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Whether from Ovid or from an Ouidianus poeta, the Nux elegy has its own qualities and must also be appreciated for these alone. A careful examination of verses 127-130 and verse 128 in particular allows to bring out all the wit and originality of their writer. By putting the excerpt into context and comparing the motifs at play with the Latin poetic tradition that depicted winter as an unproductive and threatening season, this paper shows how the author of the "Walnut Tree" puts into the mouth of the personified tree statements that sound paradoxical, offbeat, absurd even. In this manner, he succeeds in reversing the elements linked to a well-established topos, so as to surprise and entertain the reader., 13 p. sous format Word., info:eu-repo/semantics/inPress

Software applications are integral to various sectors, including manufacturing, commerce, transportation, healthcare, education, arts, and entertainment, with technological advancements, new applications continue to emerge, expanding the scope of software use. Open-source software (OSS) plays a crucial role in ensuring competition, promoting inclusiveness, and improving the digital environment, as supported by the European Commission. Moreover, it fosters macroeconomic benefits by preventing monopolies. The purpose of this study is to describe and analyse the legal protection given to a computer program that was derived from the source code of another computer program by copyright under Directive 2009/24/EC on the legal protection of computer programs (Computer Program Directive). Firstly, this study aims to illustrate the rights of a derivative work creator in relation to the rightsholder of the original source code creator under the Computer Program Directive. Secondly, this study aims to clarify the impact that the use of a copyleft open-source software license, such as GNU General Public License has on the protection of derivative computer programs as well as the impact on the author’s rights in relation to the rights-holder(s) of the original source code program under the Computer Program Directive. Article 1 of the Computer Programs Directive states that computer programs shall be protected under the Berne Convention if the criteria of originality is met, in the sense that it is the author’s own intellectual creation. The use of a copyleft open source software license, like the GNU General Public License, impacts the first and second questions under EU law by enforcing the release of derivative software under terms that ensure access to the source code. The GPL, which is designed to safeguard freedom for software code, allows unrestricted copying and modification of the code but mandates that both copies and derivative works be distributed under the same licen

The purpose of this study was to evaluate the influence of the complex thinking program on creativity in students of an elementary school - Milpo, Cajamarca. Methodologically, the study was conducted under the quantitative approach, applied research and pre-experimental design. Experimentation was used as a technique and a test called Torrance Test was applied as an instrument to measure creativity, within the framework of the dimensions that compose it: fluency, flexibility, originality and elaboration. The sample consisted of 30 students. The data was processed with SPSS 26, obtaining a p-value of less than 0.05 (0.000 < ,005) in the post-test; that is, the results showed a significant improvement in the dimensions of creativity; which were obtained through the Wilconxon test, reaching high and medium levels. Consequently, it was concluded that the complex thinking program significantly improved creativity in students., Este estudio tuvo como propósito evaluar la influencia del programa de pensamiento complejo sobre la creatividad en los estudiantes de una institución educativa primaria - Milpo, Cajamarca. Metodológicamente, el estudio se realizó bajo el enfoque cuantitativo, la investigación aplicada y el diseño preexperimental. Como técnica, se empleó la experimentación y como instrumento se aplicó un test denominado Test de Torrance para medir la creatividad, en el marco de las dimensiones que la componen: fluidez, flexibilidad, originalidad y elaboración. La muestra estuvo constituida por 30 estudiantes. La data fue procesada con SPSS 26, obteniéndose un p-valor menor a 0,05 (0.000 < ,005) en el postest; es decir, los resultados señalaron una mejora significativa de las dimensiones de la creatividad; los cuales fueron obtenidos mediante la prueba de Wilconxon, alcanzando los niveles alto y medio. En consecuencia, se concluyó que el programa de pensamiento complejo mejoró significativamente la creatividad en los estudiantes.

In the current debate on the copyrightability of AI production, several arguments were brought in relation to the foundations and rationales of copyright law. Against this theoretical background, a clear line was drawn between AI-generated and AI-assisted production. Whereas it seems now generally admitted that copyright will not vest with the former because of its complete lack of authorship, the latter seems eligible to such protection as there is here room for human intervention. Though human authorship is a bedrock requirement of copyright, it does not however suffice to conclude in general that AI-assisted productions would fall within its realm. Other rationales justify the grant or denying of this protection. Amongst those, the one underlying the US merger doctrine, and that can be found in the CJEU case law (Copyright, Design, Trademark), shows that copyright protection is probably not fit for AI-assisted productions per se. This idea, that connects the competition foundations of copyright and the basic technical features of Generative AI, was apparently left unexplored. Enshrined in IP theory, it exemplifies that the New Digital Rule of Law is not simply a New Rule of Law in the Digital., info:eu-repo/semantics/published

