THE ELEMENTS OF CREATIVE AND EXPRESSIVE ARTISTRY identifies the nine root elements common to all artistic disciplines. Whether you are a writer, visual artist, or a performer, learning the fundamental elements will help you unlock your full artistic potential and create art that is more expressive, dramatic, and engaging. Hundreds of relevant art examples, citations, and quotations from prominent art professionals, philosophers, and scientists inform the pages of THE ELEMENTS OF CREATIVE AND EXPRESSIVE ARTISTRY. Authors, painters, sculptors, dancers, and artists from nearly every creative field provide knowledge and insight into many different forms of art, including visual arts, literary arts, dramatic arts, musical arts, dance arts, and various hybrid art forms. For advanced artists and art professionals looking to bring depth and nuance to their work, THE ELEMENTS OF CREATIVE AND EXPRESSIVE ARTISTRY presents thirty-six new elements that branch from the nine root elements and offer additional avenues of exploration for a lifetime of artistic development. For the art critic, it also presents a fundamental basis on which to evaluate artistic work of any domain. Even the non-artist who possesses a general love for art will develop a deeper appreciation of art by understanding the nine root elements.

The resource is designed to help spiritual directors and others use expressive arts in the context of spiritual direction. It is the latest book in the unique SDI series, designed for professional spiritual directors, but also useful for clergy, therapists, and Christian formation specialists. The Spiritual Directors International Series – This book is part of a special series produced by Morehouse Publishing in cooperation with Spiritual Directors International (SDI), a global network of some 6,000 spiritual directors and members.

"Creativity and Artistic Development" is a work that immerses the reader in a fascinating journey through the vital importance of creativity at all stages of life. This essay eloquently argues how creative activities are not only fundamental to personal artistic development, but also have a profound and transformative impact on our cognition, emotional well-being, and social progress. By exploring research and examples from diverse fields, the book illuminates the power of creativity to individually and collectively enrich our lives, challenging the belief that creativity is limited by age or specific domain. Beyond mere theory, this work is a call to recognize and nurture creativity and artistic skills as pillars of personal growth, cognitive development, and overall well-being. It is an invitation to create inclusive spaces that foster creativity for all, thus promoting a society in constant evolution and adaptation to the changing needs of the world.

Presents instructions for collage projects using paper, glue, ink, and paint, discussing how to collect and select suitable papers, include texture, employ staining techniques, add photos, and use intuitive principles of composition to create unique and personal art works.

This edited volume expands on Morgan's organizational metaphors through the lens of faith to illuminate organizational function. Part I uses metaphor to illustrate dysfunctional organizations, including the impact of dysfunction upon organizational trust, performance, and longevity. Part II examines the progression from a dysfunctional organization to one that exhibits functionality. Finally, the last section discusses healthy organizations. Metaphors used in this book include Pygmalion organizations, organizational zombies, and organizations as vineyards. This book offers new metaphors that can be applied in organizational theory.

Art and Abstract Objects presents a lively philosophical exchange between the philosophy of art and the core areas of philosophy. The standard way of thinking about non-repeatable (single-instance) artworks such as paintings, drawings, and non-cast sculpture is that they are concrete (i.e., material, causally efficacious, located in space and time). Da Vinci's Mona Lisa is currently located in Paris. Richard Serra's Tilted Arc is 73 tonnes of solid steel. Johannes Vermeer's The Concert was stolen in 1990 and remains missing. Michaelangelo's David was attacked with a hammer in 1991. By contrast, the standard way of thinking about repeatable (multiple-instance) artworks such as novels, poems, plays, operas, films, symphonies is that they must be abstract (i.e., immaterial, causally inert, outside space-time): consider the current location of Melville's Moby Dick, the weight of Yeats' "Sailing to Byzantium", or how one might go about stealing Puccini's La Bohème or vandalizing Mozart's Piano Concerto No. 9. Although novels, poems, and symphonies may appear radically unlike stock abstract objects such as numbers, sets, and propositions, most philosophers of art think that for the basic intuitions, practices, and conventions surrounding such works to be preserved, repeatable artworks must be abstracta. This volume examines how philosophical enquiry into art might itself productively inform or be productively informed by enquiry into abstracta taking place within not just metaphysics but also the philosophy of mathematics, epistemology, philosophy of science, and philosophy of mind and language. While the contributors chiefly focus on the relationship between philosophy of art and contemporary metaphysics with respect to the overlap issue of abstracta, they provide a methodological blueprint from which scholars working both within and beyond philosophy of art can begin building responsible, mutually informative, and productive relationships between their respective fields.

Brenda McCutchen provides an integrated approach to dance education, using four cornerstones: dancing and performing, creating and composing, historical and cultural inquiry and analysing and critiquing. She also illustrates the main developmental aspects of dance.

The science of aesthetics was originally based on classical art even a contemporary philosopher of art like Croce never departs from the data of the Graeco-Roman and Renaissance tradition. Modern art, however, has made a decisive break with that tradition, and considerable confusion has been caused by the application to its products of criteria of judgment derived from a past historical phase. Even in our private, unprofessional approach to modern art, we come unconsciously armed with such prejudices. What, therefore, was necessary was a complete revision of aesthetics on the basis of the ample material produced by the modern movement in art, and this Mr. Allen Leepa has now provided. The material in question consists primarily of the works' of art themselves, and these, in significant selection, Mr. Leepa has subjected to a thorough functional analysis. But he realises that the explanation of art does not end with its formal dissection the function of art, as he says, is to ex press emotional meanings in the organized patterns of a medium and he has ventured on the much more difficult task of defining the nature of that psychological process. At this point formal analysis is of no avail, and what we fall back on is the artist's own description of his activity. Luckily modern artists have been surprisingly communicative, and Mr. Leepa has not failed to take advantage of the statements which, from time to time, artists like Picasso, Matisse, Klee and Mondrian have made. He has been aided in his under standing of what they mean ( which is not always clear) by his own practice as a painter, which has saved him from some of the simplifications which an outsider might be tempted to make for the sake of a neat system. Admirable, for example, is the way in which he insists, in Chapter X, on the mutual interaction of medium and idea in the process of creation. We are far too apt to think of the work of art as the illustration of a preconceived idea, instead of an organic growth in which idea only played the part of germ or seed. Particular attention should be given to all that Mr. Leepa has to say on the subject of abstract art, for which the average critic has hitherto reserved his most obstinate resistance. In its various forms ( and there is a wide divergence of aim within the so-called abstract movement) this type of art does, of course, make the most decisive break with the classical or humanist tradition. It is to be observed, however, that it is precisely this type of art which lends itself to the formulation of a coherent aesthetic; and though Mr. Leepa quite rightly insists on its individualistic and subjective nature, the final result would seem to be the discovery of archetypal forms of the widest social significance. The last point I would like to select for emphasis from a book so replete with interest is the firm way in which Mr. Leepa insists on the social significance of his subject.