Geometry.Net - Basic_A: Aesthetics & Creativity

Conclusion - PSYCHOANALYTIC AESTHETICS: THE BRITISH SCHOOL BY NICOLA GLOVER
could raise the objection that a 'British psychoanalytic aesthetic' is problematicbecause it conceives the origin of aesthetics and creativity almost entirely
http://human-nature.com/free-associations/glover/conclusion.html

Extractions: PSYCHOANALYTIC AESTHETICS: THE BRITISH SCHOOL by Nicola Glover Home Contents Rationale Search ... Bibliography Conclusion This study has traced one particular trajectory of psycho-analytic theory: the progression from the Freudian paradigm, to the work of Klein and 'post-Kleinians' such as Wilfred Bion, Marion Milner and Donald Winnicott. This account has also emphasised how their clinical and metapsychological contributions have had important consequences for the development of psychoanalytic aesthetics, particularly through the writings of those such as Adrian Stokes, Anton Ehrenzweig, Peter Fuller and Richard Wollheim. In Part One, we examined the shortcomings of Freud's 'neurotic model' of art and his failure to develop his account of the joke mechanism in terms of aesthetic experience and the structural aspects of art - this, however, was explored further by Kris (1952) and Ehrenzweig (1967). As section one emphasised, the 'neurotic model' of art was too reliant on biographical material and thus the critic became more like a detective. This model construed the artwork as a "container" for the artist's desires, repressions, aggressions, and the formal, aesthetic qualities of this "container" were left unaddressed. This approach did not yield insight into the structure of the artwork itself, its purely formal qualities qua object.
INTRODUCTION - PSYCHOANALYTIC AESTHETICS: THE BRITISH SCHOOL BY NICOLA GLOVER
School. Chapter Six. aesthetics, creativity, and the Potential Space.1. The sagacity of the body Milner's account of creativity. 2
http://human-nature.com/free-associations/glover/

Extractions: PSYCHOANALYTIC AESTHETICS: THE BRITISH SCHOOL by Nicola Glover Home Contents Rationale Search ... Bibliography NICOLA GLOVER Psychoanalytic Aesthetics: The British School Abstract The impact of British Psychoanalytic theory on our aesthetics and criticism has not been explored in any systematic way. This study aims to examine important theoretical developments within the British School of Psychoanalysis, and the contribution of these to psychoanalytic aesthetics - both within in the clinical and non-clinical domain. A critical overview of the classical Freudian aesthetics will form the background against which these subsequent developments in British psychoanalysis shall be viewed. This study aims to show that the dialogue between those clinicians such as Melanie Klein, Hannah Segal, Wilfred Bion, Donald Meltzer, Donald Winnicott and Marion Milner, and non-practitioners such as Adrian Stokes, Anton Ehrenzweig, Peter Fuller, and Richard Wollheim, has been extraordinarily fruitful in addressing the nature of artistic creativity, aesthetics, and has significantly influenced critical writing, particularly in the domain of the visual arts. It will be argued that taken as a whole, their contributions represent the development of a uniquely
Aesthetics
creativity. The purpose arts. Art, and science, likes wide horizons, buttoo much erudition may even be a hindrance to creativity. More
http://www.geocities.com/uniart/notes/creat.htm

Extractions: The purpose of any human activity is to make something that could never appear in Nature without the intervention of a conscious being. This could be an expression of the common task of both art and science, as well as any other form of spirituality The most trustable sign of a creative person (an artist, a scientist etc.) is that the personal and the universal become inseparable in thier work. There is no cold-hearted science, and certainly no cold hearts in the arts. Art, and science, likes wide horizons, but too much erudition may even be a hindrance to creativity. More acquaintance with somebody's work may help understanding - but it may also spoil the clarity of impression from a single masterpiece. To feel a work of art one has to live with it, rather than merely visit, like a tourist on the run. The same holds for a mathematical theorem, for a physical model etc. Similarly, in any creative process, one has to be fully immersed into something for a significant amount of time to become able to discover a new level of integrity. However, the forms may differ: conscious study of the available material differs from hidden, unconscious processing. For example, The Incarnations grew (like a crystal grows) out of technical manipulations - while one of my poems came in a dream as if I were reciting it in public, and I only had to wake up and write it down in the middle of the night, perfectly completed. This adds to the idea that any creativity comes from some objective necessity, and a creative personality is an "incarnation" of that necessity, one of its manifestations - so that he/she cannot act differently.
Evaluation Of The Exhibitions
Is it clear? aesthetics and creativity What is the degree of creativityin the exhibition? Favorite aesthetics and creativity. In
http://www.montshire.org/teams/teams1/evaluation/final_c.html