From Accius, Varro or Lucretius onwards, Latin poets have repeatedly alluded to or described the division of the terrestrial and celestial spheres into five climatic zones. The present paper is tracking down and delving into the several passages where this theory was mentioned from the origins of Latin literature until the 5th century A.D. Be they shorter or longer, these excerpts show regular interest and curiosity for a highly scientific topic from authors whose verses are not necessarily dedicated prima facie to science in general or to geography and astronomy in particular. Over time the picture of the zones evolved into a true literary topos whose grounds for attractiveness are also looked into. The Romans' natural appeal for reality and technical matters is one of them, as well as the philosophical, moral or ideological dimensions of the theme. Last but not least, this topos offers a wide range of possibilities to authors willing to engage in an agonistic process, fully compliant with the ancient concept of creative mimesis, in order to display their personality and originality., SCOPUS: ar.j, info:eu-repo/semantics/published

The purpose of this article is to explain the relationship between Life-world (Lebenswelt) and the concepts of Originality (Originalität) and Primordiality (Primordialität) founded in Edmund Husserl’s philosophy developed in the 20’s. In order to achieve this goal, we need to begin with a transcendental phenomenological analysis to then gain access to Ontology of the World in general. Therefore, we must explain how Transcendental Philosophy relates to Transcendental Aesthetics and how it phenomenologically labels all that is outside of theory and reflection (i.e., the Natural World) as a precondition to all theoretical classifications. This way the Life-world could explain the relationship between the Originality and Primordiality as proto-datum that is the base of all human acts genetically describable., El propósito de este artículo es explicar la relación entre el mundo de la vida (Lebenswelt) y los conceptos de originalidad (Originalität) y primordialidad (Primordialität) fundados en la filosofía de Edmund Husserl desarrollada en los 20´s. Para conseguir este objetivo necesitamos comenzar con el análisis fenomenológico trascendental para luego ganar el acceso a la ontología del mundo en general. Por lo tanto, debemos explicar cómo la filosofía trascendental se relaciona con la estética trascendental y cómo esto caracteriza fenomenológicamente lo que está fuera de la teoría y de la reflexión (i. e. el mundo natural) como una precondición de toda clasificación teorética. De esta forma el mundo de la vida podría explicar la relación entre la originalidad y la primordialidad como proto-dato que está a la base de todos los actos humanos genéticamente descriptibles.

The thesis examines the expanding relationship between Artificial Intelligence (AI) and art. Through research, interviews, and a survey, the study concludes that AI has a significant impact on art, both positively and negatively. The findings suggest that AI can serve as a helpful tool for artists in creating new artwork, but can also pose a threat due to less job opportunities. Additionally, the thesis addresses ethical concerns surrounding the use of AI in art, such as authorship and the lack of diversity in AI-generated art. The research suggests for visual artists to use AI as a tool to enhance their process and thrive where the AI lacks. AI art is not meant to replace visual artists, and the study is made to understand the connection between technology and art.

Translation and case note B 12315-20 (Swedish Tiger).

Tradition was not seen as a constraint by the Ancients, who considered it as a factor of progress rather than a brake on innovation. The Greek and Roman conception of originality was based entirely on the mimesis, i.e. an inventive and never servile imitation. Contrary to a commonly accepted view, creative practices of repetiting and borrowing did not disappear with the criteria imposed by the Romantics and their credo in a unique and independent work. We find them at work in productions from worlds as far from classical literature as Hollywood movies or pop/rock music. Various examples are provided to support this thesis, taken from ancient authors (the followers of Homer, Virgil, Ovid, etc.), American filmmakers (Steven Spielberg, George Lucas, Brian De Palma, etc.) and pop/rock artists (several heavy metal groups, Madonna, Britney Spears, the Beastie Boys, etc.). // Le poids de la tradition n'était pas vu comme une contrainte par les Anciens, qui la considéraient comme un facteur de progrès davantage qu'un frein à l'innovation. La conception grecque et romaine de l'originalité reposait tout entière sur la mimesis, imitation inventive et jamais servile. Contrairement à une idée communément admise, ces pratiques de création dans la répétition et l'emprunt n'ont pas disparu avec les critères imposés par les Romantiques et leur credo en une oeuvre unique et indépendante. On les retrouve à l'oeuvre dans des productions d'univers aussi éloignés de la littérature classique que le cinéma hollywoodien ou la musique pop/rock. Divers exemples sont fournis à l'appui de cette thèse, tirés d'auteurs anciens (les successeurs d'Homère, Virgile, Ovide, etc.), de cinéastes américains (Steven Spielberg, George Lucas, Brian De Palma, etc.) et d'artistes pop/rock (plusieurs groupes de heavy metal, Madonna, Britney Spears, les Beastie Boys, etc.)., info:eu-repo/semantics/published

The thesis examines the expanding relationship between Artificial Intelligence (AI) and art. Through research, interviews, and a survey, the study concludes that AI has a significant impact on art, both positively and negatively. The findings suggest that AI can serve as a helpful tool for artists in creating new artwork, but can also pose a threat due to less job opportunities. Additionally, the thesis addresses ethical concerns surrounding the use of AI in art, such as authorship and the lack of diversity in AI-generated art. The research suggests for visual artists to use AI as a tool to enhance their process and thrive where the AI lacks. AI art is not meant to replace visual artists, and the study is made to understand the connection between technology and art.

