The Big Five personality dimension Openness/Intellect is the trait most closely associated with creativity and creative achievement. Little is known, however, regarding the discriminant validity of its two aspects-Openness to Experience (reflecting cognitive engagement with perception, fantasy, aesthetics, and emotions) and Intellect (reflecting cognitive engagement with abstract and semantic information, primarily through reasoning)-in relation to creativity. In four demographically diverse samples totaling 1,035 participants, we investigated the independent predictive validity of Openness and Intellect by assessing the relations among cognitive ability, divergent thinking, personality, and creative achievement across the arts and sciences. We confirmed the hypothesis that whereas Openness predicts creative achievement in the arts, Intellect predicts creative achievement in the sciences. Inclusion of performance measures of general cognitive ability and divergent thinking indicated that the relation of Intellect to scientific creativity may be due at least in part to these abilities. Lastly, we found that Extraversion additionally predicted creative achievement in the arts, independently of Openness. Results are discussed in the context of dual-process theory.
Creativity has been consensually defined as an ability to produce novel and original ideas/works, a definition shared both by the general public and among scholars. Since creativity is one of the most important and unique cognitive constructs seen in human beings, ways to enhance creativity have fascinated researchers across a broad range of human knowledge domains - from the arts and the humanities to science and technology. The functional process of creativity has been actively discussed not only in psychology, but also in neuroscience, where research is uncovering its neural correlates. A great amount of neuroimaging research has focused on describing anatomical and functional adaptations in the brain following various types of cognitive learning and training, e.g., classes of visual art or music composition, courses of drawing, calligraphy or playing musical instruments. A consistent underlying mechanism of domain-specific creativity has not yet been revealed due to difficulties in defining creativity or due to lack of generalizability across different modalities. On the other hand, recent studies suggest that there is a relationship between domain-general creativity and functional connectivity in particular brain networks. In this review, we discuss whether there is evidence for brain plasticity induced by training in creativity and associated behavioral changes, as well as whether the observed brain changes are consistent with the studies of neurobiological underpinnings of creativity and the changes induced by cognitive training.
This study is a practical study that aims to explore why it is necessary for instructors to cultivate a sense of glocal citizenship among their students so that they can achieve both sense of globalization and localization at the same time. It also aims to discover what liberal arts education should pay attention to and how it can be practiced in universities. The content and method of the study theoretically examines the meaning of ‘Glocalization’ and the significance of subject-oriented, regional research-based culture and arts activities. This study draws the results of the analysis by focusing on why, what, and how, and the case of operating a subject-oriented <Culture and Arts Education based on Regional Research> course developed by myself as a liberal arts curriculum at M University is presented. Through the research results, this study confirmed that by inducing students' interest in the areas where they live, learners can discover the problems of the region on their own and can gain a better understanding of such problems, as well as see how seemingly local, cultural problems are shared by the world at large. Furthermore, by grasping the geographical, economic, and policy situations of their regions, students can gain a wider perspective on matters such as the climate, wars, as well as conflicts between various races, regions, and countries which are caused by excessive, capitalistic development over the world. This study finally suggests that art creation based on local research can be a methodical alternative to cultivating a practical sense of glocal citizenship in that cultural and artistic activities, which consist of subject-based approaches for liberal arts education, reveal and express problems that the region and the world have in common.
Mara Rúbia de Almeida Colli, Helena de Ornellas Sivieri Pereira
O presente artigo busca apresentar uma trama metodológica de narrativas teóricas para um “A/R/TograFormar” permanente em arte/educação, ou seja, teorias que deram sustentação ao desenvolvimento da formação permanente de arte/educadores(as) da Educação Básica de Uberlândia/MG. As ações formativas foram realizadas no “Ateliê de Formação em Arte/educação”, lócus da ação interventiva ligada à pesquisa-ação em desenvolvimento na tese de doutorado em andamento no Programa de Pós-graduação em Educação da Universidade Federal do Triângulo Mineiro – UFTM, sob o título “A/R/TograFormar: diálogos entre arte/educação, processo de criação e formação permanente docente”. Como formadora e formante do Ateliê de Formação em Arte/educação, promovemos ações práticas, leituras e estudos teóricos/imagéticos de obras de arte, ancoradas nas questões teórico-práticas da pesquisa em arte, e nas perspectivas metodológicas do meio como ponto zero, da abordagem triangular, da a/r/tografia, da pesquisa-ação interventiva e de metodologias ativas que culminaram na criação de “Narrativas Imagéticas”. A trama metodológica contribuiu para que a professora, artista, pesquisadora e formadora (propositora) encontrasse caminhos metodológicos para um “A/R/tograFormar” no processo formativo permanente para professores(as) arte/educadores(as) atuantes.
