Kampylis, P., Law, N., Punie, Y., Bocconi, S., Brečko, B., Han, S., Looi, C.-K., Miyake, N. (2013).ICT-enabled innovation for learning in Europe and Asia. Exploring conditions for sustainability, scalability and impact at system level. JRC Scientific and Policy Reports. Retrieved from: http://ftp.jrc.es/EURdoc/JRC83503.pdf
Kampylis, P.,Punie, Y. & Devine, J. (2015). Promoting Effective Digital-Age Learning - A European Framework for Digitally-Competent Educational Organisations. doi: 10.2791/54070
, D. F. J. (2010). Triple Helix, Quadruple Helix and Quintuple Helix and how do knowledge, innovation and the environment relate to each other? A proposed framework for a trans-disciplinary analysis of sustainable development and social ecology. International Journal of Social Ecology and Sustainable Development, 1(1), 41-69
Dlabach, G., (2015). The Life Cycle of the Digital Learning Organization. Journal of Education and Human Development. Vol. 4, No. 2(1), pp. 246-247
D. Lgs. 3/8/2008, n. 106 “Disposizioni integrative e correttive
The numerous plastic approaches of form in the 20th century are characterized by creativity and innovation. Form, as expression of an artistic language, is the cause and effect for the cultural evolution of a particular spatial-temporal area. The invention of forms depending on the factors which will impose them in a particular socio-cultural context and location environment is not everything. The challenges of the act of creation are far more complex. For the art of the 20th century, the role of the type of expression in visual or gestural language proved much more convincing and meaningful as to the data or phenomena occurring in immediate reality. The personality of the artist, his cultural character, his media coverage and exterior influences of his inner world, his preceding experiences and receiver’s contacts in a specific area are the factors that influence the relation between the work of art and the audience against a particular spatial-temporal background. The psychological and sensory processes in works of plastic art are spatially configured in structures, which leads to self-confession. The artist filters the information and the elements of exterior reality through the vision of his imagination and power of expression specific to his inner self, and turns them into values through the involvement of his state of mind. Constantin Brâncuşi is the sculptor whose role was considered exponential as he revolutionized modern artistic vision by integrating and creating space-form relations through symbol. Throughout his complex work - the Group of Monumental Sculptures of Tg. Jiu, the artist renewed the language of the sculpture-specific means of expression, though archaic forms, by restoring traditional art. Archetypes often make reference to the initial and ideal form and they represent the primitive and native models composing it. Form attracts, polarizes and integrates the energy of the matter outside the human body, and art acquires a unifying function for the senses of our spirit. We identify the forms developed by the junction between fantastic forms, the figments of the imagination of artists who communicate deep human meanings. They invite us in a world of constructive forms and mysteries, truly innovative and elaborate creations, by underlying different directions in the compositional space with symbolic value.
Ausburn, L.J., Ausburn F.B. (2004). Desktop virtual reality: a powerful new technology for teaching and research in industrial teacher education. Journal of Industrial Teacher Education, 41 (4), pp. 33-58.
Cachia R., Ferrari, A., Ala-Mutka K. M., Punie, Y. (2010). Creative Learning and Innovative Teaching: Final Report on the Study on Creativity and Innovation in Education in the EU Member States. Publications Office of the European Union. http://dx.doi.org/10.2791/52913
Drucker, P. (2002, August
We can say that the Europidian Greek tragedy situated at the outset man to extreme limits, on the border where the divine begins. Any tragedy signifies and stimulates the energy of the hero to surpass himself through an incredible act of courage, to give a new measure of his greatness in the face of obstacles, to the unknown he meets in the world and in the society of his time. The tragedy shows us that in the very fact of human existence there is a challenge, or a paradox, it tells us that sometimes the aspirations of man come into conflict with the forces of the unexplained and destructive, which is beyond and yet very close to us. The poet and philosopher Euripides turns out to be a great humanist, he loves and sympathizes with the people, suggesting that by birth we are all equal.
: cooperation models for educational innovation, University- Industry Interaction Conference, Amsterdam. https://www.uiin.org/index/digitallibraryabstract/id/697.
Limone, P. (2015). Industria ed educazione mediale: Samsung e HP a confronto. In M. Rui, L. Messina, T. Minerva (Eds.). Teach Different! Proceedings della Multiconferenza EMEMITALIA2015. Genova University Press, pp. 24-27.
Lucia, O., Burdio, J.M., Acero, J., Barragan, L.A., Garcia, J.R. (2012) Educational opportunities based on the university-industry synergies in an open innovation
The contemporary human is in an eternal transformation, in an unending metamorphosis, he or she projects his/her life and his/her own image in countless fictitious games, plays roles in imagined situations. He/she, though using false conscious representations, will obtain the right results because he/she operates with his/her creations or fictions as if they were real realities. This is social creativity. If all these are real-life defence elements, fireworks that help the individual to anticipate certain situations, to figure the effects of certain volitional impulses, to communicate and to act freely within the scenic arts, the artistic creativity involves a paradoxical relationship between creative freedom and rigorous laws. Artistic creativity is part of the artist/actor’s ability to produce ideas, new and original solutions, appropriate to the given problems and circumstances, being a first step in the innovation process. Thus, both creative imagination and artistic creativity become original components in the creation process and implicitly in the contemporary performing arts.
Steiner, George, După Babel. Aspecte ale limbii şi traducerii, Univers, Bucharest, 1983.
Steiner, George, După Babel. Théâtralité(s). Tradition et innovation , collective edition, Editions Philippe Picquier, Strasbourg, 2015.
Review , 20:2, 185-196, 2010.
Bota, Aura şi Cristina Lăutaru, Tendințe contemporane în coregrafie , Future Academy, 5 th International Congress of Physical Education, Sports and Kinetotherapy, 2015.
Faludi, Julianna, “Open innovation in the performing arts”, in Corvinus Journal of Sociology , 2015.
Lisovetc I.M., Education in the Context of the Performative Trends in Modern Culture , Conference paper, Facets of Culture in the Age of Social Transition Proceedings of the All-Russian Research Conference with International Participation Volume, 2018
After December 1989 in visual art from Iasi were produced numerous changes which have contributed to a new approach of the artistic phenomenon. That was the moment when a new generation of artists appeared and who, unshackle by the rigors of the communist regime, they have created artworks by experimenting the most varied ways of visual expression. An important aspect of this transition period is the place which visual art has it in the culture from Iasi and the aesthetic trends learned by the new generation alongside older artistic directions define the value of the contemporary cultural heritage from Iasi. Also, an important role in the presentation of the visual art from Iasi is the artistic education, which it‟s in a constant development with the advent of new specializations within the Faculty of Visual Arts and Design, highlighting the artistic and scientific potential of the professors and the students of „George Enescu“ Național University of Arts from Iasi.