Aesthetic theorists often interpret and understand works of art through the social and political context that creates and inspires the work. The recent economic recessions, and the accompanying austerity measures in many European countries, provide an interesting test case for this contextual understanding. Economists debate whether or not spending on entertainment and arts drops during times of recession and austerity. Some economists assume that spending will decline in times of austerity, but others point to evidence that spending on creative (...) arts and entertainment remains steady and even increases during a recession because of the relief and escapism that the arts provide. Tax incentives and production rights are often given to filmmakers in the United States; in hopes that such projects will enliven a local economy and provide work for a local creative community. In the context of recent austerity measures in Greece and Spain, new and creative ways for members of the arts community to bring about new projects, and fund them in ways that critique political leadership, have emerged. Following Richard Wollheim’s classic aesthetic theory of “criticism as retrieval,” we should be mindful of the cultural values that are at stake in the creativity-culture market now being created. In any case, some scholars estimate that austerity measures in many countries will last until 2020, giving us ample opportunity to be even more “creative” with both financial incentives and artistic achievements. Keywords: Austerity, Cultural Economy, Creative Class, Tax Incentives, Aesthetics, Microtheatres, Entertainment. (shrink)

Creative Class, Creative Economy, and the Wisdom Society as a Solution to their Controversy The paper briefly introduces the notion of creativity, linking the concepts of creative class and the related creative economy that are considered by Florida and his followers as the driving force of the current social and economic development. The concept of creative economy and its quantification in form of the Creative Class Index 3T or the Euro-Creativity Index (...) were submitted to strong critique.The critics overturn some key issues of the concept of creative class with an indication that the creative people give priority in choosing the work from the place; and there is no or almost nil correlation of a perceptual representation of the persons of homosexual orientation and the high-tech growth which confirms the opinion that the assertion about higher creativity of homosexual persons is a myth only. The purpose of the article is the examination of propriety of the concept of creative class and its quantification at one hand, and the rightfulness of their critique at the other. The analysis of the axiology of the concept of creative class is the method of examination. From point of view of axiology probably the most significant characteristic of the creative class is its accompanying destruction of thee social capital of creative people and it substitution of the creative capital. The rise of creative class takes place in parallel with the implosion of values at which basis our Jewish-Christian civilization is established. To this Florida expresses rather vague attitude by a statement that all socio-cultural changes that accompany the rise of the creative class will have no favorable impact on society.Florida labeled creativity as a basic human law, furthermore, he announced the need for a new live style in which the quality of life will increase and people become better men. The concept of creativity as an instrument of urban planning evolved into a left-liberal ideology with elements of social engineering that is the most important finding of the axiological analysis. The second finding is the need to accept the meaning of creativity. By implication of the two findings there arises a proposal for wisdom as a new driving force of social and economic development. The conclusion is the contribution is a requirement for formulation of the concept of wisdom society that is currently likely absent in the academic world, and the statement that if the West will not create the wisdom society, it will lose the raison d'être of its existence. (shrink)

Departing from Richard Florida's theory of the Creative Class, this article attempts to delineate the Greek creative ethos. The research involved in-depth interviews with knowledge and service workers in Greece. Adopting an existential view of creativity, which emphasizes the natural human inclination to create and engage with one's acts, and using valuing processes as tools to analyze workers? discourses opens up the elements that underpin workers? efforts to experience authenticity across life spheres and construct the meaning of (...) work and good living. These efforts were sketched against a backdrop of adverse lived realities and intersected with anxious, alienated, and disempowered constructions of selfhood. Contrary to Florida's claims, the present article goes beyond positions of more or less creative workers and examines the various meanings of creativity underpinned by different lived realities. (shrink)

This article focuses on a political use of resentment for establishing social order. Italian society is becoming more more competitive and individualistic, offering social actors many choices, but without promoting the conditions of equal opportunity necessary to fulfill their increasingly inflated desires. Social interactions come to be pervaded by frustration and resentment. In the modern era resentment was traditionally channelled against various scapegoats, both external—enemy nation-states—or internal: rival social classes; ethnic, religious, and cultural minorities. However, globalization and the declining welfare (...) state have deeply changed the modalities for the sublimation of resentment by intensifying its crushing effects. (shrink)

The geography of contemporary bohemia is integral to Richard Florida’s thesis of the rise of a new creative class in the USA. The strong correlation between the presence of bohemians and innovative high-tech industries in a number of American cities stands in sharp contrast to the historical image of a bohemian subculture of artists and intellectuals, defined by their antagonistic relationship to bourgeois society. Rather than a sign of social marginality, bohemian life-styles have now become a marker of (...) the ‘new economy’, variously labeled the creative, the cultural or the aesthetic economy. In my paper I want to compare and contrast these two opposed images of bohemia – the 19th-century idea of bohemia as the libertarian other of liberal-bourgeois society and the new, highly topical economic geography of bohemia – with the following questions in mind: How and why does the 19th-century artistic critique of capitalism mutate into an expression of the new spirit of capitalism? Does this change from an antagonistic to an affirmative relationship signal the emergence of a new spirit of art that can be related to the new spirit of capitalism? (shrink)

A Geographical Approach for Measuring the Creative Capital. Case Study: Creative Capital Index of Slovakia Calculation of creativity index is a part of a modern quantification wave, in some cases also formulation of the spatial differentiation of social and economic phenomena required from the academic sphere by the decisive sphere. Policy makers have interest by this means to help themselves in obtaining public for their objectives. The creative capital as a sum of quantifiable creativity indicators is in (...) this contribution operationalized including the social capital, which is out of accord with a traditional understanding of creativity following the Florida's concept of the creative class. Methods for creativity index formation are introduced at the global level of states as well as at the regional level of a given state. There are substantial differences among both indexes results and statistical data on export of creative goods that are well documented on example of USA and China. Terminological chaos associated with the concepts of creative class and economy is thus extended with a chaos in the interpretation of findings, what contributes to the critique of the Florida's concept of creative class. There arise doubts that the quantification of creativity indexes with correlation quantification with other economic and social factors as GDP, entrepreneurship, inequality, Index HDI1) ; is maybe right in terms of mathematics, but it does not reveal the casual connections. The research purpose of the contribution is a geographical approach to the creative capital. The case study incorporates the Slovak regions, creativity index calculation and its spatial differentiation in form of map expression. The scientific goal lies in a confirmation of hypothesis about a dominant position of Bratislava region, and thus the capital of Slovakia. A limit of calculation is the choice of indicators which were strongly determined by the accessibility of statistical data. (shrink)

The scope of this paper is to conceptualise a data-based research framework for the role of creative networks in cultural exchange. Participation in culture measured as audience per 1000 residents and expenditures on culture-related activities were analysed in relation to such territorial assets as accessibility to creative infrastructure, the economic status of residents, the governance networks of civil society, and cultural capital. The results indicate how accessibility, governance networks, and cultural capital contribute to participation measured via audience indicators (...) while a low poverty rate has explanatory value with respect to expenditures on culture. (shrink)

