine Writing as Seen by Zinaïda Gippius

The paper examines the question of Zinaïda Gippiusʼ attitude to women's literature in the context of her views on the possibility of constructing female creative subjectivity. The article, based on the analysis of critical articles by Gippius, reveals her attitude to the work of women writers, her contemporaries, in terms of the genuine realization of female subjectivity in literature, on a par with male creativity and without imaginary opposition to it. The analysis is based on the material of literary criticism by Zinaïda Gippius of the works of Liudmila Vilkina, Ekaterina Bakunina, Lidia Zinovieva-Annibal, Poliksena Solovieva, Marina Tsvetaeva, Anna Akhmatova. At the end of the paper, it is noted that Gippius recognizes the presence of literary talent for women, but its implementation is questioned.

“Faces” and “Disguises” of V. Rozanov’s SolitaryThoughts and Fallen Leaves

An intensive study of V. Rozanovs work naturally actualizes the question of the reasons for the contradictory assessments that have accompanied it for more than a century. The author explains their polarity by the prevalence of subjective or stereotypical ideas about the fundamental novelty of V. Rozanovs approach to the psychology of literary creativity and to the aesthetics of secluded nudity, which the creative subject of his books invariably followed. The article examines the space of solitude as a sphere of creative realization of Rozanov, where the main attention is paid to the intuition of intimacy, interpreted by the writer as a genuine spiritual act underlying the true creativity of life and literature. In solitude the authors intuition of intimacy penetrates into the phenomena and objects of life, endows them with related intimate meanings, is reflected in them and contributes to the creation of a mythopoetic picture of the world, filled with a variety of subjective and personal ideas of V. Rozanov about God, the world, cultural and literary values, about to yourself. In the above examples, V. Rozanovs faces appear in the process of intimate rapprochement with the Absolute and revealed in ontological insights. Disguises are figurative dialectical projections of the intimate faces of the author, opposed to the traditional views on the writers personality. These are polar, familiarly traversed projections of his intimate faces designed to enhance their ontological and aesthetic significance. The philosophical concept of detachment in myth and literature, developed by A.F. Losev in Dialectics of Myth , served as a methodological basis for the study of the phenomenon of solitude and unity in V. Rozanov of the myth-maker and writer.

Anthropocentricity of art journalism in the conditions of modern society

The article discusses the main characteristics of modern art journalism, which allow us to assert its anthropocentricity. It is proved that the subject of creativity, which creates artistic images, as well as the work itself as a reflection of the value picture of the artist's world, his worldview and ideological concept are the subject of reception and analysis of art journalism. The anthropocentricity of art journalism as a whole is obvious because art itself is anthropocentric. However, in modern conditions of globalization and the development of postmodern worldview, the anthropocentricity of art journalism is undergoing certain transformations. The specificity of art discourse lies, first of all, in a pronounced appraisal and authorial modality, and the very representation of a work of art in a media text is determined by the level of professionalism and the degree of talent of its producer, as well as the social recognition of the artist and the very status of the work of art, determined by the interest of the public in it, the artist's innovation, the demand for a particular genre in the art industry. In the text-discursive space of mass art journalism, one can find the most revealing cases of interaction between institutional, professional and everyday discourses, which, on the one hand, significantly characterizes modern art journalism from the standpoint of its anthropocentricity, and on the other hand, allows us to evaluate the dynamic transformations inherent in it in postmodern conditions. The postmodern worldview deprives the art discourse of any stable coordinates in terms of terminology or the presence of professional art criticism competencies in an art journalist. A positive assessment in the discourse of art journalism is aimed at reflecting success, the predominance of the best qualities in the interpreted object, which is further enhanced by the use of art criticism terminological apparatus, however, texts with ambiguous evaluation and authorial modality are also presented in the text-discursive space.

