Domain of creativity: Domains of Everyday Creativity and Personal Values

[PDF] Domains of Creativity | Semantic Scholar

• DOI:10.1016/B978-0-12-375038-9.00079-0
• Corpus ID: 58942640

@article{Baer2020DomainsOC,
  title={Domains of Creativity},
  author={John Baer},
  journal={Encyclopedia of Creativity},
  year={2020}
}

• John Baer
• Published 2020
• Psychology
• Encyclopedia of Creativity

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Measuring the domain-specificity of creativity

• C. Julmi, E. Scherm

• Psychology

• 2016

In creativity research, there is a discussion whether creativity is a universal
phenomenon, or whether the skills, aptitudes, traits, propensities and
motivations that underlie a creative…

Neural and cognitive mechanisms of creativity

• S. Akbari

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The studies of this thesis provide empirical evidence that creativity is not a homogeneous concept; rather it reflects the interplay of separate, dissociable processes such as convergent and…

Creativity and Lawbreaking

• A. Cropley, D. Cropley

• Psychology

• 2011

Lawbreaking and creativity are often conceptualized as alternative, almost competing, expressions of the general psychological disposition of deviance. Where the 2 occur together, they are mainly…

Implicit Theories of Creativity in Computer Science in the United States and China

• C. H. A O Y I N G T A N G J O H N B A E R J A M E, S. C. K. A U F M A N

• Psychology

• 2014

To study implicit concepts of creativity in computer science in the United States and mainland China, we first asked 308 Chinese computer scientists for adjectives that would describe a creative…

Implicit Theories of Creativity in Computer Science in the United States and China.

• Chaoying Tang, John Baer, J. Kaufman

• Psychology

• 2015

To study implicit concepts of creativity in computer science in the United States and mainland China, we first asked 308 Chinese computer scientists for adjectives that would describe a creative…

On the role of creativity in the formation of new complex words

• L. Körtvélyessy, P. Štekauer, Pavol Kačmár

• Psychology

• 2021

Abstract This article presents the results of a large-scale interdisciplinary project aimed at a corroboration of the role of creativity in the way university undergraduates (N = 309) coin new…

Creative giftedness and educational opportunities

• M. Besançon, T. Lubart, Baptiste Barbot

• Education

• 2013

In contrast to intellectual giftedness reflected in high academic performance and often measured by IQ tests, there is growing recognition that other forms of giftedness exist. This paper focuses on…

Mapping creativity in the Hungarian National Core Curriculum: a content analysis of the overall statements of intent, curricular areas and education levels

• Enikő Orsolya Bereczki

• Education

• 2016

In the past 20 years, creativity has increasingly been recognised as an important aspect of young people’s education around the world. The global interest in creativity is fuelled by various economic…

Creative potential: assessment issues and the EPoC Battery / Potencial creativo: temas de evaluación y batería EPoC

Abstract Creative potential can be conceptualized as an ability to produce original ideas that have value in their context. This ability can be measured in three different ways, namely by examining…

Familiarity and liking for music: The moderating effect of creative potential and what predict the market value

• J. Tavani, Xavier Caroff, M. Storme, J. Collange

• Psychology, Business

• 2016

SHOWING 1-10 OF 16 REFERENCES

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The Case for Domain Specificity of Creativity

• John Baer

• Psychology

• 1998

For many years creativity researchers assumed that creativity was rooted in general, domain-transcending skills or traits. A growing body of evidence suggests that creative performance is domain…

Bridging generality and specificity: The amusement park theoretical (APT) model of creativity

• John Baer, J. Kaufman

• Education

• 2005

One of the most contentious areas in creativity theory is the question of domain specificity. How we conceptualize creativity — as something that transcends content domains, or as something that…

Creativity: From potential to realization.

• R. Sternberg, E. Grigorenko, J. Singer

• Art, Psychology

• 2004

Who is creative…and why? And what does it mean to be creative? Is a creative individual a master-of-all trades or a master of one? In other words, is creativity a generalized attribute or is it a…

Beware of Simple Conclusions: The Case for Content Generality of Creativity

• J. Plucker

• Education

• 1998

Several recent empirical and theoretical examinations of creativity have concluded that creativity is content specific (i.e., creativity within certain content areas is independent of creativity in…

Evidence to Support the Componential Model of Creativity: Secondary Analyses of Three Studies

• R. Conti, H. Coon, T. Amabile

• Psychology

• 1996

Amabile’s (1983a, 1983b, 1988) componential model of creativity predicts that three major components contribute to creativity: skills specific to the task domain, general (cross-domain)…

Creativity across domains : faces of the muse

• J. Kaufman, John Baer

• Art

• 2005

Contents: J.C. Kaufman, J. Baer, Introduction: How People Think, Work, and Act Creatively in Diverse Domains. J. Piirto, The Creative Process in Poets. S.K. Perry, Flow and the Art of Fiction. R.K.…

Creativity In Context: Update To The Social Psychology Of Creativity

• T. Amabile

• Psychology

• 1996

Understanding And Assessing Creativity The Case For A Social Psychology Of Creativity. The Meaning And Measurement Of Creativity. A Consensual Technique For Creativity Assessment. A Theoretical…

A Decline in Creativity? It Depends on the Domain

• Emily Weinstein, Zachary R. Clark, Donna J. DiBartolomeo, K. Davis

• Psychology

• 2014

Earlier studies using psychometric tests have documented declines in creativity over the past several decades. Our study investigated whether and how this apparent trend would replicate through a…

The Torrance Tests of Creative Thinking – Figural or Verbal: Which One Should We Use?

• Kyung H Kim

• Psychology

• 2017

Abstract Kim’s CATs framework (2016) identified creative climates (C), attitudes (A) and thinking (T) skills for innovation. Creativity can be measured by testing and non-testing methods. Testing…

Précis of Beyond modularity: A developmental perspective on cognitive science

What is special about human cognition is considered by speculating on the status of representations underlying the structure of behavior in other species by looking at Fodor’s anticonstructivist nativism and Piaget’s antinativist constructivism.

Domain-Specific Creativity

The world acknowledges Sir Paul McCartney as one of the most famous musicians who ever lived, first gaining notoriety as a Beatle, then founder and composer of the group Wings, then as a remarkable soloist, a career spanning over five decades.

Less well known, however, are his other creative pursuits, including painting and poetry. His paintings have met with less popular success than his music, and his poetry hasn’t met with any wide acclaim, acceptance, or even approval.

McCartney’s ability – or inability – to apply his creative genius across domains exemplifies a topic of focus for many psychology researchers interested in creativity: Does creativity in one domain extend to other areas?

In other words, is creativity a general skill comprised of traits and attributes that gives one the ability to apply highly creative thinking to any project regardless of domain or discipline? Or is creativity specialized, giving individuals creative-thinking skills and proclivities that apply only to one domain (domain-specific)?

Music vs.

Poetry vs. Painting

The question of whether creativity is general or specific remains one of today’s central debates among psychology researchers focusing on creativity.

Typically, we tend to label and categorize individuals as either creative or not creative, using the reference to “general” creativity quite liberally. Yet many researchers, especially those who support a domain-specific theory of creativity, question this logic, stating that it’s an oversimplification.

“It is a very appealing, and ultimately firmly American, notion that a creative person could be creative in any domain he or she chose. All the person would have to do would be to decide where to apply his or her talents and efforts, practice or train a lot, and voilà, you have creative achievement. On this view, talent trumps domain, and it really is somewhat arbitrary in which domain the creative achievement is expressed. Indeed, we often refer to people as ‘creative’ not as a ‘creative artist,’ or ‘creative biologist. ’”

The psychology professor and researcher Gregory J. Feist of San Jose State University wrote this statement for a chapter of the book “Creativity: From Potential to Realization.” He then goes on to state that this is a naïve belief, and that creativity and talent are not general skills, but highly specialized ones.

But Jonathan A. Plucker, PhD, of Indiana University states otherwise.

In his article “Beware of Simple Conclusions: The Case for Content Generality of Creativity,” Plucker defends the use of creativity measurement tools, tests that exclusively measure “general creativity” skills.

Psychometric Tests Measure General Creativity

These tests, such as the Torrance Tests of Creative Thinking (TTCT), (see Measuring Creativity) are based on psychometric, statistically rigorous methods of measuring the divergent (creative) thinking skills and problem solving abilities. They have been given to American school children since the late 1950s.

Psychologists admit that the 90-minute test isn’t the final answer on creativity, but only one piece of a complex creativity puzzle. Still, it has accurately predicted future successful creative output better than any other tool or research method.

Plucker has studied ongoing results from this test, which doesn’t have right or wrong answers but instead measures the ability to generate highly creative, numerous, and elaborate answers for questions without right or wrong answers. For more on divergent thinking, see Creative Children.

In other publications and interviews, Plucker has noted that the results of children who score highly on the TTCT have a high correlation with future, innovative and productive careers. High scorers became successful entrepreneurs, technology experts, authors, and diplomats, among other professionals.

In fact, many researchers such as Plucker believe that these scores are a much better predictor for future professional success than IQ tests.

And the TTCT, Plucker emphasizes, measures general creativity, not domain-specific creativity. Domain-specific creativity, while important, can’t be accurately or statistically measured. It’s an after-the-fact type of subjective measurement, made on outputs after an individual has developed expertise in an area after working in a domain or discipline for many years.

Needed: A Tof Domains

Other creativity researchers state that before investigators are able to empirically compare and argue for either general creativity or domain-specific creativity, researchers must develop a ‘theory of domains.”

These researchers are calling for a clear understanding of what is meant by the term “domain.”

