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Creative Involvement: The Evolution of China's Global Role (China Perspectives)
by Yizhou WangThis book continues the "creative involvement" proposition put forward in Creative Involvement: A New Direction in China's Diplomacy with new cases and stories to enrich its content. It discusses China's global role, and explores its root cause of formation, development stages, and future direction. The main conclusion is that this role is preliminary and incomplete and needs continuous learning and improvement; China standing on the global high ground needs not only hard power but also wisdom and creativity. On research methods and writing approach, firstly, this book follows the philosophy of "practice first", namely, starting from historical experiences, focusing on practical issues, and exploring objectives and clues through case studies. Secondly, the three parts in the book have different sub-themes, but they are subject to the same thinking, that is, how does China advance toward a central role from the marginal edge of contemporary international system, how to develop doctrines or practices for China’s involvement in world affairs, and how to borrow the experiences of others to help China move forward on the global high ground. Combing innovative theoretical idea with practical investigation, this book will not only contribute to contemporary China Diplomatic studies but also appeal to scholars and students of International Relation studies. People who are interested in the rise of China and global governance will also benefit from this book.
The Creative Matrix of the Origins: Dynamisms, Forces and the Shaping of Life (Analecta Husserliana #77)
by Anna-Teresa Tymieniecka
Creative Power of Silence
by Swami ParamanandaSilence, the great unseen power, the miracle of life, works upon our character with strange contrast.Prior to spiritual studies, the idea of complete silence is strongly advocated by many. In practicing the silence, it is found to unfold our higher nature. The silence allows concentration. With the intrusion of noise, the mind cannot be receptive.Contrary to some belief, the silence is not to free the mind to allow emptiness. It means co-ordination of body and mind. It reduces friction and becomes a definite factor for our concentrated thought. The silence is essential for all forms of study. “A silent being is a very restful being. All wise people realize the deeper part of our nature can only be expressed effectively when our outer being is still.”
Creative Production and Management in the Performing Arts: Modus Operandi (Routledge Advances in Theatre & Performance Studies)
by Vânia RodriguesThis volume takes stock of the ways in which the regimes of artistic creation and production intersect, lending special attention to emergent discourses and work models of producing and managing theatre, dance, and performance – through the lenses of creative producers.This book suggests that social protection failures, longstanding institutional shortcomings, and the dilemmas of social and environmental sustainability are pushing arts management and production modi operandi towards a review of its expansionist assumptions and managerial hyper-productivist processes. By documenting singular ‘counter-management’ experiences in Portugal, Belgium, France, and Brazil, this study makes a strong claim for a reassessment of the role of producers and art managers as reflective practitioners and as pivotal elements towards more sustainable artistic practices.This study will be of great interest to students and scholars in theatre and performance studies, policymakers, and cultural professionals.
Creative Production and Management in the Performing Arts: Modus Operandi (Routledge Advances in Theatre & Performance Studies)
by Vânia RodriguesThis volume takes stock of the ways in which the regimes of artistic creation and production intersect, lending special attention to emergent discourses and work models of producing and managing theatre, dance, and performance – through the lenses of creative producers.This book suggests that social protection failures, longstanding institutional shortcomings, and the dilemmas of social and environmental sustainability are pushing arts management and production modi operandi towards a review of its expansionist assumptions and managerial hyper-productivist processes. By documenting singular ‘counter-management’ experiences in Portugal, Belgium, France, and Brazil, this study makes a strong claim for a reassessment of the role of producers and art managers as reflective practitioners and as pivotal elements towards more sustainable artistic practices.This study will be of great interest to students and scholars in theatre and performance studies, policymakers, and cultural professionals.
Creative Radicalism in the Middle East: Culture and the Arab Left after the Uprisings (Written Culture and Identity)
by Sorcha ThomsonAddressing the question of how neoliberal ideology has served to conflate the radical left with extremism, this book examines how the Arab left has asserted itself in the context of authoritarianism and Islamic extremism during and after the Arab uprisings. It examines how the Arab cultural left has offered a critique of the signifying practices of political hegemonies in the region and argues that though creative expression as constituted in the very language of the Arab uprisings, it has put forward its own alternativesUsing a wide array of texts and sources, both Arab and non-Arab, the opening chapters of the book identify how ethical and radical values pertaining to sociality are co-opted by political leaders in the Middle East and turned into jargon. Later chapters outline resistance to this co-option through a poetics of inter-subjectivity that takes structures of feeling into account, ranging from disappointment, despair and distrust, to dignity, solidarity and reconfigured senses of the sacred. In showing how psychological and affective states relate to signifying practices, the book offers an original conceptual framework for differentiating 'radicalization' from the creative radicalism of the Arab avant-garde.