A widespread view is that Artificial Intelligence cannot be creative. We tested this assumption by comparing human-generated ideas with those generated by six Generative Artificial Intelligence (GAI) chatbots: alpa.ai, Copy.ai, ChatGPT (versions 3 and 4), Studio.ai, and YouChat. Humans and a specifically trained AI independently assessed the quality and quantity of ideas. We found no qualitative difference between AI and human-generated creativity, although there are differences in how ideas are generated. Interestingly, 9.4 % of humans were more creative than the most creative GAI, GPT-4. Our findings suggest that GAIs are valuable assistants in the creative process. Continued research and development of GAI in creative tasks is crucial to fully understand this technology's potential benefits and drawbacks in shaping the future of creativity. Finally, we discuss the question of whether GAIs are capable of being “truly” creative., Peer Reviewed

Objectives: The primary objective of this article is to delve into the intricate world of somatic phraseological units and sayings within the modern Russian literary language. The focus is on shedding light on the cultural and historical underpinnings that have shaped the unique existence of these linguistic constructs. Somatic phraseological units, viewed as encapsulating the essence of a culture and its people, are explored as a fascinating lens through which to understand the rich tapestry of Russian life.   Methods: The chosen methodology involves a thorough examination of the gaps in the linguistic landscape related to somatic phraseological units. The study aims to uncover the intricate threads that weave together the historical development of the Russian people. Through this linguistic analysis, the article seeks to offer valuable insights into the cultural significance and linguistic evolution of somatic expressions within the Russian language.   Results: The article presents the results of the examination, emphasizing the cultural and historical insights gained from the exploration of somatic phraseological units in the modern Russian literary language. The results highlight the significance of these linguistic constructs in reflecting the collective experiences and identity of the Russian people. The linguistic analysis contributes to a deeper understanding of the cultural fabric woven into the expressions used within the Russian language.   Conclusion: In conclusion, this article underscores the importance of somatic phraseological units in understanding the cultural and historical dimensions of the modern Russian literary language. By exploring these linguistic constructs, the study reveals the profound connections between language and culture, offering valuable insights into the intricate threads that have shaped the unique expressions found within Russian discourse.

I denna kandidatuppsats undersöktes sambandet mellan psykisk hälsa och kreativitet, samt huruvida det föreligger några könsskillnader i variablerna och om relationen mellan psykisk hälsa och kreativitet ser olika ut för män och kvinnor. Huvudhypotesen var att det finns ett samband mellan psykisk hälsa och kreativitet. Studien är kvantitativ och utfördes genom att låta deltagare svara på en webb-distribuerad enkät med syfte att mäta deras psykiska hälsa på två olika sätt, både som subjektiv livstillfredsställelse samt genom symptombeskrivningar av psykisk ohälsa. Deltagarnas kreativitet mättes via två dimensioner, divergent tänkande och kreativt själv. Undersökningen bestod av 69 kvinnor och 21 män. Då den insamlade datan analyserades framkom ett svagt positivt samband mellan psykisk hälsa och kreativitet, mer specifikt negativt mellan psykisk ohälsa och divergent tänkande. Resultaten tyder på att individer som upplever sig må sämre psykiskt presterar sämre på divergent tänkande. Vidare upptäcktes inga könsskillnader mellan män och kvinnor för varken psykisk hälsa eller kreativitet. Vid explorativt undersökande kunde eventuellt små skillnader ses mellan könen gällande sambanden mellan psykisk hälsa och kreativitet., In this thesis the connection between mental health and creativity was examined, as well as gender differences in the variables and whether the relationship between mental health and creativity looks different for men and women. The main hypothesis was that there is a connection between mental health and creativity. The study was conducted in a quantitative manner by having participants answer a web-distributed questionnaire with the aim of measuring their mental health in two different ways, both as subjective life satisfaction and through symptom descriptions of mental illness. Participants' creativity was measured via two dimensions, divergent thinking and creative self. The survey consisted of 69 women and 21 men. When the collected data was analyzed, a weak positive relationship emerged between mental health and creativity, more specifically negative between mental illness and divergent thinking. The results indicate that individuals who feel worse mentally perform worse on divergent thinking. Furthermore, no gender differences were detected between men and women for either mental health or creativity. During exploratory research, small differences could be seen between the sexes regarding the connections between mental health and creativity.