Hamida Beg , Muhammad Ferdowsieh, Fatemeh Hosseini
رغم وضوح أهمية صحة الإنسان، إلا أننا نجد مسألة إضراربنفس قد انتشرت بشكل واسع، والتي يعتبرها البعض جائزة بناء على حكم الملكية وكون الإنسان له الحق في ذاته. السؤال الأساسي الذي يطرحه المقال في مجال إضراربنفس هو الحكم الديني على مختلف المستويات الذي استنتجه فقهاء الإمامية بالأدلة العقلية والنقلية.
قد توصل هذا البحث الذي كتب بطريقة توصيفية تحليلية إلى النتائج التالية: إضراربنفس درجات تشمل الانتحار، والبتر، وفقدان إحدى الحواس، والتعرض للمرض، والضرر البسيط، والإهانة. يحرم القتل بالآيات والأحاديث وعقلا. إلا إذا كان للدفاع عن النفس أو الجهاد وبإذن الولي. كما تحرم الشريعة البتر, لأنه يعرض الإنسان للهلاك ما لم يكن لذلك سبب منطقي وطبي. أما المستويات الأخرى فهناك اختلاف بين الفقهاء عليها.
History of scholarship and learning. The humanities, Arts in general
The subjects discussed in the article are the curious use of the term creativity by neoliberalism, how this has had an effect on educational policies in recent years, and how this effect can be counteracted by suggesting an option in a critical educational model. We characterize the concept of creativity applying a multidisciplinary approach with an analytical foundation that diverges with the perceptions coined by the business speech in the latest decades. Because of this disparity, we question the manner in which pedagogy ought to use creativity for the best development of students’ critical capacity, which allows them to criticize the strategies and the objectives of their learning process, as well as willingly animate their subjectivity and foment their critical thought. In relation to the methodology, for all the phases of this documentary research project, we have worked with a bibliographical review of sources which, due to their concrete theme and academic impact, are more relevant for the idea and purposes.
The purpose of this study was to identify the the co-relation among the learning goals in liberal arts courses core-competencies and ideal talents of the university. First, as a result of frequency analysis of 886 learning goals described in syllabus for liberal arts courses opened in the 1st semester of K-university, ‘diversity’, ‘cultivate’, ‘goal’, ‘understanding’, ‘society’, ‘science’, ‘foundation’, and ‘reflection’ were as keywords. Second, 49,873 keyword pairs were derived by frequency of co-word appearance analysis the learning goal statement. The most frequent keyword pair ‘about-understand’ is traced to. Third, the topics from the simultaneous network analysis were classified info 8 communities based on centrality. Fourth, the latent topics were match the core competencies of the K-university by deriving a latent topic modeling analysis. The analyzed learning goal were compared with ideal liberal arts goals suggested from Korea National Institute for General Education.
Purpose: Previous epidemiological studies have shown higher levels of anxiety and depressive symptoms among professional musicians, compared to the general workforce. Similar findings have been observed for psychotherapy use among musicians. To date, large-scale investigations of prevalence rates among music and arts students are lacking. Methods: Eight hundred and eighty students from music and arts institutions and faculties were derived from a national health student survey for higher education in Norway (the SHoT study). They were compared to a sample of the general student population (n = 48,729). We used logistic regression analysis, adjusting for age, sex, and semesters of study. Results: Music and arts students reported higher rates of anxiety [OR 1.60 (1.38–1.85), Prevalence difference (PD) 9.6 (6.3–12.8)] and depression symptoms [OR 1.41 (1.22–1.62), PD 7.9 (4.5–11.2)] compared to the general student force. Similar patterns were observed for self-reported mental disorders [OR 1.71 (1.46–2.01), PD 8.1 (5.3–11.0)], as well as psychotherapy use [OR 1.91 (1.60–2.29), PD 7.4 (4.9–9.9)] in music and arts students. Conclusions: Our findings are consistent with studies comparing musicians to the general workforce, and indicate that challenges also exist at student level, and not only after becoming a professional in the performing arts, which is important when planning health-related measures. These findings have the potential to inform on health promotion and services in the educational system.
