Joy Of Creation Research Articles

CHANGING NATURE OF TRADITIONAL KUTTI ART OF WESTERN RAJASTHAN

The ever-flowing stream of folk art is a unique heritage of tradition, these forms and handicrafts associated with the spontaneous joy of creation and social life, being beautiful, with their positive energy, vibrate the mind, and consciousness of man as well as the courtyard of the house. The credit for keeping these forms and handicrafts with importance of social life alive through traditions goes to the people of rural areas here. From the development of civilizations to the modern times, human beings have edited many types of arts. In all these types of arts edited by humans, the presentation of a unique tableau of emotion and experiences is seen. Be it folk arts of rural areas or court arts, each art has flourished and flourished over time, and gradually the forms of these arts have also changed. Flowing with the flow of time, these arts got oriented towards new changes due to modern art influences. Rajasthan has been famous all over the world for its art and craftsmanship. The arts here have been attracting everyone towards themselves, giving an unprecedented introduction to handicraft skills.

"Monumental Picture" – an attempt to resolve the creative crisis in a non-homogeneous group

The article and the research presented in it are an attempt to resolve the creative crisis observed in students of grades 4-7 of primary school. The author tries to reawaken creative activity and the joy of creation by involving all students of the above-mentioned classes in a group art project. The task is to paint an abstract "Monumental Picture" together. The article is a description of the author's own research carried out on a non-homogeneous group of students using the case study method.

Radość tworzenia: redagowanie gazetki, jako forma nauczania sprawności pisania w języku polskim jako obcym, na podstawie doświadczeń w Krakowie, Tokio, Kantonie i Seulu

Radość tworzenia: redagowanie gazetki, jako forma nauczania sprawności pisania w języku polskim jako obcym, na podstawie doświadczeń w Krakowie, Tokio, Kantonie i Seulu

Zack and the Turkey Attack! by Phyllis Reynolds Naylor

Reviewed by: Zack and the Turkey Attack! by Phyllis Reynolds Naylor Deborah Stevenson, Editor Naylor, Phyllis Reynolds Zack and the Turkey Attack!; illus. by Vivienne To. Dlouhy/Atheneum, 2017 [176p] Trade ed. ISBN 978-1-4814-3779-0 $16.99 E-book ed. ISBN 978-1-4814-3781-3 $10.99 Reviewed from galleys R Gr. 2-4 Zach likes the fact that his family’s move brings them close to his grandparents’ farm, where he spends most weekends helping with chores or just goofing off in time-honored farm ways. What he doesn’t like is the big tom turkey who chases after Zack with savage pecks every time the two meet; Zack therefore decides, with the help of new friends, to build a turkey-scaring device. Meanwhile, valuable objects are going missing—can the friends find the solution to the mystery as well as to the turkey bully? Naylor writes this well-crafted story with her usual smooth accessibility and plausibility. The turkey’s attacks really are scary, if not all that dangerous, and it’s utterly believable that Zack the tinkerer gets swept up in the joy of creation itself with his elaborate Rube Goldberg machine. The mystery plot is nicely entry level with a benign solution, and the subplot of Zack’s growing friendships is pleasantly understated. Quick chapters will suit early readers or readers aloud, while full-page black and white illustrations hover between cartoon and realism and add spirit. Copyright © 2017 The Board of Trustees of the University of Illinois

Learning to See: Art, Beauty, and the Joy of Creation in Education

This essay claims with Plato that learning to see and to love the beautiful is the fundamental impulse underlying education, leading to self-transformation. In Plato’s educational theory, we discover the intimate connection between beauty, creativity, and art--a connection that today’s education fails to emphasize, leaving us with the idea of creativity as mechanical or dull, if not totally irrelevant, and with art as marginalized--a discovery that is a journey of the self, or soul, into the world of transcendent beauty made visible in art as integrity, harmony, and radiance. Through these qualities, art can release us from our everyday experiences, so that we become an expression of something that is not of ourselves accompanied by a revelation that no words can describe but which can be expressed in the state of attentive silence , of looking , or of seeing . Therefore, this article advances a pedagogy of seeing or of looking or of attentive silence that can illumine one’s way to what Plato calls “that place which is a rest from the road . . . for the one who reaches it.”

Introduction to “In Quest of the Joy of Creation”

New introductory remarks introduce a reprint of the authors' 2005 article "In Quest of the Joy of Creation." The original article is reproduced from "Innovate the Future," 2005 Hitachi Hyoron Special Edition, pp. 34-39, Hitachi Hyoronsha, Tokyo, Japan. In it the author recalls his 42-year career at Hitachi, focusing on DRAM design there since the early 1970s. Entrusted with developing a 4-Kb DRAM at the the outset of his career and without any knowledge of semiconductors, the author became the lead designer of the first prototype for each of eight successive generations of Hitachi DRAMs. Faced with the challenge of breaking through limits on each consecutive generation, and after failing four times, Hitachi finally won the race with its 64-Kb DRAM.