Creative Radicalism in the Middle East: Culture and the Arab Left after the Uprisings (Written Culture and Identity)
by Sorcha ThomsonAddressing the question of how neoliberal ideology has served to conflate the radical left with extremism, this book examines how the Arab left has asserted itself in the context of authoritarianism and Islamic extremism during and after the Arab uprisings. It examines how the Arab cultural left has offered a critique of the signifying practices of political hegemonies in the region and argues that though creative expression as constituted in the very language of the Arab uprisings, it has put forward its own alternativesUsing a wide array of texts and sources, both Arab and non-Arab, the opening chapters of the book identify how ethical and radical values pertaining to sociality are co-opted by political leaders in the Middle East and turned into jargon. Later chapters outline resistance to this co-option through a poetics of inter-subjectivity that takes structures of feeling into account, ranging from disappointment, despair and distrust, to dignity, solidarity and reconfigured senses of the sacred. In showing how psychological and affective states relate to signifying practices, the book offers an original conceptual framework for differentiating 'radicalization' from the creative radicalism of the Arab avant-garde.
Creative Rebellion for the Twenty-First Century: The Importance of Public and Interactive Art to Political Life in America
by D. BorosEmploying political philosophy to argue the need for social and public art projects to be a part of the everyday lives of Americans, Boros creates a new synthesis of philosophical ideas to support the political value of public art.
Creative Simulations: George Mallen and the Early Computer Arts Society (Springer Series on Cultural Computing)
by Catherine MasonThis book is centred on the practitioner-led Computer Arts Society founded in 1969 and formed to address creative computation in all the arts – performance, poetry, text, sound, sculpture and graphics. The objectives and achievements of the Computer Arts Society are presented as realised through their members and exhibitions to the mid-1970s. The Society’s co-founder is Dr George Mallen, a pioneer of cybernetic systems and cultural applications of computing. Creative Simulations contains new research including Mallen’s early work with cybernetician Gordon Pask, whose concepts of interdisciplinarity were influential on the ground-breaking Ecogame (1970). Led by Mallen, Ecogame was a collaborative Computer Arts Society project, an early embodiment of computer technology into art and the first multi-media interactive gaming system in the UK. Pask’s influence in Mallen’s subsequent role at the Royal College of Art where he instigated the first computerlab facilities for artists, is examined. A recently discovered lecture given by Mallen is transcribed, along with reproduction of historic texts by Stephen Willats and John Lansdown (two of his colleagues), which add context to this history of interdisciplinary artistic innovation in the digital realm. Illustrations include art works, ephemera, exhibition posters and installations, preparatory drawings, computing equipment and associated flow charts and diagrams, many appearing here in print for the first time.
Creative Teaching: History in the Primary Classroom
by Rosie Turner-BissetDesigned specifically for teachers with little subject knowledge or experience in history, this book provides trainees with the confidence they need to teach primary history. Based on Curriculum 2000, the book provides valuable step-by-step guidance on how to create, plan, develop, organize and assess high-quality teaching activities in primary history. This book: is full of teaching approaches, practical ideas, teaching activities, real-life case studies and vignettes of good teaching practice; covers both conventional and modern approaches - such as drama, role-play, story telling, music and dance; and explains how each approach can be adapted to suit all primary ages and abilities. Children with a range of learning needs and styles respond with enthusiasm to a wide variety of teaching approaches - and this book provides trainee teachers with that repertoire and variety.
Creative Teaching: History in the Primary Classroom
by Rosie Turner-BissetDesigned specifically for teachers with little subject knowledge or experience in history, this book provides trainees with the confidence they need to teach primary history. Based on Curriculum 2000, the book provides valuable step-by-step guidance on how to create, plan, develop, organize and assess high-quality teaching activities in primary history. This book: is full of teaching approaches, practical ideas, teaching activities, real-life case studies and vignettes of good teaching practice; covers both conventional and modern approaches - such as drama, role-play, story telling, music and dance; and explains how each approach can be adapted to suit all primary ages and abilities. Children with a range of learning needs and styles respond with enthusiasm to a wide variety of teaching approaches - and this book provides trainee teachers with that repertoire and variety.