The article provides an overview of arts-based research (ABR) within social work and general healthcare practice in Canada, and how it can be used to uncover racism within vulnerable populations, particularly youth, women, immigrants and refugees, the lesbian, gay, bisexual, transgender, queer, and intersex (LGBTQI) community, and Indigenous peoples. This is a general review of the literature. A literature search was conducted using the University of Western Ontario’s Summons database, with coverage from January 2000 to February 2019. Data exploring participant experiences, personal identity, voice, and invisible powers were extracted, and analyzed using a critical race lens to examine the intersection of societal and cultural practice with race and power.Results indicate that ABR can support therapeutic recovery from oppression by enhancing self-expression of feelings and thoughts, and affording participants the agency to reclaim and reframe their personal narrative. ABR can further generate a sense of community by creating connections between participants with similar oppressions to overcome disconnection and marginalization. Within a broader community context, ABR permits the sharing of stories and insights with others, which can generate dialogue on important social issues to expose areas of social inequity and oppression alongside potential solutions for transformative social action. This dialogue can also extend to discussions with policy makers on the impact of social inequities to guide recommendations that address system gaps for broader community-level change. The paper concludes that ABR can move beyond merely reflecting on social conditions toward actively addressing them by promoting sustainable social change. The voices expressed through ABR illustrate possible solutions to overcome racism through inclusive social practice, deconstruction of the racial status quo, and movement toward an equitable distribution of power.
Oki Dirgualam, Dadang Suganda, Bucky Wikagoe
et al.
This article describes the adaptation of foreign culture in the form of jazz big band music by Salamander Big Band. Aesthetics is a study of the processes that occur in three basic elements, namely: aesthetic objects, aesthetic subjects, and aesthetic values related to aesthetic experiences, aesthetic properties, and attractive and unattractive parameters. The process of adapting the aesthetics of playing music is the process of adjusting the aesthetics of playing music carried out by an individual/community to cultural outcomes from outside the individual/community culture. This research uses qualitative approach method with descriptive analysis. Researchers describe the results of the research based on the results of observation, interview, and documental studies relating to players and experts in the field of big-band music. This paper presents the basic elements of western music aesthetics, especially big band jazz music and how Salamander Big Band can adapt and implement the aesthetic values of western jazz big band music in its music playing. Through a process of appreciation, habituation, additional insight into jazz music, continuous and consistent practice, Salamander Big Band members are able to adapt to cultures from outside of Indonesia’s popular music culture, that is playing American big band music with the correct aesthetic.
Artikel ini menjelaskan tentang estetika permainan musik big band jazz yang diadaptasi oleh komunitas non-formal big band Salamander. Estetika merupakan kajian tentang proses yang terjadi pada tiga elemen dasar, yaitu: objek estetis, subjek estesis, dan nilai estesis yang terkait dengan pengalaman estesis, properti estesis, dan parameter kemenarikan maupun ketidakmenarikan. Proses adaptasi estetika permainan musik adalah proses penyesuaian estetika permainan musik yang dilakukan oleh suatu individu/komunitas terhadap hasil budaya asing atau budaya baru. Tulisan ini menggunakan pendekatan kualitatif dengan metode analisis deskriptif. Tulisan ini menghadirkan elemen-elemen dasar dari estetika musik barat khususnya musik big band jazz serta bagaimana big band Salamander dapat mengadaptasi dan mengimplementasikan nilai-nilai estetika musik big band jazz barat dalam permainan musik yang dimainkan. Melalui proses adaptasi estetika dalam memainkan musik dengan benar dan sesuai, dapat menghasilkan produk musik yang lebih baik, mendekati estetika musik aslinya atau bahkan lebih baik dari versi aslinya.
