Creative Moment Research Articles

ПРИОБЩАВАНЕ НА ДЕЦАТА КЪМ ОБЩОЧОВЕШКИТЕ НРАВСТВЕНИ ЦЕННОСТИ

Practice in kindergarten shows the expediency in the application of the situational approach in organizing the work for the perception of the art work. This approach creates rich opportunities for organizing the process of perception of the literary work as a communicative process, as an aesthetic activity. The variety of methodological techniques provokes children's creative initiative and creates conditions for the child's active attitude to the literary work both in the process of perception and in the moments of independent creativity. The child's imagination is unlocked, thinking activity is activated, resulting in a whole chain of associations and emotions. Fiction satisfies the pre-school child's need to act, to take part, albeit imaginatively, in interesting and appealing events, identifying his or her personality with the characters of the work.

The Power of Silence: How Taking Pauses Can Enhance Communication, Creativity and Productivity

This paper explores the cognitive, creative and well-being benefits of incorporating more silence into daily life and work. Drawing from over a decade of consulting experience and a comprehensive review of neuroscientific and psychological literature, the brief makes the case that silence enhances key functions like problem-solving, focus, memory formation and divergent thinking. Studies demonstrate how even brief periods without external stimulation lower stress levels and improve mood. Intermixed periods of silence allow for mental incubation that sparks insight and the "Aha!" moments of creativity. Examples are then provided of how high-performing organizations across industries like IDEO, Atlassian, Ernst & Young and Google have maximized productivity, innovation and collaboration simply by strategically protecting pockets of quiet time. The research synthesis and case examples collectively argue that leadership which champions mindful moments of stillness will see transformative communication quality and long-term success.

THE VISION OF STYLE WITHIN THE LIMITS OF THE LITERARY GRAMMAR DISCOURSE

In the proposed article, we turn to one of the directions in the modern academic theory of literature — personalist discourse, which gravitates towards metalinguistics, that studies the word (or the language), in its concrete and living entirety, and not the language as a specific subject of linguistics. The purpose of the research is to indicate the features of this discourse and to explain what the vision of style is within the framework of the personalist discourse. The object of research is the personalist theory of literature, the personalist discourse; the subject of research is style within the limits of personalist discourse. The following methods were used to achieve the goal: information analysis method, synthesis method, descriptive method. In contrast to literary grammar, which strives for accuracy and specificity and personalist constituted on the border with linguistics, personalist discourse is constituted on the border with metalinguistics. For the personalist theory of literature, style becomes a way of being of creative individuality, or more precisely, a way of being of a person-author in his work. Personalist discourse gives style a "unifying energy". Within the personalist discourse style becomes a formative center that concretizes the relations. To understand the essence of style, personalists distinguished between compositional and architectural forms. It is characteristic that architectural forms are not forms in the personalist discourse, but are the "content of aesthetic activity" and understood as purely meaningful. So, equating "aesthetic" and "meaningful" in the artistic style, M. M. Bakhtin defines it as "a set of techniques for the formation and completion of a person and its world". In the artistic style, the "internal style" and the content revealed in the images are interconnected. For personalism, "artistic style works not with words, but with moments of the world, values of the world and life", it is a "way of processing" a person and its world, a way of "aesthetic completion". The author of the article concludes that "aesthetic completion" is impossible without the finalizing ability of the image. In the personalist discourse, all problems related to the perception and interpretation of the artistic text are transferred to the sphere of intersubjective relations. The object in personalism is precisely the relations between the subjects of the statement — dialogical relations. In the personalist theory of literature, the constitutive moment of artistic creativity is the author-creator. But personalism deprives the artistic style of its main essence — inner core, the image, that is why the idea of style in the personalist discourse is post-aesthetic. The relevance of the research is determined by the need to clarify the multiplicity of style concepts in their originality in modern literary theory and modern linguistics. One of the fundamental features of artistic creativity is denoted by the concept of "style". First of all, style is a defining way of revealing the aesthetic essence of poetic art. But there are quite different understandings of style. The perspective of further research is to reveal the semantic content of the category of style within the limits of various theoretical and literary discourses.