Extractions: Executive Summary Introduction Exhibitions Exhibit Evaluation ... Summary and Recommendations for TEAMS 2 THE EVALUATION We conducted two phases of evaluation work around the exhibits. The first was formative, where we trained museum staff about prototyping and different techniques they could use as they put prototypes on the floor to gather data about visitors' experiences with the exhibits. These techniques included naturalistic observations, mediated interviews, and exit interviews. We also conducted two site visits to each institution, studying the prototypes after museum staff had worked with visitors and refined them; we conducted staff reviews and offered our critiques of the exhibits. In general, we tried to be consistent in our data gathering from one location to the next. However, there were some circumstances that influenced the amount of data we gathered at each location. For example, the three-day visit to Montshire took place during an unusually busy time, which probably influenced the overall usage times of the exhibition. In contrast, the weekend we visited the Catawba Science Center was unusually slow, so we were unable to gather as much tracking data as we would have liked. Similarly, when we visited Ann Arbor, a blizzard hit, limiting the number of visitors we were able to work with. All of these factors need to be kept in mind when interpreting usage data. We conducted an average of 20 trackings and an average of 15 exit interviews at each museum. We include in the appendix a set of tracking data for each museum.
Psychology Anomalies By Subjects
Origin of Strokes of Genius ; Periodicity in creativity; Humor and creativity;Genius and Season of Birth; aesthetics and creativity; Dream creativity.
http://www.science-frontiers.com/cat-psyc.htm

Extractions: P PSYCHOLOGY Within each of these fields, catalog sections that are already in print are given alphanumerical labels. For example, BHB1 = B (Biology) + H (Humans) + B (Behavior) + 1 (first anomaly in Chapter BHB). Some anomalies and curiosities that are listed below have not yet been cataloged and published in catalog format. These do not have the alphanumerical labels. PB DISSOCIATIVE BEHAVIOR PBA AUTOMATIC COMMUNICATION PBD COMMUNICATED HYSTERIA AND DELUSIONS PBH HYPNOTIC BEHAVIOR (GENERAL FEATURES) General Features of So-Called "Hypnotic Behavior" Supposed Hypnosis by Telepathy Fascination by Inert Objects ("Spontaneous Hypnosis") Posthypnotic Behavior
Ways Not To Kill Classroom Creativity
to see my attempt at explaining how I plan art lessons that are not creativity Killerswhile still teaching production, criticism, aesthetics and art history.
http://www.goshen.edu/art/ed/creativitykillers.html

Extractions: Introduction This is my confessional. Most of what I learn in art and in teaching is direct result of mistakes I make. I become aware of problems after something happens. I get into habits that are hard to break. It is hard for me to see an issue until it presents itself in the form of failure. Every student is different, so teaching is never an exact science. I am tempted to be pleased if a few of my students do well. It is when I wonder why some do poorly, that I keep trying something different. It is when I wonder why some fail to enjoy what seems like so much fun for others, that I question what I am doing. Some of these points are 180 degrees from where I was when I started teaching art. Some are direct opposite the ways I was taught. mb - also see footnotes for more background. #1. I Kill Creativity when I encourage Renting (borrowing) instead of Owning ideas.
Fine Arts
076 General Art. This class offers an opportunity to develop an appreciationand understanding of ART aesthetics, history, creativity, and procedures.
http://www.etown.k12.ky.us/ehs/ehsarts.htm

