Creation Of Forms Research Articles

Loose and Tight: Creative Formation but Rigid Use of Nominal Compounds in Conspiracist Texts

ABSTRACTConspiracy theories (CTs) are spectacular narratives, widely spread, that pose societal threats. We test whether CTs might be linguistically creative products, which would facilitate their transmission and thereby account for their widespread popularity. We analyzed nominal compounds (e.g., mind control, carbon dioxide; N = 1,713,568) from a large corpus of conspiracist and mainstream texts matched by topic. In conspiracist texts, compounds showed greater originality, divergence, and sophistication, but they were used with lower frequency and were more often repeated in different contexts. This pattern suggests a creative aspect in the generation of compounds, coupled with rigidity in their use. We interpret these findings as an effect of loosely defined conceptual boundaries among conspiracist writers, in conjunction with social functions like status or group signaling. Our findings not only contribute to the discourse on creativity in CTs but also provide insights into the communicative advantage of CTs.

Tall Tales and Half-Truths: Negotiating Anxiety and Precarity in Contemporary Ahmedabad

ABSTRACT This article explores the import of tall tales, half-truths, and fantastical narratives in historical scholarship. I draw from oral historical and ethnographic fieldwork conducted in the western Indian city of Ahmedabad. In the recent decades, Ahmedabad has been the site of widespread industrial restructuring and religious violence, to a large extent targeting the Muslim community. Both of these historical processes have had far-reaching consequences on the lives and spaces of the city’s working poor. This article follows one precarious worker, M. R. Sayyad, and his elliptical, fragmented, and fabulous life story, presenting it alongside the context in which it was told. Through the focus on Sayyad’s stories, it offers a way of engaging with and analyzing narratives that may be false and fictitious. My aims are twofold: first, to consider the possibilities contained in fantastic and fabulous tales, and second, to tease out the structures of everyday anxieties and dispossession that are embedded in these stories. I show that Sayyad’s narratives reveal as much as they conceal and suggest that they present ways of understanding self-fashioning and creative forms of claim-making at a time of insecurity and anxiety.

On the interrelationships between diverse creativities in primary education STEAM projects

Creativity represents a consubstantial element of STEAM education that seeks to integrate science and arts. This study analyses the interrelation between diverse creativities in three STEAM transdisciplinary projects carried out for 3 years in a programme for gifted students. The study involved 152 students in 12 groups (5th-6th grade of Primary Education, 11–12 years old), 5 teachers and 4 external professionals. Diverse creativities are identified in the activities using a variety of qualitative and quantitative instruments and techniques. Their interrelation is analysed through the novel use of the graph theory. The STEAM project activities allowed a well-balanced interrelationship between different forms of creativity (scientific, artistic and craft). The cognitive abilities have been widely developed, highlighting associative thinking, knowledge, analogical thinking, and mental flexibility. In terms of conative traits, intrinsic motivation and openness to experience are enhanced. The diversity of mathematical, scientific, humanistic, and artistic activities developed along the projects, together with outings, collaboration of experts and the creation of a final transdisciplinary product, foster the interconnections between the diverse areas and forms of creativity and its cognitive and conative dimensions.

Достойная жизнь личности: императивы формирования и основания параметрической модели

The article examines the phenomenon of a decent life, which acts, at the same time, as a target functionality for the development of the individual, and also as an «incubator» for the expanded reproduction of the creative and intellectual form of human capital, which is a critical factor in the creation of large-scale, continuous and radical innovations. The methodological outline of the work is based on an interdisciplinary approach to identifying the qualitative integrity of an individual’s life with the «dignity» of a progressive creator, as well as on the use of the heuristic potential of paired categories of dialectics in the course of considering decompositional forms of human capital corresponding to a decent creative and working life of the individual. The method of unity of qualitative and quantitative analysis was also used in the development of a parametric model of a decent life for an individual. The scientific novelty of the research results lies in the development of an original parametric model with the corresponding integral index of a decent life (DLI). The following seem new: the interpretation of the essence of a decent life as a spiritual and moral form of the level and quality of life; immanent in the life of an individual with «dignity», the phenomenon of the creative and intellectual form of human capital with the corresponding parameters and indicators; conclusion about the need to ensure complementary unity of two types of growth of synergetic complexity: endogenous (personal) and exogenous (socio-economic); the imperative of the «renaissance» of the individualistic concept, based on new liberalism and methodological socio-individualism. The scientific and practical significance of the results obtained lies in the possibility of concretizing the state’s socio-economic policy in the sphere of increasing the level and quality of creative and working life of the owners of human capital, as well as updating the metric system of human «measurement» to solve the problems of technological sovereignty and national security of the country.