Creative Union: The Professional Organization of Soviet Composers, 1939–1953
by Kiril TomoffWhy did the Stalin era, a period characterized by bureaucratic control and the reign of Socialist Realism in the arts, witness such an extraordinary upsurge of musical creativity and the prominence of musicians in the cultural elite? This is one of the questions that Kiril Tomoff seeks to answer in Creative Union, the first book about any of the professional unions that dominated Soviet cultural life at the time. Drawing on hitherto untapped archives, he shows how the Union of Soviet Composers established control over the music profession and negotiated the relationship between composers and the Communist Party leadership. Central to Tomoff's argument is the institutional authority and prestige that the musical profession accrued and deployed within Soviet society, enabling musicians to withstand the postwar disciplinary campaigns that were so crippling in other artistic and literary spheres.Most accounts of Soviet musical life focus on famous individuals or the campaign against Shostakovich's Lady Macbeth and Zhdanov's postwar attack on musical formalism. Tomoff's approach, while not downplaying these notorious events, shows that the Union was able to develop and direct a musical profession that enjoyed enormous social prestige. The Union's leadership was able to use its expertise to determine the criteria of musical value with a degree of independence. Tomoff's book reveals the complex and mutable interaction of creative intelligentsia and political elite in a period hitherto characterized as one of totalitarian control.
Creative Ways to apply Historical GIS: Promoting Research and Teaching about Europe
by Jordi Martí-HennebergThis volume promotes the use of Historical GIS (H-GIS) for both education and research. It consists of a coherent set of chapters that allow readers to study the spatial histories of cities, infrastructure, landscapes, and more across Europe. Each chapter is accompanied by Electronic Supplementary Material (ESM) including GIS data, guides and complementary material in .pdf format, and more. To date, there are no similar materials available in this field compiled in a single book. Interdisciplinarity in spatial research is a main theme of this volume, and the text and tools provided here allow readers to combine inputs relating to the study of earth sciences, population, urban growth and transportation, focusing on changes over both space and time. Each chapter provides data in GIS format and also a user's guide to enable readers to deeply engage with the contents themselves. Guidelines are provided to help locate new data about other areas of the world, which users will be able to develop independently. The book is divided into three parts, each presenting different scales of study and analysis at the local, regional and national levels. Part One deals with general subjects analyzed across large areas, mainly within Europe. Part Two provides more specific subjects and data. Part Three covers sources and teaching with H-GIS. The book will be of interest to researchers, academics, teachers and students from secondary schools up to university level. Each subject and tutorial is aimed at a multi-level audience.
Creative Women of the “Lost Generation”: Women in the Arts in the Wake of the Great War (Routledge Studies in First World War History)
by Kimberly Francis Margot IrvineThis book explores the creative women of the "Lost Generation" including painters, sculptors, film makers, writers, singers, composers, dancers, and impresarios who all pursued artistic careers in the years leading up to, during, and following World War I. These women’s stories, and the art they created, commissioned, mobilized as propaganda, and performed shed light on the shifting nature of gender norms during this period. With the combined knowledge and expertise from different contributors, chapters in this book consider how modernist practices continued their development in women’s hands during the war through networks forged by and for women artists in the absence of their male colleagues. These chapters also reflect on how, in many cases, the dissolution of these structures after the November 1918 armistice had detrimental consequences for their professional trajectories. This book challenges the place creative women currently hold in the historical record while also clarifying how these artists and impresarios contributed to wartime and post-war culture. This collection of essays will be of great value to scholars interested in social and gender history of the twentieth century, as well as historians of the arts through offering nuanced understanding of the essential work of female creative professionals, highlighting artistic women’s experiences of resistance, mourning, and reinvention in the shadow of the Great War.
Creative Women of the “Lost Generation”: Women in the Arts in the Wake of the Great War (Routledge Studies in First World War History)
This book explores the creative women of the "Lost Generation" including painters, sculptors, film makers, writers, singers, composers, dancers, and impresarios who all pursued artistic careers in the years leading up to, during, and following World War I. These women’s stories, and the art they created, commissioned, mobilized as propaganda, and performed shed light on the shifting nature of gender norms during this period. With the combined knowledge and expertise from different contributors, chapters in this book consider how modernist practices continued their development in women’s hands during the war through networks forged by and for women artists in the absence of their male colleagues. These chapters also reflect on how, in many cases, the dissolution of these structures after the November 1918 armistice had detrimental consequences for their professional trajectories. This book challenges the place creative women currently hold in the historical record while also clarifying how these artists and impresarios contributed to wartime and post-war culture. This collection of essays will be of great value to scholars interested in social and gender history of the twentieth century, as well as historians of the arts through offering nuanced understanding of the essential work of female creative professionals, highlighting artistic women’s experiences of resistance, mourning, and reinvention in the shadow of the Great War.