Franco “Bifo” Berardi tells us that the current transformation of every domain of social life into economy has led to “the subjugation of the soul to work processes.” There is a newfound love of work and, consequently, writes Berardi, “no desire, no vitality seems to exist anymore outside of the economic enterprise.” Concerned as it once was with “fostering the soul,” and concerned as it now is with preparing students for the job market, what role might education have in Berardi’s (...) musings? Can “creativity,” “self-actualization” and “curiosity,” which are so valued in education, still speak and help foster a sense of the soul that exceeds economy and work? In this paper, I explore these questions by providing an account of what is at stake in Berardi’s conception of the soul and its subjugation to work. I draw on his ideas to critically appraise the seemingly-benign aspirations of the “creative class,” a term coined to signal a new era for human flourishing afforded by shifts towards personal creativity in the digital economy. I then move to consider how, in particular, the ubiquitous promotion of “creativity” and “curiosity” in education tends to replicate a form of learning that puts the soul to work, as it were, promoting a narrow, self-enterprising subject with a frantic instrumental orientation towards the world. I conclude with a discussion on how demands on learners, to be always curious, innovative, nimble and open to discovery lead to panic, collapse and depression: the diseases of the soul. (shrink)

Creative role identity is an important antecedent of innovative behaviors. Both the mechanism of how external factors and individual factors affect the formation of creative role identity and details of this process have yet to be discovered. Based on data collected from 226 students in 6 classes at a university in Guangdong during the development of innovative projects, the influence of innovation climate on the students’ creative role identity, especially the mediating effect of flow, was investigated. The (...) results show that the innovation climate has a positive impact on creative role identity and that flow plays a partial mediating role in this relationship. (shrink)

The aim of the paper is to analyse and evaluate the situation in the field of creative economy in the Slovak Republic on the level NUTS 3. The analysis is based on the Euro-creative index calculation for year 2009. Based on the discussion of the research results, the weaknesses of the calculation and current state of the Slovak creative economy were identified. Conclusions include the proposal of activities how to attract and maintain the talented, creative people, (...) so-called creative class in the regions. In the theoretical part of the paper, we characterise the creative economy and its importance in the current global world based on knowledge of the most famous experts dealing with the issue of creative economy and its measurement. In the research part of the paper, based on the analysis results (Euro-creative index calculation), we characterise the current position of creative economy in Slovak regions, the regional disparities among Slovak regions in context of creative economy and the possibilities for increasing the exploitation of creative potential in the Slovak regions. (shrink)

What lies behind the amalgam of liberalism, elitism, anti-capitalism, and fascistic elements in today’s street politics? This essay analyzes this mixture in light of the shifting class locations of middle strata. Intensified business dominance has not only proletarianized some middle strata but has led to a dry life for even the privileged ones. Middle classes are now taking to the streets to reclaim their specialness. Their exact agendas might not be identical throughout the globe, but a kindred spirit of (...) creativity and aestheticized occupation unites disparate geographies of revolt. Liberal and radical analyses of the wave of revolt miss its most significant characteristics, which only a re-theorization of the new petty bourgeoisie can capture. The essay outlines a research agenda that would explore the multiple dimensions of middle-class formation, as well as the post-capitalist trajectories that might result from further politicization. (shrink)

In this reply to the article by I.T. Kasavin “Creativity as a social phenomenon” the authors discuss the possibilities of the scientific precariat as a free creative class, which having entered the scientific community, will give it a new creative potential. The authors express some doubts that such a merger will preserve precariat's special creative spirit. The article draws attention to the diversity in understanding the nature, goals and values of creativity. The specificity of understanding creativity (...) in the scientific community is due to its rational and methodological guidelines, while the precariat is part of postmodern society, and its creative potential stems from a break with traditional rationalistic methodology. However, as long as peer review remains in the hands of the exclusively institutionalized scientific community, there is a high probability that the creativity of the precariat will be marginalized, and becoming part of the scientific community, the precariat will be forced to accept its epistemic values and lose the creative potential that is expected from them. The authors refer to P. Feyerabend’s theory of creativity, in which he rejects the subject-centered model of scientific creativity. According to Feyerabend, creativity is intersubjective in nature and grows organically from the sociocultural environment of the subject. The scientist creates following a cultural instinct, but the subject does not disappear from the creative process, since the cultural instinct is refracted through his individual style. If creativity is a reflection of the spirit of times, the precariat is the best way to embody it. In conclusion, a way for overcoming the social is outlined and, in a broad sense, the methodological problematic nature of the unification of the scientific community and the precariat, which the authors see in the general democratization and pluralism of society. (shrink)

_In what computational aspect is the brain different from the_ _computer? In what objective measures can the brain said to be_ _“creative”? These are the fundamental questions that concerns the_ _neural basis of human mental activity. Here we discuss several_ _important aspects of the essential computational ingredients of human_ _mind in order to understand the “creative” process going on in the_ _brain. One of the key concepts is the nature of the source of_ _"externality" that adds new ingredients (...) to the system and its output. We_ _argue that in addition to information input and stochasticity, we need to_ _consider a third possibility, namely "dynamics-embedded externality"._ _We discuss how the neural origin of the subjective sensory qualities_ _ is related to this aspect of creativity. The invariance of qualia _ _under a certain class of transformation, and the mapping of discrete,_. (shrink)

Creativity is an essential factor in ensuring the sustainable development of a society. Improving students’ creativity has gained much attention in education, especially in Science, Technology, Engineering, Arts, and Mathematics education. In a quasi-experimental design, this study examines the effectiveness of a project-based STEAM program on the development of creativity in Chinese elementary school science education. We selected two fourth-graders classes. One received a project-based STEAM program, and the other received a conventional science teaching over 6 weeks. Students’ creativity was (...) assessed before and after the intervention using a multi-method approach, including a test of divergent thinking, a story completion through the Consensus Assessment Technique, a creative self-efficacy measure, and a group-based creative project. Moreover, all students received a test of their science knowledge after the intervention. The results showed that compared with the control group, the creativity of the experimental group students improved significantly for 6 weeks at both individual and group level, even though their knowledge in science were comparable. This result confirmed the effectiveness of a project-based STEAM educational program improving elementary school students’ creativity. Implications are discussed. (shrink)

Purpose of the article The paper is seeking the mutual links between creativity, innovation and tourism in the rural areas. Creativity and innovation are often associated with cities, because the potential of creative industries and people is concentrated in cities. Is this assumption correct? Using examples from practice, this paper explains that creativity in tourism may be associated with the rural areas. Methodology/methods The contribution is linked with theoretical basis of creative economy under the research assignment APVV-0101-10 (...) class='Hi'>Creative economy - national economic and regional conditions and incentives. Therefore, it is based on analysis and comparison of views on possibilities for attracting the creative class to rural areas on one hand, and for development of creative activities within rural tourism on the other hand. Scientific aim The aim of the paper is to confirm the existence of real link between creativity, tourism and rural areas. Findings In the first part of the contribution, the basic terms as creativity, creative industry and creative class are explained and possibilities for their localization in rural areas are examined. Studies confirm that rural areas can become attractive environment for creative class despite problems like spatial diffusion of local resources and capacities and limited accessibility of capital. High-quality environment, attractive natural, cultural and historical potential and convenient infrastructure belong among the reasons for localization of creative class in rural areas. The same attributes are important for tourists who decide where to spend their free time. Conclusions Consequently, the support for development of rural tourism is understood in the paper as an instrument to improve the quality of places as well as to attract creative class and creative industries to rural municipalities. In the second part, the emphasis is put on definition of creative tourism as a creative industry based on creative activities. Examples of well-developed creative tourism in Europe are also given in this part, namely thematic routes connecting rural and urban municipalities, presenting them under certain theme issuing from local or regional culture and traditions. (shrink)

