Creative geographic methods: knowing, representing, intervening. On composing place and page

This article explores the emerging trajectory of creative arts-based research methods in practical theology. Creative arts-based approaches work with the embodied, material, imaginative, and sacred, foregrounding questions of representation and interpretation. Whilst seen as novel or emerging, creative methods fulfil key practical theological tasks and reveal the roots of the discipline as already creative and constructive. Drawing on Westfield’s engagement with poetry and poetic writing, Byrne’s studio-based visual arts practice, and Walton’s life writing and autoethnography, the article examines the distinctiveness of creative methods in representing lived experiences and generating new, liberative theologies. The article engages collaborative creative arts-based research to discuss practical and ethical issues in undertaking these methods. The paper concludes by reflecting on the possibilities for the future of practical theologies shaped through creative methods.

In this article, we present a creative, process-oriented, and multimodal qualitative enquiry project conducted by five undergraduate psychology students and their instructor. The project started as a course assignment on creative research methods aiming to explore the theme of inspiration. However, the project’s initial theme soon proved to be a device that catalysed the unfolding of the process rather than being an end in itself. Using photovoice, drawing, and collage-making, we engaged in a layered collaborative process of reflection, emotional sharing, and meaning-making. The writing of this article itself became an extension of the method, weaving our voices together into a shared narrative. Through this collaborative autoethnography, we engaged with a set of generative questions: How can creative methods help us explore psychological and social experience? In what ways might collaborative and multimodal enquiry catalyse emotional openness, reflexivity, and the co-creation of meaning? And how might such creative practices extend psychological research towards more relational and embodied understandings? We called our project Harmonic Chaos to reflect the balance that we experienced between chaos and self-organisation during the process.

The article is dedicated to studying the influence of musical art on the creative process and aesthetic perceptions of artists in painting from the late 19th to the 20th centuries, with a focus on synesthetic artists. The research aims to reveal the interconnection between musical impressions and visual art. Various aspects of using music as a source of inspiration and the influence of musical composition elements on the creation of images in the works of synesthetic artists are analyzed within the study. This research explores how synesthetic artists utilize music as a source of inspiration and how elements of musical composition – rhythm, harmony, and structure – shape the imagery within their art. By investigating these aspects, the study sheds light on the multifaceted ways music informs the creative process in art, ultimately revealing the singular perspective that synesthesia brings to the world of artistic creation. These results indicate the necessity to consider not only music but also visual arts in light of their interaction concerning the influence of synesthetic sensations on artists’ creative methods. For synesthetic artists, music is not simply a source of inspiration; it is an integral part of the creative process. They use music to evoke emotions, create atmosphere, and develop ideas. The specific ways in which they do this vary depending on the individual artist. Some synesthetic artists use music to create a visual representation of the sounds they hear. Others use music to generate a mood or feeling that they then translate into images. Still others use music to structure their art, using the rhythm and tempo of the music to dictate the pacing of their work. The study of synesthesia in art is significant for several reasons. First, it provides a unique insight into the creative process of artists. By undershow synesthetic artists perceive and use music, we can gain a better understanding of how art is created. Second, the study of synesthesia can help us to appreciate the richness and complexity of art. By understanding how music can be used to create visual imagery, we can develop a deeper appreciation for the art we experience. Finally, the study of synesthesia can help us to understand the relationship between the senses and how they can be used to create art. By understanding how synesthesia can merge the senses, we can gain a new perspective on the world around us.

Creative processes involve a repertoire of digital devices ranging from mobile phones over tablets and desktop computers to electronic whiteboards and wall-sized displays. While some integration across multiple devices is supported more sophisticated kinds of integration that connect devices and amplify their potential are limited. Many creative practices also rely on physical materials and tools. This will workshop investigate how the combination of physical and digital artifacts can support creative work practices. In this context, we propose to examine: Individual and social creative activities; Creativity methods; Emergence and transformation of design ideas; Generative design materials; Design constraints.

In this paper, we make practical and theoretical contributions to feminist adult education. Practically, we provide an overview of a three-hour arts- and play-based research workshop with research activities/tools that readers can further research to adapt to their own contexts. Theoretically, we explore how these creative practices can contribute to wider notions of relationality and ethics of care when integrated with Indigenous, decolonising, and intersectional, feminist approaches. After offering a rich description of arts- and play-based methods (photovoice, found poetry, collage, narrative métissage, river journey, and lego visioning), we discuss how creative methods and practices hold the potential to foster deeper connections, promote collective accountability, and support the ongoing work of decolonising education. We encourage future research to further explore the intersection of these practices with feminist adult education, and to continue expanding our collective understanding of how to cultivate care, responsibility, and reciprocity in teaching and learning settings.