Domain-specific proponent Feist provides seven categories to define domain, calling them “domains of the mind”:

Another prominent creativity researcher, Mihaly Csikszentmihalyi, PhD, head of the Positive Psychology department of Claremont Graduate University, defines domain simply as a set of symbolic rules and procedures, nested within a wider cultural context. Mathematics is a domain, as are science, music, art, and writing.

Areas such as mathematics have more detailed domains, according to Csikszentmihalyi, such as number theory, algebra, and calculus.

Creativity researchers John Baer, PhD, of Rider University, and James C. Kaufman, PhD, of California State University San Bernardino, also have developed their own definition of domain.

Writing in the “The Cambridge Handbook of Creativity,” (in the chapter “Is Creativity Domain Specific?”) Baer states that he and Kaufman define a domain as having three levels. The first level has seven “General Thematic Areas” or general areas of related interests:

The second domain level contains more specific fields within the wider areas, such as writing within the artistic/verbal area, and biology, chemistry and physics within the math/science area.

The researchers have also identified a third domain level, or micro-domains, and these are even more specific areas of study within fields: poetry within the writing, and nuclear energy within physics.

Using this definition that divides domains into levels, Kaufman and Baer have developed their own creativity model. They base their model on the premise that creativity is not completely general nor completely specific, but actually a fusion between both: creativity is both general and specific. They call their model the “APT Model,” standing for Amusement Park Theoretical Model.

The Amusement Park Theoretical (APT) Model of Creativity*

Based on the metaphor for an amusement park, the APT model of creativity involves four elements or levels.

The first element is called Initial Requirements, which means individuals need admission to the park – or tickets. Tickets are analogous to intelligence and motivation.

The second element concerns the General Thematic Areas. Amusement parks such as Disney World have General Thematic Areas, such as EPCOT, the Magic Kingdom, Animal Kingdom, and MGM Studios. These are analogous to the thematic areas of artistic/verbal, artistic/visual, interpersonal, problem solving, math and science, performance, and entrepreneur.

The third element concerns Domains within the General Thematic Areas. For example, Tomorrowland is nested within EPCOT. This is analogous to subdomains within the General Thematic Areas, such as painting within the artistic/visual area, or physics within the math/science area.

The fourth element concerns Micro-Domains. At Disney World, for example, there are rides, events, and attractions within Tomorrowland. And within the subdomain of painting, there are the micro-domains of abstract art or realistic art. Within psychology, for instance, there are the micro-domains of cognitive psychology, social psychology, and clinical psychology.

* Cited from “The Cambridge Handbook of Creativity,” edited by James C. Kaufman and Robert J. Sternberg. (From the chapter “Is Creativity Domain Specific?” pages 321-341.)

Baer states that the final reconciliation between domain-general theorists, and domain-specific theorists lies in this type of “combined” model.

The number of domain levels is “arbitrary,” he states. The main point is that the model incorporates the research findings or research and theories from both camps.

A more scholarly understanding of whether creativity is general or specific, Baer maintains, has important implications. It guides researchers and educators better define ways to assess, nurture, and enhance creativity.

The multidisciplinary study of creativity involves the following psychology fields: social, personality, cognitive, clinical, biological, differential, developmental, and educational psychology.

If you are interested in the psychology of creativity, contact the schools offering degrees in these psychological fields.

Persistence

In 1995, E. Paul Torrance, considered by many to be the “father of creative psychology research” noted that creativity naturally follows when an individual in intrinsically motivated – resulting in stubborn persistence.

This finding has come from years of personality research on creativity. (see Identifying Creative People).

The Beatles are a great example of this type of intrinsic motivation leading to creativity, spending countless hours rehearsing, recording, and polishing songs. In interviews, Ringo Starr called Paul McCartney a workaholic.

The creative output of Pablo Picasso was prodigious, predicted at more than 20,000 artworks. And Japanese brush artist Katsushika Hokusi (1760 – 1849), so internally driven that it is said he didn’t even open envelopes containing money for his work, is estimated to have produced over 30,000 works.

Is is also said that Hokusi worked so much that he never cleaned his surroundings, simply moving when it got too dirty.

Mary Karr, author of the three well known memoirs “Liar’s Club,” “Cherry,” and “Lit,” has told many interviewers after writing “Lit” that she threw two versions of the book away before coming up with an acceptable draft.

In an interview the “The Paris Review” asked her if she saved any of the pages she tossed out. “No, I literally threw them all out. Because I thought, What am I saving these for?”

Despite the glut of memoirs about alcohol addiction and recovery to hit the market in the past 10 years, Karr’s memoir “Lit” shot up bestseller lists in 2009, and earned her the praise of most critics.

Persistence isn’t a word spoken by artists. In fact, they often describe a period of painful uncertainty, debilitating doubt, and agonizing tension when their work doesn’t come together.

Yet something within them keeps moving them forward, something they have a hard time defining. Most of us call it persistence.

Creative Domain Names to Inspire Your Search | Domain.com

There are a number of essential steps one must take when beginning their journey into the world of launching a business. They are faced with a variety of tough decisions that could make or break the business, or at the very least, hinder its future success. One such choice that seems to be commonly overlooked by many fledgling business owners is the selection of the company’s domain name. Selecting and registering a domain name for your company is extremely important. While this is a seemingly small decision that many think can be pushed aside until one has the time, this delay fails to recognize how integral an optimal domain name can be for the success of one’s online presence.

A creative domain name can create brand authority, customer retention, and help one product stand out in a sea of competitors offering a similar product or service. This is a process that should not be taken lightly; it is not something that can wait until the last minute because if you do rush it, you may end up being stuck with a boring name that hinders more than helps. So, when thinking of a domain name, you need to invest the time, and you need to get creative.

Below we will discuss the benefits of a creative domain name, share some tips on how you can get creative, and hopefully help to give your online business the edge it needs to not only succeed but thrive.

Domain.com has over 300 domain extensions to choose from to help set your website apart from the rest. It all starts with a great domain.  

Before we begin, it is vital that you know the basics of how domains function with websites. If this is your first online business, odds are this is the first time you have had to consider how websites function on the worldwide web. Computers on the web locate and communicate with each other using a series of digits and periods known as Internet Protocol Addresses.

This IP address is unique to every computer and website, and to find another computer or website, one would have to type in this unique numerical address. For the layman, a good way to mentally picture a website is as a digital storefront; an amalgamation of files, data, pictures, and pages, which result in the final product you see on your screen when you type in NYTimes.com. Like an actual store, say a Starbucks or a Costco, these web pages have a virtual address (the IP) which helps distinguish them from the billions of other web pages.

As you might imagine, while this would not be an issue for the computer, at best, it is an inefficient method for human navigation, since there is simply no way we humans could memorize all the IP addresses of every website. Even having an online phone book of sorts would be painfully inconvenient. Computer scientists recognized that this was not the best method for navigating the web, so they decided to create a shorthand of sorts, building the domain name system and fashioning a registry that linked any registered domain name with its unique IP address.

To this day, typing either the IP address or the domain name into the search function will get you to your intended destination. This virtual shortcut made it so the web would be accessible to just about anyone. Computer scientists designated seven top-level domains to help differentiate web addresses, which we now refer to as extensions. These seven extensions are:

• .com – shortened for commerce and commercial. This extension is the most popular by far and as a result, used by both small and big businesses. However, this extension has the fewest available domain names to choose from.
• .net – the second most popular extension, generally used by network providers such as Timewarner.net.
• .org – organizations’ domain name, such as freethedolphins.org.
• .edu – the domain extension used by educational institutes and universities.
• .gov – domain name for governmental agencies, agents, or officials.
• .mil – American military domain.
• . Int – Domain for international organizations.

Picking a creative domain name

Before you start thinking about how much a domain name costs, there are a few steps you should follow first. Picking the perfect domain name should be the first step you take when it comes to planning for a successful online business. This name will function as your business’ online identity. So, a proper name will act as a reflection of your brand; it will answer who you are as a company, and it will hopefully indicate either the product or service you are offering to new customers. Thanks to the domain name registrar system, no two domain names can be identical, so, this is your opportunity to truly define who you are as a business. Therefore, picking the right name—a creative, catchy name—is vital.

If you were buying a brick and mortar store, odds are you would put an incredible amount of time and research into the various options. You would scout each location, get estimates on how much traffic they attract, and find measurements on how the previous businesses have operated. You would weigh the pros and cons, and compare that to the costs associated with each location. Only after some serious time and thought went into the process would you then select the final resting spot of your business. Like opening a brick and mortar store, when selecting a domain name, you should treat what some view as a tedious process with the utmost respect. Do not do this haphazardly, instead invest the time to land the perfect domain name.

While there are a variety of methods for brainstorming a creative domain name, as a general rule of thumb, there are two directions to choose from that you will want to consider before you get into the nitty-gritty. They are keyword rich domain names and brand-centric domain names.

Keyword rich domain names

Keyword rich domain names are domain names that place emphasis on certain SEO keywords or phrases that may be used to describe a business’ rendered product or service. Employing this strategy generally consists of creating lists of keywords or phrases that act as descriptors of the company or what it is you are selling.

These descriptors should not only reflect what you offer but do so in such a way to distinguish you from your competitors. Keeping search engine optimization in mind is also wise, so look to use words or phrases people are randomly searching for your product, or something similar that someone might organically type into the search engine.

Brand-centric domain names

Brand-centric domain names are often meant for businesses that have previously established their name or brand within the market. At this point, customers know these brands, know what they are selling, and can likely remember their catchphrases or slogans. Brand-centric names include Amazon.com, Facebook.com, Adidas.com, and a whole host of other powerhouses. For a company like Staples, it would make sense for them to purchase the domain name, “Thatwaseasy.com” since they are recognized by that tagline.

