Intersection Of Creativity Research Articles

Design Capability for Science-based Innovation

In light of a growing research interest in the innovation potential that lies at the inter­section of design, technology, and science, this paper offers a literature review of design initiatives centered on scientific discovery and invention. The focus of this paper is on evidence of design capabilities in the academic research environment. The results are structured along the Four Orders of Design, with examples of design-in-science initiatives ranging from (1) the design of scientific figures and (2) laboratory devices using new technology to (3) interactions in design workshops for scientists and (4) inter­disciplinary design labs. While design capabilities have appeared in all four orders of design, there are barriers and cultural constraints that have to be taken into account for working at or researching these creative intersections. Modes of design integration and potentially necessary adaptations of design practice are therefore also highlighted.

Finding Humanity in Design

The Calgary Board of Education’s Design the Shift was a radical step away from typical professional development opportunities. It was a year-long collaboration designed for educators to provoke a shift in practice by redefining curriculum through design. Our definition of design evolved from a linear business model to a much more generous movement. As designers of learning, the participants took up “what really [mattered] to them”, with design becoming an intersection of creativity, place, and community (Chambers, 1998, p. 17). We created opportunities for participants to charge up against an experience, causing them to make, unmake, and remake the curriculum of their classrooms. All experiences inspired the participants to stop, notice, listen and awaken, drawing on Maxine Greene’s (1977) wide-awakeness philosophy.

Hybrids

Hybrids

Heretical confluence of two theoretical branches-the possibility of intersection of affect and drive

사상적 대척점으로 여겨지는 정신분석과 분열분석이라는 두 이론의 이단적 합류는 정동과 충동이라는 두 개념장치에 대한 세밀한 분석을 통해 진행될 것이다. 첫 번째로 충동과 정동은 문제적 걸치기의 양태를 지닌다. 왜냐하면 충동은 상징계라는 표상 질서와 표상의 불가능성으로서의 실재를 함께 엮어내는 모순적 매듭이자 사이-지대라 할 수 있다면, 정동은 정서로도 이성으로도 축소, 환원될 수 없는 미묘한 위상을 지니고 있기 때문이다. 두 번째로 충동과 정동은 몸과 몸의 마주침의 역량이자 신체 사건이라 할 수 있다. 충동의 완전한 만족으로서의 여성적 향유는 기표의 질서에 환원되지 않는 몸과 몸의 관계이자 측량화될 수 없는 차이가 발산되는 방식이다. 이점에서 여성적 향유는 들뢰즈적 정동이 그려내는 강렬도의 지도-이행과 변이의 힘-와 연계되어있다. 세 번째로 정동과 충동의 교차로에서 새로운 주체화 양태, 즉 메타모르포젝트-변신과 변이를 향해 기투하는 역동체-가 기획될 수 있다. 변이체는 다각적 존재 양태들과 다층적 성적 실천들을 생성해내는 장으로서 기존의 재현체계 속 인간학적 질서를 붕괴시키는 존재-요동이자 몸-파동이라 할 수 있다.In this article, I attempt to product a creative intersection of psychoanalysis and schizoanalysis in focusing on the affinity between drive and affect, and the ability to create the modality of subjectivity in the intersection of female jouissance and affect. For Lacan, the drive has a problematic position in so far as it is neither reducible to the symbolic nor to the real. The drive is at a time what causes desire that is a sliding of signifier and what is the impossibility of system of signifier. For Deleuze, becoming is rather a line which produces the space in between which can’t be situated at a fixed point. The affect is neither feeling nor rationality. In this perspective, the drive and the affect are what breaks boundaries. In addition, the female jouissance is connected with the affect as power of being in so far as the female jouissance is a way to construct the body s relationship with the body that is an encounter increasing power of being. Phallic jouissance that is against female jouissance, is a sort of encounter which decreases the power of being. In this perspective, “metamorphoject” is a sort of inventive modality of subjectivity which consists in the connection between female jouissance and affect.

At the Intersection of Creativity and Civic Engagement: Adolescents' Literacies in Action

AbstractThe purpose of this commentary is to explore the intersection of creativity, civic engagement, and literacy instruction that takes into consideration real‐world concerns. The authors define and consider recent work on creativity and utilize Westheimer's model of citizenship to frame an example of adolescents engaged in both purposeful literacies and civic engagement in a project in which the authors are currently involved. They advocate for providing students with the opportunity to investigate global issues that matter to them while engaging in literacies to address those issues.