Intertextuality and Tradition

Intertextuality and Tradition

PEMBUATAN MEDIA PEMBELAJARAN DASAR KREATIFITAS BERBASIS ANDROID (Studi Kasus Kelas X SMK Negeri 7 Padang)


 Abstract This study aims to determine the effectiveness of Android-based learning media on basic creativity learning subjects at SMK Negeri 7 Padang. This study uses research & development methods. The research subjects were 35 students of the Department of Dance. This study uses a development model (ADDIE model), with the development steps as follows. (1) Analyze, (2) Design, (3) Development, (4) Implementation and (5) Evaluate. The results of the assessment of the effectiveness test of 87.20% can be interpreted as Very Effective, The results of the assessment of the practicality test are 88.57%, can be interpreted as Very Practical to use. The results of the assessment of the effectiveness test of 87.20% can be interpreted as Very Effective to use. In conclusion, based on the assessment and expert input as well as the results of the field trial of the Android-Based Learning Media Application as a learning medium, it has been tested for its feasibility, excellence, and can be used in the learning process in the Basic Creativity subject for class X SMK N 7 Padang.

Do gender, genre and the gaze still matter? Toward a feminine road movie in women’s experimental film

ABSTRACT Seen as historically masculine, the road movie has privileged the white heterosexual male and thus perpetuated its traditional patriarchal configuration. To counteract the genre’s gendered nature, some scholars have pointed to the growing need to study women’s road movies, yet never in the context of experimental filmmaking, which was institutionalized as thoroughly masculine with women’s work dismissed as peripheral or excessively lyrical. To fill this gap, I build on feminist geography and automobilities research to discuss the “feminine” road movie aesthetics in contemporary experimental films, Sophie Calle’s No Sex Last Night (1992), Su Friedrich’s Rules of the Road (1993), Michaela Grill’s Carte Noir (2014) and Faith Arazi and Madeleine Mori’s Through a Field (2019). While Carte Noir and Through a Field construct a lone female nomadic story and Double Blind and Rules of the Road embrace the couple road movie format, all works contest the road as a masculine space and question the genderedness of mobility through a strong emphasis on the (female) self and embodied practices of driving. This signals the cinematic transformation of women from a desired object to a creative subject, consequently denying the spectator the usual pleasures associated with voyeurism, fetishism and the (patriarchal) spectacle.

Nature of money

In explaining the phenomena of life, thinkers have not clarified the relationship between money and standards and people. Man is a liberty, creative subject, truth in behavior and labor. The product of creative acts creates needs, and the product of labor fulfills human needs. Exchange between people is the exchange of behavior, labor for products as a broker. Relationships between individuals establish standards of ownership of property and people. People, property, and standards are unified, but when the state monopolizes the promulgation of laws and issues money, the state, money, and laws are unified. Laws, money and products exchanged with each other make the relationship between the state and citizens have different functions and tasks. Money is the purpose, so making money to live makes the love of money increase. People forget themselves, become hostile towards each other in the vicious circle of money. When USD became a popular spiritual demand, countries with USD need were in the whirlpool of the money game set by the American regime. Economic growth, war of aggression, defense of the homeland are common spiritual needs. Commodities, modern weapons, arms race, globalization make the USD stronger.

Re-Negotiating National Identity Through Chinese Fashion

As cultural and creative industries have been used by china to modernize the country, it is critical to talk about the emergence of new creative subjectivity. The lack of creative agency in China is a deficit position from which these industries began to gain attention within the policy circle. Much of the research and understandings on Chinese creative industries have been at the periphery of scholarly discussion on agency, identity, social class and so on. It has not been concerned with the question of how creatives deal with the conflicts between economic rationality and cultural esthetics. O’Connor and Gu’s research in China on this is an exception (c.f. O’Connor and Gu). In relation to fashion, scholarly attentions concern overwhelmingly with national identity (c.f. Tsui; Clark; Kunz) rather than how fashion identity is increasingly shaped by universal cultural values. Segre-Reinach’s works on the influence of international fashion industry (esp. Italian fashion) on Chinese national identity are of particular interests here (c.f. 2009). In this paper, we explore meaning making process within the emergent sustainable fashion field, drawing interests primarily from small independent labels in China. Their attempts to connect with universal cultural values in the field of sustainable fashion are testimonies to how creative subjectivity is evolving within contemporary China. We argue that whether Chinese creatives are going to break through is dependent on the following three aspects: availability of a symbolic space nurturing source of imaginary for creative subjectivity; the exchange structures attached to local imaginaries; and creative’s esthetic reflexivity framed by sense of belonging to this symbolic space—“Chineseness”.

