Creativity and the working artist/teacher : the relationships

The purpose of this qualitative study was to understand the relationships between creativity and the working artist/teacher employed by an art college. The topic emerged from my job as an instructor at The Ontario College of Art which was used as the primary data resource and provided the highest caliber of professionals to chose from. Existent data were used to facilitate the study generated by the research of Cawelti, Rappaport, and Wood (1992). The data were generated by a group of 5 faculty members from The University of Northern Iowa, recognized for their expertise in the arts (a painter, a poet, a sculptor, a novelist, and a photographer). They were asked to respond to the following statement: "In as much detail as you like, list the things that you did, thought, or felt the last time you created an artistic product. II Cawelti, Rappaport, and Wood (1992) produced three models of the creative process, each building on the previous, with the resultant third,being in my opinion, an excellent illustration (text/visual) of the creative process. Model three (Appendix D) presented a "multi-dimensional view of the creative process: time, space, observatility, and consciousnessll (p. 90). Model three utilized a visual mapping device along the bottom of the page linked to text segments above. Both the visual and the text were interrelated so that they harmonized into a comprehensive "picture." The parti'cipants of this qualitative study were asked to consider model three from their professional perspective as artist/teachers. The interpretive sciences directed the methodology. The hermeneutic circle of continuous reflection from the whole to the part and back to the whole was an important aspect of the data analyses. Four members of the Foundation Department at The Ontario College of Art were the key participants. A series of conversational interviews was the primary source of data collection, this was augmented by observation, fie,ldnotes, and follow up telephone interviews. Transcripts of interviews were returned to participants for reflection and the telephone was used to discuss any additional -points raised. Analysis consisted of coding and organizing data according to emerging themes. These themes formed the basis for the narrative stories. The text of the narrative stories were given back to each participant for further comment. Revisions were made until both the researcher and the participants felt that the stories reflected reality. The resultant whole was critiqued from the researcher's perspective. The significance of this study was discussed as it pertains to the working artist/teacher and areas in need of further study are pointed out.

Additional Return for Ordnance Stores for the Use of Capt. Thos. Biddle’s Compy Corps of Artillery, June 24, 1814

Jacob Hindman (1789-1827) was an American military officer who was a captain of the Second U.S. Artillery during the War of 1812. He commanded troops at the battles at Fort George and Stony Creek in 1813, and in June of that year became the major of the Second Artillery. He remained in this position until May of 1814 when the regiment was merged with the Corps of Artillery. During the Niagara campaign in 1814, Hindman’s company commanders included Nathan Towson, Thomas Biddle, John Ritchie, and Alexander Williams. During the British attack on Fort Erie in August 1814, Hindman led an assault for which he later received a brevet promotion to lieutenant colonel for “gallant conduct in the defense of Fort Erie”. In 1815, he received an additional brevet for “meritorious services”. He is generally regarded as one of the most successful artillerists of the War of 1812. James Hall (1793-1868) served with the U.S. military as a second lieutenant in the Second Artillery during the War of 1812. He fought in the Battle of Lundy’s Lane and was General Brown’s messenger during the attack on Fort Erie. He left the military in 1818 and became a newspaper editor and author. His experiences during the War of 1812 provided material for two stories, The Bearer of Despatches and Empty Pockets. Much of his work sought to popularize the West and promote western authors.

Royal Navy Ship Collection, 1784-1816

Includes 41 copies of plans of Royal Navy ships, ranging in date from 1784 to 1816. Some of the ships included are the Bonne Citoyenne, Niagara, Epervier, Comet, Contest, Ferret, Childers, Anacreon, Florida, Hind, Hermes, Psyche, Princess Charlotte, Contest, Prince Regent, Caroline, Thetis, Statira, Forte, Pelican, Crescent, Euryalus, Chesapeake, Acasta, Banterer, Leda, Endymion, Amphion, President, Tonnant, Ramillies, Boyne, and St. Lawrence. Many of these ships were used by the British during the War of 1812. The original plans are at the National Maritime Museum in Greenwich, London. Also included is a copy of a handwritten chart with the number and size of the British and United States Squadrons on Lake Ontario, March 1814 (during the War of 1812). This includes the number and caliber of long guns and carronades, as well as the weight of metal, for different ships. British ships include the Prince Regent, Princess Charlotte, Wolfe, Royal George, Melville, Moira, Sir Sidney Smith, and Beresford. American ships include the [General] Pike, Madison, Oneida, Sylph, Gen’l Tompkins[?], Conquest, Fair American, Ontario, Pert, Asp, and Lady of the Lake. Also included is a copy of a map titled “Track of the Action”, tracking the movements of the HMS Java and the USS Constitution, dated December 29, 1812, and a copy of a map of Lake Champlain and Plattsburgh Bay showing the position of a vessel(s), undated.