Editorial

Editorial

Exhibition Cinema: A Crossroads between the Cinema and the Museum in Contemporary Spanish Filmmaking

Some of the most interesting films in Spanish cinema in recent years have had their origins at the intersection between the spaces of the movie theatre and the museum — two territories that are being transformed. As a cultural institution, the museum is not only a place for audiovisual exhibition but also for film production, a relational space with the potential to participate actively in the development of new cinematic styles. In the twenty-first century, the cinema has kept its central role in image creation, although it may now be fulfilling that role by spreading out to other screens. At the same time, the range of its forms is opening up more and more, largely due to the evolution of the technology, and to the debate over new forms of viewer consumption. This dual mutation explains some of the shifts occurring in the work of some of Spain’s most original filmmakers who have taken an interest in this creative intersection: Pere Portabella, Víctor Erice, José Luís Guerin, Albert Serra, and Isaki Lacuesta.

Exploring creative intersections: Ernest Edmonds and his time-based generative art

This article focuses on the experience of British artist Ernest Edmonds and the influences that have informed his art practice in the past forty years. How are these influences connected? The article has an historical focus. It develops the themes within Edmonds's art and shows his connections with the ‘Systems’ artists and their forebears. In particular, the article concentrates on the encounter of Edmonds with artistic thinking about systems and process in the broad sense, as well as digital and interactive work developed from the early 1980s. As the article will demonstrate, a passion for colour, time and structure, the encounter with a number of artists inspired by Constructivism in the early 1980s, and the educational context in which Edmonds has worked from the late 1960s until the present, have offered great opportunities of interdisciplinary exchanges and ideas that had a profound impact upon the nature of his art. These influences have enabled Edmonds to explore new constructs in art through the use of technology that are a constant stimulus in his creative research, both as an artist and as an academic.

News from the CDC: making evaluation findings actionable for suicide prevention practice

The economic and human cost of suicidal behavior to individuals, families, communities, and society makes suicide a serious public health concern. In the USA, it is estimated that deaths resulting from suicide create a financial burden of over 26 billion dollars a year in medical costs and work loss [1], and in 2009, nearly 14 % of high school students—or three students in a classroom of 20—reported seriously considering suicide in the past year [2, 3]. The Centers for Disease Control and Prevention's (CDC) Division of Violence Prevention (DVP) in the National Center for Injury Prevention and Control is committed to promoting a public health approach for addressing suicide proactively through suicide prevention (in particular, primary prevention, or preventing suicide before it ever occurs) and using a population approach to improve health on a large scale. These approaches augment efforts that treat suicide through clinical, individual-level, treatment-focused interventions. While research on effective suicide prevention strategies is still in development [4], a gap persists between emerging knowledge from preliminary studies and the application of these findings to improve suicide prevention practice [5]. Creation of actionable knowledge, based on knowledge exchange theory and the knowledge transfer literature [6–8], is one emerging process for translating research and evaluation findings into action to improve practice. Broadly defined, actionable knowledge is the creative intersection between what we know and putting what