The first premise is that creativity requires a focal perceiver perspective to be determined or assigned. As criteria for perception or judgment, what we currently consider “dimensions” of creativity instead may be “precursors.” Ultimately, creativity shifts meaning for the whole culture. The second premise is that creativity requires a temporal perspective: its assessment is time-dependent on the first instance the perceiver notices. If the perceiver accepts the creative “ it,” then it is shared for others to judge it, creating a diffusion and adaptation process. The strongest form of creativity, then, is when it stands the test of time, goes beyond its own zeitgeist, and is institutionalized for future generations.
What is the life of an idea? How do some ideas result in creative outcomes? People interested in creativity often want to know the answers to these questions. Although there are numerous methods and measures for assessing creative persons and products, there is little by way of methods for documenting and analysing the trajectories of ideas. The purpose of this paper is to address this need by introducing a new approach for tracing and analysing ideational pathways. Ideational pathways refer to the trajectory of ideas in temporal and spatial dimensions. That is, how ideas travel through time and space and whether those ideas end up resulting in creative outcomes. We open the paper by providing a theoretical and conceptual background for ideational pathways. We then introduce an emerging approach for tracing these pathways and apply it to two examples. We close by discussing implications and directions for future research.
The aim of this study was to explore the education expert and non-expert consensually rated nature of creativity operationalized as observable behaviour. When operationalized as observable behaviour akin to concrete educational objectives accessible to being taught, is creativity a construct valid both internationally and over time, and what are its distinguishing features? A representative sample of concretely stated behaviours descriptive of creativity displayed by children and adolescents was evaluated with high convergent validity by educational psychologists, specialists in gifted education, university students of teacher studies, and mathematics teachers (N = 208) on the level of creativity, and ten additional behaviour features. The results of the canonical correlation analysis suggest internationally and temporally stable and an educationally viable bridge between general creativity construct operationalization and measurement on the one hand, and the domain-specificity of creative behaviours and their features on the other. By viewing the general creativity construct as a meta-theoretical heuristic, and focusing on one group of domain-specific consensually rated creative behaviours and their progressive nature as educational objectives, the findings of this study are discussed in the context of general and gifted education.
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The supreme function of music in the preschool institution is the educational one. As the development of the child depends on some physiological, psychological, socio-cultural and spiritual laws, so the musical art laws do with the methodology of the musical art process. In this article are characterized some laws through which is revealed the sounding, temporal, imagistic and expressive character of the music. The knowledge of the musical art laws determines the conformation to the specific to musical activities methodology; contributes to the generation/ development of the art consumer; facilitates the generation/ development of the artistic abilities of the pre-schoolers/ parents; provides the adequate integration of art in the educative act of the pre-schooler; stimulates the interest and positive attitude for art. Under the peculiarities of the musical art laws there are built the methodological suggestions for the early education.
The concept of communication is a notorious one but at the same time, difficult to define precisely. However, many researchers recognize a number of attributes as easy to define and interpret. In this paper we will carry out a detailed analysis of each of these components of the basic model of communication (Hargie, O., Dickson, D. 2004, Dickson, 2001, Hargie and Tourish, 1999, Dickson et al., 1997). Interpersonal communication is a transactional, intentional, multidimensional, irreversible and (possibly) inevitable process. It is strictly determined by factors such as the situational context of the person, cognitive, affective or temporal elements. The participants in the communication carry and reflect the whole personal “baggage”, of which the accumulated knowledge and experiences, motives, interests, values, emotions, attitudes, expectations and personal dispositions are part. To these are added the self-image, the beliefs about one’s own abilities to succeed (self-efficacy). All these elements will determine the kind of meetings planned, the objectives selected, the persistence in achieving them, as well as the anticipation of possible rewards. Effective interpersonal involvement can be interpreted in terms of concepts such as: person-context, goals, mediation processes, responses, feedback and perception. We can think of spatial, temporal, relational and sometimes organizational frameworks in which the communication process is incorporated. The personal characteristics of the participants, together with the specifics of the situation, act to model the interaction. Also, the objectives pursued are determined by personal and situational factors. The plans and strategies for their realization come from the mediation processes and the strategy adopted accordingly, is reflected in the manifested answers, in behavioral and decision choices.
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.