The article examines social and creative capitals and their interconnections. Some authors observe similarities in them as well as areas where they complement each other. Other authors argue that social and creative capitals are still mutually exclusive and cannot be compared. The article analyses various aspects of social and creative capital, searches for similarities and differences between them, and reviews measurement methodologies and issues related to the reliability of measurement indices and criteria. All this is analysed in (...) the context of the creative society. (shrink)

Arts and Humanities in Higher Education, Volume 21, Issue 1, Page 3-20, February 2022. As graduate labour market conditions have become increasingly challenging, higher education institutions have intensified their focus on ‘employability’ via strategies such as work placements. Focusing on work placements in the media and creative industries, this article identifies and analyses three key discourses that animate the pedagogical literature in these sectors: work placements as facilitating a ‘smooth transition’ to the labour market; work placements as a place (...) in which inequalities in the labour market are produced; and work placements as a space for fostering resilience and adaptation to labour market precarity. The article argues that critiques of inequalities based on race, class or gender are marked by a transformative impulse that is largely absent in critiques of those based on worker precarity. This highlights a need to adopt pedagogies that similarly unnaturalise the economic conditions of neoliberal capitalism to discursively construct work in new, more socially just, ways. (shrink)

ABSTRACTstudies in relation to working-class students at elite universities document on the one hand the role of ‘mundane reflexivity’ in dealing with class domination while on the other indicate a new form of domination and disadvantages working on these working-class ‘exceptions’ – they may achieve academically at university but experience various exclusions and self-exclusions in areas of social life. By drawing on a very small sample of ‘counter-evidence’ and ‘exceptions within exceptions’ – working-class students who achieve (...) great social accomplishments at elite universities – this paper further explores the role of ‘mundane reflexivity’ in negotiating class domination and the possibilities of transcendence. We demonstrate the creative and transformative ways in which class domination is dealt with and document the prevalence of high-level reflexivity. Furthermore, we distinguish different forms and degrees of reflexivity, which then indicate the ‘contingency’ of reflexivity – the relation of the possibilities of reflexivity to the unequal distribution of social, cultural and economic capitals. We further argue that what appears to be a form of self-emancipation achieved by the ‘transcending group’ in our study also involves the discrete and insidious reproduction of social inequality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.4 (2005) 12-19 [Access article in PDF] Seeking the Aesthetic in Creative Drama and Theatre for Young Audiences Nellie McCaslin Introduction Is an aesthetic experience ever achieved in a creative drama class or in attending a performance of a children's play? If it is, how do I know and how can it be achieved? This is a question to which I (...) have given much thought and in so doing have been flooded with memories of my own passion for theatre in all its forms, first as a child and years later as a teacher. These memories have shaped my perception of the aesthetic presence, elusive but powerful, which comes in its own way and in its own time. The following is an account of revisiting those memories in the light of today's practices and objectives. The result is not a scholarly piece or approach to the question but simply a record of one person's journey through the theatre arts as she experienced it at a particular point in time, when the pedagogy and the terminology of today were nonexistent, or at least were not generally known. Nor, I might add, was the question.From that journey through time, I have reached a few tentative convictions. First among them is that the most important element in teaching creative drama or producing children's plays is the one too often marginalized by practitioners today in their pursuit of practical ends and contemporary issue-oriented scripts.1 It is the aesthetic. Is theatre an art form worth studying in its own right or is it an educational tool, appealing to administrators and producers because it is effective? I believe that it is an art and should be taught as an art form first and foremost, but that skillfully done, it can accomplish both objectives. The grey area between art and education is difficult for the inexperienced teacher to negotiate without the loss of one goal or the other. It is the intent that charts the course. [End Page 12] Early Recollections What was it that first drew me to the theatre? Was it the play? The players? Or the combined skills of all who were involved in the production whether it was a professional company in a theatre downtown; a puppet show at a community center; "dramatics" in the classroom, when the teacher allowed us to "act out" a history lesson or favorite story; or an assembly program put on by the eighth grade in the school auditorium? To me, they were all theatre, and theatre in whatever form it took was magic. To us, theatre was real, regardless of the performers or the venue. Even the puppets ceased to be inanimate figures in the hands of an artist who shared his belief in their reality with his young audiences. Indeed, the puppets assumed human proportions before our eyes and have remained so in my memory ever since. Was this not just as much of an aesthetic experience for us, the viewers, as the performance of living actors? I believe that it was, although at the age of eight I had never heard the word "aesthetic" or stopped to analyze my reactions.The reason, among others, for my lack of discrimination as a child was the fact that in America at that time no differentiation was made between what we did and what we saw, never mind who did it. There was a clear distinction between the amateur and the professional; it didn't concern us. We flocked to the few shows, both amateur and professional, deemed appropriate for children, and we made up shows of our own in our own backyards. Our shows were improvised (another term we didn't know then), but even minus a script, it was still theatre because we believed in it and so did the little ones on our block who were the audience.It was Winifred Ward, an American pioneer in the field, writing a few years later, who was to distinguish between process and product... (shrink)

This work seeks to take seriously the common philosophical claim that individual subjects are constituted by their social world. A detailed understanding this claim requires an analysis of what is involved in being a subject, of the nature of 'the social', and of the possible constitutive relationships between these. I begin with a critical history of the idea that subjects are norm-followers, and that social groups constitute individuals by demanding their conformity to norms. I trace this 'conformity theory' through the (...) thought of Rousseau, Hegel, Mead, and Althusser, to its manifestation in contemporary continental and Anglo-American philosophy. I criticize this theory for being unable to sufficiently accommodate creativity and social resistance. I go on to develop an account of subjects as not only norm-followers but also sense-makers, who have identities in virtue of their engagement in narrative dramas. Such subjects are socially constituted in at least two ways: through their 'dialogical' interactions with particular others , and through their position in a public culture which determines what counts as a meaningful possibility for action. This understanding of subjectivity allows me to develop a new account of the nature of social groups--such as groups based on gender, class and nationality--which provides an alternative to the conformity theory. Social groups contribute to individual identities not only by imposing norms, but also by providing sense-making resources, in the form of literary and artistic traditions as well as the actual lives and dramas of members. My account allows us to understand creativity and social resistance as enabled by subjects' membership in social groups, and it reveals how the internal diversity of a group can strengthen rather than compromise its role in individual identities. I end with a discussion of the political implications of my work. (shrink)

In this paper I argue that creative and critical thinking operate in tandem in the mind as a purposeful dialectic of generative and evaluative dimensions of sense-making. The complementariness of these two forms of thought are dramatized through a case study in an innovative literature-history class, by tracing thc development of critical and creative thinking in one students process of authoring. In the class the teachers mediated students’ thinking by engaging them in open-forum conversation about varied (...) cultural-historical perspectives and then providing strategies for both generating interpretations and questioning/critiquing them. As multiple conflicting perspectives from literature and history interplayed in the class, the student was prompted to construct a point of view by considering opposing lines of thought in a dialogue of creative and critical thinking. He appropriated these new tools, internalizing strategies for and a disposition toward creative and critical thinking to make sense of complex texts and social issues. Vygotsky’s notions of problem-solving, play, mediation, ZPD, and internalization are used to explain how student thinking developed in this context. (shrink)

"Rather than bookish, it is much enjoyable to create and evaluate something from own centralizing the facts and thoughts of the contents only pervaded in the book.