Extractions: T.J. Capone Chorus Belinda Stark , Speech and Drama Club Broadcasting, Drama, Public Speaking, History and Appreciation of the Arts Jo Lynn Shipp , Art Club Sponsor, Girls Golf Coach General Art, History and Appreciation of the Arts, Specialized Art Course Descriptions 029 History and Appreciation of the Visual and Performing Arts The content in history and appreciation of visual and performing arts includes the disciplines of dance, music, theater, arts, and literature combined with the humanities. A variety of media, print sources, and participatory activities are blended to provide a connection among periods, styles, and cultures. Students become aware that time, place, and society influence the arts and humanities and that different peoples share common experiences and attitudes. The main focus is to enable students to respond to a art forms through describing, analyzing, interpreting, evaluating, and considering the arts as significant human achievements. VISUAL ART DEPARTMENT 076 General Art This class offers an opportunity to develop an appreciation and understanding of ART aesthetics, history, creativity, and procedures. This course reviews the basic elements and principles of art. Students create two-dimensional art experiencing a variety of media and techniques, including graphite, charcoal, chalk and oil pastels, color pencils,. markers, pen and ink, temper paint, watercolors and papers. Three-dimensional and craft media may include a variety of found or man-made media. Students keep a portfolio of daily work, including handouts, writings, and projects. This class opens the doors to a wide spectrum of career opportunities and quality leisure time activities. AR students will display at least one piece of artwork at the Honors Night Exhibit.
Sample Solar Arc Report
2003 Feb 02 Su Ssq Ne/Mc Illumination of aesthetics and creativity on the job orin the social life; possiblediscontent with life position and the creativity
http://www.astrologyonline.info/rs_solararc.htm
International Registry Of Phenomenologists
Rationalism, 1984 The Phenomenology of Film, 1984 aesthetics and creativity, 1987Behavior toward the Complexity, 1990 Toward Aesthetic Reason, 1980 INFLUENCED
http://www.phenomenologycenter.org/registry/dreg.htm

Extractions: NAME: Damnjanovic, Milan M. BIRTH: 07/20/24 DEATH: 07/27/94 HIGHEST DEGREE: Ph.D. THESIS: Conrad Fiedler at the turning point (C.F. am Sceideweg). Zur Genesis der Moderne, Diss., Vienna, 1957 DISCIPLINE: Aesthetics, Modern Philosophy MAJOR WORKS: What is Aesthetics? 1961 The Problem of the Experiment in Aesthetics, 1965 The Bearings in Modern Aesthetics, 1966 (2nd Ed., 1984) Aesthetics and Disappointment, 1972 Essence and History, 1976 A History of Culture, 1977 Rationality vs. Rationalism, 1984 The Phenomenology of Film, 1984 Aesthetics and Creativity, 1987 Behavior toward the Complexity, 1990 Toward Aesthetic Reason, 1980 INFLUENCED BY: C. Fielder, Kant, neo-kantianism, idealism SOURCE OF INFORMATION: Center for Advanced Research in Phenomenology, Inc. NAME: DARROCH-LOZOWSKI, Vivian LATEST ADDRESS: The Ontario Institute for Studies in Education University of Toronto FAX: EMAIL: BIRTH: 24 February 1941, Dauphin, Canada DEATH: HIGHEST DEGREE: Ph.D. University of Alberta, 1968 THESIS TITLE: The Effects of Modification of Cognitive Style on Creative Behaviour THESIS ADVISOR: DISCIPLINE: MAJOR WORKS: Antarctica Body (1990) Notebook of Stone (1987) Voice of Hearing (1984) co ed., Interpretive Human Studies (1982) Film: Black Earth (w/ Jesse Nishihata) (1988) RECENT BIOGRAPHY: INFLUENCED BY: Elaine Scarry, Jean Gebser, Elias Canneti, continental thought, mythology INTERESTED IN: experience of language, body, and the making of the world SOURCE: subject
The Humanities And The Sciences (ACLS Occasional Paper No. 47): CREATIVITY IN SC
In the theory of aesthetics there has been a good deal of discussion about what Letme sum up by stating that creativity in science combines rationality and non
http://www.acls.org/op47-2.htm

Extractions: Massachusetts Institute of Technology I start this discussion with a sense of humility, because creativity is not really understood. We cannot teach it in schools, but when we see it we can recognize it. Nevertheless, I would like to speculate about some of the elements of creativity in science and also touch upon the arts and humanities. A common aspect of all creativity is to give us some sense and meaning of the various observations, impressions, and emotions that fill our lives. For example, in a letter to his brother Theo, Vincent van Gogh wrote: "I see that nature has told me something, has spoken to me, and that I have put it down in shorthand . . . and it is not the tame or conventional language derived from a studied manner or system rather than from nature itself." There are similar satisfactions experienced by the scientist and artist in the creative process. As Arthur Koestler points out in
Aesthetics & Innovation
The department goals v To promote creativity through problem solvingapproaches and design process. v To appreciate aesthetics.
http://schools.moe.edu.sg/REGENTSS/2002/AI/candt.htm