Творче конструювання особистості в автобіографічній повісті (на матеріалі творів «Хризантеми» Уляни Кравченко та «Десь на дні мого серця» Василя Лопати)

The article analyzes the tools of creative personality construction in two autobiographical novels, Chrysanthemums by by Ulyana Kravchenko and Somewhere at the Bottom of My Heart by Vasyl Lopata, and the thematic and narrative features of these works, as well as the importance of including documentary elements in the plot, are clarified. It is determined that the tools that helped to depict the formation of the author's creative personality in an autobiographical story were a distanced view of oneself, both in appearance and in the inner world, the use of humor, and emphasis on important stages. There is a difference in the narrative style – Ulyana Kravchenko focuses on the goal of developing intellectually since childhood, evaluates herself according to her readiness to serve the people, to form herself according to artistic laws, so the plot is often interrupted by lyrical inserts and reflections, although she simultaneously supplements it with historical and portrait essays. He compensates for his silence and loneliness in childhood by realizing it in music and his first attempts at writing, and explains the lack of words already when writing his memoirs by his own emotionality, creating an aura of mystery and understatement. V. Lopata introduces the main narrator into the story for a different purpose: to provide textual explanations, comment on the narrator-child's story, and express a short future continuation of the described events, the author much less often focuses on the process of recollection itself, having clearly defined for himself its purpose: to find out the origins of his own creative formation, which has already taken place (Ulyana Kravchenko writes about it as a process). The fragment of the diary, introduced into the textual space of the work, demonstrates the naivety and vulnerability of the protagonist in the conditions of orphanhood and war, and shows the boy's tendency to perceive even everyday events deeply in order to later convey them in his work. Through the adult narrator, the childhood traumas are closed and «liberation» from the described situations of childhood powerlessness is projected into the future.

Computational models of intrinsic motivation for curiosity and creativity.

We link Ivancovsky et al.'s novelty-seeking model (NSM) to computational models of intrinsically motivated behavior and learning. We argue that dissociating different forms of curiosity, creativity, and memory based on the involvement of distinct intrinsic motivations (e.g., surprise and novelty) is essential to empirically test the conceptual claims of the NSM.

Ancient Chinese Philosophy and the formation of Modern Chinese Piano Art

The article examines the influence of ancient Chinese philosophical concepts on the formation of modern piano art in China. Ancient Chinese materialistic philosophy is based on such teachings as Wu-xing and Yin-Yang, the Great Limit (Tai Chi), the eight trigrams and others. With the passage of time and the rapid development of science, these philosophical concepts not only did not lose their significance, but also had a powerful influence on the formation of modern Chinese piano creativity, deeply influenced the form and cultural connotation of Chinese music, and also became the theoretical basis for the works of many modern composers. The philosophical and aesthetic Taiji system presented by composer Zhao Xiaosheng, integrated into the modern piano composition system, marked the beginning of a revolution in the field of piano art, combining the theoretical foundations of traditional Chinese philosophy and the principles of modern composition methods. The research methodology is based on philosophical and cultural analysis, musicological analysis, and semantic analysis. Of particular interest is the comparative analysis of the musical and philosophical "Tai chi composition system" by Zhao Xiaoshen, the dodecaphony of A. Schoenberg and the set theory of M. Babbitt and A. Fort, which the Chinese composer considers the sources of his creativity. The novelty of the research lies in the fact that a correlation is proposed between the key categories of ancient Chinese philosophy and modern experiments in the field of musical expression. The authors managed to demonstrate the high degree of influence of Chinese philosophy on music, to clearly show that the basic postulates of ancient Chinese philosophy have been encoded in the basis of traditional Chinese music since ancient times, and in the twentieth century they were the basis of modern Chinese theory of composition, while playing a colossal role in identifying the common foundations of modern composition of the West and East, while preservation of local features of the diverse sphere of these cultures. The emergence and formation of a philosophical and theoretical system of musical composition, based on the concepts of classical Chinese philosophy, organically refracted in the latest achievements of Western music composition, emphasizes the ontological significance of these concepts for both Eastern and Western culture. And the creation of appropriate musical works undoubtedly leads to positive trends in the development of modern Chinese music and classical Chinese philosophy.