In this paper, Baljit Kaur and Effie Makepeace reflect on the creative methods, both theatre and music used in their participatory research projects conducted in East London and Malawi, respectively. The authors discuss the possibilities and ways in which co-production with participants, underpinned by feminist praxis and combined with creative practices, not only breaks the silence around stories of (sexual) violence, but can be used as an intervention and tool for young women and marginalised groups to represent their lived experiences of violence. This further allows participants to exercise creative control around which narratives emerge and how they are portrayed while also giving space for joy, resistance and triumph. Ultimately, the paper argues for the use of creative methods which offer a more hopeful and exciting direction in the pursuit of amplifying marginalised stories.

Through his work and pedagogical activity, an outstanding Kharkiv graphic artist, professor of Kharkiv Art Institute Hryhoriy Bondarenko connected today’s artistic practice with the great traditions of art, to which he belonged. In the 1910s, H. Bondarenko studied at the Odessa Art School, with K. Kostandi; in 1915–1917 – at the Academy of Arts; and in 1923–1927 at Leningrad VKhUTEIN with K. S. Petrov-Vodkin and V. M. Konashevich. A chain of artistic tradition was formed in VKhUTEIN: K. Petrov-Vodkin – V. Serov – I. Repin – P. Chistyakov. With his pedagogical activity Chistyakov poses the problem of the creative method, and Repin – of the art form. Serov approaches its solution in the idea of projection drawing. Petrov-Vodkin supplemented it with an understanding of picture plane as space. Bondarenko synthesized all these aspects. His creative method is considered on the example of a number of his graphic works. It is based on three main points. The first is a double understanding of the picture plane on which the image is made. It is thought of, on the one hand, as a projection plane and, on the other hand, as space. The second is a combination of projections. The third is the understanding of the image as a way of processing the surface of the sheet. Among the students of H. Bondarenko, perceived this creative method, there were such well-known masters as V. Kulikov, V. Lenchin, V. Nenado. Each of them developed those aspects of the method that were organic to them. The universality, harmony and consistency of the analyzed creative method are shown in the article. It is based on a holistic worldview. Two great traditions, the successor, contemporary and continuer of which he was, merged together in H. Bondarenko’s creative activity and pedagogical work: the classical art of the 19th century, and new art of the 20th century, which itself has become a new classic and a new tradition.

The main purpose of this study was creative accounting methods and their impact on the quality of accounting information. The method of this study was Descriptive – survey. The statistical population of this study was Al Rajhi Bank employees in KSA country that their number is 9400 persons. The sample size was estimated using Cochran formulate as 369 persons and they were selected by random cluster sampling. The tool to collect data was a researcher-made questionnaire was used. The validity of the questionnaire was confirmed by supervisor and a number of management and accounting professors and the reliability of the questionnaire was confirmed by Cranach Alpha which was 0.82. The collected questionnaires were analyzed by One-sample T-test by SPSS software. Findings showed that creative accounting methods are used by the accountant ‎who has the characteristic of self-criticism and continuous development, and that knowledge ‎growth in the field of information technology generates creative ideas and practices in the ‎accounting field.‎ DOI: https://doi.org/10.52783/lpi.333

Architecture, drama, and museums are fields -in the context of place- which enable individuals to hold on to the life and to be educated. Architectural education aims to train individuals who research, examine, question, and think freely and inventively. In this regard, architectural education is supposed to seek the way to provide students with several experiences by going beyond the scope of ordinary classroom environment. The fact that museums are used in several disciplines promotes the idea that they can also be used as a part of education in architecture, a field, which pays attention to aesthetic and visual values. Prepared by the researcher within this context, a drama atelier was conducted within the scope of National Architecture Students Meeting. The purpose of the atelier was to introduce Trabzon Museum (Kostaki Palace) located in the center of the city, Trabzon, by means of the creative drama method. The museum was used as a learning environment with the creative drama practices performed within the atelier workplace. The implementation process includes warm-up/preparation activities and enacting activities that contain role playing and improvisation techniques. For the evaluation of the atelier, student diaries covering their feelings, ideas, and opinions related to the process were benefitted. At the end of the implementation process, it can be concluded that the drama atelier has influence on the students’ success in learning the museum with their own experiences and by forming a face to face interaction with the place. It is clear that museum education with creative drama gives a different point of view to the architecture discipline intertwined with all forms of art.