Extractions: MUSIC The Aesthetics and Innovation Department in Regent Secondary School basically encompasses the three subjects, namely Home Economics, Design and Technology, as well as Art. The non-academic subject in the department is music. The department started off the year with a total of 9 teachers. The department goals : v To promote creativity through problem solving approaches and design process. v To appreciate aesthetics v To achieve comparable performance to the National Averages v To allow pupils to become independent learners v Teaching of Home Economics to develop life skills as well as nurturing socially acceptable values to strengthen family ties. v Teaching of Art to allow pupils to be able to appreciate artistic expressions and allow them to develop their creativity and aesthetic skills v Teaching of Music in order that pupils can learn not only appreciate it by listening, but by participating in singing, playing musical instruments and writing rap or music.
Assessing Creativity In Composing Music And Story-telling By Children
Simonton, DK (1987). Musical aesthetics and creativity in Beethoven A computeranalysis of 105 compositions. Empirical Studies of the Arts, 5, 87104.
http://www.aare.edu.au/00pap/auh00016.htm

Extractions: Abastracts Alphabetical Index Assessing Creativity in Composing Music: Product-Process-Person-Environment Approaches Myung-sook Auh Centre for Research and Education in the Arts University of Technology-Sydney Abstract I. Introduction There is an excellent review of assessment of musical creativity by Webster (1992), which is organized by content analysis of process and product rather than product-process-person-environment. This paper intends to emphasise the four focuses of creativity assessment. Therefore, the purpose of this paper is: 1) to give an overview of research studies in each of Product, Process, Person, and Environment approaches, and 2) to describe a method of assessing creativity in composing music and story-telling by children which was successfully used. The overview should give a clear picture of how creativity in composing music has been assessed and of methods that could be used by teachers and researchers for assessing creativity in composing music. In the Product-Process-Person-Environment approaches, both quantitative and qualitative methodologies can be used. The main concern of this paper is the Product-Process-Person-Environment approaches, which are described below. II. Product-Process-Person-Environment Approaches
Forschungs-Netz Mensch & Musik
Translate this page Newsletters/Magazines American Society for aesthetics - creativity List Hereyou'll find articles about aesthetics, philosophy of art, art theory and art
http://www.mensch-und-musik.at/OutDoor/KreativitaetDefinOutDoor.html

Extractions: One researcher calls it "Big C" creativity. But there is also "little c" creativity; creativity that may not change the whole way we see the world, but is still very important, especially when we develop new industries or new products or even improved methods of making the same products. And new songs, new styles, new clothing, new lifestyles – who can deny their importance? Creativity: Building the New is two separate four-credit Internet-based courses at Wayne State University
Trevor Pateman: "Wittgensteinian Aesthetics"
creativity might depend on a social practice as a material cause; creativity needsa pre cause might equate to what in my other writings on aesthetics I call
http://www.selectedworks.co.uk/wittgensteinaesthetics.html

Extractions: Abstract: Review discussion of David Best, Feeling and Reason in the Arts . London: George Allen and Unwin 1985 DAVID BEST has written his new book with arts educators in mind, and this explains many of the choices of topic and emphases of argument. Arts educators have often been prey to an easy subjectivism about both artistic creation and response, and to a scepticism about the possibility of assessment contradicted by their own practices. Best is well justified in singling out these views for discussion and makes some good points in attacking them. But Best's book is also an extended study in Wittgensteinian aesthetics. Though this is not foregrounded in the exposition no doubt because Best imagines himself writing for a non philosophical audience it is the Wittgensteinian emphases which I propose to single out for discussion in this review. A few years ago we were all sociologists and Wittgenstein was read as a sort of philosophical sociologist of culture. Thus Peter Winch in The Idea of a Social Science (1958). Now we are all naturalists albeit naturalists who have arrived at their destination via relativism or Humean scepticism and Wittgenstein is read as a naturalist too. Thus Peter Strawson in
IKRR, Seksjon For Russisk Språk Og Litteratur - 1997
1 Bryn, Brita L. Pasternak's Poem Balashov in the Light of Cubist aesthetics.Celebrating creativity, essays in honour of Jostein Børtnes. Red.
http://www.fou.uib.no/publ/97kort/19.html