Drei Stucke fur Klarinette und Klavier (1973), and: Moments musicaux: Fur Klarinette in B solo (1977), and: Pieskarieni = Beruhrungen/Touches: Fur Oboe solo, and: Vasaras dziedadjumi: 2. stigu kvartets = Sommerweisen: 2. Streichquartett (1984), and: Simfonija stigu orkestrim "Balsis" = Symphonie fur Streicher "Stimmen" (1991), and: Fantasia Izdegusas zemes ainavas = Landschaften der ausgebrannten Erde: Fur Klavier (1992), and: Litene

Peteris Vasks. Drei Stucke fur Klarinette und Klavier (1973). (Clarinet Library = Klarinetten-Bibliothek.) Mainz: Schott, c1996. [Notes, 1 p.; score, p. 3-16; and part. ISMN M-001-11370-0; KLB 42. [pounds sterling]16.5O.] Peteris Vasks. Moments musicaux: Fur Klarinette in B solo (1977). Mainz: Schott, c1996. (Clarinet Library = Klarinetten-Bibliothek.) [Notes, 3 p.; score, p. 5--8. ISMN M-001-11369-4; KLB 41. Duration, Ca. 10 min. [pounds sterling]9.95.] Peteris Vasks. Pieskarieni = Beruhrungen/Toughes: Fur Oboe solo. (Oboe Library = Oboen-Bibliothek.) Mainz: Schott, c1996. [Notes, 3 p.; score, p. 5-8. ISMN M-001-11371-7; OBB 37. Duration, Ca. 7 min. [pounds sterling]11.50.] Peteris Vasks. Vasaras dziedajumi: 2. stigu kvartets = Sommerweisen: 2. Streichquartett (1984). Mainz: Schott, c1997. [Notes, 2 p.; score, p. 5-19; and 4 parts. ISMN M-001-11366-3; ED 8512. Duration, ca. 23 min. [pounds sterling]39.95.] Peteris Vasks. Simfonija stigu orkestrim Balsis = Symphonie fur Streicher Stimmen (1991). (Musik unserer Zeit.) Mainz: Schott, c1993. Studienpartitur. [Notes, 3 p.; score, p. 7-67. ED 8032. Duration, ca. 27 min. [pounds sterling]29.95.] Peteris Vasks. Fantasia Izdegusas zemes ainavas = Landschaften der ausgebrannten Erde: Fur Klavier (1992). Mainz: Schott, c1993. [Notes, 2 p.; score, p. 5-19. ED 8102. Duration, ca. 15 min. [pounds sterling]14.50.] Peteris Vasks. Litene (Uldis Berzins): Cemischter Chor (SSSAAATTTBBB) a cappella [1993]. (Kammerchor = Chamber Choir.) Mainz: Schott, c1998. [Notes, 3 p.; score, p. 5-42. ISMN M-001-10158-5; SKR 20030. Duration, 11 min. [pounds sterling]12.] renewed and reimagined nationalisms that continue to transform the identity of the New Europe and to reframe its boundaries have variously mobilized the figure of the national composer as an authentic and cosmopolitan representative of the nation. This role for contemporary composers has been a remarkable aspect of nationalisms in the Baltic states and elsewhere. In Estonia, such figures include Arvo Part, Veljo Tormis, and Erkki-Sven Tuur; in Latvia, Peteris Plakidis and Peteris Vasks; in Lithuania, Osvaldas Balakauskas and Vytautas Barkauskas; and in Georgia, Giya Kancheli. As figures of national authenticity, these composers embody the folk traditions, the religious practices, and the natural environment of the nation while giving voice to its Soviet, post-Soviet, and new-European experiences. As cosmopolitan figures, such composers demonstrate the ways in which these national or local values are transformed into more universal categories of human experience as their music circulates transnationally th rough the media of recordings and films and among elite cultural institutions. Peteris Vasks (b. 1946 in Aizpute, Latvia) is Latvia's most internationally renowned composer and, from a global perspective, Latvia's national composer. Through the dedicated advocacy of fellow Gidon Kremer and the Kremerata Baltica, Vasks's music has helped articulate a specific national and regional musical identity. Indeed, Vasks understands his expressive and creative work in national terms: For me what is important is to speak as a representative of a very small, unhappy but courageous country which has suffered much. In my music I speak Latvian (notes accompanying the CD Peteris Vasks, Chamber Music [Conifer Classics 75605 51272 2, 1996]). forms such enunciation take in Vasks's music, however, are symbolic absolutes rather than distinctly national signifiers: good and evil, hope and despair, idealism and nihilism, freedom and oppression, as Vasks himself suggests in his article The Suffering and Joy of Creation: A Composer's Perspective (Musicworks: Journal of Sound Explorat ion 63 [1995]: 40-44). Such archetypal musical symbolism is informed by Vasks's background as the son of a Baptist minister in Soviet Latvia, by the environmental catastrophes brought about through Soviet industrialization and now part of a global threat, by the Dziesmota revotucija (Singing Revolution) of the late 1980s and early 1990s and by the postindependence hardships endured during the dynamic process of building the nation-state. …

感性的ワークショップからのモノづくり化設計 : モノづくりの喜びを(感性に基づく機械工学)

感性的ワークショップからのモノづくり化設計 : モノづくりの喜びを(<特集>感性に基づく機械工学)

Joy of Creation

Joy of Creation