Originality is a relatively modern and controversial concept in design. Although it has been widely used in English since the end of the 18th century, its root ‘origin’ is an old word that has been in the language since the 14th century. Etymologically deriving from the root word ‘origin, originem’ (lt.) -source, rise, birth-, origin has an intrinsic retrospective meaning. ‘Original,’ on the other hand, keeps this retrospective meaning of source but also takes on additional definitions as ‘new, unique and authentic’ over time. Deriving from this secondary meaning of the original, the concept of ‘originality’ has described an idealized innovation and source of artistic expression. It has been theorized to signify value in creative industries. The fact that the word original can be attributed with different and opposing meanings; changes the way we deal with originality and related concepts in design, art, and aesthetics, making them open to discussion. Even though the definitions within the framework of the concept of originality take place in different discoursive areas, they create changing conditions and transform accordingly. Traces of these conditions and transformations show themselves on the meanings and definitions of words and form the hidden patterns of ‘originality’. It is a challenge to visually represent these changes that occur in language and are reflected in our ways of thinking. This paper proposes a method to analyze and represent the evolving and changing definitions of all these concepts and the dynamic conditions that create them by bringing them together contextually, semantically, and interdisciplinary. Unlike traditional linguistic tools of defining and examining words and concepts, this study encourages the use of Raymond Williams’ (1985) inspiring work ‘Keywords: A Vocabulary of Culture and Society’ to map all the interdisciplinary relations of the keywords into a network, to visualize the changes in meaning, to selectively bring all the dat

This article aims to delimit an area for aesthetic experimentation in the field of Argentinian art in the last decades. We propose three scenes: Sistema Copiador (2020), by Hernán Camoletto, A la sombra de un granado en flor and Trabajos prácticos (2021), by Leticia Obeid, and an untitled piece by Verónica Meloni exhibited in 2018. We take them as a starting point, asking these questions: How can we decide if these images are contemporary or not? Where do they stray from their actuality and how do they come along at the present? To explore these questions, we analyze the mentioned poetics from three perspectives. First, as image retrieving flows. Then, as artworks that create citation networks. Finally, as ways of revitalizing culture archives. From there, we move forward to make up the horizon of what we propose to call an imagined theory., Este artículo busca delimitar una zona de experimentaciones estéticas en el campo del arte argentino de las últimas décadas. Proponemos tres escenas, Sistema Copiador (2020) de Hernán Camoletto, A la sombra de un granado en flor y Trabajos Prácticos (2021) de Leticia Obeid y una obra Sin Título de Verónica Meloni expuesta en 2018. Partimos de ellas con las siguientes preguntas: ¿Cómo decidir si estas imágenes son contemporáneas? ¿En qué punto se alejan de lo actual para remontar el presente? Para avanzar sobre esos interrogantes analizamos las poéticas señaladas desde tres perspectivas. Primero, como flujos de recuperación de imágenes. Luego, en cuanto obras que construyen redes de citación. Finalmente, en tanto formas de revitalización de los archivos de la cultura. Desde allí avanzamos sobre algunas premisas para conformar el horizonte de lo que proponemos llamar una teoría imaginada.

In the age of digitalizarion several new ways of creating immaterial property have sprung up due to the resurgence of artificial intelligence (AI). This has paved the way for different kinds of tech including the assistance of AI in a more normalized way. A prominent variation of this tech is called "deepfake". Deepfakes are a technology that essentially places your face, likeness, mannerisms, and voice onto new situations that the creator then steers to make the deepfake do or say things that the person whose deepfake is based on hasn't done or said. This technology has been used in a myriad of ways, all from humourous content to extorsion and revenge porn. The aim of this master thesis is to analyse how immaterial law protection is achieved through current Swedish immaterial law principles and how these fit within the context of heavily based AI-tech such as deepfakes. This is done through a dogmatic lens, meaning that a systematization and mapping of both Swedish and EU-based laws and praxis are done as well as discussing the current thoughts on AI-assistance throughout the creative process. Another subject that is touched upon is the parody exception in immaterial law and the concept of adaptation and how these work with and apply to AI-based creations. Part of the problems that we face right now is that we have no existing legal parameters to solve the problem of larger AI-involvement in creative processes, this is certainly going to change how we view copyright law today. When comparing and using EU as well as Swedish praxis to analyze the AI-problem a common denominator is that all copyright law and praxis is based around the presumption that there needs to be a human involved in the majority of the creative process. AI already exists as a part of many creative processes today without any questions asked, however when the AI-part is more significant in the process the question becomes complicated when paired with traditional copyright law perspectives. Howeve

The transition to an open science system affects the entire research process. The reward systems also need to be adjusted in order to support and mirror the open research landscape, but what will this work look like, and what will change? We met Gustav Nilsonne, chair of the European working group dealing with the issue and a participant in the SUHF working group on merit reviews., Övergången till ett öppet system för vetenskap och vetenskaplig kommunikation påverkar hela forskningsprocessen. Meriteringssystemen behöver anpassas för att stödja och spegla det öppna forskningslandskapet, men hur kommer arbetet att se ut och vad kommer att förändras? Vi har träffat Gustav Nilsonne, ordförande för den europeiska arbetsgruppen som hanterar frågan och deltagare i SUHF:s arbetsgrupp för meritbedömningar., The text of the feature "Towards a new reward system for open science" is licensed with a Creative Commons Attribution 4.0 license (CC BY 4.0). This allows for extended sharing and use of the material. For more information, see the original document as web page or full text document.