Creativity in rugby union: it’s more than a moment, it’s a playful rebellion against conformity

ABSTRACT This study investigated the nature of creativity in rugby union, commonly referred to as rugby. Five world class Australian rugby players who were identified by their peers to be amongst the most creative players in Australian rugby were interviewed. A grounded theory of data analysis was undertaken which revealed that creativity in rugby can be conceptualised as freedom and risk-taking, exploration and exploitation, collaboration, and unconventional thinking. Our results highlight how creativity represents a playful rebellion against the conventional ways of playing rugby. We discuss how this pattern of unorthodox play needs to be supported by a culturally secure environment to provide a catalyst for the liberation of creative moments. In this way, creativity is represented by moments where players feel confident, encouraged, and entrusted to push the boundaries of their skilled actions. However, while creativity may manifest in creative moments, we contend that creativity is best considered as a pattern of behaviour that allows these actions to emerge.

A Organização do Currículo na Educação Infantil com Base na BNCC

The National Common Curricular Base for Early Childhood Education (BNCC) is an essential document that guides the educational process in Brazil, providing guidelines for curriculum organization in the initial stage of education. In this article, we discuss the signifi cance of the BNCC in structuring the curriculum in Early Childhood Education, highlighting its methodology of implementation and the expected outcomes for the holistic development of children. To achieve this, we employed a methodology of documentary studies, analysis of educational legislation, and a review of related research literature. Through data collection and synthesis, we aimed to emphasize the principles and objectives of the BNCC, its pedagogical guidelines, and its contribution to curriculum structuring in this educational stage. As a result, we identifi ed that the BNCC aims to promote the holistic development of children, encompassing cognitive, socio-emotional, physical, and cultural aspects. By proposing a curriculum based on these guidelines, we seek to ensure that all children have meaningful and age-appropriate learning opportunities according to their developmental stage. The curriculum becomes more fl exible and contextualized, recognizing the importance of considering each school’s particularities and valuing cultural and regional diversity. Furthermore, the BNCC guarantees rights and equity, as it establishes learning rights for all children in early childhood education, regardless of their origin, social status, or specifi c needs. Organizing the curriculum based on these rights aims to promote educational equity and combat inequalities. The BNCC also highlights the signifi cance of play as a pedagogical principle, recognizing it as a form of expression, learning, and child development. By organizing the curriculum based on this principle, the role of play in the educational process is valued, providing playful and creative moments for children.

Definitory Characteristics of Pianistic Expression in the Contemporary Jazz

"The general fundamental approach of improvisation, of the creative moment in jazz leads succinctly to the question of whether this phenomenon is a product or a process. The jazz perception as a product assumes that the recordings accompanied by the related transcripts represent that product (final) which is used for analytical purposes by taking harmonical-melodical characteristics. It is important to remember the aspect by which these transcripts do not fully express the essence of improvised thinking and elaboration but are only a starting point in identifying key characteristic features. The possibility of representing a replica of the artistic act produced on stage, however, is not a real one. Visualizing the improvisation process as a practical way of creative performance is therefore an essential aspect of the artistic act. This should be considered together with the product, especially when synthesizing models or indicators that define the personal style of the instrumentalist. Previously, some jazz critics defined the vision of the two modes as an inseparable dichotomy, which is the basis of multi-dimensional analytical possibilities. Beginning in the ’60s, jazz is marked in the expression and elaboration of pianistics by Herbie Hancock, Chick Corea, Bill Evans and later by Keith Jarrett. They implement a variety of contemporary jazz elements, melodical-harmonic expressions that will be taken over and will obviously lead to a new evolutionary stage. Keywords: jazz, pianistic improvisation, spontaneity, creativity, harmonic knowledge, contemporary"

Pandemics and Paradigms of Contestation

AbstractParadigms of governance are defined in part by paradigms of contestation—stockpiles of culturally legible tactics for contesting power. This article analyzes the growing use of hard-block and mutual aid tactics in Metulia (sometimes called Victoria, B.C.) as exemplars that suggest liberal paradigms of contestation may be becoming less rigid. Drawing on Robert Cover and Charles Tilly, I argue that the present conjuncture is not, as many analyses suggest, merely a tipping point between one paradigm and the next. Rather, it is a creative moment of experimentation and indeterminacy defined by multiple crises, multiple emergences, and their unpredictable interactions.

‘Good morning Metro shoppers!’ Food insecurity, COVID-19 and the emergence of roll-call neoliberalism

From April 2020 to December 2021, the Canadian federal government earmarked $330,000,000 through the Emergency Food Security Fund to address food insecurity during the COVID-19 global pandemic. These funds were disbursed through a handful of national and regional emergency food and food justice agencies to smaller front-line organizations for the purchase of emergency food provisions and personal protective equipment, and to hire additional workers. We theorize these dynamics within the broader processes of neoliberalization and argue that the Canadian federal government was conscripting food justice and community development organizations into its efforts to address dramatically increasing rates of food insecurity across the country through charity emergency food provisioning. Within Peck and Tickell’s stylized conceptions of the destructive (roll-back) and creative (roll-out) moments of the process of neoliberalization, we frame the crisis of COVID-19 as exposing a form of recalibration (roll-call) neoliberalism. We focus on this dynamic specifically within the context of household food insecurity in Canadian communities and argue that the federal government’s funding regime during the global pandemic effectively directed food justice organizations (and by extension, the populace in general) away from a more ambitious social change agenda towards the more acceptable strategy (in neoliberal terms) of emergency food provisioning services.