we know into everyday practice [9, 10]. It has roots in the business [11, 12] and knowledge transfer literatures [6–8] and provides a bridge between important research or evaluation findings and action in practice settings. This bridge has the potential to be a powerful tool for public health's work in improving suicide prevention practice, increasing program readiness for more rigorous evaluation and effectiveness research, and eventually ensuring widespread adoption of effective suicide prevention strategies to impact population health. The adapted framework DVP has begun to use for developing actionable knowledge (http://www.cdc.gov/ViolencePrevention/pdf/ASAP_Suicide_Issue1-a.pdf) comes from the knowledge transfer literature [6–8] and includes four key steps [6, 13]: (1) Determine the action (“What do we want our audience to do?”); (2) Specify your audience (“Who do we want to take action?”); (3) Determine the best method of packaging your message (“How should the message be delivered?”); and (4) Establish your desired impact and how you will measure whether your goals are achieved (“With what effect?”). From 2009 to 2011, DVP had an opportunity to use this framework through an interagency agreement with the Substance Abuse and Mental Health Services Administration. DVP provided technical assistance and support to three Garrett Lee Smith Memorial Act grantees for their youth suicide prevention efforts. In order to ensure that the findings and lessons learned from these program evaluations would be widely disseminated and integrated into suicide prevention practice, DVP used this framework and worked closely with the grantees to develop actionable knowledge products based on their findings. This had the additional benefit of helping build the capacity of suicide prevention researchers for translating their evaluation findings for suicide prevention practice. The three grantees created very different actionable knowledge products based on their unique findings and audiences. The Tennessee Lives Count initiative created the Gatekeeper Training Implementation Support System (www.gatekeeperaction.org), an online resource that provides tools to support effective implementation and evaluation of gatekeeper training programs. The Native American Rehabilitation Association's Life Is Sacred Native Youth Suicide Prevention Program developed several tools with information for service providers and families on factors that put youth at risk for and protect them from suicide (http://www.sprc.org/library_resources/items/Life-is-Sacred-Native-Youth-Suicide-Prevention-materials). The Maine Youth Suicide Prevention Program (MYSPP) developed the MYSPP Early Identification and Referral Data Toolkit (http://www.sprc.org/library_resources/items/youth-suicide-prevention-referral-and-tracking-toolkit), an online resource that provides guidance and actionable tools for collecting early identification and referral data on students at risk for suicidal behavior in schools. The knowledge–action gap is one of the most challenging barriers for public health practice, including suicide prevention [14]. The Tennessee Lives Count initiative, Life Is Sacred Native Youth Suicide Prevention Program, and Maine Youth Suicide Prevention Program used a four-step actionable knowledge framework, informed by the knowledge transfer literature, to create three very different actionable products. Each of these products is designed to make program evaluation findings accessible, useful, and relevant for application in the field. It is hoped that by facilitating a process for systematically translating research and program evaluation findings while taking into consideration the perspectives and needs of the audience, this emerging framework will provide an opportunity for narrowing the gap between knowledge and action, therefore improving public health practice. The conclusions in this report are those of the authors and do not necessarily represent the official position of CDC.