Övergången till ett öppet system för vetenskap och vetenskaplig kommunikation påverkar hela forskningsprocessen. Meriteringssystemen behöver anpassas för att stödja och spegla det öppna forskningslandskapet, men hur kommer arbetet att se ut och vad kommer att förändras? Vi har träffat Gustav Nilsonne, ordförande för den europeiska arbetsgruppen som hanterar frågan och deltagare i SUHF:s arbetsgrupp för meritbedömningar., The transition to an open science system affects the entire research process. The reward systems also need to be adjusted in order to support and mirror the open research landscape, but what will this work look like, and what will change? We met Gustav Nilsonne, chair of the European working group dealing with the issue and a participant in the SUHF working group on merit reviews., Texten i reportaget är licenserad under en Creative Commons Attribution 4.0-licens (CC BY 4.0). Det ger dig utökade möjligheter att använda och sprida materialet. För mer information: Se originalet i fulltext som dokument eller webbsida.

Creativity has a significant place in visual arts education (Bastos & Zimmerman, 2015; Katz-Buonincontro, 2018; Kinsella, 2018; Sawyer, 2017; Stone, 2015; Ulger, 2019; Veon, 2014) but an understanding of creativity leads to the recognition that for something to be deemed creative, it must be both novel and appropriate in context (Amabile, 2018; Cropley, 2016; Goetz Zwirn & Vande Zande, 2015; Kaufman & Baer, 2012; Plucker, 2018). While the ‘in context’ addition to the concept of appropriate, creates more space for visual artists, the constraints of appropriateness remain. For a visual arts and design instructor, this creates tension. How do I encourage students to be creative and push boundaries, yet also teach them to be mindful of the constraints? This paper discusses observations in undergraduate design education studio classes wherein students learn to use process and thumbnail sketches to push their concepts beyond predictable and into the radical or novel realm. A modified design thinking process provides the structure that allows students to feel confident about exploring ideas. Ongoing feedback from peers and instructor serves to both push and reign in ideas when revisions are valuable. The process requires diligence and practice. It also requires that students work to break free from either/or thinking and view their work on a continuum. Reflecting on relevant methods for encouraging students to accept the value of novel ideas that also acknowledge the viewer is worthwhile. Encouraging students to recognize that creativity is enhanced through process while also engendering an understanding of the nature of creativity is valuable and can lead to the generation of radical ideas that have merit due not only to their novelty but also to their ‘appropriateness.’, La creatividad tiene un lugar importante en la educación de las artes visuales (Bastos & Zimmerman, 2015; Katz-Buonincontro, 2018; Kinsella, 2018; Sawyer, 2017; Stone, 2015; Ulger, 2019; Veon, 2014), pero la comprensión de la creatividad conduce al reconocimiento de que para que algo se considere creativo, debe ser novedoso y apropiado en contexto (Amabile, 2018; Cropley, 2016; Goetz Zwirn & Vande Zande, 2015; Kaufman & Baer, 2012; Plucker, 2018). Si bien la adición “en contexto” al concepto de apropiado crea más espacio para los artistas visuales, las restricciones de la adecuación permanecen. Para un instructor de artes visuales y diseño, esto crea tensión. ¿Cómo animo a los estudiantes a ser creativos y superar los límites, pero también les enseño a ser conscientes de las limitaciones? Este documento analiza las observaciones en las clases de diseño de pregrado en las que los estudiantes aprenden a usar bocetos de procesos y miniaturas para llevar sus conceptos más allá de lo predecible y hacia el ámbito radical o novedoso. Un proceso de pensamiento de diseño modificado proporciona la estructura que permite a los estudiantes sentirse seguros al explorar ideas. La retroalimentación continua de los compañeros y el instructor sirve tanto para impulsar como para dominar las ideas cuando las revisiones son valiosas. El proceso requiere diligencia y práctica. También requiere que los estudiantes trabajen para liberarse de uno u otro pensamiento y vean su trabajo en un continuo. Vale la pena reflexionar sobre métodos relevantes para animar a los estudiantes a aceptar el valor de las ideas novedosas que también reconozcan al espectador. Alentar a los estudiantes a reconocer que la creatividad se mejora a través del proceso y al mismo tiempo generar una comprensión de la naturaleza de la creatividad es valioso y puede conducir a la generación de ideas radicales que tienen mérito no solo por su novedad sino también por su ‘adecuación’.

The ethical considerations of research and published papers for the generation and application of knowledge has had a relevant role as it raises prestige and interest; hence, the importance of carrying out a thorough State of the Art. This paper discusses the various concepts State of the Art has, as well as the differentiation it has regarding literature review and conceptual framework, which apparently cause confusion, in first-time researchers and thesis doers. Last, it will be left up-to the researchersto ponder the relevance they give to the State of the Art, thus addressing the initial question., Desde siempre, el aspecto ético de las investigaciones y documentos publicados ha jugado un papel importante en la generación y aplicación del conocimiento, lo que genera prestigió e interés. Por eso es importante considerar realizar un Estado del Arte lo más completo posible. En este artículo se discuten los diferentes conceptos del Estado del Arte, asicomo la diferenciación con el marco teórico o conceptual, los cuales suelen causar confusión en investigadores y alumnado principiantes. Por último, se dejará al libre albedrío de la investigadora o investigador la importancia que considere darle al Estado del Arte y contestar la pregunta inicial.