The Dwarfs

The Dwarfs

O filosofo crítico é um gênio

This article intends to show first that the systematic demands placed in the Preface to Criticism of the faculty of judging impose a restriction on the concept of genius to artistic activity; second, it provides an interpretation of the complementarity of the receptive moment and the creative moment in the case of the work of art. In the concluding part, it brings together some characteristics of genius to the critical philosopher on the basis of some significant analogies: the legislative activity of genius and that of reason, the analogy with the function of making a technical activity compatible with an organic vision and the necessary complementarity between receptive and creative / communicative moments in art and philosophy.

THE IMAGE OF SHAKESPEARE AND SHAKESPEAREAN THEATRE IN SIGIZMUND KRZHIZHANOVSKY’S WORKS

The authors analyze the corpus of Shakespearean and theater studies by a Russian writer and thinker Sigizmund Krzhizhanovsky (1887–1950), who wrote about Shakespeare since the 1920s. The purpose of the work was to review and streamline the principles of analysis of the image of Shakespeare and Shakespeare’s theater, Shakespeare’s dramaturgy in Krzhizhanovsky’s heritage, taking into account the newly discovered archival documents. The authors explore the works of Krzhizhanovsky as a kind of metatext, representing a look at Shakespeare from the standpoint of a figure of the Silver Age. Krzhizhanovsky, who did not follow the path of academic literary criticism or art criticism, in his essayistic studies evaluates the path of Shakespeare’s creativity and theater as a salvation from the temptation of metaphysical philosophy; he analyzes the nature of Shakespeare’s theater based on the concepts of time, ways of perception, gives a number of brilliant genre definitions for tragedy and comedy, explores the structure of Shakespeare’s play; he does all this in the context of his own time. At the same time, the authors detect certain dynamics: Krzhizhanovsky reasons about Shakespeare with global philosophical generalizations, where Shakespeare is a synonym for theater and theatricality; in the finale, in the 1940s, he goes deeper and focuses on private moments of creativity, such as Shakespeare’s “songs,” images of children in his plays, and so on.

Serendipitous collective creativity at family making programs in public libraries

Collective creativity is increasingly being emphasized, yet there is less focus on serendipitous or accidental collective creativity. Understanding serendipitous collective creativity can bring implications for unexplored ways to facilitate collective creativity in learning settings. This paper reports a video-based study that investigates how moments of serendipitous collective creativity emerge and influence families’ creative experience in informal making programs at public libraries. Twenty-four parent-child pairs’ interaction and creative products are analyzed through interaction analysis and novelty assessment. Our study demonstrates showcasing and providing feedback as two social mechanisms that facilitated moments of serendipitous collective creativity, which influenced families to adopt, expand, and solidify the serendipitous idea. The study brings implications to library professionals who provide educational programming to children and family patrons to reconsider the role of participating families at library making programs as not just patrons but community members with shared ownership to facilitate creative process of one another.

De la symbolisation imagée au squiggle photographique

ContextIn the clinical accompaniment of non-verbal patients and/or those with limited capacities for symbolization, we find that the regular analytical “talking cure” has its limits. To counter this, the author proposes to develop a new therapeutic mediation based on the photographic act that could possibly replace, or at least complete, verbal exchanges. This article shows how the photographic medium can be mobilized within analytical cure. AimsThis article questions how the photographic act can put the processes of the unconscious to work, unfold the singularity of the subject's speech, and how it can catalyze the transformation of the latter throughout the therapeutic process. MethodIt is first of all a question of rethinking the usual mediation of photolanguage, which offers “ready-to-use” representations. The author then presents a new mediation, called photonafshy, based on the photographic act. The subject himself produces his photographic images, which constitute a real open door to the preconscious and unconscious universe of the subject, far “beyond words.” The photographic images thus created, although relying on external perceptions, unconsciously solicit and transform internal archaic images. Clinical cases are analyzed to understand this phenomenon. The author then updates the squiggle technique – a set of drawings for two invented by Winnicott – by using the photographic medium instead of drawing. ResultsThe new technique of the “photographic squiggle” sets up a semiotic field between two signifying presences that are the photos of the patient and of the analyst, and creates a shared game of symbolic and intersubjective exchanges that facilitates access to the most archaic layers of the pathic sensitivity. In this moment of photographic creativity, the subject can regress into a state of fluidity and experimental non-integration where the functions of gesture and gaze become, once again, modalities of being, as they are for babies at an archaic state. Conclusions“Photographic speech” can be considered a substitute for linguistic speech and is thus a relevant tool for clinical work with non-verbal patients. Photonafshy, a new therapeutic mediation using photography, proposes an approach to the photographic technè as a semiosis accompanying the therapeutic history, but also respecting the dimension of the suffering body. This approach allows us to go as far as possible in this state of regression in the confrontation with anxiety, in the most sustained, supportive, enveloping way possible and at the same time in the finest and most adjusted way.