The following paper continues discussions within this journal about how the work of Delueze and Guattari can inform radical pedagogy. Building primarily on Noel Gough's 2004 paper, we take up the challenge to move towards a more creative form of 'becoming cyborg' in our teaching. In contrast to work that has focused on Deleuzian theories of the rhizome, we deploy Guattari's work on institutional schizoanalysis to explore the role of group creativity in radical pedagogy. The institutional therapies of Felix (...) Guattari's schizoanalytic practice in the 1950s and 1960s and, before him, the Francophone educationalist Celestin Freinet, who founded the Modern School Movement, are explored and used to illuminate examples of some of our own attempts to set the classroom up as a space for collective engagement. We conclude by exploring how this understanding of the class as subject group may be used to mobilise action and de-stabilise the coordinates of existing academic divisions of labour. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Elephants Teach: Creative Writing Since 1880Robert GrudinThe Elephants Teach: Creative Writing Since 1880, by D. G. Myers; 224 pp. Englewood Cliffs, New Jersey: Prentice Hall, 1996, $30.40 paper.D. G. Myers opens his history of creating writing instruction in America with an anecdote: When Vladimir Nabokov was proposed for a chair in literature at Harvard, Roman Jakobson objected. “What’s next?” he said. “Shall we appoint [End (...) Page 529] elephants to teach zoology?” This question not only provides Myers’s book with its title but also suggests a major issue of literary pedagogy: is the teaching of literature the province of philologists and theorists who interpret books, or is it the province of authors who write them? Jakobson the philologist implies that writers, who just produce the stuff, lack knowledge of interpretive method and thus have little business in the classroom. Others—writers and teachers alike—have thought differently and have over the past century fostered the growth of creative writing at American colleges and high schools.The Elephants Teach is a comprehensive and coherent effort to deal with a ponderous mass of history and discourse: the development of writing curricula since 1880 and the ongoing professional dialogue about the proper relationship between writing and teaching. The first four of his seven chapters deal with roots and preliminaries: the rise of literature instruction as philology after the Civil War, the inception of English composition at Harvard (championed by Adams Sherman Hill, Barrett Wendell, Dean Le Baron Briggs, and Charles Townsend Copeland), and the professional, cultural, and financial forces drawing writers to campuses in the early twentieth century. These chapters establish three major forces leading to the rise of the creative writing curriculum: the consensus that writing experience is of value to the individual and society, the reiterated conviction that literary instruction should consider the perspective of the writer, and the broad recognition by “serious” writers, who had little or no access to the mass market, that they could agreeably support themselves in the classroom. These forces would lead to what Myers correctly sees as a massive compromise: a complex of writing programs simultaneously satisfying students’ needs and allowing thousands of writers to pursue, if only by fits and starts, their professional calling.Myers then serves up the main course: a three-chapter narrative, stretching from the 1920s down to the present, of the history of creative writing as a so-named and self-conscious institution in American education. The opening of this section is not only informative but characteristic of the overall lucidity of Myers’s style: “Creative writing was first taught under its own name in the 1920s. It began in junior high school where it was originally conducted as an experiment to replace traditional English—grammar, spelling, penmanship, even literature classes—with something more appealing to young people. As such it was part of a broader movement to reform American education in the first half of the twentieth century. The cry was that subjects should not be taught, students should; the reform movement called itself progressive education. Creative writing was invented to transport progressive methods and materials into a junior-high-school English classroom. The man who invented it was a progressive educator—once well known, now largely forgotten—named Hughes Mearns” (p. 101). William Hughes Mearns (1875–1965) was himself a disciple of John Dewey, whose ideas formed the basis for progressive education in general. Adapting the Deweyan concept of learning as a spur to personal [End Page 530] development, Mearns saw writing “as the efficient cause of an education in which the final cause was personal growth” (pp. 104–11).After Mearns, Myers considers a somewhat more familiar chapter in history: the appearance of creative writing as a self-contained discipline on the college campus. Credit for the original initiative goes to Norman Foerster (1887–1972), who in 1930 took over the newly-founded School of Letters at the University of Iowa. A follower of Irving Babbitt and the “new humanism,” Foerster set out (in his own words) “to give all types of literary students a rigorous and appropriate discipline” (p. 126). Foerster’s “discipline” was a varied curriculum including... (shrink)

Reflective transcending is essential for any creative philosophizing. What I mean by this is the creative transcending of limits and boundaries such as, e.g., borders of classes, any sets or delimitations. Conceptual dimensions within a specific level or stratum in comparing of different species is one thing, the transcending of levels and ascending to a higher one is another matter. Such a semantic or level ascent is often a hallmark of creativity – according to some classical philosophers mentioned (...) in the paper. In general, one should, once again, hold the creative ascent to meta-levels in philosophy in higher esteem! (shrink)

What was once the factory is now the university. As deindustrialization spreads and the working class is decentralized, new means of social resistance and political activism need to be sought in what may be the last places where they are possible: the university and the art world. Gerald Raunig's new book analyzes the potential that cognitive and creative labor has in these two arenas to resist the new regimes of domination imposed by cognitive capitalism. Drawing on Gilles Deleuze's (...) concept of "modulation" as the market-driven imperative for the constant transformation and reinvention of subjectivity, in Factories of Knowledge, Industries of Creativity, Raunig charts alternative horizons for resistance. Looking at recent social struggles including the university strikes in Europe, the Spanish ¡Democracia real YA! organization, the Arab revolts, and the Occupy movement, Raunig argues for a reassessment of the importance of cultural and knowledge production. The central role of the university, he asserts, is not as a factory of knowledge but as a place of creative disobedience. (shrink)

The article presents the main provisions of S.D. Bodrunov’s theory of noonomics and synthesizes them with the leading theories of the leaders of the Frankfurt school: Jürgen Habermas and Axel Honneth. Noonomics refers to a new stage in the development of society as a whole, in which people will be forced out of material production, which will allow everyone to freely develop their creative powers. However, on the way to noonomics, humanity must avoid falling into a state of “digital (...) concentration camp,” which is possible only by transforming human nature itself, moving “from zoo- to noo-state.” This implies a synthesis of science and culture and the highest value of moral self-improvement for each person. Therefore, it is the development of the human mind that will allow the transition to noonomics. It is the study of the content and possibilities of the mind that will allow us to creatively develop the theory of noonomics by using J. Habermas’s concept of communicative rationality and A. Honneth’s new theory of socialism. Communicative rationality is a special capability which makes possible to achieve mutual understanding between representatives of con-flicting social classes and develop universal norms of activity that allow for the sustainable development of society as a whole. This capability can be developed within a special institutional environment based on solidarity activities. Thus, each person will consider the successful implementation of the plans of others as a condition for the possibility of implementing their plans. This network of social institutions based on solidarity activity will be the realization of freedom in its social form. Within the framework of solidarity activities, new universal meanings of social development arise, which the communicative community will be able to formulate. Further, these meanings will replace the existing ones, which are focused on profit and unlimited economic growth, and thus transform the existing institutional system. (shrink)