While brand-centric domain names are ideal for established brands, it is important to remember that each of these companies at some point began with humble roots. If you can come up with a creative brand-centric domain name, and want a customer to remember your brand, then that is definitely an option, but be sure to pick one that is unique and reflects your brand’s business.

Tips for creative domain names

When ruminating about creative domain names there are various steps you should take to simplify the process:

The Brainstorming Session – Most businesses are not run by a single individual. If you have a team of people, bring together all that brain power to one spot and spend time bouncing ideas and keywords off each other. If you are a sole business owner, see if family or friends can aid you since they likely have spent enough time discussing your business with you to have an idea of what your goals and missions are. Write down the domain names of your competitors or companies in similar businesses within your space. Weigh the pros and cons of each name and discuss how effective they are at communicating their product or service.

• Be broad and be bold – Do not be shy with any idea you have even if it is only slightly relevant to your business. If you shoot down ideas immediately, your team might miss out on a great opportunity, for fear of rejection.
• Compile keywords – Create a list of all the keywords that are linked to your product or service. Use a whiteboard or a notepad and write down the most common words associated with your brand. If you want your customer to know you for a trait or keyword, emphasize that and play with possible iterations.
• Use a thesaurus or a dictionary – Using your keywords or buzzwords, you can utilize either a thesaurus or a dictionary to find synonyms or even more accurate versions of the word you are using.
• Amalgamations – Quite often, one of these keywords by themselves will already be taken, but if you can create a fusion of two words, you might have a better chance of finding an available domain name. Cleverly combining two keywords can help customers intuitively understand what your product is. Take Groupon for example, which combined the words coupon with group.
• Consider your location or company values – your domain name does not necessarily require your brand name in it, consider your company’s location or other aspects of your business that set you apart from your competitors.
• Misspellings – Often, your ideal word will already be taken. However, misspellings or dropping the vowels from the word might open up new avenues and also create a cleaner looking version of the domain name. Such names are often easier to type in and easier to remember because of their unique look.
• Easy to remember/easy to type – You might come up with a great name, one that you think perfectly defines who you are and what you are selling, but if it is not easy for new customers to remember or is a pain to type in to the search bar, you will lose potential customers. Ideally, you want a name that rolls off the tongue and is hard for people to forget.

Ditch the .com

Since many dotcoms have already been taken, many companies are using new creative domain name extensions besides the big seven. While there are some out there that will argue that it is worth it to pay more money for a dot-com address or to purchase a pre-existing domain, others are moving in the opposite direction. In the last few years, “.ly,” “.be,” and “.io” have grown in popularity and plenty of websites have cleverly incorporated those extensions in a creative way. For example, “list.ly” and “postach.io” are growing businesses that have uniquely combined the two to create a clean and memorable name.

Find a domain name that feels inspired

Creating a domain name that is not only clever and catchy but also available and within your budget range is no easy task. Regardless, it is a critical component of your online business, so it is crucial that you take the time and effort necessary to land on the right domain name. By doing so, you explore new avenues that may lead you to a domain name that sets your brand in motion.

Your domain name can be regarded as your first impression on the internet. And just like first impressions, you want someone’s first encounter on your website to be perfect. Put the time and effort necessary into choosing your domain name—it’s important.

Domain.com has over 300 domain extensions to choose from to help set your website apart from the rest. It all starts with a great domain.  

Cognitive Domain in the Developmental Domain Series

Our Blog: June 3^rd, 2019

• cognitive domain
• developmental domains
• early education

This month, let’s take a closer look at the Cognitive Development Domain, focusing on creative arts expression.

Cognitive development involves how children think, explore and figure things out. It refers to things like memory and the ability to learn new information. This domain includes the development of knowledge and skills in math, science, social studies, and creative arts.

Creative arts is about creative thinking. Allowing children the opportunity to express themselves through creativity is beneficial to many areas of their development. Children become less fearful, learn that there can be many solutions to any given problem, and develop fine motor and communication skills. Because of this, we integrate opportunities for creative arts expression into all areas of the school day.

You can encourage creative arts expression at home.

Infants:

• Listen to music and sing with your baby.
• Provide your infant with child-safe paint and allow them to paint with their hands. Display their work where they can see it.
• Allow your child to experiment with using different objects to make sounds. This could be musical toys or household objects—a pot and wooden spoon can be a wonderful drum!

Toddlers/Twos:

• Play your child’s favorite music and dance with them.
• Go outside, collect objects such as leaves, sticks, flowers, grass, etc., and make a collage with your child.
• Provide materials (for example, dress-up clothes, purses, briefcases, hats, etc.) for your child to use in dramatic play. 

Preschool/Pre-K:

• Ask your child to explain a piece of artwork they have created. Ask why they chose certain colors and shapes and what the piece is meant to represent.
• Point out different musical instruments when you see them in books or when you hear them in a song. Help your child to make associations between instruments and the sounds they make.
• Create stories with your child and act them out together. You can be the actors in the dramatization or you can use puppets.

School Age:

• Introduce your child to different genres of music. Ask them about the differences they hear between genres. Also, ask what their favorite genre is and why.
• Dance to different genres of music with your child. See how they change their movements between genres and ask why they did this.
• Provide opportunities for your child to draw. If possible, have a space for them with paper, pencils, crayons, and markers.

Here are some great resources about how to support creative arts expression at home: 

https://www.naeyc.org/our-work/families/10-ways-babies-learn-sing-to-them
https://www.naeyc.org/our-work/families/supporting-development-creativity

Miss the most recent article in our series? Read it here.  

About the Author

Dr. Susan Canizares

Dr. Susan Canizares is the Chief Academic Officer at Learning Care Group, responsible for leading all aspects of the educational mission. Dr. Canizares earned her Ph.D. in language and literacy development from Fordham University and a master’s degree in special education, specializing in Early Childhood, from New York University. She has authored more than 100 nonfiction photographic titles for beginning readers. Some of her published credits include Side by Side Series: Little Raccoon Catches a Cold and A Writer’s Garden.

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Arts / culture

Still Life: Art That Brings Comfort in Uncertain Times

There is a quiet, familiar beauty found in still life, a type of art that depicts primarily inanimate objects, like animals, food, or flowers. These comforting images offer a sense of certainty and simplicity in uncertain and complex times. This could explain why over six million Instagram users have fallen in love with still life … Read More “Still Life: Art That Brings Comfort in Uncertain Times”

Arts / culture

Open Sharing Is Caring: A Valentine’s Day Challenge

February is the time to share virtual hugs, chocolates, and witty cards with family and friends for Valentine’s Day ♥️ (or “Friend’s Day” in Finland!)  This Valentine’s Day, we want you to share something a little different: your creative work.  In our Open Sharing is Caring challenge, we’re asking you to openly share an image, song, artwork, research paper, poem, GIF…whatever it … Read More “Open Sharing Is Caring: A Valentine’s Day Challenge”

Arts / culture

The Postal Worker, a Sea Shanty and the Public Domain

Until recently, I had never heard of the sea shanty “The Wellerman”. My sea shanty repertoire consisted of “What can you do with a drunken sailor” to sea-songs on the soundtrack of Master and Commander. However, Nathan Evans, a fellow Scot who hails, like me, from North Lanarkshire, has changed all of this. His rendition … Read More “The Postal Worker, a Sea Shanty and the Public Domain”

Arts / culture

Artificial Intelligence and Creativity: Can Machines Write Like Jane Austen?

In the second part of our series on artificial intelligence (AI) and creativity, we get immersed in the fascinating universe of AI in an attempt to determine whether it is capable of creating works eligible for copyright protection. Below, we present two examples of an AI system generating arguably novel content through two different methods: … Read More “Artificial Intelligence and Creativity: Can Machines Write Like Jane Austen?”

Policy / advocacy / copyright reform

Artificial Intelligence and Creativity: Why We’re Against Copyright Protection for AI-Generated Output

Should novel output (such as music, artworks, poems, etc. ) generated by artificial intelligence1 (AI) be protected by copyright? While this question seems straightforward, the answer certainly isn’t. It brings together technical, legal, and philosophical questions regarding “creativity,” and whether machines can be considered “authors” that produce “original” works. In search of an answer, we ran … Read More “Artificial Intelligence and Creativity: Why We’re Against Copyright Protection for AI-Generated Output”

Policy / advocacy / copyright reform

Domain 4: Creative Expression | Illinois Early Learning Project

Creative expression refers to how children use music, movement, building, and play to express themselves. From a very early age, children demonstrate an interest in sounds, colors, objects, and textures. In infancy, children engage in sensory exploration; they mouth different objects to learn about them, and use their hands to feel and move them.

During this period, children are aware of different sounds and are often heard cooing and babbling. Near one year of age, children are able to clap their hands and move their bodies to music and rhythm. Children also engage in interactive play such as peek-a-boo, and can imitate simple finger plays. They may also finger paint and play with different sensory materials such as water, sand, or play dough.

During their second year, children creatively express their thoughts and feelings through symbolic play, also known as pretend play. Children will imitate a familiar role, such as pretending to be the mommy by feeding and rocking a baby doll. Children engage in movement activities that incorporate whole body movements to express emotion. For example, children will roll around on the floor if they are being playful, or squeeze caregivers when excited. Increased hand-eye coordination and attention help them engage in art activities such as scribbling and brush painting for longer periods of time.

Children also take an eager interest in building things. Younger children will simply stack a few objects; as they near 36 months of age, children will have been building increasingly complex structures, and these activities are often intertwined with pretend play.

Birth to 9 months

Children build the beginnings of creative expression through everyday interactions with their caregivers.