A Liminal Moment in Social Work.

There is a concept from anthropology that I have found very useful throughout my career, and that has been on my mind a great deal lately—the concept of the liminal moment (Van Gennep, 1909). The term comes from the Latin limen, which literally means a threshold. Liminal moments are times of transition, specifically the time when it is realized that the way things were are over, but the way things will be are not yet clear. As beautifully described by Malksoo (2012), liminal moments are in-between situations and conditions where established structures are dislocated, hierarchies reversed, and traditional settings of authority possibly endangered… . It is thus a realm of great ambiguity, since the liminal entities are neither here nor there; they are betwixt and between the positions assigned and arrayed by law, custom, convention, and ceremonial. Yet, as a threshold situation, liminality is also a vital moment of creativity, a potential platform for renewing the societal make-up. (p. 481)

Identification of creativity in collaborative conversations based on the polyphonic model

The paper presents a theoretical approach and a set of experiments that operationalize it for the identification of creative moments in conversations. State-of-the-art artificial intelligence technology is used for the operationalization: natural language processing, machine learning, and deep neural networks The approach is based on the polyphonic model introduced by Trausan-Matu, which starts from Mikhail Bakhtin's analogy of discourse building in texts with polyphonic music. The divergent and convergent steps of creativity are related to the inter-animation of voices through dissonances and consonances in polyphonic, contrapuntal music.

The emotional motives of the spectrum in Andalusian poetry in the age of sects

The spectrum formed a distinctive phenomenon in Andalusian poetry in the era of sects. Its motives multiplied according to its use in poetry. It represents the world of visions and dreams in its poetic form after being produced by the poet in such an artistic frame that gives it its special beauty and creativity. This contributes to the explosion of creativity among the poets of the sects era in Andalusia. The poets were affected by the stability of the political, social and even cultural life in that era, which generated excited and interactive souls who sang the spectrum of the beloved, and embodied the anguish of love and passion under a special circumstance that the poet goes through, in a moment of creativity in a special way with certain words and at a specific time. The research is derived from the doctoral dissertation tagged "The Spectrum in Andalusian Poetry in the Age of Sects (400 AH - 484 AH)".The research depends on an abstract which explains and defines the term "spectrum" linguistically and terminologically. In addition the abstract consists of three chapters. The first of which explains the poets longing and nostalgia for the beautiful bygone days. The second involves separation which represents a distinctive motive for the poetry of al-Taif, as the poets hide the intensity of separation while wandering around in their imaginations. the third: the farewell that invites poets to evoke those past moments; to paint the scenic picture of the separation of the homeland, family, or beloved. Finally, the research presents the conclusion and the findings of the research.

Abstraction, idealization, and concretization: A discussion of Leszek Nowak’s interpretation of Karl Marx’s method

In this article, an interpretation of Marx’s notions of abstraction and concretization is presented. Unlike Leszek Nowak’s approach, Marx’s use of idealizations is not a reversible process of adding and removing idealizing assumptions. Marx had a richer use of the term abstraction, one in which concretization involves a creative moment of conceptual innovation. Marx adds new variables and new assumptions and elaborates new categories at different levels of abstraction in order to show the unity between appearances and essences. De-idealization, according to Marx, involves both recomposition and de-isolation. Also, concretization, for Marx, does not follow a linear approximation to reality, but rather a hermeneutical circle that is constantly in the process of reframing categories to provide answers to different questions. As a case study, this article shows an interpretation of Marx’s labor theory of value.