Acting classes and theatre education have long been framed as activities during which children can learn skills that transfer outside the acting classroom. A growing empirical literature provides evidence for acting classes’ efficacy in teaching vocabulary, narrative, empathy, theory of mind, and emotional control. Yet these studies have not been based in what is actually happening in the acting classroom, nor on what acting teachers report as their pedagogical strategies. Instead, previous work has been unsystematic and fragmented in its measured (...) transfer outcomes, and absent mechanistic explanation. Expanding research on this topic requires more grounding in teachers’ beliefs about the acting classes they teach, as well as observation of the classes themselves. As a first step, we surveyed 173 acting teachers online, asking them about the activities within acting classes they believed caused change in their students, as well as which outcomes they believed were changed as a result of acting classes. Teachers taught across educational levels (elementary to professional) and had a variety of training in teaching acting. Overall, teachers rated almost every activity within classes as important for and causing impact on students, and almost every outcome as being positively influenced as a result of acting class. When forced to rank order outcomes, teachers focused on collaboration, communication, creativity, confidence, and empathy as most likely to change. Teachers rated importance of class activities and outcomes differently depending on what level they taught. This study shows the difficulty of surveying highly motivated teachers, given the globally high rankings, but also proposes candidate psychological skills likely to change as a result of acting classes, and the mechanistic behaviors that may cause change. (shrink)

A rhizome may be broken, shattered at a given spot, but it will start up again on one of its old lines, or on new lines. You can never get rid of ants because they form an animal rhizome that can rebound time and again after most of it has been destroyed... There is a rupture in the rhizome whenever segmentary lines explode into a line of flight, but the line of flight is part of the rhizome. That is why (...) one can never posit a dualism or a dichotomy, even in the rudimentary form of the good and the bad. You may make a rupture, draw a line of flight, yet there still is a danger that you will stratify again everything, from Oedipal resurgences to fascist concretions. Groups and individuals contain microfascisms just waiting to crystallize. Yes, couch grass is also a rhizome.Edited by Sylvere Lotringer, On the Line was the first book published in the new "Foreign Agents" series in 1983. It gathers together two seminal texts that Deleuze and Guattari would later elaborate on in A Thousand Plateaus. First delivered in French by Deleuze at the "Schizo-Culture" conference organized by Semiotext at Columbia University in 1975, "Rhizome" introduced a new kind of thinking in philosophy, both non-dialectical and non-hierarchical. The two didn't expect this neo-anarchical blue-print would eventually offer an early template for the understanding of the internet. "Rhizome" substitutes pragmatic, "couch grass," free-floating logic to the binary, oppositional, and exclusive model of the tree.In "Politics," superceding the Marxist concept of class, Deleuze envisages the social macrocosm as a series of lines, and reinvent politics as a process of flux whose outcome will always be unpredictable. It is, he emphasizes, the end of the idea of revolution, but not of the "becoming revolutionary." Throughout, he keeps dispelling the notion of capitalism as a repressive machine only meant to extract surplus value from exploited workers and suggest that it could be opposed from within by redirecting the creativity and multiplicity of its flows.The multiple must be made, not always by adding another dimension, rather in the simplest way, by dint of sobriety... A rhizome as subterranean stem is absolutely different from roots and radices. Bulbs and tubers are rhizomes... Even some animals are, in their pack forms. Rats are rhizomes. Burrows are too, in all their function of shelter, supply, movement, evasion and breakout... The rhizome includes the best and the worst: potato and couch grass. (shrink)

The seventh Korea elementary school curriculum implies that it is possible to activate higher-order thinking by accepting constructivism as a paradigm. However, the absence of effective and concrete way to make it possible disturbs the goal of the new curriculum. I summarized the class contents of what I did for the last two years in the contest that is for improvement of instruction. As I got a bronze medal twice in Seoul teachers teaching contest, it can be a good (...) example for teaching. I hope that it offers concrete materials for general class instructions. I managed five parts of research flexibly for a year. 1. Making the environment for Community of Inquiry (COI) model: being considerate of others in the class. 2. Stressing the reading habit: extending background knowledge and cultivating self-centered learning ability. 3. Discussion: training thinking skill with games. 4. Assessment and Feedback: writing with activity papers, writing portfolio and art-book. 5. Generalization: sharing materials with others, teaching mixed grade students with COI model. As a result, I found out that thinking skill stimulates students' thinking ability as well as their behavior change. Also it proved the positive parts of COI model by showing that COI model improved the creative writing ability. (shrink)

This essay explores recent developments surrounding the Fourth Industrial Revolution, particularly as they relate to the challenge of technological unemployment. In an age of advanced robotics and artificial intelligence (Al), so warns the philosopher-historian Yuval Noah Harari, ordinary people may become unemployable, unable to contribute to society, and therefore be declared a “useless class.” In contrast to such a dystopian view, futurists like Ray Kurzweil and Nick Bostrom envision a digital utopia, while more realistic optimists emphasize that Al will (...) ultimately create more jobs than it destroys. As an alternative to these perspectives, this essay proposes a Judeo- Christian approach that, independently of traditional frameworks of paid work, affirms the unique value and dignity of all human beings by highlighting the theological significance of human creativity, the balance between work and play, love as an overarching framework for life, and the role of human beings as ethical decision-makers. (shrink)

PurposeThe purpose of this paper is to present a case study of the creation of a Knowledge Zone in Curaçao to provide an insight into how a Knowledge Zone is established. After devising a vision, strategic alliances were formed. This created synergy and momentum, giving the project and process a life of their own.Design/methodology/approachThe project of creating a K‐Zone is based on a theoretical framework which draws upon the notion of a creative class, and how it can be (...) attracted to a specific location. It also deploys change management methodology, which describes how change is implemented. The theory states that creativity will drive the economy in the future and that societies that are able to attract the creative class will excel. It is not clear what attracts the creative class but it is believed that a certain life style, concentrations of peers and virtual and physical connectivity are essential. To create these conditions some changes must be implemented and these changes are often resisted in the beginning.FindingsKnowledge Zones can be created if there is a clear shared vision, leadership and alliances that forge synergies. The project was started in 2010 by the UNA under the presidency of Dr Miguel Goede, the Rector Magnificus of the University of the Netherlands Antilles. With the support of the Board of Supervisors, the UNA entered/sought alliances with the nearby Carmabi Research Institute and the neighbouring school for nurses, which opened a new school building within the designated zone. The UNA also provided the impetus to start a campaign to construct a new hospital that was planned for the area neighbouring the university and to start a school of medicine. But the breakthrough came when the local telecom provider, United Telecommunication Services, decided to provide the university with dedicated internet connections that were capable of the highest speed available on the island.Originality/valueThe paper contributes to a framework for understanding the creative economy of Small Islands Developing States in the Caribbean and how change can be implemented in these settings. (shrink)

