Making it "click": collaborative perceptions of creative practice in art education /

Making it "Click": Collaborative Perceptions ofCreative Practice in Art Education examined the teaching practice of 6 art educators who conducted their work through the Niagara Falls Art Gallery's (NFAG) in-schools and Children's Museum programmes. These community resources service the elementary levels of participatory Public, Catholic and French schools in the Niagara Peninsula. The goal of this research was to find ways in which these teachers could explore their creative potential as art educators. The "click," a term introduced by participants indicating the coming together of all positive factors towards creativity, became the central theme behind this study. Research revealed that the effective creative process was not merely a singular phase, but rather a series of 4 processes: 1 , gathering knowledge; 2, intuitive and experiential; 3, the informal presentation of information in which creativity as a process was explored; and 4, formal presentation that took the analysis of information to a deeper, holistic level. To examine the ways in which experience and knowledge could be shared and brought together through a collaborative process, this study employed data collection that used literature research, interviews, focus group discussions, and personal journal entries. Follow-up discussions that assessed the effectiveness of action research, took place VA months after the initial meetings. It is hoped that this study might assist in creative educational practices, for myself as a member of the NFAG teaching team, for colleagues in the art programmes, art educators, and other teachers in the broader disciplines of education.

Perceptions of creativity in a fashion design course /

Creativity is important to the growth and development of society, to educational institutions, and to the personal growth of individuals. Students who are aware of their creativity are assumed to have innovative ideas and fresh insights. Limited research has been conducted to see if students can identify their own creative abilities. In this study, I explored the students' perceptions and experiences in a fashion design course. This study documented the creative journey from the concept stage of an apparel collection to the final product. Participants were asked to reflect and document their creative moments, describe a creative process, and identify a creative environment. The participants were students who were enrolled in a fashion design course and were asked to participate in this study because they experienced all stages of the design process. Data were collected through personal reflection surveys, focus groups, and personal interviews. Themes of creative moments that emerged from this study were experiences that the participants had as they proceeded through the stages of the fashion design process. All of the participants identified a creative process, but the stages varied for each participant The participants identified themes related to promoting creativity in an environment, including the atmosphere, creative people, teachers, reflection, student needs, and assignments. The participants identified potential barriers in an environment, including rules and guidelines, teachers, the classroom, deadlines and time, feedback, and other important issues. The results ofthis study suggest that there needs to be a better understanding of creativity and greater support and encouragement for creativity in the classroom. Instructors need to support environments that are conducive to creative development and lead to effective learning for students. Students need to learn how to enhance their creativity as well as understand the barriers that block their creative development.

Olhar tecer des: (cor)pos forças fluxos

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

The creative unconscious; studies in the psychoanalysis of art.

Mode of access: Internet.

Entwicklungsfaktoren der niederländischen Frührenaissance : ein Versuch zur Psychologie des künstlerischen Schaffens /

Originally published as the author's Habilitationsschrift--Universität Zürich.

Vseobshchee nachertani e teori i iskusstv Bakhmana /

Mode of access: Internet.

Observations scientifiques et critiques sur le génie et les principales productions des peintres et autres artistes les plus célèbres de l'antiquité, du moyen âge, et des temps modernes /

Includes bibliographical references.

Filosofii︠a︡ izobretenii︠a︡ i izobretenie v filosofii : vvedenie v istorii︠u︡ filosofii /

Mode of access: Internet.

Gossip of the century; personal and traditional memories--social, literary, artistic, &c.

Two additional volumes, under the title "Social hours with celebrities, being the third and fourth volumes of 'Gossip of the century'," were published in 1898, edited by Rachel Harriette Busk.

Come lo spirito della nostra epoca (Darwin-Nietzsche-Beard) ha concorso all'attuale guerra : riflessioni di un medico napoletano /

Mode of access: Internet.