Creatively Undecided: Toward a History and Philosophy of Scientific Agency
by Menachem FischThomas Kuhn and Karl Popper are believed by many who study science to be the two key thinkers of the twentieth century. Each addressed the question of how scientific theories change, but they came to different conclusions. By turning our attention to ambiguity and indecision in science, Menachem Fisch, in Creatively Undecided, offers a new way to look at how scientific understandings change. Following Kuhn, Fisch argues that scientific practice depends on the framework in which it is conducted, but he also shows that those frameworks can be understood as the possible outcomes of the rational deliberation that Popper viewed as central to theory change. How can a scientist subject her standards to rational appraisal if that very act requires the use of those standards? The way out, Fisch argues, is by looking at the incentives scientists have to create alternative frameworks in the first place. Fisch argues that while science can only be transformed from within, by people who have standing in the field, criticism from the outside is essential. We may not be able to be sufficiently self-critical on our own, but trusted criticism from outside, even if resisted, can begin to change our perspective—at which point transformative self-criticism becomes a real option.
Creatively Undecided: Toward a History and Philosophy of Scientific Agency
by Menachem FischThomas Kuhn and Karl Popper are believed by many who study science to be the two key thinkers of the twentieth century. Each addressed the question of how scientific theories change, but they came to different conclusions. By turning our attention to ambiguity and indecision in science, Menachem Fisch, in Creatively Undecided, offers a new way to look at how scientific understandings change. Following Kuhn, Fisch argues that scientific practice depends on the framework in which it is conducted, but he also shows that those frameworks can be understood as the possible outcomes of the rational deliberation that Popper viewed as central to theory change. How can a scientist subject her standards to rational appraisal if that very act requires the use of those standards? The way out, Fisch argues, is by looking at the incentives scientists have to create alternative frameworks in the first place. Fisch argues that while science can only be transformed from within, by people who have standing in the field, criticism from the outside is essential. We may not be able to be sufficiently self-critical on our own, but trusted criticism from outside, even if resisted, can begin to change our perspective—at which point transformative self-criticism becomes a real option.
Creatively Undecided: Toward a History and Philosophy of Scientific Agency
by Menachem FischThomas Kuhn and Karl Popper are believed by many who study science to be the two key thinkers of the twentieth century. Each addressed the question of how scientific theories change, but they came to different conclusions. By turning our attention to ambiguity and indecision in science, Menachem Fisch, in Creatively Undecided, offers a new way to look at how scientific understandings change. Following Kuhn, Fisch argues that scientific practice depends on the framework in which it is conducted, but he also shows that those frameworks can be understood as the possible outcomes of the rational deliberation that Popper viewed as central to theory change. How can a scientist subject her standards to rational appraisal if that very act requires the use of those standards? The way out, Fisch argues, is by looking at the incentives scientists have to create alternative frameworks in the first place. Fisch argues that while science can only be transformed from within, by people who have standing in the field, criticism from the outside is essential. We may not be able to be sufficiently self-critical on our own, but trusted criticism from outside, even if resisted, can begin to change our perspective—at which point transformative self-criticism becomes a real option.
Creatively Undecided: Toward a History and Philosophy of Scientific Agency
by Menachem FischThomas Kuhn and Karl Popper are believed by many who study science to be the two key thinkers of the twentieth century. Each addressed the question of how scientific theories change, but they came to different conclusions. By turning our attention to ambiguity and indecision in science, Menachem Fisch, in Creatively Undecided, offers a new way to look at how scientific understandings change. Following Kuhn, Fisch argues that scientific practice depends on the framework in which it is conducted, but he also shows that those frameworks can be understood as the possible outcomes of the rational deliberation that Popper viewed as central to theory change. How can a scientist subject her standards to rational appraisal if that very act requires the use of those standards? The way out, Fisch argues, is by looking at the incentives scientists have to create alternative frameworks in the first place. Fisch argues that while science can only be transformed from within, by people who have standing in the field, criticism from the outside is essential. We may not be able to be sufficiently self-critical on our own, but trusted criticism from outside, even if resisted, can begin to change our perspective—at which point transformative self-criticism becomes a real option.