This interdisciplinary volume introduces new theories and ideas on creativity from the perspectives of science and art. Featuring contributions from leading researchers, theorists and artists working in artificial intelligence, generative art, creative computing, music composition, and cybernetics, the book examines the relationship between computation and creativity from both analytic and practical perspectives. Each contributor describes innovative new ways creativity can be understood through, and inspired by, computers. The book tackles critical philosophical questions and discusses the major issues raised by computational creativity, including: whether a computer can exhibit creativity independently of its creator; what kinds of creativity are possible in light of our knowledge from computational simulation, artificial intelligence, evolutionary theory and information theory; and whether we can begin to automate the evaluation of aesthetics and creativity in silico. These important, often controversial questions are contextualised by current thinking in computational creative arts practice. Leading artistic practitioners discuss their approaches to working creatively with computational systems in a diverse array of media, including music, sound art, visual art, and interactivity. The volume also includes a comprehensive review of computational aesthetic evaluation and judgement research, alongside discussion and insights from pioneering artists working with computation as a creative medium over the last fifty years. A distinguishing feature of this volume is that it explains and grounds new theoretical ideas on creativity through practical applications and creative practice. Computers and Creativity will appeal to theorists, researchers in artificial intelligence, generative and evolutionary computing, practicing artists and musicians, students and any reader generally interested in understanding how computers can impact upon creativity. It bridges concepts from computer science, psychology, neuroscience, visual art, music and philosophy in an accessible way, illustrating how computers are fundamentally changing what we can imagine and create, and how we might shape the creativity of the future. Computers and Creativity will appeal to theorists, researchers in artificial intelligence, generative and evolutionary computing, practicing artists and musicians, students and any reader generally interested in understanding how computers can impact upon creativity. It bridges concepts from computer science, psychology, neuroscience, visual art, music and philosophy in an accessible way, illustrating how computers are fundamentally changing what we can imagine and create, and how we might shape the creativity of the future.

This paper offers a reflexive, practice-based process evaluation of arts-based participatory methods (ABM) within a community-led violence prevention project in an Indigenous Andean community on Amantaní Island, Peru. Working within a Participatory Action Research (PAR) framework, the project engaged women and men through six creative methods – problem and solution trees, life history mapping with stones and petals, role play, body mapping, visioning drawings and Most Significant Change storytelling – drawing on visual, narrative and embodied modalities. These methods supported participants to articulate structural harms, strengthen confidence and public voice and co-design locally grounded solutions. By tracing how these activities unfolded in practice, we explore the relational, affective and political dimensions of ABM, showing how creative practices enabled trust-building, emotional expression and shifts in dialogue and power. We also reflect critically on the ethical tensions that emerged when working within externally funded, time-limited structures in a setting marked by high levels of gendered violence and marginalisation. This study contributes to growing scholarship on feminist and decolonial approaches to participatory research, offering concrete insights into the transformative potential and limitations of arts-based practice in under-resourced contexts marked by gendered and structural violence.

Influential 20th Century activists such as Mahatma Gandhi, Martin Luther King Jr. and Thich Nhat Hanh were motivated by love, a key feature of the human condition (Maturana & Verden-Zoller 2008). However, the social work profession generally avoids love as an ethic of practice (Banks 2006; Butot 2004; Morley & Ife 2002). Yet feminist bell hooks (2000) claims love can transform dominant structures of inequality, such as capitalism, patriarchy, racism and environmental exploitation. Drawing from Peck (1978), hooks describes love as ‘[t]he will to extend one’s self for the purpose of nurturing one’s own or another’s spiritual growth’ (2000, p. 4). Ingredients of love are care, affection, recognition, respect, commitment and trust, with honest and open communication, forgiveness and giving. This Thesis including Published Works considers the love ethic in international rural community work. It includes six sole-authored journal articles with an exegesis to analyse my research regarding love in community work and contribute an alternative paradigm to social work and community work theory and practice. The research questions are: What is love in international rural community work? and, How can love transform structural inequality? My methodology was informed by change-oriented research, a four-part epistemology of change I developed that involves shared power (McCall 2005; Mikkelsen 2005), participation (Arnstein 1969; Davidson 1998; Heron 1996; Pretty et al. 1995), action (Greenwood & Levin 2007; Stringer 2007) and contextual reflexivity (Delva, Allen-Meares & Momper 2010; Denzin & Giardina 2009; Saukko 2003). Change-oriented research is a collaborative process to understand and transform social injustices through cycles of action and reflection, generating multiple and contextualised knowledges that empower participants to collectively take action for sustainable change. Through the co-operative inquiry method (Heron 1996), I worked with community workers, volunteers, activists and community members as co-inquirers (also referred to as co-researchers) in three case studies in Timor-Leste, Australia and Peru to collaboratively develop knowledge regarding love-based community work. Each co-operative inquiry used creative methods such as visual art, theatre, dialogue and storytelling (Bessarab & Ng'andu 2010; Holt 2013; Knowles & Cole 2008; Leavy 2008; Markula 2006; Pauwels 2011). I combined the inquiry outcomes into a theory of practice entitled The Love Ethic for Transformational Change. The Love Ethic is grounded in hooks’ love-centred radical feminism, dialogue (Freire 1989; Westoby & Dowling 2013), nonviolence (Gandhi 2005; Hanh 1993; King Jr. 1967a; Kelly & Sewell 1988) and the interconnectedness of people and nature. The Love Ethic has four features: • It is based on values and universal rights of humans and nature; • It promotes participatory, democratic and gender transformative community work processes that intertwine people and nature and actively challenge structures of power and inequality; • It aims for structural change for universal wellbeing of people and nature; and, • Love-based action is reciprocal and cyclical. The Love Ethic supports social movements to collectively critique and transform inequitable systems. This research is a radical contribution to social work theory and practice. I argue love is an ethical philosophy of action for progressive people’s movements to bring about a new world order of equality and sustainability