This article describes the emergence of a prized labor market in sectors that policymakers have designated as the creative industries. Statistics generated about these sectors have been legion. By contrast, there has been precious little attention to the quality of work life with which such livelihoods are associated. The article considers several features of creative work that have a qualitative dimension and recommends a policy-minded approach to each. The second half of the article examines the case for a (...) cross-class coalition of the sort proposed by the anti-precarity movement. Though they occupy opposite ends of the labor market hierarchy, workers in retail and low-end services and the `creative class' temping in high-end knowledge sectors share certain elements of precarious, or nonstandard employment. While these different segments have existential conditions in common, is there any reason to imagine that they interpret or experience them in similar ways? And, even if they do, is there enough commonality to forge a political coalition of interest against the class polarization associated with economic liberalization? (shrink)

This book re-evaluates New Left and Marxist texts from the 1980s, in order to explore problems facing the study of 'class' which have emerged within Australian and international theories. The author contrasts the popular ideas of Connell, Bourdieu and the 'Death of Class' thesis, with those of lesser known texts, concluding that no single definition can account for the various historical meanings of class. Instead, loosely following Castoriadis, the concept of class can best be understood as (...) creatively imagined and institutionalised. Paternoster proposes that class is best studied through historical phenomenology, which can be used to link political economy, cultural sociology and anthropological ethnographies. This approach allows the contributions of Marxist and New Left authors to be reintegrated with contemporary theories. Doing so highlights the significance of labour populism, while cautioning against the ahistorical applications of texts such as Boudieu's Distinction. Reimagining Class in Australia will be of interest to students and scholars across a range of disciplines, including sociology, history, political economy and anthropology. (shrink)

Over last half of the twentieth century, a silent revolution in post-material values made significant advances around the world. The formation of post-material values also resulted in expanded participation in post-material experiences such as joining voluntary groups, pursuing creativity and independence in the world of work, and engaging in political actions—experiences that go beyond a strict focus on accumulating economic wealth and material possessions. Because social class position matters for being a post-materialist, a class divide exists between middle- (...) class='Hi'>class post-materialists and working-class materialists who occupy the lower end of the social class spectrum. This article will show that such a divide occurs, first for participation in post-material experiences and second for the attainment of life satisfaction. Using data from the World Values Survey, evidence will be provided in this article showing that members of the working class participate less in post-material experiences than others and, as a consequence, enjoy lower life satisfaction than others, especially post-materialists. In light of working-class-supported right-wing populism’s recent emergence in the USA and Europe, this social class divide takes on a special significance in explaining shifting trends in politics and public policy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Imagination in Hume’s Philosophy: The Canvas of the Mind by Timothy M. CostelloeSaul TraigerTimothy M. Costelloe. The Imagination in Hume’s Philosophy: The Canvas of the Mind. Edinburgh: Edinburgh University Press, 2018. Pp. xv + 312. Hardback. ISBN: 9781474436397. $107.00.If anything about Hume’s philosophy can be characterized as widely accepted, it is that the imagination is front and center in Hume’s account of the mind. The aim of (...) Timothy Costelloe’s book is to fully develop the observation, that the imagination, as Hume understands it, is “the canvas of the mind.” Costelloe amply demonstrates that the imagination is a broad canvas, ranging from Hume’s epistemology and metaphysics, to his aesthetics, moral and political philosophy, history, philosophy of religion, and his general conception of philosophy itself. Seven substantial chapters cover these areas, and show how Hume takes the imagination to play a pivotal role in each.One of the many strengths of this book is that Costelloe responsibly mines the secondary literature, carefully explaining the interpretations he seconds and those he finds wanting. The attention to the relevant secondary literature is apparent from the start, where Costelloe laments the surprising dearth of book-length treatments of Hume on the imagination, but helpfully highlights both the lesser known Hume-centric monographs on the imagination by Furlong and Wilbanks, as well as more widely read interpretations.The introductory chapter makes important distinctions and introduces some main concepts. Hume differentiates the imagination’s “combinatory power” from its “creative power.” While the uninhibited ability to concatenate ideas might also be seen as a creative act, Costelloe sees the creative power where the imagination [End Page 173] “generates a class of ideas—‘fictions’ of a certain sort—independent of experience and according to its own inner logic” (21). This characterization makes sense when viewing the imagination’s function as directed towards a goal, such as achieving coherence or creating an aesthetically pleasing effect. Costelloe suggests that achieving an aesthetically pleasing effect is an element in any exercise of the imagination’s creative power. The imagination creates easy transitions among ideas where there were none, where doing so is pleasurable, or aided by the passions.Costelloe introduces his account of Hume’s fictions as errors of the imagination whereby ideas are formed in a manner different from the standard derivation from antecedent impressions. He insists, helpfully, that fictions are not illusions, but rather errors of a different kind. Though both involve error, fictions, unlike illusions, are not described in terms of jest or irony (30).Though he acknowledges that Hume does not describe any fictions as “artificial,” Costelloe finds it helpful to draw a distinction between natural and artificial fictions. Natural fictions are generated without reflection. Artificial fictions, such as those created by poets and philosophers, issue from “the voluntary act of imagination” (31). Costelloe holds that artificial fictions “are rarely taken to refer to objects with real existence and that any professed belief is really a matter of people being persuaded of something and taking the ideas in question as having real referents, thus only lending themselves to their existence for one reason or another” (31). This is a bit unclear. Certainly, poetic fictions are voluntary creations not intended to refer to real objects. But substance, and the double existence of ideas and external objects, as philosophical fictions, surely both involve belief and the corresponding existential commitments on the part of the philosophers who are committed to them. It is also difficult to see the purported contrast between belief and taking ideas to have real referents.Chapter 2, on metaphysics, is the longest chapter in the book, and it addresses the fictions of the imagination in Hume’s account of space and time, continued and distinct existence, liberty and necessity, and personal identity. Costelloe is sensitive to the worry that classifying Hume’s subject in Book 1 of the Treatise as metaphysics may appear to be slighting the central epistemological concerns and failing to appreciate Hume’s nascent cognitive psychology. Such worries fall away as Costelloe explores the roles that the imagination plays in the formation of our conception of duration without change, and the identity... (shrink)

This article introduces a special section concerned with precariousness and cultural work. Its aim is to bring into dialogue three bodies of ideas — the work of the autonomous Marxist `Italian laboratory'; activist writings about precariousness and precarity; and the emerging empirical scholarship concerned with the distinctive features of cultural work, at a moment when artists, designers and (new) media workers have taken centre stage as a supposed `creative class' of model entrepreneurs. The article is divided into three (...) sections. It starts by introducing the ideas of the autonomous Marxist tradition, highlighting arguments about the autonomy of labour, informational capitalism and the `factory without walls', as well as key concepts such as multitude and immaterial labour. The impact of these ideas and of Operaismo politics more generally on the precarity movement is then considered in the second section, discussing some of the issues that have animated debate both within and outside this movement, which has often treated cultural workers as exemplifying the experiences of a new `precariat'. In the third and final section we turn to the empirical literature about cultural work, pointing to its main features before bringing it into debate with the ideas already discussed. Several points of overlap and critique are elaborated — focusing in particular on issues of affect, temporality, subjectivity and solidarity. (shrink)