Indicators for children include:

• Actively explores sensory objects in the environment
• Participates in interactions with caregiver(s), e.g., observes, smiles, coos
• Demonstrates interest in sounds, songs, music, and colors
• Listens and moves to music
• Manipulates objects, e.g., turns, shakes, bangs

Strategies for interaction

• Provide the child with choices for exploration; follow his or her lead
• Interact in a meaningful manner with the child throughout the day
• Make music part of every day; sing songs with the child
• Provide toys and activities that encourage movement, e.g., a toy drum, a tunnel to crawl through

7 months to 18 months

Children increasingly engage with their caregiver(s) and show enjoyment in activities and interactions that focus on music, movement, building, and play.

Indicators for children include:

• Enjoys familiar songs and word rhymes
• Begins to use symbolic play while interacting, e.g., holds a play phone to ear and has a “conversation” with grandma
• Begins to stack large blocks with or without support
• Participates in music activities by performing some accompanying hand movements
• Engages in art activities such as coloring or finger painting

Strategies for interaction

• Sing songs with the child and model any accompanying gestures
• Provide the child with different options for creating artwork
• Demonstrate enjoyment of music and actively participate with the child as he or she sings
• Encourage the child to explore different materials while playing

16 months to 24 months

Children continue to show increasing ability as they engage with their caregiver(s) in music, movement, building, and play activities.

Indicators for children include:

• Imitates basic movements during an activity, e.g., places beanbag on head
• Engages in more intricate pretend play, e.g., uses a toy banana as a phone
• Enjoys using instruments while listening to music
• Builds by using different objects and materials, e.g., lines up cars, stacks small boxes
• Enjoys breaking down what he or she has built, e.g., knocking over a stack of blocks with his or her arm
• Creates artwork; focuses and enjoys the process rather than the final product

Strategies for interaction

• Provide props and instruments that the child can use during music and movement
• Engage in conversations about what the child is creating during art activities
• Display the child’s artwork where he or she can see it and show it off
• Provide play experiences both outdoors and indoors

21 months to 36 months

Children initiate and engage in music, movement, building, and play activities to interact with others and express ideas, feelings, and emotions.

Indicators for children include:

• Selects movements that reflect mood, e.g., jumps up and down when excited
• Identifies and discusses characters that are meaningful to him and her
• Builds increasingly complex structures and expands upon them, e.g., uses smaller blocks to build taller towers, lines up materials and adds other components to create a “road” leading up to the tower
• Uses imaginary play to cope with fears, e.g., puts monster in a closet
• Plays dress-up and invites caregiver(s) to play along

Strategies for interaction

• Expose the child to music and dance from different cultures and backgrounds
• Provide opportunities for pretend play in which the child can dress up as various characters, e.g., a cowboy, firefighter, or princess
• Encourage the child’s creative expression by genuinely praising his or her efforts
• Participate in the child’s play; dress up, pretend, and play with the child

Real World Story

Melissa is 36 months old and is sitting with her peers during circle time. Joy, their childcare provider, is reading them a story they are familiar with, “We’re Going on a Bear Hunt.” Melissa is moving her hands to match the movements of the children in the book. Each time Joy stands up to act out a part of the book, all the children scramble to their feet to copy the actions. Melissa squeals with excitement and moves her body to represent crawling through grass, wading through a river, stomping in mud, and crawling through a cave.

Once Joy gets to the part of the story that encounters the bear, Melissa and the children automatically move from a crawling position to a full stand, and begin to run in place as fast as they can. Melissa makes the pretend movement of running up the stairs, and then flops herself to the ground to act out the part where the children crawl under their bedcovers. As Melissa lies on the floor, giggling, one of her peers has tripped over another child. Melissa stops laughing and observes Joy comfort the child.

Joy then returns to her spot and places the book behind her and says, “Okay, boys and girls, show me how you can stand on your feet. ” Melissa and the older children stand up; some children are still giggling and moving around. Melissa is standing quietly, waiting for Joy. Joy says, “It is time to whisper and walk quietly over to the table; we don’t want to wake the sleeping bear.” The children then follow Joy as she tiptoes and keeps one finger over her lips. Melissa follows along, whispering “hush,” and works hard to keep her balance as she tiptoes.

Discover how this Real World Story is related to:

• Developmental Domain 1: Social & Emotional Development
  Relationship with Peers
• Developmental Domain 1: Social & Emotional Development
  Empathy
• Developmental Domain 2: Physical Development & Health
  Gross Motor
• Developmental Domain 2: Physical Development & Health
  Perceptual
• Developmental Domain 3: Language Development, Communication, & Literacy
  Receptive Communication
• Developmental Domain 3: Language Development, Communication, & Literacy
  Early Literacy
• Approaches to Learning
  Creativity, Inventiveness, & Imagination

THIS EXAMPLE HIGHLIGHTS how language, cognitive, and physical development can all come together in one activity. Melissa is working on her receptive language and early literacy development as she follows the story and completes the accompanying movements. She is learning to express feelings and actions with her body, thereby developing creative expression. Melissa is also working on her spatial-awareness, gross-motor, and perceptual development as she moves her body in different ways, while having to remain aware of others around her. Melissa also demonstrates behaviors that indicate the awareness of feelings in others, as she stops laughing to observe a peer who has gotten hurt.

Discover how Creative Expression is related to:

• Self-Regulation: Foundation of Development
  Attention Regulation
• Developmental Domain 1: Social & Emotional Development
  Emotional Expression
• Developmental Domain 3: Language Development, Communication, & Literacy
  Expressive Communication
• Approaches to Learning
  Creativity, Inventiveness, & Imagination

Related Resources

Exhibition Area of ​​Creativity, Kaliningrad – Poster-Museums

Exhibition Area of ​​Creativity, Kaliningrad – Poster-Museums

Exhibition in Kaliningrad

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About the exhibition

The “Region of Creativity” exhibition is dedicated to the 75th anniversary of the region. The exposition, prepared by the House of Folk Art, will present the works of 86 authors from 11 city districts. These are painting, graphics, patchwork, embroidery, weaving, ceramics, engraving, lace-making, artistic felt, painting and woodcarving. The age of the exhibitors is from 21 to 88 years. “Region of Creativity” is an overview exhibition demonstrating the best works of local amateur artists, a story about the achievements and sights of the Kaliningrad region using the artistic means of arts and crafts and fine arts.

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Kaliningrad historical and art museum

Addclines, 21

Aposure selection

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Read online “The Past as an Area of ​​Creativity”, Vladislav Degtyarev – LitRes

The High Virtue of Doom

The Face of the Angel of History is really turned to the past, but Benjamin is wrong. The Angel of History isn’t flying anywhere. Like the ribbons that I don’t know why are tied to large fans standing in badly air-conditioned shopping malls, to fans that protect their blades with bulky caps, even domes woven from hard metal wire, the Angel of History, turning back his wide eyes, flutters in air currents generated by the spinning of a mechanical windmill, the reverse of Don Quixote. She, at the beginning of the 17th century, was driven by air and turned grain into flour; this one, at the beginning of the XXI century, driven by electricity, turns the air into wind. Don Quixote attacked the mechanism rotated by Nature, mistaking it for a giant. The Angel of History is trying to fly away from the mechanism (Culture) that runs on the energy produced by machines (Culture), but we know that, firstly, without a fan, he will not be able to fly, and, secondly, moving, he remains in place . The question is whether the aforementioned Angel knows about it.

The book the reader is now holding is about this. About how the three subjects are related – the fan (mechanism, Culture), the Angel of History and the one who tries to think and reason about them (the product of the first and second). The third subject – including you, dear reader; reading, ideally, is “thinking” and “reasoning”. After all, “The Past as an Area of ​​Creativity” is a book of essays. Genre oblige . And we will return to the Angel of History, let him tremble for now, he will not go anywhere, we know.

Essay – thoughts and reasoning imprinted on paper. It is precisely – in the Montaigne sense – experiments thinking and reasoning, perfect, imperfect, perfect, imperfect, it doesn’t matter. The main thing is that before us are not even fruits, no, traces of thinking, and not shackled by academic and professional conventions, and not goods that have descended from the assembly line of “artistic prose”. An essay is, simply put, when a person of interest to us speaks about a subject of interest to us. Or, most often, about a subject that has to become interesting to us in the course and result of this conversation. The essay is a monologue genre at first glance, but in fact it is not, because it presupposes a reader equal to the author, otherwise it is not an essay, but scientific pop, or a noble, but flat enlightenment. Vladislav Degtyarev speaks to those who do not need to explain who William Morris or Gilbert Keith Chesterton is. But the point is not the erudition of both sides of the conversion, the point is that Morris, Chesterton, Burne-Jones, Foucault, Benjamin, whose angel I had the audacity to tie to the fan, the rest – all of them should be important elements of the inner intimate mental life, be their own. , be reflective. The rest is Wiki .

