Artistic Creativity and Aging in India

1974 ◽  
Vol 5 (4) ◽  
pp. 303-329 ◽  
Author(s):  
Renaldo Maduro

This paper is a focused consideration of artistic creativity in relation to different phases of the Hindu life cycle. Life history and psychological test data collected from 110 male Brahmin folk painters at an orthodox sacred pilgrimage center in western India are presented. Folk theories of creative process and the psychogenesis of creative energy for symbolic expressive behavior throughout the life cycle are related to recent theoretical interest in ego boundary maintenance, to Jungian psychoanalytic theory, and to Hindu notions of achieving psychological wholeness, balance, and augmented creative potential in later life. It is argued that artistic creativity does not necessarily decline with chronological age. Male painters asked to rank each other along a creativity continuum into three groups according to high or low degree of perceived creativity are discussed: mean ages for each of these painter-defined groups are presented. Scores on the Barron-Welsh Revised Art Scale from painters of all three groups are related to preferences for perceptual complexity, ambiguity, and asymmetry.

Author(s):  
Mei Sum Chan ◽  
Matthew Arnold ◽  
Alison Offer ◽  
Imen Hammami ◽  
Marion Mafham ◽  
...  

Abstract Background Chronological age is the strongest risk factor for most chronic diseases. Developing a biomarker-based age and understanding its most important contributing biomarkers may shed light on the effects of age on later-life health and inform opportunities for disease prevention. Methods A subpopulation of 141 254 individuals healthy at baseline were studied, from among 480 019 UK Biobank participants aged 40–70 recruited in 2006–2010, and followed up for 6–12 years via linked death and secondary care records. Principal components of 72 biomarkers measured at baseline were characterized and used to construct sex-specific composite biomarker ages using the Klemera Doubal method, which derived a weighted sum of biomarker principal components based on their linear associations with chronological age. Biomarker importance in the biomarker ages was assessed by the proportion of the variation in the biomarker ages that each explained. The proportions of the overall biomarker and chronological age effects on mortality and age-related hospital admissions explained by the biomarker ages were compared using likelihoods in Cox proportional hazard models. Results Reduced lung function, kidney function, reaction time, insulin-like growth factor 1, hand grip strength, and higher blood pressure were key contributors to the derived biomarker age in both men and women. The biomarker ages accounted for >65% and >84% of the apparent effect of age on mortality and hospital admissions for the healthy and whole populations, respectively, and significantly improved prediction of mortality (p < .001) and hospital admissions (p < 1 × 10−10) over chronological age alone. Conclusions This study suggests that a broader, multisystem approach to research and prevention of diseases of aging warrants consideration.


2021 ◽  
pp. 016402752110273
Author(s):  
Markus Wettstein ◽  
Hans-Werner Wahl ◽  
Vera Heyl

Although stress is a risk factor for various diseases in later life, its role for sensory abilities in the second half of life has rarely been empirically addressed. We examined if perceived stress at baseline predicts self-reported difficulties with vision and hearing 3 years later. We also explored whether chronological age is a moderator of associations between stress and sensory difficulties. Our sample was derived from the German Ageing Survey and consisted of n = 5,085 individuals aged 40–95 years ( M = 64.01 years, SD = 10.84 years). Controlling for baseline self-reported sensory functioning, socio-demographic indicators, self-rated health and chronic diseases, greater perceived stress at baseline predicted greater self-reported difficulties with vision and hearing 3 years later. The effect of stress did not vary by age. Our findings suggest that, from middle adulthood to advanced old age, stress is a risk factor for increases in self-perceived problems with vision and hearing.


Societies ◽  
2021 ◽  
Vol 11 (1) ◽  
pp. 12
Author(s):  
Paul Higgs ◽  
Chris Gilleard

This paper is concerned with the issue of ageism and its salience in current debates about the COVID-19 pandemic. In it, we address the question of how best to interpret the impact that the pandemic has had on the older population. While many feel angry at what they see as discriminatory lock-down practices confining older people to their homes, others are equally concerned by the failure of state responses to protect and preserve the health of older people, especially those receiving long-term care. This contrast in framing ageist responses to the pandemic, we suggest, arises from differing social representations of later life, reflecting the selective foregrounding of third versus fourth age imaginaries. Recognising the tension between social and biological parameters of ageing and its social categorisations, we suggest, may offer a more measured, as well as a less discriminatory, approach to addressing the selective use of chronological age as a line of demarcation within society.


2020 ◽  
Vol 1 (1) ◽  
pp. 143-149
Author(s):  
E. V. Fomchenko ◽  

The article deals with such a modern phenomenon of culture and art — as performance. The purpose of this study is to determine the performative features as characteristics of modern artistic creativity and their influence on the development of folk culture. The tendency for turning to ritual, ceremonial types of folk art, whereby the communication is put forward, is considered on the example of the creative activity of the folklore ensemble "Rosstan". The article notes such performative characteristics as the creation of an event and atmosphere, space and communication organization, the interaction of the audience, that provide conditions for perception and response. The author relies on the works of such scientists as: E. Fischer-Lichte, V. Turner, A. Ya. Flier, L. N. Zakharova, L. V. Demina and others. In the process of studying following methods were used: generalization, comparison and also dialectical, historical and logical once. Modern features in folk culture, expressed in the interaction of traditional and innovative folkloristics are revealed on the example of the creative activity of "Rosstan". The revival of folk culture, the realization of its creative potential is possible through the development of cultural traditions and the creation of innovations related to ancient ritual forms of interaction, which should be adapted to the present and be understood by modern generation.