The objective of this work is to consider various doctrinal sources that postulate a necessary originality in works of art or, specifically, in literary works of art, and to examine how this requirement that does not exist in Argentine regulations is positioned against the essays on ontology and phenomenology by Jean-Paul Sartre. The hypothesis is the following: all literary works are original, therefore there can be no crime of plagiarism. Said hypothesis will lead to consider that every work is original for the reader, therefore there is no crime of plagiarism. The variation seems minor, but it means that every literary work, however similar it may be to another literary work, is original, since the reader creates his own mental image of the entirety of the work read., O objetivo deste trabalho é considerar várias fontes doutrinárias que postulam uma originalidade necessária em obras de arte ou, especificamente, em obras de arte literárias, e examinar como esse requisito que não existe na regulamentação argentina se posiciona contra os ensaios ontologia e fenomenologia de Jean-Paul Sartre. A hipótese é a seguinte: todas as obras literárias são originais, portanto não pode haver crime de plágio. Tal hipótese levará a considerar que toda obra é original para o leitor, portanto não há crime de plágio. A variação parece pequena, mas significa que toda obra literária, por mais semelhante que seja a outra obra literária, é original, pois o leitor cria sua própria imagem mental do conjunto da obra lida., El objetivo de este trabajo es considerar diversas fuentes doctrinarias que postulan una originalidad necesaria en las obras de arte o, específicamente, en las obras de arte literarias, y examinar cómo ese requisito que no existe en la normativa argentina se posiciona frente a los ensayos sobre ontología y fenomenología de Jean-Paul Sartre. La hipótesis es la siguiente: toda obra literaria es original, por eso no puede existir el delito de plagio. Dicha hipótesis llevará a considerar que toda obra es original para el lector, por eso no existe el delito de plagio. La variación parece menor, pero significa que toda obra literaria, por más parecida que sea a otra obra literaria, es original, ya que el lector crea su propia imagen mental de la totalidad de la obra leída.

The ethical considerations of research and published papers for the generation and application of knowledge has had a relevant role as it raises prestige and interest; hence, the importance of carrying out a thorough State of the Art. This paper discusses the various concepts State of the Art has, as well as the differentiation it has regarding literature review and conceptual framework, which apparently cause confusion, in first-time researchers and thesis doers. Last, it will be left up-to the researchersto ponder the relevance they give to the State of the Art, thus addressing the initial question., Desde siempre, el aspecto ético de las investigaciones y documentos publicados ha jugado un papel importante en la generación y aplicación del conocimiento, lo que genera prestigió e interés. Por eso es importante considerar realizar un Estado del Arte lo más completo posible. En este artículo se discuten los diferentes conceptos del Estado del Arte, asicomo la diferenciación con el marco teórico o conceptual, los cuales suelen causar confusión en investigadores y alumnado principiantes. Por último, se dejará al libre albedrío de la investigadora o investigador la importancia que considere darle al Estado del Arte y contestar la pregunta inicial.

Introduction of the monographic "The new unclassifiable texts. Exocanonical writings", Presentación del monográfico "Los nuevos inclasificables. Escrituras exocanónicas"

Originality is a relatively modern and controversial concept in design. Although it has been widely used in English since the end of the 18th century, its root ‘origin’ is an old word that has been in the language since the 14th century. Etymologically deriving from the root word ‘origin, originem’ (lt.) -source, rise, birth-, origin has an intrinsic retrospective meaning. ‘Original,’ on the other hand, keeps this retrospective meaning of source but also takes on additional definitions as ‘new, unique and authentic’ over time. Deriving from this secondary meaning of the original, the concept of ‘originality’ has described an idealized innovation and source of artistic expression. It has been theorized to signify value in creative industries. The fact that the word original can be attributed with different and opposing meanings; changes the way we deal with originality and related concepts in design, art, and aesthetics, making them open to discussion. Even though the definitions within the framework of the concept of originality take place in different discoursive areas, they create changing conditions and transform accordingly. Traces of these conditions and transformations show themselves on the meanings and definitions of words and form the hidden patterns of ‘originality’. It is a challenge to visually represent these changes that occur in language and are reflected in our ways of thinking. This paper proposes a method to analyze and represent the evolving and changing definitions of all these concepts and the dynamic conditions that create them by bringing them together contextually, semantically, and interdisciplinary. Unlike traditional linguistic tools of defining and examining words and concepts, this study encourages the use of Raymond Williams’ (1985) inspiring work ‘Keywords: A Vocabulary of Culture and Society’ to map all the interdisciplinary relations of the keywords into a network, to visualize the changes in meaning, to selectively bring all the dat