Essay writing is different, it has national traditions (Russian, alas, no). There is an English one, in which the essay is a complete plot, only instead of fictional characters, as in stories and novels, either real people (living or long dead) or things and ideas act there. Murder as one of the fine arts by De Quincey (curiously, the title of the book I am introducing contains an allusion to the title of this text; voluntarily? involuntarily?), the essays of Chesterton, Orwell, even Christopher Hitchens are the best examples of this tradition, which is based not Essais Montaigne (1580), and Essayes: Religious Meditations. Places of Perswasion and Disswasion. Seene and Allowed by Francis Bacon (1597). Another tradition comes just from Montaigne, it can hardly be called “national”, since it was founded by the mayor of Bordeaux, and the top was random notes made almost four hundred years later by one modest blind resident of Buenos Aires. Here is a completely different way of thinking – not a plot or even a direct argument in which we hear the author speak, but a text partly composed of various examples, quotations, references, a text that does not move at all directly and does not represent, perhaps, continuous flow. There are not even many turns in it, but pauses, gaps between what the essayist shows us. He is not exactly speaks , and shows, accompanying the demonstration with his concise comments. The rest is up to the reader to figure out. Actually, this tradition is very close to another genre that has long since died (with extremely rare exceptions): the Baroque treatise. Degtyarev’s book is an attempt to graft onto the Montaigne classic rose the wild shoots of the excess learning of Thomas Browne and Robert Burton. It turns out a heraldic plant, an allegorical hybrid. If this is heraldry, then there should be a coat of arms. It is as follows: on the sides of the heraldic plant, entwined with its branches, are the allegorical figures of Ratio and Emotions, Michel Foucault and Walter Benjamin. The composition is crowned with a ribbon with the motto “The past as a field of creativity.” She trembles over a strange botanical hybrid, over a bald philosopher and a bushy-haired philosopher (both with glasses). Yes, that’s the same ribbon on the fan, Angel of History.

There are several stories in the book, not stories , but histories . A historian would call them “the history of the early modern times”, simply “the history of the modern times” and, in part, “recent history”. We will replace all this with one concept – modernity , modernity. Degtyarev is interested in the premodern (Counter-Reformation), modern (Victorianism, Edwardianism, interwar Europe and America) periods, as well as the possibility of the postmodern as a point of retrospective observation. If we talk about cultural epochs and artistic movements, these are baroque, romanticism (Pre-Raphaelites, Gothic Revival ), late romanticism, which became a bridge (actually a broad bridge, track) to modernism. When postmodernism was invented, especially when the Cold War ended, many argued that all this was behind us and that we looked at Thomas Browne, Edward Burne-Jones, Lewis Carroll, Le Corbusier as heroes of the past, we look ironically, a little condescendingly, but not without interest. They thought that they were flying with the Angel of History somewhere far away. That was a mistake. The book of Vladislav Degtyarev should be read at least then to feel how serious this miscalculation is.

“The past as a field of creativity” – cabinet book. Such a definition is not at all condescending, as strange people think, who believe that books are written by peppy, distracted from the so-called “real life” for a couple of months to write a report about it. Books are written in offices, surrounded by books standing there. These offices can be fictitious, imaginary, in our age, few people have not only their own office, even their own separate room, designed for their own separate life. Everything is so, but there should be an office, even if you rustle the keys of a laptop while sitting in Starbucks. And books must also be present in it. Lots of books. However, “The Past as a Field of Creativity” is an “armchair book” not only because it is the fruit of solitude and learning. She is in some sense a literary analogue cabinets of curiosities collections of quirks, exoticisms, curiosities, a genre of private collecting so popular during the Renaissance, Baroque and even the Enlightenment. There are many curiosities in Degtyarev’s book – both things (old automata and mechanisms, forgotten paintings on religious and mythological themes, wild buildings), and people (early Victorian aesthetes, Edwardian writers, the Jesuit Athanasius Kircher and the multi-task graphic artist Georgy Narbut). They, following the logic of the author, are located on the shelves of his cabinets (the current meaning of the word is cabinet ), which are placed along the walls of his imaginary office (the old meaning of the word cabinet ). And, of course, this is not a museum.

But back to the Angel of History. Doomed to look back, doomed to flutter in the same place, deprived of a future, he is doomed to creativity, and what else is left for him? The scope of his work is also obvious – he is the Angel of History, so he deals with the past. Here, precisely here, is his tragedy and his triumph. Let’s not forget: the fan stands in the corner of the trading floor of a huge, crowded shopping mall. Yes, we are in hell. But this is good hell, because we have a choice: flutter or consume.

Kirill Kobrin

Introduction

I remember Walter Benjamin remarking somewhere that the best way to find a book to your liking is to write it yourself. You can, of course, cover up your own bad inclinations with reference to authority, but I, as the author of this book, have to admit that it really grew out of the thoughts of a capricious reader who all the time wanted to harness a horse and a quivering doe to his carriage.

The requirements or, if you like, the conventions of the genre make themselves felt already in the very first phrase. Of course, I know where Benjamin’s saying came from and what shelf the book is on with a bookmark in the right place. And yet, the reluctance to admit this is not a pretense, but rather a game with hard-to-define (but intuitive) rules.

Thus, although Baudelaire did not shy away from inventing quotations of respected authors for his own needs, but the modern sense of decency leads me to clarify what Roberto Calasso tells us about this, and give the year of publication and page number ^[1] .

***

The texts included in this book were written between 2006 and 2016 and were published at different times in the magazines “Safeguard” and “Knowledge is power”, on the website “Post(non)fiction”, and also in some other publications.

If the second part of the book is devoted to one character who explored the themes of the past, memory and melancholy in his works, then in the first part the cross-cutting theme of the past is accompanied by discussions about mechanisms. It seems to me that where we do not single out the past as a separate entity, different from our daily existence in the present, there we are not inclined to draw a clear line between the realm of the mechanical and the realm of the living.

Thinking about the past constantly leads us into various mental traps. When we say that in the 20th and 21st centuries the past is constantly becoming the object of various kinds of rethinking and direct falsification, we are breaking through an open door, not noticing that various (and, most importantly, completely sincere) ways of replaying the past were constantly present in culture, without implying no ideologies.

To illustrate these and other similar intuitions, I needed the help of various figures who can only be brought together by some common strangeness or even marginality – if not for their era, then at least for our understanding of it. Therefore, the heroes of the book were such people as the German Jesuit Athanasius Kircher, the English artist Edward Burne-Jones, the architect Augustus Welby Pugin and Lewis Carroll, who needs no introduction.

Most of the essays included in the book are considered as case studies devoted to some phenomenon (most often a work or artist) that can shed light on the perception of the category of the past at a certain moment in history and its relationship with the opposition of natural and artificial there and then , where this opposition takes place (and this does not always happen, which you constantly have to remind yourself of).

Each time I was surprised to discover that individuals who lived in different countries and at different times surprisingly complement each other’s statements, as if participating in a dialogue in absentia. Of course, to assume that Carroll could be familiar with the text of then unknown Samuel Butler, published in a New Zealand newspaper, or that an illustration from Kircher’s book about the Tower of Babel could influence the design of the Palace of the Soviets, in the absence of direct evidence, would be rash, but I proceed from the assumption that there are no accidents in culture. That’s more interesting.

As far as method is concerned, it was convenient for me to rely on Michel Foucault’s scheme of cultural development in Words and Things, dealing with it rather frivolously – in particular, trying to turn it from linear to cyclical. Perhaps I even succeeded, at least in part.

“Why should you always have live things in stories?” said the Professor. “Why don’t you have events, or circumstances?”

Lewis Carroll. Sylvie and Bruno Concluded.

– Do you really want living creatures to act in a fairy tale? the Professor asked. “Isn’t it possible to make up a story about events or some circumstances?

Lewis Carroll. Sylvia and Bruno (translated by Andrey Golov).

I. The past as a field of creativity

The first description of the phenomenon was made by Father Braun with the help of G. K. Chesterton (story “The Evil Fate of the Darnway Family”, 1922). The scene is England, the deserted coast of the North Sea. The time of the action is not precisely determined, although in the very first story of the Brownian cycle, a hint is given that all the events took place “long ago.” Perhaps this was the apotheosis of the increasingly decorative Queen Victoria, who loved Tennyson and Leighton. In any case, keeping in mind the semi-parodic mood, this story is most conveniently placed there.

At the beginning of the story, two artists appear on a dull and deserted seashore. A little later we learn that one of them is a criminal, and the gloomy “Gothic” entourage in the spirit of Horace Walpole and Anna Radcliffe, that is, much more radical than the “Victorian dampness” of Virginia Woolf), is a non-binding decoration. The situation, however, is escalated with an ironic insistence that makes one see Chesterton as a virtuoso master of “camp”. So: in a dilapidated castle, located almost below sea level, surrounded by half-crazy old servants, the heiress of the old Darnway family languishes (the last name sounds exactly like “done away” – “[they] are finished”), which, according to family tradition, should be combined marriage to some distant cousin. The arrival of a cousin (from distant Australia) is expected any minute. But an artist who restores family portraits brings into the light of day the image of a forgotten relative with bad inclinations. The corresponding old legend (frost on the skin!) is attached. The villain has the ability to be reborn every seventh generation, and the incoming cousin is just the seventh in a row. The artistic criminal, as often happens with Chesterton, manages to mystify and intimidate everyone, except for Father Brown, who reveals the plan and saves the day. At the same time (driven by some higher considerations), he allows the evil artist, who claims to be the girl’s hand, to eliminate his cousin. Following this, the criminal, apparently sensing the danger of exposure, disappears from the story forever, and the wise priest passes the girl from hand to hand to the second (kind) artist and explains everything along the way.

The artist who “discovered” the mysterious portrait, “made in a harsh and strong manner” of the 16th century, says that he is inclined to attribute it to Holbein, otherwise one will have to assume that an equally talented painter lived in those days. The paradox is that he talks about his work, which means that the contemporary and rival of the long-dead Holbein is himself. In itself, such a move is interesting, although not much more fantastic than the appearance under the pen of Bernard Berenson of the retroactively invented figure of “Amico Di Sandro”, a conditional author of works close to the manner of Botticelli. But the fact that none other than Holbein appears as the alleged creator of the mysterious portrait in Chesterton looks significant. Of course, by attributing his work to the brush of a famous artist, the forger not only gives it additional value (here, however, this does not interest him at all), but also gives credibility to a dubious story. However, the riddle depicted in the painting, fictional by Chesterton, refers to the riddles of other real-life images.