The State before the State: A Critique of New Democracy: The Creation of the Modern American State, by William J Novak

Abstract This essay is a critical appraisal of William Novak’s New Democracy, published in March 2022. A sequel to The People’s Welfare, published in 1996, New Democracy continues Novak’s revisionist account of American state building in the nineteenth and twentieth centuries. In particular, the book draws attention to the years between the American Civil War and the onset of the Great Depression as the formative period of the American administrative–regulatory state, assailing a historiography that has credited the epoch of the New Deal as the definitive creative moment of the modern American state. Assessing New Democracy’s evidence and arguments, the essay finds that Novak’s book makes an important contribution to the intellectual history of state advocacy, but fails to offer definitive empirical measures for its central claim that the New Deal origin of the modern American state is a myth. Examining the philosophy of history that lies beneath New Democracy’s arguments, the essay holds that Novak’s claim that history is irreversibly linear markedly constricts the interpretive possibilities open to him and to those who may follow his lead.

A Conversation between Melvin Bornstein and Giovanni Minonne

ABSTRACT Mel has been my supervisor for the last ten years. It is difficult to express the depth of the feelings that Mel has awaken in me from the very first moment that we met. Maybe the best way to express these feelings is to describe them as an internal, irresistible force that moves me toward him. Mel describes this force as love, which for him is the core therapeutic force. According to Mel, this force allows us and our patients to embrace being alive, and to learn to tolerate the intensity of being alive, instead of hiding from the present and regressing in the repetition compulsion of the transference, of our learned mistrust of ourselves and others, and fear of life. What Mel taught me over these years is at the same time very simple to say and extremely difficult to fully embrace. It is his love for life and his radical openness to the other human beings, and to life. Whenever I would ask for Mel’s help in working through difficulties with my patients, his focus would always be on my own fear, and that of my patients. This was a fear of fully embracing life, of seeing life as it is, with all its traumas and pains, and a fear of doing something good with our pain, something that brings us closer together and frees in us more power, more capacity for pleasure, more autonomy, and more growth. Mel’s teaching is Mel, there is no contradiction between his word and his being. He has always been there, ahead of me, waiting for me to keep up with him, and learn to see with my eyes what I could not see before. At the same time, he has always encouraged me to see in my own way, to find my own way of celebrating the love of life that he has sustained in me. The simplest way to express my experience with Mel, is that I love him, and he loves me. As you can see in the transcript of a supervision with Mel that I am sharing with you, my relationship with Mel has not only been a relationship of love with no conflicts. It has also involved a constant struggle on my part to grasp what he is telling me, and to fight against his teaching because it feels too simple, too radically open. It has been difficult to allow myself to be radically open to Mel and let him work in me. This tension I still experience every time I meet with him, and it is as strong as my love for him. It is almost as if I am too afraid of completely letting go. But I do not see this only as resistance. I think that it is an essential part of the creative moment of our being with each other as two separate beings who fall in love, but are still separate and irreducibly different, and alone. The transcription of the hour of conversation that I am presenting is close to what usually happens in my supervisions with Mel. Maybe it is a little less spontaneous and free, because of the need to preserve the anonymity of the patients that we discussed. However, I have tried to be as close as possible to the actual lived experience that we have shared together. I hope that it conveys at least part of the profound love that Mel shares with every human being that has the privilege of knowing him. (Giovanni Minonne).

Mapping enchanted landscapes in Philip Weller’s The Dartmoor of The Hound of the Baskervilles

Literary mapping has developed in fascinating ways in recent years, both as a field of study and as a practical tool to pursue those studies. However, one area of literary mapping as a subject remains under explored – the use and production of literary mappings by lay readers. Recent research into non-scholarly use and production of literary mappings has suggested that they are expressive, creative and affective practices. In the hands of lay readers, literary mappings have affective agency, they can tell stories, they can be catalysts of personal and worldly change. In this article I will show how we might see and feel these expressive, creative properties of literary mapping in action; to offer these affective properties as an answer to the question ‘what can literary mappings do?’. I explore this question here through a reading of a literary mapping of Dartmoor produced by Sherlockian fan Philip Weller, made within the context of the Sherlockian ‘Game’ to align actual and fictional times and places. By framing my reading through the lens of enchantment, I will focus on the role of Weller’s mapping as both a catalyst for, and a representation of, Thurgill and Lovell’s (2016) theory of the ‘spatial hinge’, that affective, creative moment when fictional and actual worlds bleed into each other. I suggest we can see Weller’s experience of the ‘spatial hinge’ and feel his mappings role in inciting his affective encounters with landscape and story, in action.