Composer phenomenon in a historical retrospect of an authorship idea formation in European musical culture of the middle ages

The article is devoted to comprehension of specifics and formation prerequisites of composer’s and musical authorship phenomena historical formation in European culture of the Middle Ages. Genesis of composer’s phenomenon and individual musical authorship model is considered on the basis of historical, socio-cultural and aesthetic-artistic transformations, on awareness about their dynamic’s tendencies and general cultural institutionalization of an authorship phenomenon, as well as on an increasing role of individual creativity in an artistic realm. It is stated that multi-ethnic and anonymous culture of oral tradition, folklore and Christian singing practices, as well as instrumental improvisation’s traditions, became spiritual sources of this phenomena and turn into a strong foundation of musical professionalism and creative impulse for European authorial music evolution. It is emphasized that process of composer’s formation as a creativity subject and musical professionalism carrier was stimulated by the necessity of everyday vocal-choral practice, conditioned by the spiritual context of time, by intention on theocentric world’s picture and religious – Christian outlook dominance. Significant role of secular direction development in the context of music-author’s discourse formation and composer’s figure assertion in the late Middle Ages is highlighted.

British Romantic Insomnia and Creative Subjectivity

ABSTRACT Insomnia emerged for the first time in the Romantic period as a disorder with its own unique pathology and psychology, and was newly considered a separate state of consciousness, situated liminally between sleeping and waking. Poets of the period adopted this new vocabulary into their poetry, using it to investigate their negotiations of these two states: sleep’s visionary potential and the waking poetic will. Insomnia is therefore both an aesthetic and philosophic mode through which poets channel integral Romantic questions about the nature of creative genius and power of the individual imagination. Through this new consciousness is built a Romantic subjectivity that challenges traditional modes which rely on depth. Instead, through lyric insomnia, Romantic poets found a creative identity on multiplicity and disunity.

Teaching Ethics as a Creative Subject: Ideas From an Interdisciplinary Workshop

Designers and developers have great power and they are often not aware of it. The decisions they make in system design and theway they implement algorithms inevitably encode ethical values. We propose using “Dark Scenarios” as a teaching tool to make ethical issues and value sensitive design a creative process that fits the mindset of designers and developers.

The Developing of the Teacher’s Creativity by Using Authentic Material at Lessons