Language, Person, and Place: Echoes of Religion in Minority Literatures

Minority literature, whether produced by prominent authors writing in marginalized languages or marginalized authors writing in dominant languages, raises questions of human identity and alienation, human location and dislocation, which resonate with characteristically religious strategies for negotiating what it means to be a human being in a human place. This essay suggests that we can find traces of “religious” themes in the work of authors of minority literature who operate on the margins and at the creative intersections between the living and the dead, between home and diaspora, and between singular and multiple realms of meaning. Journal for the Study of Religion Vol. 19 (2) 2006: pp. 5-16

The Material, the Real, and the Fractured Self: Subjectivity and Representation from Rimbaud to Reda (review)

Reviewed by: The Material, the Real, and the Fractured Self: Subjectivity and Representation from Rimbaud to Réda James Petterson Harrow, Susan. The Material, the Real, and the Fractured Self: Subjectivity and Representation from Rimbaud to Réda. Toronto: University of Toronto Press, 2004. Pp. 269. ISBN0802087221 Susan Harrow's The Material, the Real, and the Fractured Self: Subjectivity and Representation from Rimbaud to Réda is an exacting, carefully researched and ultimately rewarding cross-century reading of the creative intersections of subjectivity and the dual materiality of language and the real in the poetry of Arthur Rimbaud, Guillaume Apollinaire, Francis Ponge and Jacques Réda; a reading attentive to the disruptive ways in which, within poetry, "the language of materiality rolls into the materiality of language" (5; 13; 221). Harrow's keen eye for Rimbaud's visual detail along with her attention to the materiality of his language allows for refreshing perspectives on phrases worn nearly threadbare by decades of critical attention. Thus, rather than reading "JE est un autre" as yet again suggestive of "floating a-sociability" within configurations of "meaningless pieces [. . .] merely available for new relations" (Bersani, cited in Harrow 15; 51), Harrow notes that "the disjunctive syntax of the proposition calls urgent attention to the constitution of self in language" (10). Prolonged attention to material detail does occasionally obscure the rhetoric of materiality – for instance, "Oh! là! là!" in Rimbaud's "Ma Bohème" is read without irony as simply "exclamation and impassioned repetition" (17). Whereas Rimbaud's Une Saison en enfer is read partly in terms of twentieth-century cubist fracturing of self and aesthetic subject, constituted in their very failure to "unify" (40) and where "the crisis of subjectivity is, at root, a crisis of language" (41), the Illuminations are presented alongside surrealist visual art to reveal the poet as 'self-ironizing anthropologist' (22). Throughout, Harrow aptly recognizes that the "readerly anxiety" triggered by Rimbaud's images and form points to the poet's social ability to "force the reader to engage in the making of meaning, rather than in the reception of pre-formed meaning" (54-55). Similarly, "even as the 'objective' brilliance" of Apollinaire's 1912-1914 modernist poems "work to obscure subjectivity" they remain redolent "with sparks of self-expressivity" (64). The modernist drive toward language's autonomous a-historical materiality thereby remains erotically charged with and positively distracted by personal and historical realities, not the least of which were the poet's lover, Lou, and the slaughter of World War I (79). Harrow thus demonstrates that the collision of historical circumstance and the imperative of modernist autonomy offers up a hybrid autobiographical self located "between the extratextual [End Page 152] writer and a writing-written self textually present in the specificity of a historically and materially located 'je'" (84). In passing, Harrow suggests that André Breton's reading of Apollinaire's war poetry "presupposes an ethically committed subject, hardwired to History and able to supply an authoritative, monological representation of the bitter reality of combative experience" (82). More thorough consideration of the materiality of surrealist subjectivity would have revealed it to be anything but monologically "hardwired to History." Through Ponge's Douze petits écrits – "twelve little textual incendiaries" (121) – Le Parti pris des choses and his art-critical writings, Harrow explores the relation between "self and world, self and word" (161), where the formal deflections and warping of this relation reveal "the visible traces of subjectivity in process" (115) and produce a "therapeutic shift" for the sake of "re-investing self" and "re-nurtur[ing] human subjectivity" (152-53). Harrow carefully situates Ponge's culture critique within "the stylistic and syntactic disturbances manifest in the text" (129) that leave their impression on both the material self and the linguistic-aesthetic subject. Just as closely examined is how Ponge's "desire to capture in language the rush of consciousness at the point of material contact with the world generates analogy and allegory" (9); though perhaps analogy and allegory also dazzlingly rush in to forcefully enroll the reader's belief in this point or "seam of contact between self and world" (9). Harrow's reading of Réda shifts decidedly toward...

Home as a Locus of Work and Career

SUMMARY In response to contemporary work environments and the increased availability of technologies, individuals and organizations are experimenting with alternate forms of work located in the home. This article examines the complex and creative intersection of “home” and “work.” From 1990-1997, the number of individuals classified as home-based workers nearly tripled, reaching 9.3 million. Areas explored in the present study include emerging patterns in the work-at-home arena, the critical success factors that facilitate development of work and career in the home, and the opportunities afforded to individuals, families and communities when home is the locus of work. Directions for future research and debate in this area are presented.

Religious Scriptors of Human Possibilities and Cultural Transformations

philosophy of religion, and a faculty member in the Comparative Humanities Program. She is the author of various articles addressing the creative intersections among critical theory, philosophy, and religion, and two books: Poststructuralism, Feminism, and Religion: Triangulating Positions (2002), and Reverberations of a Mystical Naturalism: Revitalizing the Legacy of Anne Conway (1631-1679) (forthcoming). She is currently working on a manuscript featuring a value-based conception of the divine within African-American intellectual thought that is grounded in religious naturalism and features humanistic assumptions.

