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Creative Responses (creative + response)
Selected AbstractsWorking through the end of civilizationTHE INTERNATIONAL JOURNAL OF PSYCHOANALYSIS, Issue 2 2007JONATHAN LEAR This is an account of how a civilization works through the problems it faces when it is threatened with destruction. It focuses on the example of the Crow Nation, an Indian tribe of the northwest plains of North America, and their last great chief Plenty Coups. Psychoanalytic ideas play a crucial role in explaining how a creative response was possible. In particular, their collective use of dream-visions and dream-interpretation made possible the creation of a new ego ideal for the tribe. This allowed for the transformation of traditional allocations of shame and humiliation. It also allowed for the possibility of transformation of psychological structure. And it opened up new possibilities for what might count as flourishing as a Crow. Conversely, the threat of civilizational collapse allows us to see new possibilities for the conceptual development of psychoanalysis. In particular, psychoanalysis needs to recognize that destruction can occur at the level of the culture while the individuals are not physically harmed. The psychological states of these individuals can be various and complex and cannot be neatly summed up under the category of trauma. A culture can be devastated, while there is no one-to-one relation to the psychological states of the individuals who participate in that culture. It is also true that a collapse of a way of life makes a variety of psychological states impossible. Coming to understand these phenomena is essential to understanding how a culture works through threats to its very existence. [source] The Animated Muse: An Interpretive Program for Creative ViewingCURATOR THE MUSEUM JOURNAL, Issue 3 2005Austin Clarkson ABSTRACT Explore a Painting in Depth, an experiment presented in the Canadian Collection of the Art Gallery of Ontario, consisted of a booth that offered seating for two visitors and, opposite them, The Beaver Dam, a 1919 landscape painting by the Canadian artist J. E. H. MacDonald. In a 12-minute audio-guided Exercise for Exploring, visitors were invited to engage in a creative process with the imagery of the painting. This paper sketches how the experiment evolved, presents the background of the Exercise for Exploring, and surveys the effects of the exhibit on a wide range of visitors. The question is raised: How can facilitating visitors' creative responses to artworks be part of the museum's educational mandate and its arsenal of interpretive resources? More broadly: Do strategies that foster and privilege visitor creativity, as well as honor the creativity of artists, affect the accessibility and relevance of the museum for the general public? [source] Learning the Dynamic Processes of Color and Light in Interior DesignJOURNAL OF INTERIOR DESIGN, Issue 2 2009Tiiu Poldma Ph.D. ABSTRACT Interior environments and their design are profoundly influenced by how designers integrate color and light with form and space. In our increasingly global world, new lighting technologies are changing our perception of color and light and subsequently our interrelationships with one another and with interior space. This alters the choices that we have as designers when we make both color and light decisions. Traditional light and color theories are being challenged with new lighting approaches that are complex, dynamic, and that are changing people's immediate experiences within spaces. Currently, new light technologies alter our perceptual relationships with people and forms, as light, its spectral color, and the forms its affects are more interactive and modulated in real time. Usually, in interior design coursework, students learn about color and light as static theories that they are then asked to apply within the interior design of spaces in subsequent design studios. Through a presentation and examination of the course "Color and Light in Interior Design," this paper proposes considering integrating color and light theories with new contexts of dynamic, integrated human experiences of color and light in interior space. Students acquire learning experiences that integrate theory and practice by understanding the complex interrelationships of light, color, and objects in interior spaces as interactive, and by exploring design concepts in actual environments as a laboratory where they can test theories and their own ideas. The course structure is described and the theories underlying the course goals are explored. Color and light theories are considered in the context of emerging technologies and how phenomenological approaches affect our perceptions and experiences in spaces. Student examples of two of the four course projects are presented as these put theories into practice. The discussion shows that light and color theory, when explored in this way, stimulates both comprehensive and creative responses that integrate new technology with aesthetic theory and functional aspects of well-designed light/color solutions. The integrating of practice into theory stimulates reflective thinking and an understanding of situated contexts in interior design problem solving. The course develops emerging necessities of understanding dynamic color/light concepts that contribute to broadening interior design applied knowledge. [source] The Receiving End of Reform: Everyday Responses to Neoliberalisation in Southeastern MexicoANTIPODE, Issue 3 2010Peter R. Wilshusen Abstract:, This article builds upon the literature on neoliberalism and environment as well as studies on community forestry by examining the creative accommodations that rural producers have made in navigating Mexico's neoliberal turn. In contrast to previous work that emphasizes macro-level processes (eg privatization of public natural resources) and local resistance, I employ Bourdieu's theory of practice to examine the symbolic and material dimensions of local responses to neoliberal policy reform. Drawing on research from nine communities in the state of Quintana Roo, I argue that local producers have accommodated neoliberal policies and programs by adopting hybrid logics, property regimes, forms of organization, and modes of exchange. Moreover, I contend that these creative responses constitute elements of a longstanding "culture of accommodation" to institutional change that predates Mexico's neoliberal reforms. [source] | ||||||||||