The article, which aims to place itself in the space of encounter between theatre studies and Sound Studies, develops the analysis of the sound recordings, found in the archives of the Teatro Nazionale in Genoa, of four takes of I due gemelli veneziani (directed by Luigi Squarzina, starring Alberto Lionello) that cover the entire life of the production (1963-1978). By enhancing the documentary specificity of the sound materials and introducing elements of electroacoustic analysis, the study aims to discuss the performance as an object of dynamics of continuity and alteration – with particular attention to the progressive transformations in relation to the response of the different types of audience – with particular interest in Lionello’s voice, the acoustically most emblematic element. A technical analysis allows us to appreciate the rhythmic, timbre and prosodic diversification with which the actor characterises the two characters he plays and to verify his metamorphosis over the years. The case study of I due gemelli turns out to be particularly suitable to demonstrate the potentiality of materials usually neglected, especially with regard to “traditional” performances and to highlight the consequences of the text’s embodiment in the actor’s body over a long period of time: these objectives allow to open a new front concerning the use of sound sources within the strand, long pursued by ORMETE Research Group, concerning the creation and enhancement of oral sources for Performance Studies.
Wild cattle species, often considered less alluring than certain conservation-dependent species, have not attracted the same level of interest as the charismatic megafauna from the general public, private or corporate donors, and other funding agencies. Currently, most wild cattle populations are vulnerable or threatened with extinction. The implementation of reproductive technologies to maintain genetically healthy cattle populations in situ and ex situ has been considered for more than 30 years. Protocols developed for domestic cattle breeds have been used with some success in various wild cattle species. However, inherent differences in the natural life history of these species makes extrapolation of domestic cattle protocols difficult, and in some cases, minimally effective. Reproductive seasonality, driven by either photoperiod or nutritional resource availability, has significant influence on the success of assisted reproductive technologies (ARTs). This review focuses on the physiological processes that differ in breeding (ovulatory) and non-breeding (anovulatory) seasons in female cattle, and the potential methods used to overcome these challenges. Techniques to be discussed within the context of seasonality include: estrus synchronization and ovulation induction, ovarian superstimulation, artificial insemination (AI), multiple ovulation embryo transfer (MOET), and ovum pick-up (OPU) with in vitro fertilization (IVF) and embryo transfer (ET).
Abstract Policy can present any number of wicked problems for arts educators and advocates. The complexity of policy accompanied by a general lack of policy dexterity fuels the legitimacy gap between advocacy arguments and policy implementation and, thus, weakens the arts in the education policy realm. To help close the gap, common weak arguments in policy are identified by describing and illuminating various crypto-normative lines of inquiry that make for poor policy arguments. A method is then proposed for developing policy dexterity based on Jürgen Habermas’ Universal Pragmatics. Starting from empirical foundations to establish, represent, and solve problems in education policy, a set of sensitivities are presented for advocates who are considering and communicating policy with other stakeholders. Those steps are finally applied to small and large-scale policy contexts. With the foundations and steps to more effectively argue specific political ideas instead of stopping at broad advocacy claims, arts advocates and teachers can hopefully work to close the legitimacy gap.
Obra en vídeo, que se muestra de manera circular (en loop). Se trata de la grabación de una acción sobre una pieza escultórica, realizada en cera con la palabra ACCIÓN. La obra inicia su “cremación”, a modo de vela múltiple hasta su total desaparición (cámara acelerada o time-lapse), que luego vuelve a surgir de sus cenizas hasta formarse y completarse de nuevo. Es una metáfora visual de la propia vida, del resurgir, como ave fénix, que a menudo nos toca experimentar a lo largo de nuestra existencia. Esta pieza ha estado expuesta en sendas individuales en la Galería Weber-Lutgen de Sevilla (“Game Over”, 2018) y en la Feria Internacional de arte contemporáneo CHINA CHENGDU INTERNATIONAL ARTWORK EXPO (República Popular China, 2015). Presentada en el I CONGRESO VIRTUAL INTERNACIONAL CIVARTES 2020.