Extractions: Katalogtype: Kortformat. k a s a k h e r e n Smirnov vant 5-mila ": Om noen betegnelser på folkeslag og borgere i tidligere sovjetrepublikker (med hovedvekt på Kaukasia og Sentral-Asia). 9 s. 1997. 14 Grannes, Alf "En 'tyrkisk verden' fra Balkan til Kina". - NUPI-rapport: Tyrkia i det storpolitiske brennpunkt. Voskresence
Paul Brown - Art < > Technology : Ethics And Aesthetics
The Ethics and aesthetics of the Image Interface. and use of external referents(like desktops ), it limits human flexibility, creativity and exploration.
http://www.paul-brown.com/WORDS/ETHICS.HTM

Extractions: About SIGGRAPH Now that we have developed and are introducing media-rich computer human interfaces it is important that we develop a taxonomy that can help us appreciate the power and value of computer systems in order to better quantify them and assess their creative and ethical impact. To date the application of semiosis has been to natural languages and human-human communications. The author suggests that this can now be applied to artificial languages and in particular their use in human computer interactions, imaging and visualisation. The Semiology of Charles Sanders Peirce can be applied to this field and may be used to assess the aesthetic (creative) and ethical implications of computer human interface (CHI), imaging and visualisation technology and the way it is being developed and used. The two potentials that seem to essentially identify the uniqueness of the digital computer system are: communication between two, or more, humans that is mediated and/or enhanced by an "artificial intelligence" and;
Aesthetics And The Creative Process
Quality Learning Home Quality Learning aesthetics and The Creative Process. Closeobservation of such teachers provide the clue to such creativity.
http://www.leading-learning.co.nz/quality-learning/creative-process.html

Extractions: This is not as impossible as it sounds. Close observation of such teachers provide the clue to such creativity. Often individual teachers have personal talent in the arts and this gives them an insight to the challenges of true creativity. More often teachers have gained their insight by working with students, always with the idea that you never know what students can achieve if they have tasks that they enjoy and are given the appropriate help. This insight is available to all teachers who value creativity. Teachers with this creative insight have many common features. They believe in doing a few things well. They know it takes time, effort and skill to creative works of art. They also believe that the creative process is valuable for itself (providing an understanding of how 'messy' it is at times and the need to 'stick' at it) but when students 'surprise' themselves with what they have achieved there is the real joy of true learning to be felt. In earlier times, the 60s, it was believed that all students needed were motivation and freedom but this has been shown to be a myth. Today creative teachers know that real interactive help is need at all stages of the creative process from idea generation to realisation of the finished piece of art or performance.
Schopenhauer, Philosophy And The Arts - Cambridge University Press
Knowledge and tranquility Schopenhauer on the value of art Christopher Janaway;3. Schopenhauer and the aesthetics of creativity Lucian Krukowski; 4. Art as
http://books.cambridge.org/0521473888.htm

Extractions: Philosophy Temporarily unavailable - no date available From Dale Jacquettes lucid and expansive introductory essay through a distinguished list of contributions, we are shown the intricacies of Schopenhauers ideas on aesthetics and the arts as well as their problems, their extraordinary influence, and their ongoing significance.The Journal of Aesthetics and Art Criticism John E. Atwell, T. J. Diffey, Shehira Doss-Davezac, Lawrence Farrara, Cheryl Foster, Lydia Goehr, Paul Guyer, Christopher Janaway, Dale Jacquette, Lucian Krukowski, Nathan Rotenstreich, Mitchell Schwarzer, Julian Young Cambridge University Press 2001. Security
Links For 175
Society for the Psychology of aesthetics, creativity and the Arts (Division 10American Psychological Association) International Association of Empirical
http://psychology.ucdavis.edu/Simonton/p175wlinks.html
Dr. Simonton's Home Page
Division 10, APA (1996); President, Division 10 Society for the Psychology of aesthetics,creativity and the Arts, APA (1985-1986); President, International
http://psychology.ucdavis.edu/Simonton/default.html

Extractions: Expertise Genius, creativity, leadership, talent, and aesthetics - the cognitive, personal, developmental, social, and cultural factors behind eminence, giftedness, and talent in science, art, politics, and war. Archival data analysis - cross-cultural, transhistorical, biographical, and content analytical measures, with special stress on the historiometric analyses of eminent personalities, notable events, and creative products. History of psychology - including analyses from the standpoint of the psychology of science, especially the psychology of distinguished scientists.

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