Triangulating Creativity: Examining Discrepancies Across Self-Rated,Quasi-Expert-Rated and Verbalized Creativity in Arts-based Learning

This convergent mixed methods study examined the triangulation of self-rated, quasi-expert-rated and verbalized creativity in students enrolled in a year-long photography program. The quantitative data included self-report scales in creativity, and ratings of creativity in students’ photography. The qualitative data included student interviews reflecting on their photographs and verbalizing their beliefs about creativity. The data were first analyzed separately and then merged for analysis to determine possible relationships between these three data sources. Merging quantitative and qualitative data highlighted two key discrepancies between students’ actual creative performance and their perceptions as creative individuals. Possible explanations of these disceprancies are discussed in light of research on creative self-efficacy and creative mindsets.     

A Forward Bias in Human Profile-Oriented Portraits

The spatial composition of human portraits obeys historically changing cultural norms. We show that it is also affected by cognitive factors that cause greater spontaneous attention to what is in front rather in the back of an agent. Scenes with more space in front of a directed object are both more often produced and judged as more aesthetically pleasant. This leads to the prediction that, in profile-oriented human portraits, compositions with more space in front of depicted agents (a “forward bias”) should be over-represented. By analyzing a large dataset (total N of 1,831 paintings by 582 unique identified European painters from the 15th to the 20th century), we found evidence of this forward bias: Painters tended to put more free space in front of, rather than behind, the sitters. Additionally, we found evidence that this forward bias became stronger when cultural norms of spatial composition favoring centering became less stringent.     

Of Art and Blasphemy

What does philosophy have to say about the argument that blasphemous art ought not to be publicly displayed? We examine four concepts of blasphemy: blasphemy as offence, attack on religion, attack on the sacred, attack on the blasphemer himself. We argue all four are needed to grasp this complex concept. We also argue for blasphemy as primarily a moral, not a religious concept. We then criticise four arguments for the public display of blasphemous art: it may be beautiful, provocative, devoutly intended, and is autonomous of religious concerns. Finally, we discuss the notions of blasphemy and blasphemous art as public offences. We conclude that the display of blasphemous art is a public, and not merely a private moral offence, and that there are respectable philosophical arguments for this conclusion.     

A new theory on children's drawings: Analyzing the role of emotion and movement in graphical development

The aim of this paper is to develop a new understanding of children's drawings and to provide ideas for future research in early childhood. Starting from classic theories on child graphical development, we proceed to analyze them and provide our own views on the subject. We will also recount a number of relevant empirical studies that appear to validate our theory. Our belief is that emotion and self-expression through movement play a key role in the development of child art, and that this may be already visible during the scribbling stage of drawing.     

Art,Ethics, and Critical Pluralism

Those who have views about the relation between aesthetic and ethical value often also have views about the nature of art criticism. Yet no one has paid much attention to the compatibility of views in one debate with views in the other. This is worrying in light of a tension between two popular kinds of view: namely, between critical pluralism and any view in the art and ethics debate that presupposes an invariant relation between aesthetic value and ethical value. Specifically, the tension with invariance arises insofar as critical pluralism accommodates the aesthetic value of interpretive richness, including the aesthetic value of ethically conflicted interpretive richness. Given this tension, a shift of focus is needed in the art and ethics debate; from specifying the criteria for the aesthetic relevance of a work's ethical qualities to defending the fundamental nature of the aesthetic‐ethical value relation.     

Learning the Church: ecclesiological thought and ecclesial practice

This article illustrates how the ecclesiological ideas developed by Professor Daniel Hardy (1930–2007) have been received and used in the life of the Church of England's Diocese of Coventry. It highlights the importance of theological engagement for those in a position of oversight and leadership in the Church, and goes on to connect Hardy's language of intensity and extensity with the story, structure and ethos of Coventry Cathedral in general, and with the iconic Stalingrad Madonna in particular, illustrating the rich synthesis that can be achieved between systematic ecclesiology and the central ethos of a church. The article goes on to argue that certain practices in the Church of England in general, and Coventry Diocese in particular, resonate well with Hardy's idea of ‘socio-poiesis’. These include the nurture of virtuous ecclesial practice and use of measurement in parish life (notably through ‘Natural Church Development)’, the new form taken by ecumenism in British cities and the role of the Bishop within it, as well as the embeddedness of the Church of England in many of the nation's schools. In relating Hardy's key themes to these concrete practices, this article challenges the stale division between Church and Academy, advocating fruitful and animating dialogue between the two as the best response to the challenges faced by each today.     

Accessing Digital Images

SUMMARY

This article discusses sources for and issues related to digital Christian art images available on the Internet. An annotated list of relevant Web sites is listed, along with advice on how to locate specific images. Also included in the article are discussions of vocabulary, fact verification, and copyright issues.     

The Senses Considered as Perceptual Systems,by J. J. Gibson

This paper examines the relationship of Jean-François Lyotard’s aesthetics to phenomenology, especially the works of Mikel Dufrenne and Maurice Merleau-Ponty. It argues that this comparison allows a greater understanding of Lyotard’s late aesthetic writings, which can appear gnomic and which have received relatively little critical attention. Lyotard credits Merleau-Ponty with opening the theme of difference in the aesthetic field, yet believes that the phenomenological approach can never adequately account for it. After outlining Lyotard’s early critiques of Dufrenne and Merleau-Ponty, the paper will demonstrate how his late aesthetics can be understood as returning to phenomenological themes but in the form of a reversal. Lyotard’s “lesson of darkness” is that the secret power of art can never be brought into the light of phenomenal appearance, and that artworks do not testify to the birth of perception, but to its death and resurrection.     

Necessity of origins and multi-origin art

The Necessity of Origins is the thesis that, necessarily, if a material object wholly originates from some particular material, then it could not have wholly originated from any significantly non-overlapping material. Several philosophers have argued for this thesis using as a premise a principle that we call ‘Single Origin Necessity’. However, we argue that Single Origin Necessity is false. So any arguments for The Necessity of Origins that rely on Single Origin Necessity are unsound. We also argue that the Necessity of Origins itself is false. Our arguments rely on a thesis in the ontology of art that we find plausible: Multi-Work Materialism. It is the thesis that works of art that have multiple concrete manifestations are co-located with those manifestations.     

Disentangling Fine Motor Skills’ Relations to Academic Achievement: The Relative Contributions of Visual-Spatial Integration and Visual-Motor Coordination

Recent research has established a connection between children's fine motor skills and their academic performance. Previous research has focused on fine motor skills measured prior to elementary school, while the present sample included children ages 5–18 years old, making it possible to examine whether this link remains relevant throughout childhood and adolescence. Furthermore, the majority of research linking fine motor skills and academic achievement has not determined which specific components of fine motor skill are driving this relation. The few studies that have looked at associations of separate fine motor tasks with achievement suggest that copying tasks that tap visual-spatial integration skills are most closely related to achievement. The present study examined two separate elements of fine motor skills—visual-motor coordination and visual-spatial integration—and their associations with various measures of academic achievement. Visual-motor coordination was measured using tracing tasks, while visual-spatial integration was measured using copy-a-figure tasks. After controlling for gender, socioeconomic status, IQ, and visual-motor coordination, and visual-spatial integration explained significant variance in children's math and written expression achievement. Knowing that visual-spatial integration skills are associated with these two achievement domains suggests potential avenues for targeted math and writing interventions for children of all ages.