Creatively Undecided: Toward a History and Philosophy of Scientific Agency
by Menachem FischThomas Kuhn and Karl Popper are believed by many who study science to be the two key thinkers of the twentieth century. Each addressed the question of how scientific theories change, but they came to different conclusions. By turning our attention to ambiguity and indecision in science, Menachem Fisch, in Creatively Undecided, offers a new way to look at how scientific understandings change. Following Kuhn, Fisch argues that scientific practice depends on the framework in which it is conducted, but he also shows that those frameworks can be understood as the possible outcomes of the rational deliberation that Popper viewed as central to theory change. How can a scientist subject her standards to rational appraisal if that very act requires the use of those standards? The way out, Fisch argues, is by looking at the incentives scientists have to create alternative frameworks in the first place. Fisch argues that while science can only be transformed from within, by people who have standing in the field, criticism from the outside is essential. We may not be able to be sufficiently self-critical on our own, but trusted criticism from outside, even if resisted, can begin to change our perspective—at which point transformative self-criticism becomes a real option.
Creatively Undecided: Toward a History and Philosophy of Scientific Agency
by Menachem FischThomas Kuhn and Karl Popper are believed by many who study science to be the two key thinkers of the twentieth century. Each addressed the question of how scientific theories change, but they came to different conclusions. By turning our attention to ambiguity and indecision in science, Menachem Fisch, in Creatively Undecided, offers a new way to look at how scientific understandings change. Following Kuhn, Fisch argues that scientific practice depends on the framework in which it is conducted, but he also shows that those frameworks can be understood as the possible outcomes of the rational deliberation that Popper viewed as central to theory change. How can a scientist subject her standards to rational appraisal if that very act requires the use of those standards? The way out, Fisch argues, is by looking at the incentives scientists have to create alternative frameworks in the first place. Fisch argues that while science can only be transformed from within, by people who have standing in the field, criticism from the outside is essential. We may not be able to be sufficiently self-critical on our own, but trusted criticism from outside, even if resisted, can begin to change our perspective—at which point transformative self-criticism becomes a real option.
Creativity — A New Vocabulary (Palgrave Studies in Creativity and Culture)
by Vlad Petre Glăveanu Lene Tanggaard Charlotte WegenerCreativity — A New Vocabulary proposes a novel approach to the way in which we talk and think about creativity. It covers a variety of topics not commonly associated with creativity that offer us valuable insights and open up new and exciting possibilities for creative action. This second edition includes six new essays which continue to challenge the traditional vocabulary of creativity and its preference for individuals, brains, cognition, personality, divergent thinking, insight, and problem solving. The book proposes a more dynamic and relational perspective that considers creativity as an embodied, social, material, and cultural process. This book will be useful for a wide range of specialists within the humanities and social sciences, as well as practitioners from applied fields who are looking for novel ways, of thinking about and doing creative work.
Creativity — A New Vocabulary (Palgrave Studies in Creativity and Culture)
by Lene Tanggaard Charlotte Wegener Vlad Petre GlaveanuThis book covers topics not commonly associated with creativity that offer us insight into creative action as a social, material, and cultural process. A wide range of specialists within the humanities and social sciences will find this interesting, as well as practitioners who are looking for novel ways of thinking about and doing creative work.
Creativity and Innovation in the Music Industry
by Peter TschmuckThis book charts the effects of new communication technologies and the Internet on the creation of music in the early 21st century. It examines how the music industry will be altered by the Internet, music online services and MP3-technology. This is done through an integrated model based on an international history of the industry since the phonograph’s invention in 1877, and thus, the history of the music industry is described in full detail for the first time.
Creativity and Innovation in the Music Industry
by Peter TschmuckWhy did jazz become a dominant popular music genre in the 1920s and rock 'n' roll in the 1950s? Why did heavy metal, punk rock and hiphop find their way from sub-cultures to the established music industry? What are the effects of new communication technologies and the Internet on the creation of music in the early 21st century? These and other questions are answered by Peter Tschmuck through an integrated model of creativity and innovation that is based on an international history of music industry since Thomas A. Edison invented the phonograph in 1877. Thus, the history of the music industry is described in full detail. By discussing the historic process of music production, distribution and reception the author highlights several revolutions in the music industry that were caused by the inference of aesthetic, technological, legal, economic, social and political processes of change. On the basis of an integrated model of creativity and innovation, an explanation is given on how the processes and structures of the present music industry will be altered by the ongoing digital revolution, which totally changed the value-added network of the production, dissemination and use of music. For the second edition, the author has reworked chapter 9 in order to include all the developments which shaped the music industry in the first decade of the 21st century – from Napster to cloud-based music services and even beyond.