With the economy deindustrialized and the working class decentralized, a call for alternative horizons for resistance: the university and the art world. What was once the factory is now the university. As deindustrialization spreads and the working class is decentralized, new means of social resistance and political activism need to be sought in what may be the last places where they are possible: the university and the art world. Gerald Raunig's new book analyzes the potential that cognitive and (...) creative labor has in these two arenas to resist the new regimes of domination imposed by cognitive capitalism. Drawing on Gilles Deleuze's concept of “modulation” as the market-driven imperative for the constant transformation and reinvention of subjectivity, in Factories of Knowledge, Industries of Creativity, Raunig charts alternative horizons for resistance. Looking at recent social struggles including the university strikes in Europe, the Spanish ¡Democracia real YA! organization, the Arab revolts, and the Occupy movement, Raunig argues for a reassessment of the importance of cultural and knowledge production. The central role of the university, he asserts, is not as a factory of knowledge but as a place of creative disobedience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Creativity in Teaching and Building a Meaningful Life as a TeacherDavid T. HansenMy point of departure in this essay is the idea that creativity in teaching often has less to do with inventiveness per se than it does with responsiveness. To draw on terms from John Dewey, creative teachers "rise to the needs of the situation" presented in the educational setting.1 They respond well to circumstances not because (...) they necessarily have the pedagogical equivalent of Twyla Tharp's talent for choreography or B.B. King's brilliance on the blues guitar; rather, I want to suggest that creative teachers, at least in many cases, "rise" and do what is needed because they have learned to pay attention both to students and to the subject(s) at hand. In other words, I propose that we consider the idea that creativity in teaching often manifests itself most vividly, if also subtly, in a kind of ongoing attentiveness, by which I mean a dynamic combination of patience, listening, and initiative.I will begin the discussion by first sketching a conception of creativity in teaching centered around the idea of attentiveness. Then I address two [End Page 57] consequences of this conception. The first is that the most suitable models of good practice for new teachers to start with are not the profession's versions, presuming such exist, of Pablo Picasso, Marie Curie, or Michael Jordan. I do not mean that it is uniformly inappropriate to place such models in front of teacher candidates, any more than it would be wrong to put before art students the work of a Cassatt or Rembrandt. However, I will argue that among the best and most consequential initial models are those experiences in which teacher candidates themselves truly listened to the doings of the world around them and heeded what was said, whether the latter "spoke" in the form of a work of art, a human voice or gesture, or the play of wind in the trees. If new teachers take seriously this kind of experience, they can gain a valuable perspective for approaching the long and often difficult process of appreciating teaching's details and engaging them in educational settings. I illustrate these claims by examining a field-based activity that was part of a teacher education program I used to direct.The second consequence of the conception of creativity in teaching I will put forward points to the title of this essay. If new teachers deepen their ability to pay attention and to engage in creative work, they position themselves to receive one of teaching's primary offerings to its practitioners, namely, a life of meaning."Ordinary" Pedagogical CreativityCreativity in teaching can take many forms. We witness it in the structuring of an artful lesson plan; in the logic, flow, and pacing of a dynamic lecture; or in a timely and evocative example or illustration the teacher employs to clinch a point in the midst of a class. All of this is familiar and an important, indeed indispensable, way to think about good teaching. Creativity in practice is associated here, among other things, with notions of expertise and of knowledge gained through experience.However, I want to add to this portrait the notion that creativity in practice can also spring from responsiveness. Rather than issuing solely from what the teacher brings to the educational setting — consider again terms such as expertise and knowledge — creativity can point to what the teacher is capable of deriving or drawing from it. Creativity as responsiveness denotes a form of openness to the setting, which may or may not complement or fit harmoniously with what is preset, prefigured, or anticipated. Experienced teachers would be the first to say that there are times when it becomes educationally vital to shelve a preset plan. There are times when one form of creativity in teaching, embodied in a well-wrought lesson plan, must give way to another form, embodied in what I am calling responsiveness. The art of teaching consists, in part, of balancing these expressions of pedagogical creativity.Let me share the following vignette as a basis for elucidating this point. One morning in March 2002, during which... (shrink)

The purpose of the study is to consider the theoretical aspects of innovative education, as well as to analyze the practical application of innovative technologies in foreign language classes for students of engineering specialties. The article notes that innovative educational technologies are based on three interrelated components: competence-based approach; modern teaching methods; modern learning infrastructure. Scientific novelty lies in an attempt to analyze the innovative practice of teachers and determine the main advantages of innovative technologies in teaching a foreign language (...) to students of technical universities. As a result, such advantages of these technologies were identified as the development of all types of speech activity of students, an individual approach to learning, an increase in motivation for learning a language, the ability to express oneself creatively, the formation of a personality capable of solving professionally oriented tasks. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 54-63 [Access article in PDF] Movement Class as an Integrative Experience:Academic, Cognitive, and Social Effects Svetlana Nikitina I believe the benefits of this type of course reach beyond the obvious possibilities of professional and academic achievement. The degree of personal discovery, creativity, self-development and insight are immeasurable. I am particularly referring to my experience here at Harvard. Claire Mallardi, from course (...) syllabus Performing arts courses at research institutions such as Harvard University are often seen as extracurricular with only tangential or imperceptible effect on students' academic interests. Yet, when I interviewed biology, math, or neuroscience concentrators who took Claire Mallardi's Movement for Actors and Directors course at Harvard in the spring of 2000, most of them told me that it was one of the most meaningful experiences in their academic development, and, according to one psychology concentrator, "the best psychology course" she ever took. In spite of boundaries separating the arts courses from hard and soft sciences, in students' experience the connections run deep. What were those connections that students made from their dance class experience to their academic and social development? And, what in the teaching and nature of the course supported this highly integrative experience that allowed students to reach beyond mastering an artistic medium and become better learners in general? These were the two major questions that guided this study.Why am I interested in the integrative quality of arts education? I am highlighting the academic importance of performing arts programs to suggest to university administrators and instructors in other disciplines the "immeasurable" personal and academic value of such courses whose place is often seen as marginal. Perhaps also, pedagogy used for integration in this course into the academic fabric of the institution could provide models for other courses and curricula that are trying to be integrative or interdisciplinary in a more self-conscious way. And, there are more and more such [End Page 54] courses on every college campus these days. Moriel Blaisdell in Preparing Faculty for the New Conceptions of Scholarship for example, cites "integrative studies" programs among most important trends in higher education today with their goal "to synthesize, to look for new relationships between the parts and the whole, to relate the past and future to the present, and to ferret out patterns of meaning that cannot be seen through traditional disciplinary lenses." 1One of the most daring experiments in universities now, and the one to which the integrative dance course could speak directly, is interdisciplinary teaching in neuroscience, for example. Neuroscience proceeds from the belief in the inherent unity of mind and body and attempts to discover the nature of the relationship between them. In a different way and with a different goal than arts courses, neurosciences also try to cross the boundary of subjective and objective experience, mind and body, physical technique and personal interpretation, which are at the heart of teaching and learning in the performing arts. While not being prescriptive, I would like to suggest that perhaps close attention to the pedagogy and integrative experiences of students in the performing arts courses could provide some insights for pioneering bridge-making in other academic areas as well.I would like to propose that what lies at the core of integrative capacity of a performing arts course, like the one Claire Mallardi teaches at Harvard, is the inherent tendency of the arts to transcend the boundary of body with the mind, and to seek unity of self as both the subject and the object. In a dance, in the words of Margaret H'Doubler, the body is seen "as the outer aspect of personality, for it is the agent through which we receive impressions from the external world and by which we communicate our meaning." 2 This basic translation between body and mind, mental and physical, artistic and academic that went on in Mallardi's class, resulted in integrative and transformational experiences for her students. "I never until this class — comments one student — equated emotions with movement or... (shrink)

