Essay on creativity and rigour in teaching Abstract brief To

Sikkema Jenkins & Co. is pleased to present The Cut, a solo exhibition of work by Antony on view from May 31st through July 12th, 2013. Antony has created a body of work including drawing, collage, and sculpture alongside his critically acclaimed musical career as both a singer and composer. Both his music and visual art are marked by intuitive and accumulative practices that reflect a shared visual and psychological vocabulary. The initial inspiration that provided the framework for the exhibition was a poem written by the artist entitled The Cut, which describes the source of creation as a slit in the sky. The marks that the artist makes on the surface of his artwork can at once be understood as scars as well as applications that have the ability to heal the surface of the paper, fabric, or canvas. A delicate line can be juxtaposed with a harsh application of paint or a torn edge. Many of the works are intimate in scale and ephemeral in their materiality, but they are monumental in the emotional depth that they convey. Like Joseph Beuys, Antony's work originates in personal experience yet it also addresses universal artistic or social ideas and poetically suggests the healing potential of art. For further information please see .

Essay on creativity and innovation in teaching

Antony recently said on his choices for Meltdown, "I want to create a kind of paradise. I want to walk through that forest and see and hear the hardcore beauty and strength in art and music that makes sense to me. The weather is changing and everybody knows it. I want to participate What is my relationship and responsibility to the world around me? Frontier expressions of emotion and beauty can be fantastic tools with which to enter that discussion."


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management of creativityIn a later section of this essay, I discuss management of creative employees.

Particularly important instances of creativity includediscoveries of new knowledge in science and medicine,invention of new technology, composing beautiful music, or analyzing asituation (e.g., in law, philosophy, or history) in a new way.


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This problem is particularly severe on multiplechoice examinations where a creative student can quickly find situationsin which either or of the answers arecorrect, whereas a noncreative student who knows the material in aconventional way simply selects the best answer and gets marked correct.

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In the Middle Ages the plastic artist paid lip service at leastto the lowest common denominators of experience. This even remainedtrue to some extent until the seventeenth century. There was availablefor imitation a universally valid conceptual reality, whose orderthe artist could not tamper with. The subject matter of art wasprescribed by those who commissioned works of art, which werenot created, as in bourgeois society, on speculation. Preciselybecause his content was determined in advance, the artist wasfree to concentrate on his medium. He needed not to be philosopher,or visionary, but simply artificer. As long as there was generalagreement as to what were the worthiest subjects for art, theartist was relieved of the necessity to be original and inventivein his "matter" and could devote all his energy to formalproblems. For him the medium became, privately, professionally,the content of his art, even as his medium is today the publiccontent of the abstract painter's art -- with that difference,however, that the medieval artist had to suppress his professionalpreoccupation in public -- had always to suppress and subordinatethe personal and professional in the finished, official work ofart. If, as an ordinary member of the Christian community, hefelt some personal emotion about his subject matter, this onlycontributed to the enrichment of the work's public meaning. Onlywith the Renaissance do the inflections of the personal becomelegitimate, still to be kept, however, within the limits of thesimply and universally recognizable. And only with Rembrandt do"lonely" artists begin to appear, lonely in their art.

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Because it can be turned out mechanically, kitsch has becomean integral part of our productive system in a way in which trueculture could never be, except accidentally. It has been capitalizedat a tremendous investment which must show commensurate returns;it is compelled to extend as well as to keep its markets. Whileit is essentially its own salesman, a great sales apparatus hasnevertheless been created for it, which brings pressure to bearon every member of society. Traps are laid even in those areas,so to speak, that are the preserves of genuine culture. It isnot enough today, in a country like ours, to have an inclinationtowards the latter; one must have a true passion for it that willgive him the power to resist the faked article that surroundsand presses in on him from the moment he is old enough to lookat the funny papers. Kitsch is deceptive. It has many differentlevels, and some of them are high enough to be dangerous to thenaive seeker of true light. A magazine like the ,which is fundamentally high-class kitsch for the luxury trade,converts and waters down a great deal of avant-garde materialfor its own uses. Nor is every single item of kitsch altogetherworthless. Now and then it produces something of merit, somethingthat has an authentic folk flavor; and these accidental and isolatedinstances have fooled people who should know better.