In the age of digitalizarion several new ways of creating immaterial property have sprung up due to the resurgence of artificial intelligence (AI). This has paved the way for different kinds of tech including the assistance of AI in a more normalized way. A prominent variation of this tech is called "deepfake". Deepfakes are a technology that essentially places your face, likeness, mannerisms, and voice onto new situations that the creator then steers to make the deepfake do or say things that the person whose deepfake is based on hasn't done or said. This technology has been used in a myriad of ways, all from humourous content to extorsion and revenge porn. The aim of this master thesis is to analyse how immaterial law protection is achieved through current Swedish immaterial law principles and how these fit within the context of heavily based AI-tech such as deepfakes. This is done through a dogmatic lens, meaning that a systematization and mapping of both Swedish and EU-based laws and praxis are done as well as discussing the current thoughts on AI-assistance throughout the creative process. Another subject that is touched upon is the parody exception in immaterial law and the concept of adaptation and how these work with and apply to AI-based creations. Part of the problems that we face right now is that we have no existing legal parameters to solve the problem of larger AI-involvement in creative processes, this is certainly going to change how we view copyright law today. When comparing and using EU as well as Swedish praxis to analyze the AI-problem a common denominator is that all copyright law and praxis is based around the presumption that there needs to be a human involved in the majority of the creative process. AI already exists as a part of many creative processes today without any questions asked, however when the AI-part is more significant in the process the question becomes complicated when paired with traditional copyright law perspectives. Howeve

Creativity has a significant place in visual arts education (Bastos & Zimmerman, 2015; Katz-Buonincontro, 2018; Kinsella, 2018; Sawyer, 2017; Stone, 2015; Ulger, 2019; Veon, 2014) but an understanding of creativity leads to the recognition that for something to be deemed creative, it must be both novel and appropriate in context (Amabile, 2018; Cropley, 2016; Goetz Zwirn & Vande Zande, 2015; Kaufman & Baer, 2012; Plucker, 2018). While the ‘in context’ addition to the concept of appropriate, creates more space for visual artists, the constraints of appropriateness remain. For a visual arts and design instructor, this creates tension. How do I encourage students to be creative and push boundaries, yet also teach them to be mindful of the constraints? This paper discusses observations in undergraduate design education studio classes wherein students learn to use process and thumbnail sketches to push their concepts beyond predictable and into the radical or novel realm. A modified design thinking process provides the structure that allows students to feel confident about exploring ideas. Ongoing feedback from peers and instructor serves to both push and reign in ideas when revisions are valuable. The process requires diligence and practice. It also requires that students work to break free from either/or thinking and view their work on a continuum. Reflecting on relevant methods for encouraging students to accept the value of novel ideas that also acknowledge the viewer is worthwhile. Encouraging students to recognize that creativity is enhanced through process while also engendering an understanding of the nature of creativity is valuable and can lead to the generation of radical ideas that have merit due not only to their novelty but also to their ‘appropriateness.’, La creatividad tiene un lugar importante en la educación de las artes visuales (Bastos & Zimmerman, 2015; Katz-Buonincontro, 2018; Kinsella, 2018; Sawyer, 2017; Stone, 2015; Ulger, 2019; Veon, 2014), pero la comprensión de la creatividad conduce al reconocimiento de que para que algo se considere creativo, debe ser novedoso y apropiado en contexto (Amabile, 2018; Cropley, 2016; Goetz Zwirn & Vande Zande, 2015; Kaufman & Baer, 2012; Plucker, 2018). Si bien la adición “en contexto” al concepto de apropiado crea más espacio para los artistas visuales, las restricciones de la adecuación permanecen. Para un instructor de artes visuales y diseño, esto crea tensión. ¿Cómo animo a los estudiantes a ser creativos y superar los límites, pero también les enseño a ser conscientes de las limitaciones? Este documento analiza las observaciones en las clases de diseño de pregrado en las que los estudiantes aprenden a usar bocetos de procesos y miniaturas para llevar sus conceptos más allá de lo predecible y hacia el ámbito radical o novedoso. Un proceso de pensamiento de diseño modificado proporciona la estructura que permite a los estudiantes sentirse seguros al explorar ideas. La retroalimentación continua de los compañeros y el instructor sirve tanto para impulsar como para dominar las ideas cuando las revisiones son valiosas. El proceso requiere diligencia y práctica. También requiere que los estudiantes trabajen para liberarse de uno u otro pensamiento y vean su trabajo en un continuo. Vale la pena reflexionar sobre métodos relevantes para animar a los estudiantes a aceptar el valor de las ideas novedosas que también reconozcan al espectador. Alentar a los estudiantes a reconocer que la creatividad se mejora a través del proceso y al mismo tiempo generar una comprensión de la naturaleza de la creatividad es valioso y puede conducir a la generación de ideas radicales que tienen mérito no solo por su novedad sino también por su ‘adecuación’.