Hans Holbein the Younger is invisibly present in the story as the author of the famous and mysterious painting The Ambassadors (1533), which attracted the attention of many art historians. Here is how Roger Caillois describes it in his book “Into the Fantastic”: “The canvas is built like a coat of arms. Two solemnly static characters in ceremonial clothes (they are meant in the title of the picture) seem to be holding a shield, the field of which corresponds to a rack, where a collection of devices and objects is shown, symbolizing human knowledge and free arts and usually presented in still lifes of the “vanitas” genre. With all the solemnity of the composition, in general, there would be nothing particularly surprising in it if it were not for one detail: a little above the floor level, stretched out in an inclined position contrary to the laws of gravity and, obviously, other laws of nature, casting an improbable shadow, a certain a body unlike any known object, a form, a material whose presence is equally inexplicable. The dignitaries, looking straight ahead, do not notice the phantom object and, accordingly, do not show the slightest concern about this. But the spectators, whose attention it inevitably attracts, cannot share their indifference. 0595 [2] . The mysterious object turns out to be an anamorphosis of the skull, but it is possible to identify it as a skull only from a certain angle, casting a parting glance at the picture, almost parallel to the plane of the canvas. Caillois sees in this composition “the genius of the artist who planned to confront the naive eye with the riddle of skillful deformation” ^[3] . These words could also characterize the plot of Chesterton’s story, which satisfies the most stringent requirements in terms of fantasy, which, according to the same Caillois, should grow out of the very fabric of the narrative.

The beginning of the story contains a direct reference to “Lady Shalott” Tennyson, who saw the world around her only in a mirror. According to William Holman-Hunt, The Lady of Shalott is an allegory of the soul breaking off its penance and being immediately punished ^[4] . For Chesterton, this allusion serves as a metaphorical warning to those who prefer artifacts of reality and complex anamorphoses to a direct view of things as they are. The mirror motif in Chesterton’s stories is always associated with deceit (“The Sins of Count Saradin”) or, at best, with self-deception (“The Man in the Alley”, “The Judge’s Mirror”). Here self-deception is complicated, which corresponds to the complexity and fantastic nature of the criminal plan. “Mistress of this (that is, Darnway. – E.D. ) castle, – writes Chesterton, – the world appeared not only in a mirror image, but also in an inverted image. The fake portrait and the fake legend fit perfectly into this inverted picture of the world. It is also worth mentioning that the Darnway family physician, Dr. Barnet, turns out to be almost the namesake of the 17th-century natural philosopher Thomas Burnet, author of The Sacred Theory of the Earth (1682), which tells of a planet arranged like a Hermetic an egg, from the depths of which the waters of the flood broke out at one time. Against the backdrop of such bizarre esotericism, Father Brown’s rationality looks especially cozy and reliable.

A plot scheme of this kind (including a chilling story) occurs repeatedly in Chesterton, for example, in the stories “The Curse of the Golden Cross” and “The Winged Dagger”. However, in the first of them, the offender falsifies only the situation around the real artifact, and in the second, he limits himself to impersonating the victim, attributing his own mystical inclinations to her.

And Chesterton’s gothic theme is almost never presented directly. It is either ironically reduced, as happens in the story “The Purple Wig”, or translated into an ethical issue, as in “The Last Mourner”. But the game that is being played here turns out to be much more complex and multifaceted. In addition to being an almost explicit parody of The Hound of the Baskervilles, this story contains interesting philosophical overtones. Vadim Rudnev showed that Chesterton’s Brownian cycle depicts a conflict between teleological (Father Brown) and deterministic (everyone else) consciousness ^[5] . Where Father Brown’s companions (usually atheists or agnostics) turn out to be powerless to uncover and sometimes even see the criminal intent, he himself, being a rationalistically thinking Thomist, reveals the whole background of events and answers the question “cui prodest?” does not occur to other participants in the action ^[6] . At the same time, Father Brown’s explanations (as happened this time too) contradict the principle of “Occam’s razor”, which comfortably settled inside the deterministic paradigm with which the clerical detective struggles on duty.

Rudnev analyzes the construction of such stories by Chesterton as “The Sapphire Cross”, “Strange Steps”, “The Broken Sword”, “Jezreel Gau’s Honor” and “The Cursed Book”. However, everything that is contained in these texts separately and corresponds to the successive points of Rudnev’s analysis, could be immediately found in The Evil Fate of the Darnway Family, which is the quintessence of Brown’s (and Chesterton’s) method. Here the impasse of determinism is shown much more clearly than in those stories that attracted Rudnev’s attention, if only because an important place in the narrative is given to an allegedly ancient object (and a text that seems authoritative due to its age). Deterministic consciousness, following the principle of economy of thought, takes a fake, made just yesterday, for an old artifact, thereby changing its own ideas about the past. Such an “ancient” artifact is introduced into the imaginary past as a monument to some alleged events. Since these events are fictitious, this artifact should be spoken of as having the property retroactivity .

The Chesterton artist’s attempt to make the non-existent into the former must, from Father Brown’s point of view, seem like a theological paradox from the early Middle Ages turned inside out. Father Brown, in all likelihood, was well aware of the genealogy of these paradoxes, as well as the context in which they arose, and, of course, what became of them afterwards. It was about trust in reason as such. “St. Peter Damiani,” writes Frederick Copleston in A History of Medieval Philosophy, “…argued that the universal applicability of the principles of reason in the realm of theology cannot be taken for granted. Some other thinkers … felt that the claims of the human mind were refuted by such truths as the virgin birth and the resurrection of Christ. But in this case, it was more about exceptional events than about the inconsistency of logical principles. Peter Damiani went further, arguing, for example, that God in his omnipotence can change the past. So, while it is actually true today that Julius Caesar crossed the Rubicon, God could in principle make that statement false tomorrow if he wants to undo the past. If this thought diverges from the requirements of reason, then so much the worse for reason.0595 [7] . But in the very first story of the cycle (The Sapphire Cross, 1911), Father Brown exposes the brilliant criminal Flambeau, who donned a cassock because he attacked the human mind, and this, Brown says, is “bad theology. ” In the biography of St. Thomas Aquinas, written by Chesterton in the last years of his life, emphasizes a deep trust in the intellectual abilities of a person on whom the great scholastic built his philosophy. But in the so-called detective stories, Father Brown defeats evil on the same Thomistic premises. In medieval philosophy, the opinion prevailed that God is limited by cause-and-effect relationships and is not inclined to change the past of the world he created. A retroactive object, on the other hand, contradicts this fundamental principle: here the effect is assumed to precede in time the cause that caused it.

Similar to Darnway’s Fateful Fate is Peter Ackroyd’s novel Chatterton, which revolves around a painting of Thomas Chatterton, a poet and suicidal man, who has reached an advanced age and is surrounded by books whose titles match those of William Blake’s poems. Yet the painting turns out to be a 19th-century forgery, and Chatterton really died at nineteen. But this is fiction, and from what remains in the annals of history, the activity of van Meegeren, the author of the famous 19Apocryphal “Vermeers” from the 1930s to 1940s. It is noteworthy that Igor Golomshtok considers him among the masters of the pictorial avant-garde ^[8] . Van’s story is widely known and even mentioned in William Wyler’s classic film How to Steal a Million. Nevertheless, it is worth repeating it again so as not to sacrifice the coherence of the presentation.

The Dutch painter Han van (1889–1947) began his career as a forger by painting and selling two paintings in 1923 purporting to be Frans Hals. The forgery was revealed, but for some reason the name of the forger was not made public. He prepared much more carefully for his next venture. In order to produce a series of gospel paintings that could be attributed to Vermeer of Delft, van y had to study not only the artist’s manner and painting technique of his time, but everything that was written about him by art critics. And in the works of Abraham Bredius, the greatest specialist on Vermeer, he found those constructions on which the forger could rely. Vermeer’s early work is known to differ considerably in style from his famous later paintings. Bredius postulated the need for the existence of some unsurvived or unfound Vermeer paintings that would fill the stylistic gap and the time interval. Wang was able to answer this challenge. And if he had not sold one of his works to Goering later, already during the occupation of the Netherlands, the collaborationism case would not have arisen. And we, perhaps, would have been confident that his creations are happily sought after paintings by everyone’s favorite artist. But van Meegeren had to confess to making forgeries in order to avoid a much more serious charge of selling off a national treasure.

The only reason to classify the famous falsifier among the avant-gardists can only be scrupulous adherence to Maxim Shapir and Vadim Rudnev, who distinguished the avant-garde and modernism in accordance with their artistic strategies ^[9] . Avant-garde, unlike modernism, is focused on pragmatics, on non-traditional ways of communicating with the viewer, reader, listener. The fake canvas simulates a certain life situation in both van Meygeren and Chesterton. This, in fact, is the purpose of a retroactive work. And his inherent avant-garde strategy with irrational undertones can bring to life many strange phenomena.

And if we talk about life situations, as well as historical situations, then just in the 20th century there are those disasters, the only way to celebrate the happy deliverance from which is possible: to erase their material traces, wherever possible, and as soon as possible and more carefully. David Lowenthal, in his compendium The Past Is a Foreign Country, speaks of the irrational, self-doubting impression that Warsaw, rebuilt after the war, made on the person who found it in ruins: “The house in which I was born was destroyed thirty-six years ago – but I can go into my childhood bedroom, look out of the same window and see the same house in the courtyard opposite … Even the lamp arm with intricate curls hangs in the same place. It’s unnerving when you start to think. Is it “real” or not? ^[10] You can, of course, lose faith in the reality of the present, but the task of reconstruction is something else – to question the reality of an unpleasant past, but it is better to cancel it altogether. The past (the horrors of war, and in the case of Warsaw, also national humiliation) effectively becomes non-existent, despite the assurances of the scholastics that even God is not capable of this. Parenthetically, it can be noted that the opposite tendency – to make the non-existent the former – died in the bud, although it was represented by such a solid figure as I.A. Fomin, who was going, in particular, to complete the construction of the second colonnade of the Kazan Cathedral. But this, like the restoration of Peterhof, was a long time ago, and besides, you still need to go to Warsaw. And yet, not far away, there is an object on which all the contradictions of what would be worth calling historical reconstruction were perfectly manifested, if this expression were not already used.