Thinking and teaching beyond the terror of capitalist reason

The contemporary landscape of dread in living and teaching demands a creative and experimental form of investigation that can trace the affective contours of the present and uncover the obscure openings for an oppositional imagination. In a series of interlinked excurses, this essay articulates a poetic probing of the nexus of slow fascism and capitalist realism in the contemporary United States, as this is lived in the waking dreams of pedagogy and imaginative praxis. Looking beyond familiar analyses, this project exposes the terror of loss that motivates the punishments visited upon school and society by elites and points to the spectral presence of justice, which lives with us as persistent horizon even as it is persistently refused by power. Interleaved with these unravelings of the texture of experience as domination, this project gestures toward a thinking and teaching that is wise to capitalism’s recurrent fantasies. This pedagogy inverts the certainties that organize our senses of knowledge and curriculum, navigates the hidden topology of the real (beyond the reflexive affirmation in schools of what is), and proposes an unruly form of thought that moves out past the walls that sign the edge of the classroom and the edge of the truth. This project does not announce a settled approach but rather challenges the limits of the familiar at the level of our structures of feeling. We feel the terror of the given in the present, but we can also follow the seam of experience toward the point at which its impositions are attached—in spite of themselves—to the confounding/liberatory logic of the “impossible.”

Making (Slowly) as Method: Piecing, Stitching and Steeping Metaphors for Multiple Methodologies

How and what do we make through method? This paper imagines the processes of designing and carrying out socio-environmental research through the lens of a slow, creative craft form: sewing a patchworked piece from hand-dyed fabric samples. In doing so, it contributes to thinking about how methodologies are pieced and stitched together from multiple parts. Based on early findings from an extended research project exploring the practice of natural textile dyeing in the UK, I offer a range of textile processes for thinking through the creative dimensions of the doing of methodological work. The quilt-like piece I am attempting to make from plant-dyed fabric is at once the object, objective, and method in this study. I draw on auto-ethnographic reflections on my attempts to begin learning natural dyeing and sewing skills, suggesting piecing, stitching, and steeping may be useful, tactile metaphors for thinking through the early, often messy and uncertain stages of multi-sited and multi-method qualitative research. As such, I build on and extend recent discussions about ‘patchwork ethnography’, an approach recognising that the realities of ethnographic research in practice are often fragmented, non-linear, and intricately shaped by researchers’ everyday lives and commitments. The paper also offers insight into the potentials and pitfalls of intentionally ‘slow’ scholarship that aims to disrupt the urgent temporalities of research projects as they are often imagined.

Creative pursuits for mental health and well-being.

This clinical practice guide traces the role of art and creativity in mental health and well-being. This is a difficult task since the evidence from research spans a wide variety of fine art forms and different aspects of creativity. Hence, we have tried to combine both evidence-based research as well as our clinical experience and practice in the field of arts in utilizing creative pursuits as a life skill and a well-being initiative. The focus of the guidelines is preventive and promotional with relevance to mental health. We also hope that this should be a beginning in encouraging psychiatrists in India to use art-based therapies in their clinical practice. This will further our knowledge of how arts can be a therapeutic intervention as well as a well-being tool. It will also build on the evidence base on how art impacts our mental health. Creativity is undeniably one of humanity's most valued traits; the capacity to produce new ideas, innovations, and art is perhaps the most striking characteristic of the human brain. "Art" has evolved, and what is art, has been redefined over human history. The domain of "art" refers to the diverse range of activities that often use imagination to express ideas and feelings. Whilst the boundaries of what constitutes art or creativity may sometimes appear esoteric, we still can identify a range of creative pursuits: visual, musical, verbal, literary, dance, or creative pursuits related to our body movements and a range of forms of newer integrated forms and those that use technology are recognized as art forms. As in most ancient traditions, in India, we have a plethora of fine art traditions many of which have a highly systematic practice around their learning. We believe this is an asset that we need to nurture and celebrate. We begin by tracing the footsteps of Indian fine arts being a mental health promotional tool in ancient India. We then proceed to describe the scope of creative pursuits for different populations and its relevance in school and child mental health. We offer suggestions as to how creative art forms can be utilized in a practical way in daily life, schools, and care of the elderly. It is to be noted that the entire focus here is the process of creativity and not the completed product or the achievement related to the same. Hence, it is relevant to each one of us and to anyone who wishes to be healthy.