The relevance of the study is that the analysis of education as a factor in the formation and development of a creative personality and the conditions conducive to the emergence of a "new creative class" is done. Formulation of the problem - the conceptualization of education as a factor in the formation and development of a creative personality, its main categories in terms of "creativity" and the demand of man as a creator of an innovative environment, (...) based on a new level of interaction "man-society-education", changing the model of sociality. Analysis of recent research and publications. In the study, we rely on the phenomenon of creativity, which is studied in the works of V. Andruschenko, V. Beh, V. Voronkova, A. Kravchenko, S. Kutsepal, O. Kivlyuk, R. Olexenko. The main focus is on Richard Florida's work "Homo creatives: How the New Class Conquers the World". The matrix of education as a factor in the formation and development of a creative personality focuses attention on the discourse thinking of the relationship "creative personality-education" and the influence of the information society on these relationships. Exemption of unexplored parts of the general problem - conceptualization of the concept of "creative personality" and its role in modern information society. At the heart of the study - the conceptualization of the basic schemes of creativity and this is a scientific novelty. The epistemological character of the statement and the praxeological solution of this problem in favor of a creative person and education show that the society must have the necessary and sufficient resources for the reproduction of a creative person and its effective development that affects the social sphere of man. The basic material. The analysis of formation and development of the creative person as the main factor of education is carried out; the definition of "creative personality" is presented; it is proved that the creative component is the dominant factor necessary for solving problems of efficiency of all spheres of activity, including economic ones; conditions that contribute to the growth of the creative component in the future are analyzed ; It was found that it is a "creative social class" as a new class of information society. The object of research is the concept of a creative personality as a new social and cultural phenomenon. The subject of research is the influence of the information society on the formation and development of a creative personality. Methodology is a method of cultural creation, which provides an opportunity for the formation and development of a creative personality. Conclusions - the concept of education as a factor in the formation and development of a creative personality in the conditions of the information society is formed. (shrink)

Our current culture is dominated by the ideology of creativity. One is supposed to create the new and not to care about the things as they are. This ideology legitimises the domination of the "creative class" over the rest of the population that is predominantly occupied by forms of care - medical care, child care, agriculture, industrial maintenance and so on. We have a responsibility to care for our own bodies, but here again our culture tends to thematize (...) the bodies of desire and to ignore the bodies of care - ill bodies in need of self-care and social care. But the discussion of care has a long philosophical tradition. The book retraces some episodes of this tradition - beginning with Plato and ending with Alexander Bogdanov through Hegel, Heidegger, Bataille and many others. The central question discussed is: who should be the subject of care? Should I care for myself or trust the others, the system, the institutions? Here, the concept of the self-care becomes a revolutionary principle that confronts the individual with the dominating mechanisms of control. (shrink)

In this paper we propose a computational framework aimed at extending the problem solving capabilities of cognitive artificial agents through the introduction of a novel, goal-directed, dynamic knowledge generation mechanism obtained via a non monotonic reasoning procedure. In particular, the proposed framework relies on the assumption that certain classes of problems cannot be solved by simply learning or injecting new external knowledge in the declarative memory of a cognitive artificial agent but, on the other hand, require a mechanism for the (...) automatic and creative re-framing, or re-formulation, of the available knowledge. We show how such mechanism can be obtained trough a framework of dynamic knowledge generation that is able to tackle the problem of commonsense concept combination. In addition, we show how such a framework can be employed in the field of cognitive architectures in order to overcome situations like the impasse in SOAR by extending the possible options of its subgoaling procedures. (shrink)

In the late Middle Ages the philosopher and mystic Meister Eckhart preached that to know the truth you must be the truth. But how to be the truth? Eckhart's answer comes in the form of an imperative: release yourself, let be. Only then will you be able to understand that the deepest meaning of being is releasement. Only then will you become who you truly are. This book interprets Eckhart's Latin and Middle High German writings under the banner of an (...) imperative of releasement, and then shows how the twentieth-century thinker Martin Heidegger creatively appropriates this idea at several stages of his career. Heidegger had a lifelong fascination with Eckhart, referring to him as "the old master of letters and life." Drawing on archival material and Heidegger's marginalia in his personal copies of Eckhart's writings, Moore argues that Eckhart was one of the most important figures in Heidegger's philosophy. This book also contains previously unpublished documents by Heidegger on Eckhart, as well as the first English translation of Nishitani Keiji's essay "Nietzsche's Zarathustra and Meister Eckhart," which he initially gave as a presentation in one of Heidegger's classes in 1938. (shrink)

From the leader of the nation's most powerful animal-protection organization comes a frontline account of how conscience and creativity are driving a revolution in American business that is changing forever how we treat animals and create wealth. Wayne Pacelle of the Humane Society of the United States reveals how entrepreneurs, Fortune 500 CEOs, world-class scientists, philanthropists, and a new class of political leaders are driving the burgeoning, unstoppable growth of the "humane economy." Every business grounded on animal exploitation, (...) Pacelle argues, is ripe for disruption. Indeed each one of us is, and will be, touched by this far-reaching transformation in food and agriculture; in the pharmaceutical, chemical, and cosmetics industries; in film, television, and live entertainment; in tourism and wildlife management; in the pet trade for dogs and cats and exotic wildlife; and in fur and leather fashions. Collectively it promises to relieve or end the suffering of billions of creatures, while allowing businesses aligned with the best instincts and values of their customers to flourish. Pacelle shows, for instance, how the cruelties of industrial chicken farming are quickly becoming obsolete with a visit to Hampton Creek, the makers of a plant-based egg substitute and the world's fastest-growing food startup ever. Pacelle also recounts the stories of how established companies are joining in this economic transformation: from Petco and PetSmart, which have turned the conventional pet store model on its head by forswearing puppy mill suppliers in favor of shelter dogs; to John Paul Mitchell Systems, the Body Shop, and Lush, which use safe ingredients instead of animal tests for their cosmetics; to major food retailers like Whole Foods, Chipotle, and even Costco and Walmart, which are embracing animal welfare standards that are one by one unwinding the horrors of the factory farm. The Humane Economy is a clarion call to business leaders and to the world's growing animal protection movement; it is equally a warning to the static thinking of animal-use industries and their apologists: "Here, in this humane economy," Pacelle argues, "human ingenuity meets human virtue, and we discover at last that we can have it both ways--a better world for us and for animals, too. (shrink)