Educational area CREATIVITY | The system of indicators of the competence development of children

Educational area T VORCHEVO

Introduction

Creativity plays a huge role in shaping
spiritual development of the individual, in the improvement of human feelings, in
understanding the phenomena of life and nature.

A child from birth is surrounded by the world of things, bearing on itself
the imprint of the development of civilization as a set of material values ​​and
representations of the socio-aesthetic ideal. Wealth reflects
achieve technological progress, while the socio-aesthetic ideal
determined by the level of development of spiritual culture.

It exists in two inextricably linked forms:

The first form – the spiritual qualities of the child and his
activity for their objectification, that is, creativity.

The second is the spiritual values ​​created by the child, that is
works of art.

For the timely and full development of creativity in
education should be reduced to the constant development of intellectual and
sensuous nature in man. Through initiation to art in man
creativity is activated, and the earlier the foundations for this are laid
potential, the more active will be its manifestation in familiarization with artistic
values ​​of world culture, the more developed will be the aesthetic creation
a person, which will certainly affect the expansion of the sphere of his spiritual
needs.

Early age

1 to 2 years

·
Musical
activities

Produce an emotional response to music using the most
various techniques (gestures, facial expressions, singing, movement). Support
desire to listen to music. Repeat with children
works with which they were previously introduced.

·
Productive
activities

Stimulate the desire to manipulate colors and
pencils and thereby evoke an associative image, evoke an emotional
reaction to bright colors of paints, provide the opportunity to rhythmically fill
sheet of paper with bright spots and strokes.

·
Aesthetic
perception of the environment

Encourage emotional responses to objects and
toys of bright colors, on natural phenomena, plants, animals and birds.

Junior preschool age

2 to 3 years

·
Musical
activities

Raise interest in music, desire to listen to music and
sing along, perform dance movements to the music and in accordance with
the words of the songs.

·
Productive
activities

Continue learning to rhythmically apply strokes, stains,
creating the simplest color compositions, choose your own paint color and
paper sheet background. Introduce the properties of clay, help master the techniques
modeling. Encourage the desire to experiment with paints, pencils, lump
clay, ready-made applicative forms. Maintain an active desire to
co-creation with adults.

·
Aesthetic
perception of the environment

Develop children’s interest in the environment: turn them
attention to what a clean, beautiful, bright room they play and
are busy with how many bright, elegant toys are in it, how beautifully cleaned
the beds they sleep on.

On walks, consider plants with children,
kindergarten equipment.

3 to 4 years

·
Musical
activities

Introduce children to the sound of new instruments.

Learn to perform movements in accordance with musical
genres: dance, march, lullaby. Contribute to the development of musical
memory, to form the ability to recognize familiar songs, plays, to feel the character
music, react emotionally to it. Teaching kids how to play the drums
instruments, play the simplest rhythmic patterns with the help of claps,
floods and other movements. Encourage participation in music
dramatization games with adults.

·
Productive
activities

Develop skills in drawing objects from several parts of a round,
rectangular and triangular shapes. Exercise in the shaping movements of the hand.
Teach children to combine objects into a plot. Teaching children to work in harmony
with both hands during modeling, applications

·
Aesthetic
perception of the environment

Develop aesthetic perception; pay attention
children to the beauty of surrounding objects, objects of nature.

Generate interest in visual arts
activities. Learn to see the beauty of the main form, its parts, colors. To include in
this process of movement of both hands on the subject, covering the subject with hands.
Develop the ability to see the beauty of color in objects of nature, pictures, folk
toys, children’s clothes. elicit a positive emotional response to
the beauty of nature is a work of art. Learn to create both individual and
and collective compositions in drawings, modeling, appliqué.

4 to 5 years

·
Musical
activities

Support children’s desire and ability to listen
music; encourage them to talk about its possible content, share their
impressions. Continue to introduce musical instruments and their
sound. To introduce the language of dance movements as a means of communication and expression of emotions in
various dances. Develop singing skills using playing techniques and
images known to children. To teach children to play in a percussion band, to master
rhythmic pattern.

Support elements of creativity and improvisation in
musical movement, speech intonation.

·
Fine
activities

Develop interest in visual arts.
Cause a positive emotional response to the offer to draw, sculpt,
cut and paste.

To develop independence, activity, creativity.

Continue to develop the ability to create collective
works in drawing, modeling, applications. Familiarize yourself with arts and crafts
art.

Lead children to evaluate the work created by comrades.
Learn to be friendly when evaluating the work of other children. Learn to be kind
when evaluating the work of other children. Learn to highlight the means of expression.

·
Aesthetic
perception of the environment

Continue to develop aesthetic perception,
imagination, aesthetic feelings, artistic and creative abilities,
the ability to examine and examine objects, including with the help of hands
form imaginative representations. Enrich children’s ideas about art
as the basis for the development of children’s creativity.

Senior preschool age

5 to 6 years

·
Musical
activities

Continue to develop aesthetic perception, interest,
love for music, to form a musical culture based on acquaintance with
composers, with classical, folk and contemporary music. Continue
develop the musical abilities of children: pitch, rhythm, timbre,
dynamic hearing; emotional responsiveness and creativity.

Encourage further development of singing skills,
movements to music, games and improvisation of melodies on children’s musical
tools.

To develop the ability of children to understand the features
game characters and independently find expressive
pantomimic, mimic and intonation characteristics; develop
Creative skills.

·
Productive
activities

Continue to develop interest in fine arts
activities. Learn to convey in the image not only the main properties
objects, but also characteristic details, the ratio of objects and their parts according to
size, height, location relative to each other. improve
visual skills and abilities, to form artistic and creative
capabilities. Develop a sense of color, shape, proportions; artistic taste.
Encourage children to express their ideas in art form,
experiences, feelings, thoughts, support personal creativity.
Support the desire to independently combine familiar techniques
visual activity

Continue to introduce children to the national decorative –
applied arts; with other types of decorative and applied arts.
Involve children in design activities

To form the ability to organize your workplace,
prepare all materials for the lesson, work carefully, spend economically
materials, keep the workplace clean, after work to bring it
in order.

Continue to improve children’s ability to see
work (drawings, modeling, appliqué), enjoy the result achieved.

·
Aesthetic
perception of the environment

Enrich children’s sensory experience. develop aesthetic
perception, to teach to contemplate the beauty of the world around. develop ability
observe, peer into the phenomena and objects of nature, notice their changes in
nature. To instill communication skills with objects of art.

indicators

Pskov regional center of folk art

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The regional festival of children’s creativity to identify and support talented children living in rural areas “We are from the future” is starting the second stage – zonal qualifying rounds. Please read the information and schedule carefully. We are waiting for your applications for participation, according to the schedule of the qualifying stages of the qualifying rounds. Regulation

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In the Pskov regional center of folk art, the collection “Objects of the intangible cultural heritage of the Pskov region” was published. The collection includes 74 objects of intangible cultural heritage of the Pskov region, collected by specialists of the Pskov Regional Center for Folk Art and municipal cultural institutions from 2013-2020.

Link to collection (PDF)

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October 4-6, 2022 in Khanty-Mansiysk, the All-Russian exhibition-defile “Dressy Russia” will be held. The event is a creative platform for presenting the traditions of the national costumes of the peoples of the Russian Federation and is included in the program of the main events of the All-Russian Forum of National Unity, timed to coincide with the Year of the Cultural Heritage of the Peoples of Russia. From the Pskov region, the head of the folk group of the folklore ensemble “Ugrada” – Galina Berezina and the master of arts and crafts, the author of the collection of costumes for the folklore ensemble “Ugrada”, made on the model of the ethnographic women’s festive costume of the Toropetsky district of the Pskov province – Tatiana Porshenkov.

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On September 30, on the occasion of the International Day of the Elderly, a festive evening will be held on the basis of the Samolvovsky rural House of Culture (Gdovsky district) with the participation of the folklore ensemble “Ugrada” (headed by Galina Berezina). The participants of the party will enjoy folk games and amusements, songs of the Pskov land, couples dances to the accordion and “little fights”. People of elegant age with a young soul are invited!

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From October 2 to October 9, the IX International Festival of Children’s and Family Films “Zero Plus” will be held in Tyumen. The annual event is dedicated to value-oriented and educational cinema from around the world. The purpose of the annual festival is to popularize films aimed at developing the creative worldview of children and youth, promoting the values ​​of family, friendship, work, creativity, nature, culture, and sports. online screenings of festival films on the educational platform of the Zero Plus cinema zeroplus . tv ; screenings in the regions of the “Echo of the Festival”. Free screenings of films for children and teenagers can be organized from 3 to 31 October 2022. The films included in the program of this year’s film festival will be presented for screening by the organizing team of the Zero Plus film festival. An application for organizing shows in the region can be filled out on the website zeroplus.rf in the “Showings in the regions” section. Also, on October 3-4, 2022, the V International Forum “Cinema Pedagogy” will be held in Tyumen (in-person and online participation is possible). You can learn more about the event, get acquainted with the program and apply on the website kinopedagogy. rf . Contact person for organizing screenings: Gamova Anastasia Nikolaevna, +7(922) 47-00-861, [email protected].