The Body Can Speak: Essays on Creative Movement Education with Emphasis on Dance and Drama (review)

Reviewed by: The Body Can Speak: Essays on Creative Movement Education with Emphasis on Dance and Drama Henderson Heidi The Body Can Speak: Essays on Creative Movement Education with Emphasis on Dance and Drama. Edited by Annelise Mertz. Carbondale and Edwardsville: Southern Illinois University Press, 2002; pp. xiv + 148. $40.00 cloth, $20.00 paper. In The Body Can Speak, edited by distinguished dance educator Annelise Mertz, a collection of writers contributes to a celebration of the value of movement in education. Most of the authors are Mertz's colleagues and former students and find their commonality in the educational philosophies that Mertz set forth in her tenure as dance department chair at Washington University in St. Louis. Collectively, the writers—dancers, choreographers, improvisers, painters, actors, playwrights, directors, and therapists—argue that creative movement education helps us to define our notions of art and self. Individually, they take very different paths toward this end. Mertz has organized the essays into two categories. "As We See It" covers theory, while in "How We Do It"the various authors discuss process and application. Rarely, however, does an essay fall easily into one or the other of these categories; most are too complex to conform to such explicit definition. In the theory division, for example, Ruth Grauert, editor of the Web-based Journal of Art and Ideas, writes about the compelling work that she does at a camp in Maine where children study music, visual art, dance, poetry, and theatre. Grauert is interested in interdisciplinary artistic processes, and hinting at how she might describe such creative intersections to her young students, suggests, "perhaps having a tantrum is all the arts put together: sound and motion and words; and you are bound to turn red, and of course with a tantrum there is contrast, so we have theater" (16). Grauert's essay is informed by both educational theory and practical experience. Her enthusiasm for working with children and her concrete examples of how she connects art to the natural world of the forests and lakes of Maine offer vivid lessons for teaching. Grauert's essay is also a valuable reminder that artistic education is necessary to a child's development. She asserts, "Our participation in life must lead us to art, and art in turn will lead us to what we truly are" (16). Two of the more clearly theoretical essays are written by pioneering dance educators, whose careers parallel Mertz's own in fostering dance education at the university level. In "Education Through Dance," reprinted from Dance: A Creative Art Experience (1957), Margaret N. H'Doubler, the first woman to institute a dance program at the university level, describes an education in dance as "a special way of reexperiencing aesthetic values discovered in reality" (13). An essay by Dorothy M. Vislocky, professor emerita at Hunter College, is a lovely, reverential, and rambling tribute to her mentor Alwin Nikolais, who in the dance [End Page 500] world is remembered as much for his generosity in teaching as for his work in performance. These essays reflect on the power that teachers have to influence their students both in and out of the classroom. Some of the collection's most interesting essays focus on teaching movement ideas to specific populations, including several essays about teaching dance to children. In "Moving into Belonging: The Dance of the Mother and Child," Becky Engler-Hicks describes her work teaching parents to support the young child's growing ideas of self through movement. In "Spring Celebration: A Movement Ritual for Children,"Jeff Rehg gives a simple and explicit set of instructions for staging a circle dance with children. The children, in practice and in performance, run and chant. They honor the four directions. They create a circle and explore the community the shape implies. In learning and performing this dance, the children solidify their connection to the earth and to each other. One of the most moving and practical essays in the book is by Branislav Tomich, a former student of Mertz. He describes his process of teaching a mix of dance and theatre to a group of incarcerated teens. Tomich uses the lessons of an acting class to teach...

Courage to Create and Courage to Lead A Case Study of Artistic Leader Toni Morrison

Executive Summary This manuscript discusses an expanded view of leadership theory using an artistic perspective linking art, creativity and leadership. To understand the intersection of creativity and leadership a case study of Toni Morrison the writer is presented. The framework for looking at creativity in leaders and understanding the artistic leader is based on the work of developmental psychologist Howard Gardner. Patterns and implications for leadership development and research are discussed.

The academic researcher: Socialisation in settings previously dominated by teaching

Qualitative case studies of two multidisciplinary health science departments from different universities in Australia were undertaken to identify the experiences which beginning and early career researchers perceived had facilitated or inhibited their development as researchers during the first five years post amalgamation into university settings. Results were viewed using modernist and post modernist interpretations of organisational socialisation. A modernist interpretation indicated that the production of a successful academic researcher was linked to the creative intersection of person, department and institution, where individual motivation, a supportive, stable and adequately resourced environment, accessible skills and the opportunity for collaborative research were clearly of importance. A postmodernist interpretation, which celebrates diversity and creativity and values dynamism revealed the ambiguity and resistance which was present in the two settings but had the capacity to interpret this in a positive manner.

CREATIVE INTERSECTIONS: Where Design and Technology Meet

CREATIVE INTERSECTIONS: Where Design and Technology Meet