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This paper deals with museums as a key part of cultural and creative industries and their role in social and economic development. Taking into account the role of museums in the past and the current trends, their contribution is considered to be crucial. Cultural and creative industries are an intersection of art, technology, cultural heritage, innovation, creativity and mental and manual labour. The purpose of this paper is to reflect links between museums, creativity, innovation and culture in the changing economy.
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.
The study deals with the traditional clothing of the Southern Altaians – Altai-Kizhi and Telengits, living in the territory of the Altai Republic in the Russian Federation, its common features, ethnic specifics and, above all, the changes it has gone through since the second half of the 18th century to the present. During this period, there were several major political developments that had a significant impact on traditional Altai culture, including clothing. Attention is focused on the influence of Russian and Chinese textile production, the transformation of the material used in the production of clothing, its forms, decorative elements, colour as well as its role and use at present.
York: Cambridge University Press.
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The aim of the present study was to research teachers’ beliefs about creativity and possibilities for its development in Polish high schools. The study consisted of in-depth interviews. It was conducted with a group of 15 high school teachers, all of whom taught the key subjects (math, Polish and foreign languages) for the final school-leaving examination. The qualitative thematic analysis applied to the collected data revealed eight themes. Each of them concerned the teachers’ understanding of what creativity really is, their attitude towards students’ creative activity at school, aims that they formulated to stimulate their creativity, as well as the role and place of students’ creative activity at school. In addition, the themes referred to actions that had been taken by the teachers to stimulate their students’ creativity and factors that inhibited or stimulated the development of students’ creativity at school. The teachers, who were the subject of the analysis, understood creativity as creative potential, that is, the ability to think independently, to give new and original solutions to all sorts of tasks and problems, as well as creative activity oriented towards everyday innovation. Additionally, the study revealed that there exists a creativity gap between verbal support for developing students’ creativity at school and classroom practice.
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Amabile, T. M., Schatzel, E. A., Moneta, G. B., & Kramer, S. J. (2004). Leader behaviors and the work environment for creativity: Perceived leader support. The Leadership Quarterly, 15 , 5-32.
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