Los Centros de Documentación en la Universidad Nacional

Todas las universidades, ministerios, empresas no educativas y colegios profesionales, a través de los investigadores, docentes y especialistas elaboran documentos valiosos de carácter científico, literario, artístico, tecnológico, filosófico, etc.; en las distintas ramas del conocimiento. Son de por sí valiosos porque resultan ser aportes nuevos, producto del trabajo creativo y actualizado que muchas veces no se dan a conocer a través de libros o revistas, pero que constituyen documentos muy serios y de una gran importancia, especialmente como medio difusor de nuevos conocimientos para los profesionales que se desempeñan en campos afines, sobre todo si se trata de profesores o investigadores universitarios.El conjunto de documentos así elaborados, obviamente debe ser utilizado, conservados y puestos al servicio, a través de un centro especializado, dispuesto hábil y estratégicamente, en la empresa en la cual funcione, (para los profesionales que los soliciten) con prontitud y eficiencia. Tales centros especializados reciben el nombre de centros de documentación que de acuerdo con Núria Amat Noguera, es:“toda unidad que realice, aunque sea someramente, las operaciones de selección, identificación, análisis documental, almacenamiento y difusión de documentos”.

La imagen en el discurso multimodal cortazariano, una poética en movimiento

The selection and proposed cortazarian image in multimodal speech, a poetic moving as a doctoral thesis title, is the result of a process that forms several progressive stages. more than satisfy our curiosity and literary artistic concerns, the questions multiply increases our desire to bring more creative Cortazarian the colossus, that not only ruins a way of making literature , but in its revolutionary labyrinth gives a turn of the screw to the already tangled world of artistic writing , breaking in 1967 with the first of four hybrids books, La vuelta al día en ochenta mundos through which converts the traditional plastic unitextual and unimodal space in a palempsesto inexhaustible generator senses and meanings. Far from appeasing the wrath of conservative critics, caused by his narrative masterpiece, Hopscotch (1963), sparked the debate to denounce the regression of the classic molds of writing, proposing the imagination as the setting for creative freedom, it is not as arbitrary and nonsense, but as a process of higher state of consciousness in which it operates an underlying logic. Hence, our objective is to crawl into the underworld and plastics other multisígnicas border spaces, fleeting and ephemeral alliances that relate not just as complementary and similar texts which may be the same speech and can transmit the same, but quite the contrary, the oft-repeated notion of analogy is the first victim, fortunately, this kind of creative-artistic operations that raise the creative act to a sublime state capable of converting the inexhaustible multitextuales constellations in different ways: opposition, confrontation, invasion, dialogue, shadow, duplication, theft, etc. However this multiple transgression pushed to the limit by Julio Cortazar and his friend Julio Silva through four books proposed for analysis often does not translate into jobs and research in literature departments of the universities of the world, nor the critics are echoes the striking abundance and clarity of expression multimodal phenomenon as is the case with other works of Cortazar unimodal type, which makes it impassable fences mysterious worlds...

Protecting your intellectual property and selling it

Intellectual Property - group of rights used to protect literary, artistic and industrial property. Generally separated into the categories of: • Copyright • Trade marks • Designs • Patents But also extends to specific subject matter of plant variety rights and circuit layouts and general information that is confidential such as trade secrets and protection of goodwill and reputation through the action of passing off. New information, be it a new computer program or novel device, developed by an organisation is valuable to it. So too is the organisation name and reputation. While some protection is automatic, like copyright, other protection and rights must be obtained under various legislation. When dealing with employees and third parties, ownership of existing and new rights needs to be clearly established so that rights are not lost. Obligations in relation to the use of certain property and any confidential information must also be clearly established...

Notas sobre o Rupestre Contemporâneo, Nadam Guerra e 10 anos do Grupo UM

Esta dissertação foi elaborada a partir do livro Rupestre Contemporâneo, Nadam Guerra e 10 anos do Grupo UM, que integrou a exposição de mesmo nome realizada em outubro e novembro de 2013 na Galeria de Arte do IBEU com Curadoria de Bernardo Mosqueira. Nesta exposição individual de Nadam Guerra foram apresentadas obras em parceria de Nadam Guerra com Leo Liz, Aline Elias, Euclides Terra, Domingos Guimaraens e Juca Amélio. O texto é construído na forma de diálogo entre os artistas do Grupo UM e convidados pensando a produção e o histórico do grupo além de temas das práticas artísticas atuais como criação coletiva, diluição da identidade, alterego, escritas de si, convergência de linguagem artísticas, arte, vida, ficção, os modos de produção e circulação da arte no mundo. Ao que se acrescenta mais duas camadas de discurso nas notas de pé de página e em comentários laterais criando um texto polifônico de teoria de artista.