The aim of our research is: to show the meaning of proverbs as the notion of authenticity of materials, which may include: the establishment of phenomena and properties; their evaluation; a prescription, a rule, etc. By the help of this material the purpose of our research is to provide the developing of the teacher’s creativity by using authentic material at the lessons. The following theoretical methods of the research were used to solve the tasks formulated in the article: a categorical method, structural and functional methods, the methods of the analysis, systematization, modeling, generalization. The results of the research. We think that for the developing of the teacher’s creativity by using authentic material at the lessons the main approach has to be the procedural one. This approach defines creative activity as a purely internal process based on human ideas, and as a result of the existence of such ideas should stimulate creative activity, should be in its «external form», through which it will be able to be perceived by other people. Conclusions. In such a way we singled out the levels of creative activity and proposed to consider this activity according to two main positions: as a process that takes place at a certain point in time, and as a process in its broad social and historical contexts. We also have to underline the main characteristics of the creative process: creativity is characterized as an idiosyncratic, unpredictable process. It is characterized by inconsistency and randomness. In the creative process we can identify the following main stages: 1. The preparation for creative process. This stage is directly related to a desire of the subject of creative activity to change the existing social situation, which for some reason has ceased to satisfy the person. 2. Frustration in the process of providing the creative activity. The transition to this stage occurs at a time when, after analyzing all the information, as well as working out all the options for solving the problem, the subject of creativity, however, does not find the means and ways to solve the task. 3. Incubation in a creative activity. The incubation stage involves the unconscious solution of the problem by a person, during which the left hemisphere of the brain is activated. 4. The insight in the creative activity. The insight is a short, but quite emotional stage of the creative process, the moment of entering the sphere of consciousness of the decision to solve the problem. This stage is characterized by violent positive emotions, recovery, and sometimes even euphoria. 5. Finding a solution. Finding a solution as a result of verification of hypotheses is a final stage of the creative process, during which the truth is verified using logical means, and the intrigue of this stage is a great possibility of erroneous verification of formulated hypotheses.

THE ROLE OF THE PRINCIPLE OF CURATION IN THE CONTEMPORARY CULTURE

The article analyzes phenomenon of the «principle of curation» in historical and philosophical development. In the modern world, overloaded with large volumes of information, it is not just access to information that becomes important, but the ability to navigate it. Problems of critical reflection, choice, interpretation in the information space are gaining in importance. That is exactly why the use of the principle of curation is proposed to implement these processes. The authors consider history of the emergence of the concepts of «curator» and «curatorship», delineation of the features of curatorial principle and differences in meanings and understanding of the principle of curation. Having considered the history of transformation of these concepts, having analyzed their use in various fields, the authors come to the conclusion that semantic component of the curator changes over time. If initial connotations were limited to the view of the curator as a guardian and caretaker of collections, then in the modern sense curator him/herself is a creative subject. Therefore, the interpretation of works of art essentially depends on the creative activity of the curator and the space that he creates for presentation. Modern practice of curation should be considered as a newly formed field of activity, which is fundamentally different from the forms that preceded it. In the 21st century, the principle of curation is becoming a universal and necessary method of presenting selected and orderly information, which aims to solve the problem. Curators are the ones who work with this flow of information in the era of information overload: they process it, systematize, organize, conceptualize and present it to the public, thus becoming liquidators of the problem of information overload. The article puts forward a hypothesis for further philosophical reflection: the curatorial principle is a necessary component for organizing the presentation space of a cultural archive.

Bohemian Cultural Scenes and Creative Development of Chinese Cities: An Analysis of 65 Cities Using Cultural Amenity Data

There has been a cultural turn in urban development, as an increasing number of scholars are stressing the importance of culture in urban research and policy agendas. Specifically, the bohemian cultural scene could drive an integral cultural policy approach between the cultural scenes city and the creative city approach. Based on amenities data from 65 major Chinese cities, this paper investigates the relationship between bohemian cultural scenes and creative development of Chinese cities as well as regional differences using tree-based model, ordinary least squares (OLS) and truncated regression, and provides conceptual and quantitative support for a bohemian cultural scenes policy. Factor analysis suggests the bohemian cultural scene in Chinese cities consists of two dimensions: self-expression and charisma. According to regression results, bohemian scenes significantly promote urban creative development; specifically, charisma has a stronger impact on urban creativity than self-expression. There are also significant regional differences: northern and eastern cities should focus on the development of the charismatic dimension, creative subjects should adjust away from prudent industriousness and practice dynamic experimentalism; whereas southern cities should focus on the self-expressive dimension, and continue to promote tolerance, inclusivity and expressive practice. Finally, the bohemian scenes policy demands an integral policy approach sensitive to the existing socioeconomic context: policymakers should incorporate specific amenities into existing qualities of local spaces and cultural consumption to stimulate creative development.