Contrapuntal Compositions in the Form of Historical Dances in the Conditions of Ensemble Music-Making

The musical culture of the baroque period in distinguished for its interest in dances and in ensemble performance, which found its reflection in works for clavier in various genres. The dances presumed a manifold repeated expounding of the initial musical idea initially for clavier by various instrumental ensembles corresponding to two “storylines”: the dancing and presenting the scenes of musical performance. The revival of the ensemble forms of vernacular musical performance intrinsic to the baroque period has become topical in the present-day instruction of piano ensemble. This kind of practice adequately reflects the performing tradition of the culture of musical ensembles. The article provides examples of adaptation of the technology of unfolding the musical text written for clavier into a quasi-orchestral score on the basis of the repertoire of beginning pianists from the section of the program titled Contrapuntal Compositions in the Forms of Early Dances. The musical score features are realized in the forms of unfolding for four-, six- and eight-hand piano, or for two pianos, including those in which the keyboard synthesizer is used. During the process of fulfilling the assignments a number of unique skills of mastering the creative forms of work with the initial authorial text useful for beginning musicians.

The Dragon Image of Ly-Tran Dynasty: Application in Historical Comic Characters

The theme of decorative patterns of lotus, chrysanthemum, dragon, cloud, and water waves is a commonly used image in Ly-Tran's decorative designs that are still used today. Others are an endless source of inspiration for application design and themes that have become fashion trends with ethnic elements. Contributing to promoting and preserving the value of Vietnamese fine art in the modern period, this article surveys and analyses the formation and transformation of water waves through the ages and their applications in contemporary packaging design. The research shows that the water wave pattern is a long-standing symbol and decorative pattern in ancient Vietnamese visual arts; it not only has artistic value but also contains religious and spiritual value and the profound Eastern philosophical concept, reflecting the constant rotation of life on each winding rhythm. This pattern under the Ly-Tran dynasties has both practical significance and represents the peak shaping value of the dynasty. Integrating the rhythm of contemporary life into application design, using water wave patterns in packaging design, aims to promote and spread more widely to the public in modern life. This article aims to study the social context and creative forms of recreating and using water wave motifs in general application design and packaging in the field of art and design today. At the same time, analysis of new design methods continues to develop, convey, and even expand the symbolic meaning of the motifs through the aesthetic orientation of contemporary people and by inheriting and promoting traditional good culture.

인공지능 기반의 문학번역에 관한 저작권법 문제

Translation is a form of creativity, and AI creativity is making remarkable strides in many fields, including music, art, and literature, but especially in literature translation, where AI-based machine translation is becoming a reality. The recent happening about the winner of the Newcomer Award Competition of Literature Translation Institute of Korea, who was found to have utilized machine translation, has drawn attention to the question of how to set the boundaries between machine and human translation. I argue that AI-generated translation (AIGT), which is a purely AI translation without human assistance, is only reproduction under copyright law, while AI-assisted translation (AIAT), which is a human translation with the help of AI, can be a derivative work under copyright law as a translation. The distinguishing factor between the two is the control and subjectivity of human users of machine translation in the post-editing process, and the context surrounding the translation. This paper points out that excessive pre-editing by human users to facilitate machine translation may undermine the diversity of the original text. Once the legal status of machine translation output has been determined, I discuss the legal responsibility of human users to exercise due care at the stage of publication. The legal liability of failing to disclose that a work is the result of machine translation is also discussed, as well as plagiarism liability, which is not a legal liability.

Gadamer 관점에 따른 묻지마 범죄에 대한 음악치료 현장에서의 창의성 이해

Unlike traditional incidents, “Do-not-ask” crimes occur against unspecified people or an unspecified number of people without a specific cause, so anyone can become a victim of “Do-not-ask” crimes, causing serious fear in many people. And, regardless of who is involved, it is difficult to clearly distinguish between a potential perpetrator of a crime and an actual perpetrator, leading to confusion in prevention. Through research to date, it is understood that perpetrators of “Do-not-ask” crimes generally have common problems such as poor economic and family environments, cognition, thinking, impulsiveness control, and emotional control abilities. Additionally, many perpetrators of “Do-not-ask” crimes have a history of mental illness and/or have a thinking disorder due to addiction to psychotropic drugs. Rather than increasing the severity of legal punishment for perpetrators of “Do-not-ask” crimes who have these problems, it is judged that mental rehabilitation treatment that includes drug treatment, interpersonal training, art therapy, and family education is more urgent, and preemptive measures against random crimes are considered more urgent. It is believed that information sharing and the establishment of a cooperative system with various organizations are urgently needed for prevention. First of all, in terms of therapeutic approach, there may be various understandings of perpetrators of crime without question, but crime without question is understood simply as a symptom and the goal is not to reduce or eliminate symptoms, but rather the psychological state of criminals without question is a process of horizon fusion, dialectic. By understanding it as a temporary and intermediate situation, we aim to suggest a direction for healing through the formation of perpetrators' creativity and the role of art and play (Spiel) where this creativity can be actively expressed.