Abstract. It is impossible to create something new in science and art, without first absorbing the experience, knowledge, skills of scientists and artists of the past generation. Even the most original, progressive, and innovative ideas are, in fact, a compilation of previous experience. The compilation technique is one of the main and effective tools of the scientific world. It is also actively used in the creative process of musicians, writers, and filmmakers. The compilation technique is a fairly common phenomenon in the scientific world and art in general, at the same time, its level can be very different, ranging from direct plagiarism to forms of synthesis, the traces of which are very difficult to detect. There are separate genres in art, based on compilation, for instance, a «remake» in cinematography, a «potpourri» in music, a «historical analog» in visual art, and an «artrunion» in literature. Meanwhile, compilation, as one of the forms of the artist's creative method, is a very "delicate" and "vulnerable" matter, sometimes causing a lot of controversy among specialists, since there is no tool that could accurately measure the degree of compilation bordering on plagiarism. If in the scientific world author indicates a list of compilation material, writing an article, then in case of an artist, we will not see it due to specifics of his work. The path of an artist, in terms of the embodiment of an artistic conception, is in many ways spontaneous, and intuitive. On this path, it is very difficult for him to isolate his authorship from the experience of other artists, and as a result, his work is a kind of conglomerate of synthesis. In our study, we consider the compilation technique mainly on the example of the methods of a children's art school work, taking into account the age of a student. At the same time, the compilation technique is a universal method of composition that can be effectively used by teachers in the creative development process. Meanwhile, the compilation technique is a frequent subject of disputes during the competitive selection of creative works and today requires a deeper analysis and public discussion.

This article aims to examine the changes in concept, development and practices of community art in the Western culture from the end of 20th century to the beginning of 21st century, and based on theory of dialogical aesthetics by Grant H. Kester as well as using methodical examples of practicing artists, such as Jeanne van Heeswijk and the cultural association “Artway of Thinking“ (Stefania Mantovani and Federica Thiene), evaluate cases of community art projects taking place in Lithuania, especially focusing on the initiatives of the creative project “Friendly Zone“. The notion of Grant H. Kester“™s dialogical aesthetics as a dialogue-based socially-engaged creative practice helps to reveal forms and directions of socially-engaged art practices which are relevant today. Examining the project “Friendly Zone“, which takes part in S anciai (district of Kaunas, Lithuania), we can see a clear example of creative practice based on dialogical aesthetics with an ethical access to local inhabitants and their concerns. By working together with well-known community and socially-engaged art experts, Vita Gelūnienė and Edmund Carroll aim to apply methods of dialogical creativity: co-creative diagram of ““Artway of Thinking“ displays four stages of activities. It starts with self-recognition and placement of each member of the team as well as naming their functions in collective practice. Later, the context (place) is explored and monitored. Then, ideas are generated and implemented, the results of which are integrated. The artists also use the principle of a “headquarter“ from Jeanne van Heeswijk“™s practice, creating a certain meeting and dialogue-based point (house or inflatable tent) in public art projects. The text points out these advantages of the project: long-term effects and artists“™ residency in the area. The long-term project “Friendly Zone“, taking place in a single district, allows to test different creative methods involving public art, creates an environment of trust between local inhabitants and art initiatives taking place in the area. The process of examining and observing becomes a permanent task and, even, a way of life for the people involved. Nonetheless, difficulties and challenges also exist: the passivity of the members of local community towards certain activities as well as communication with both the outside (the press) and the local community. In both cases, this model of activity is not seen as the end in itself. Thus, it is necessary to strengthen the role of mediators by including people with skills of public relations into the team.

The article describes a vivid example of individualization and creative adoption of the European comics, the ground for inter-medial experiments of the French painter Edmond Baudoin. The artist not only introduces high-quality graphics into comics but creates truly deep artistic space applying to other forms of art. The researchers consider such issues as the formation of the artist’s creative method and reliability of guidelines identified by Edmond Baudoin himself in his autobiographical works.