2021 ◽  
Vol 5 (S2) ◽  
pp. 619-632
Author(s):  
Viktor M. Labunets ◽  
Irіna O. Topchieva ◽  
Anzhelika Bondarenko ◽  
Dmytro Bondarenko ◽  
Liming Wei

The distinctive feature of modern musical art is the constant search for new expressive means. Innovations infiltrated all aspects of composition, including the writing technique, understanding of the genre, style, form, and instrumental interpretation. These efforts are aimed at a true diverse and multifaceted embodiment of reality, which is constantly changing due to grand social upheavals. “Creative experiment, inquisitive search, and desire for renewal are inevitable and necessary in modern music. Without these experiments, artistic creativity becomes shallow, declines, and is subjected to sclerotic necrosis”. The growing need for a highly spiritual society requires a rapprochement to teaching and educating the younger generation to develop its spiritual and cultural values, personal and artistic orientations. These trends are primarily related to maintaining and increasing the intellectual and creative potential of a person who can express oneself through professional activities. In this case, the modern socio-cultural stage of development of musical-pedagogical education brings attention to new quality requirements to training of the experts that supposes the necessity and urgency of updating a problem of methodological training of music teachers.


2021 ◽  
Vol 8 ◽  
Author(s):  
Ainara Ballesteros ◽  
Carina Östman ◽  
Andreu Santín ◽  
Macarena Marambio ◽  
Mridvika Narda ◽  
...  

Pelagia noctiluca is considered the most important jellyfish in the Mediterranean Sea, due to its abundance and the severity of its stings. Despite its importance in marine ecosystems and the health problems caused by its massive arrival in coastal areas, little is known about its early life stages and its cnidome has never been described. This study of the morphological and anatomical features throughout the life cycle identifies four early stages: two ephyra and two metaephyra stages. Ephyra stage 1, newly developed from a planula, has no velar canals, gastric filaments or nematocyst batteries. Ephyra stage 2, has velar canals, a cruciform-shaped manubrium and gastric filaments. Metaephyra stage 3 has eight tentacle buds and nematocyst clusters for the first time. Lastly, in metaephyra stage 4, the eight primary tentacles grow nearly simultaneously, with no secondary tentacles. Complete nematocyst battery patterns gradually develop throughout the later life stages. Four nematocyst types are identified: a-isorhiza, A-isorhiza, O-isorhiza and eurytele. Of these, a-isorhiza and eurytele are the most important throughout the entire life cycle, while A-isorhiza and O-isorhiza have a more important role in advanced stages. All nematocysts show a positive correlation between increasing capsule volumes and increasing body diameter of the ephyrae, metaephyrae, young medusae and adult medusae. In the early stages, the volumes of euryteles in the gastric filaments are larger than those in the exumbrella, indicating that the capsule volume is critical in the absence of marginal tentacles, specialized for feeding. This study provides updated information, the most extensive description to date, including high-resolution photographs and schematic drawings of all the developmental stages in the life cycle of P. noctiluca. Additionally, the first cnidome characterization is provided for each stage to facilitate accurate identification of this species when collected in the water column, and to raise awareness of the potential for human envenomation.


2020 ◽  
Vol 188 ◽  
pp. 111253
Author(s):  
Altug Didikoglu ◽  
Asri Maharani ◽  
Maria Mercè Canal ◽  
Neil Pendleton ◽  
Antony Payton

2020 ◽  
Vol 30 (3) ◽  
pp. 245-261
Author(s):  
Antanas Andrijauskas ◽  

This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual (Wenrenhua) Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes toward the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world.


2019 ◽  
pp. 140-153
Author(s):  
O.V. Shchekaleva

This paper deals with Bulgakov’s doctrine on the human being and creative work. The reason why it is possible to interpret and understand Bulgakov’s conception of creativity in the light of anthropology is justified in the paper. It is indicated that many researchers of Bulgakov's philosophy did not make an explicit connection between anthropology and creativity and did not raise the question why man is capable of creativity. Anthropology and the concept of creativity are reconstructed using Bulgakov's texts. The role of Sofia in the creative process and her role in human life as a whole are determined. The change of the ontological status of man as a result of the original sin is analyzed. The specificity of Bulgakov's understanding of the creative act and its influence on man is revealed. The impact of creativity on a person is analyzed in the paper. It is proposed to consider artistic creation separately from self-creation, as it is fundamentally different from artistic creativity. It is emphasized that according to Bulgakov, self-creation can lead a person to salvation and even to Holiness. It is argued that self-creation as the implementation of one's own idea-norm is the true meaning of human life. Attention is drawn to the tragedy of creativity, which every person-creator experiences. In conclusion, it is pointed out that in the future the concept of Bulgakov's creativity can be ap-plied to the evaluation of works of art. The article concludes that, according to Bulgakov's philosophy, the main characteristics of a person that make him capable of creativity are his freedom, genius and talent. This way the importance of creative activity, both for an individual and for the whole world, is proved and the eschatological role of creativity is indicated.


Leonardo ◽  
2002 ◽  
Vol 35 (2) ◽  
pp. 197-202
Author(s):  
Vladimir M. Petrov

The author presents a method for identifying the sequence of stages of the creative process in painting, specifically an artist's decisions about such parameters as genre, composition, color structure, etc. The method is based on the calculation of the coefficients of informativity relating to the distribution (and hence, entropy) of the artist's works over the above parameters. Using this method, 240 paintings by three famous Russian artists (Pavel


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