Development of Gaynek Ta Cabiga-O Dance: A Way to Strengthen the Panaglaga Culture

"Gaynek ta Cabiga-o" emerges as a creative dance form inspired by the traditional artistry of crafting winnowing baskets, known as "panaglaga ti bigao," deeply embedded in the cultural fabric of the Itneg tribe in Nagsincaoan, Cabugao, Ilocos Sur. This exploratory-sequential approach research blends qualitative insights from interviews and participatory observations with quantitative analysis through validated questionnaires from five participants. Guided by the Communities of Practice (CoP), the study's focal point is to enhance and preserve the Panaglaga Culture by delving into the intricate stages of crafting bigao. This endeavor culminates in the creation of a dance, intricately weaving together traditional movements, such as bamboo cutting (panagpukan) and weaving (panaglaga), into a cultural expression. Key materials integral to panaglaga ti bigao include bamboo, customized knives, lebleb, uway, labtang, kulokol, bamboo strips, and residue. The resulting dance undergoes expert evaluation, receiving a "Very Much Acceptable" rating for dance steps and music. In essence, "Gaynek ta Cabiga-o" not only breathes new life into cultural practices but also serves as a testament to the community's commitment to cultural preservation and creative innovation. Recommendations based on these findings pave the way for further cultural enrichment and community engagement.

HACKATHON AS A METHOD OF LEARNING

Hackathons, as a method of teaching and learning in higher education, deserve attention in the context of developing students' skills and fostering innovative thinking. This article not only explores the advantages students gain by participating in hackathons, such as practical skills, teamwork, and solving real-world problems, but also examines the impact of this method on society at large. The question raised in the article concerns the possibility of considering hackathons not only as a supplement to traditional teaching methods but as an independent method that contributes to the formation of creativity, autonomy, and entrepreneurial thinking. Analysing these aspects may alter the approach to organizing the educational process, positioning hackathons as a key element of modern education.

O. Mishchenko’s button accordion school in metaphors and realities of creative and pedagogical process

O. Mishchenko’s button accordion school in metaphors and realities of creative and pedagogical process

Fictionalizing and researching: An approach from collaborative ethnography

This article describes the process of making a radio soap opera with Stop Desahucios Granada 15M, a movement fighting for the right to decent housing in southern Spain. The production of the radio soap opera has allowed us to: (i) investigate the affective and political implications of the problem of evictions after the financial crisis of 2008; (ii) reflect on how to produce meanings through co-research (using collaborative ethnography and fiction); (iii) experiment with the use of fiction as a research device, to “do” research and not only to transmit its results; and (iv) investigate the potential of fiction to facilitate new creative forms of knowledge construction.

Upaya Peningkatan Kemampuan Motorik Halus Melalui Kegiatan Melipat Origami Di Kelompok B TK PAUD Nusantara Gowa

One activity that can improve children's fine motor skills is folding origami paper. Folding origami paper is a technique for creating arts or crafts which are generally made from paper with the aim of producing various forms of toys, decorations and other creative forms. This research aims to determine the improvement of children's fine motor skills through origami folding activities in group B of the Nusantara Gowa PAUD Kindergarten. The instruments used were observation instruments to assess students' fine motor development during folding activities and interview guides as tools for researchers in obtaining additional data that had not been obtained through observation. The results of the research concluded that paper folding activities can improve children's fine motor skills at the Nusantara Gowa PAUD Kindergarten with good results. This can be seen from the development of students' fine motor skills, where in the pre-cycle research it can be seen that students reached 37%, then in cycle I there was an increase of 73%, and in cycle II there was an increase of 87%. These results show that this research was successful because it had reached the research indicator of 75%.

The Theme of Terrorism in Algerian Contemporary Novel: Selected Examples from the Black Decade

This research is concerned with studying the most important social, ethical, and political issues that were dealt with by the Algerian novelist discourse during the bloody decade, as these writers are considered among the prominent signs in the field of Algerian criticism and creativity, due to the abundance of their productions and creativity in the field of fictional discourse. What the Algerian people were exposed to during that period, and how the country turned in a short period into a volcano of sedition embodied by terrorist operations, so they were able to convey this tragedy in a creative artistic form dominated by the conflict between religion, politics and terrorism, and what prompted us to choose this topic is the urgent desire to shed light on a critical period in the history of Algeria, monitoring the psychological effects produced by the events of the black decade, which we still touch till this day.