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On September 24, in the Astrakhan Kremlin, with the support of the Presidential Fund for Cultural Initiatives, the regional government and the Foundation for the Study of the Heritage of P.A. theater of opera and ballet. By tradition, soloists of the Children’s Choir of Russia took part in the program of the gala concert of the Festival. Among them is our fellow countrywoman, a graduate of the Children’s Music School No. M.P. Mussorgsky, Velikie Luki – Alina Zholobova. Congratulations to Alina on such a significant event in her creative work! We wish her further creative victories and achievements!

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The results of the regional stage of the All-Russian Choir Festival have been summed up in the Pskov region. The teams are preparing for a trip to the district stage, which will take place this year on October 13 at the State Academic Chapel of St. Petersburg. We wish the participants of the festival good luck!

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On October 12, the Pskov Regional Folk Art Center presents a fashion show dedicated to the 610th anniversary of the city of Opochka as part of the regional national costume competition. Craftswomen and professional designers from the Pskov region take part in the show. The viewer’s attention will be given a variety of interpretations of folk clothes in a modern wardrobe, a stylized stage costume, replicas of historical and ethnographic costumes. The author’s vision of the folk costume in modern fashion will be presented by the masters: Anna Rogacheva, Natalya Nikolaeva, Galina Nikitina and Zhanna Novikova. The creative team from the city of Pustoshka “Mother’s Joy” (headed by O.V. Murzich)) will demonstrate collections of folk costumes adapted for the stage and modern choreography. Galina Nikitina and Marina Aleksandrova will perform with the collection Fashion 1927 years”, and the reenactor Galina Podlineva will present a collection with replicas of ethnographic historical costumes. For the audience there will be organized the competition “Defile from the people”, “Mysteries from the sewing chest”. During the event, many interesting facts about fashion, design and the culture of wearing folk clothes will be heard. The screening will take place in the MBUK “Opochetsky regional center of culture” (Opochka, Kalinina st. 2A) at 15-30.

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Pskov hosts a creative forum of directors of clubs in the Pskov region. The main speakers of the forum were Alexander Matveev, Deputy Director of the Centralized Club System of the City of Cheboksary, and Anton Fedorov, Director of the Centralized Club System of the City of Cheboksary, Mariinsko-Posadsky District, the Republic of Chuvashia. During the second part of the forum program, Maxim Shaposhnikov, director of the Belgorod State Center for Folk Art, will make an online speech on the topic “Pushkin Map. Territory branding.

Program of the Forum

Photo report

Photo report 2

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The Pskov Regional Folk Art Center presents the results of the regional stage of the All-Russian Choir Festival, which took place this year in a remote format

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The project is implemented in the Year of the Cultural Heritage of the Peoples of Russia by the Resource Center in the field of national relations in partnership with the Assembly of the Peoples of Russia, the Association of Ethnographic Museums of Russia with the support of the Federal Agency for Nationalities Affairs, the Commission of the Public Chamber of the Russian Federation for the Harmonization of Interethnic and Interreligious Relations and the Commission of the Public Chamber RF on territorial development and local self-government. Information partners of the competition: TV channel “My Planet” and the First Russian National Channel. More details: http://resourcecenter-anr.rf/russian-federation/project/virtualnyy-tur

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On September 24, 2022, within the framework of the project “Light from Usvyat” , a regional festival-competition of an authentic song dedicated to the 100th anniversary of O.F. Sergeeva

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On September 17, 2022, the regional open festival of theatrical art “To Sebezh to Gerdt” was held in Sebezh. PHOTOREPORT

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News

Bryansk Regional Methodological Center “Folk Art”

Exhibition “Traditions are our strength”

Material Information

Published: September 19, 2022

Views: 290

On September 26, in the Palace of Culture of the BMZ of the Bryansk Regional Methodological Center “Folk Art”, within the framework of regional events dedicated to the Year of the Cultural Heritage of the Peoples of Russia, the exhibition “In Traditions is Our Strength” began its work.

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The Canterville Ghost will be shown on the stage of the BMZ Palace of Culture

Material Information

Published: 03 October 2022

Views: 45

November 11 at 18:00 on the stage of the Palace of Culture of the BMZ of the Bryansk regional methodological center “Folk Art” will show the play “Canterville Ghost”, prepared by the team of the children’s musical theater “Orpheus”.

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Material Information

Published: September 29, 2022

Views: 95

Attention! WE ARE ANNOUNCING THE RECEPTION OF STUDENTS FOR THE NEW ACADEMIC YEAR TO THE SCHOOL-STUDIO “MASTER”. DIVISION “TEXTILE DOLL”

“Kalinka” successfully performed with a new program within the framework of the All-Russian project “Small Tours”

Material Information

Published: 04 October 2022

Views: 69

September 21 at the Pogarsky District House of Culture, September 24 at the Zhukovsky cultural and leisure center, September 26 at the Zlynkovsky cultural and leisure association, October 1 at the Klintsovsky City House of Culture and October 2 at the Palace of Culture. Meyperiani (Seltso) hosted concerts of the Honored Folk Art Collective of the Folk Dance Ensemble Kalinka.

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Results of the regional competition “Peter I on the Bryansk land”

Material Information

Published: 04 October 2022

Views: 53

From September to October 2022, in the municipalities of the Bryansk region, a competition of works by amateur artists “Peter I on the Bryansk land” was held, dedicated to the 350th anniversary of the birth of Peter I.

The organizing committee received more than 30 applications.

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The virtual concert hall was solemnly opened in the city of Novozybkov

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Published: 03 October 2022

Visitors: 67

As part of the implementation of the national project “Culture” of the regional project “Digital Culture”, the sixth virtual concert hall in the region was opened in the city of Novozybkov.

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A regional seminar dedicated to the Year of Cultural Heritage of the Peoples of Russia was held at the Folk Art Center

Material Information

Published: September 30, 2022

Visitors: 155

September 29 in the Bryansk Regional Methodological Center “Folk Art” a seminar dedicated to the Year of Cultural Heritage of the Peoples of Russia was held. Employees of the Center, cultural and leisure institutions and heads of creative teams took part in its work.

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The Center “Folk Art” for participants and teachers of the Center for Gifted Children “OGMA” organized an exhibition “Century traditions of the Bryansk region”

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Published: September 28, 2022

Views: 125

On September 27, the Palace of Culture of the BMZ of the Bryansk Regional Methodological Center “Folk Art” was visited by participants and teachers of the Center for Gifted Children “OGMA”.

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Events of the All-Russian cycle of folklore expeditions took place on the territory of the Bryansk region

Material Information

Published: September 27, 2022

Visitors: 193

In the Year of the Cultural Heritage of the Peoples of Russia, from September 19 to 23, folklore and ethnographic expeditions took place on the territory of the Bryansk region. The objects of research by specialists from the Center for Russian Folklore of the State Russian House of Folk Art named after V.D. Polenov and the Bryansk Regional Methodological Center “Folk Art” became original folklore and ritual traditions, still preserved in the villages and villages of our region.

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New musical instruments and costumes, modern technical equipment were purchased with grant support to cultural and leisure institutions of the Bryansk region

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Published: September 21, 2022

Views: 251

In 2022, within the framework of the regional project “Creative People” of the national project “Culture”, three grant projects among cultural and leisure institutions were implemented in the Bryansk region.

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In the Bryansk region, in the format of a creative laboratory, the events of the All-Russian Folklore Festival “Desnyansky Khorovod” were held

Material Information

Published: September 19, 2022

Visitors: 608

On September 16, as part of the regional events dedicated to the Year of the Cultural Heritage of the Peoples of Russia, the Seventh All-Russian Folklore Festival “Desnyansky Khorovod” was held in the Karachevsky District. The participants of the festival were teams from Moscow, St. Petersburg; Belgorod, Bryansk, Kaluga, Kursk, Orel, Smolensk, Tula regions of Russia; Gomel region (Republic of Belarus) and the Donetsk People’s Republic.

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VIII All-Russian Festival of Family Amateur Theaters “A fairy tale comes to your house”

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Published: 05 September 2022

Views: 428

On October 29-31, 2022, the VIII All-Russian Festival of Family Amateur Theaters “A Fairy Tale Comes to Your House” will be held in Moscow.

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Filming of the ethnographic project “Traditional folk costume of the Bryansk region of the late 19th – early 20th centuries” continues in the Bryansk region

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Published: August 18, 2022

Views: 713

Photo shooting of unique traditional folk costumes in Romanovka village and village started today. Nemerichi, Dyatkovsky district.

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Meetings-conversations with masters of arts and crafts

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Published: 04 August 2022

Viewings: 1596

We present to your attention a series of programs prepared by the correspondents of the TV channels “Bryansk Province” and STRC “Bryansk”.

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Master classes from folk masters of Russia and the Bryansk region.

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Published: February 14, 2022

Views: 2040

In the Year of the Cultural Heritage of the Peoples of Russia, in order to popularize and preserve the traditions of arts and crafts, we bring to your attention video master classes from folk craftsmen of Russia and the Bryansk region.

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Regulations of festivals, competitions SAUK “BOMC “Folk Art” in 2022

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Published: 01 January 2022

Views: 3639

Work plan of the SAUK “Bryansk Regional Methodological Center” Folk Art “for 2022

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Published: January 19, 2022

Views: 485

Price list for the provision of services SAUK “Bryansk Regional Methodological Center” Folk Art “

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Published: January 11, 2022

Views: 318

Creative teams of the Center “Folk Art” announce the recruitment of new participants:

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Published: 02 August 2021

Views: 2066

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