Övergången till ett öppet system för vetenskap och vetenskaplig kommunikation påverkar hela forskningsprocessen. Meriteringssystemen behöver anpassas för att stödja och spegla det öppna forskningslandskapet, men hur kommer arbetet att se ut och vad kommer att förändras? Vi har träffat Gustav Nilsonne, ordförande för den europeiska arbetsgruppen som hanterar frågan och deltagare i SUHF:s arbetsgrupp för meritbedömningar., The transition to an open science system affects the entire research process. The reward systems also need to be adjusted in order to support and mirror the open research landscape, but what will this work look like, and what will change? We met Gustav Nilsonne, chair of the European working group dealing with the issue and a participant in the SUHF working group on merit reviews., Texten i reportaget är licenserad under en Creative Commons Attribution 4.0-licens (CC BY 4.0). Det ger dig utökade möjligheter att använda och sprida materialet. För mer information: Se originalet i fulltext som dokument eller webbsida.

The transition to an open science system affects the entire research process. The reward systems also need to be adjusted in order to support and mirror the open research landscape, but what will this work look like, and what will change? We met Gustav Nilsonne, chair of the European working group dealing with the issue and a participant in the SUHF working group on merit reviews., Övergången till ett öppet system för vetenskap och vetenskaplig kommunikation påverkar hela forskningsprocessen. Meriteringssystemen behöver anpassas för att stödja och spegla det öppna forskningslandskapet, men hur kommer arbetet att se ut och vad kommer att förändras? Vi har träffat Gustav Nilsonne, ordförande för den europeiska arbetsgruppen som hanterar frågan och deltagare i SUHF:s arbetsgrupp för meritbedömningar., The text of the feature "Towards a new reward system for open science" is licensed with a Creative Commons Attribution 4.0 license (CC BY 4.0). This allows for extended sharing and use of the material. For more information, see the original document as web page or full text document.

Övergången till ett öppet system för vetenskap och vetenskaplig kommunikation påverkar hela forskningsprocessen. Meriteringssystemen behöver anpassas för att stödja och spegla det öppna forskningslandskapet, men hur kommer arbetet att se ut och vad kommer att förändras? Vi har träffat Gustav Nilsonne, ordförande för den europeiska arbetsgruppen som hanterar frågan och deltagare i SUHF:s arbetsgrupp för meritbedömningar., The transition to an open science system affects the entire research process. The reward systems also need to be adjusted in order to support and mirror the open research landscape, but what will this work look like, and what will change? We met Gustav Nilsonne, chair of the European working group dealing with the issue and a participant in the SUHF working group on merit reviews., Texten i reportaget är licenserad under en Creative Commons Attribution 4.0-licens (CC BY 4.0). Det ger dig utökade möjligheter att använda och sprida materialet. För mer information: Se originalet i fulltext som dokument eller webbsida.

The transition to an open science system affects the entire research process. The reward systems also need to be adjusted in order to support and mirror the open research landscape, but what will this work look like, and what will change? We met Gustav Nilsonne, chair of the European working group dealing with the issue and a participant in the SUHF working group on merit reviews., Övergången till ett öppet system för vetenskap och vetenskaplig kommunikation påverkar hela forskningsprocessen. Meriteringssystemen behöver anpassas för att stödja och spegla det öppna forskningslandskapet, men hur kommer arbetet att se ut och vad kommer att förändras? Vi har träffat Gustav Nilsonne, ordförande för den europeiska arbetsgruppen som hanterar frågan och deltagare i SUHF:s arbetsgrupp för meritbedömningar., The text of the feature "Towards a new reward system for open science" is licensed with a Creative Commons Attribution 4.0 license (CC BY 4.0). This allows for extended sharing and use of the material. For more information, see the original document as web page or full text document.

Övergången till ett öppet system för vetenskap och vetenskaplig kommunikation påverkar hela forskningsprocessen. Meriteringssystemen behöver anpassas för att stödja och spegla det öppna forskningslandskapet, men hur kommer arbetet att se ut och vad kommer att förändras? Vi har träffat Gustav Nilsonne, ordförande för den europeiska arbetsgruppen som hanterar frågan och deltagare i SUHF:s arbetsgrupp för meritbedömningar., The transition to an open science system affects the entire research process. The reward systems also need to be adjusted in order to support and mirror the open research landscape, but what will this work look like, and what will change? We met Gustav Nilsonne, chair of the European working group dealing with the issue and a participant in the SUHF working group on merit reviews., Texten i reportaget är licenserad under en Creative Commons Attribution 4.0-licens (CC BY 4.0). Det ger dig utökade möjligheter att använda och sprida materialet. För mer information: Se originalet i fulltext som dokument eller webbsida.

The transition to an open science system affects the entire research process. The reward systems also need to be adjusted in order to support and mirror the open research landscape, but what will this work look like, and what will change? We met Gustav Nilsonne, chair of the European working group dealing with the issue and a participant in the SUHF working group on merit reviews., Övergången till ett öppet system för vetenskap och vetenskaplig kommunikation påverkar hela forskningsprocessen. Meriteringssystemen behöver anpassas för att stödja och spegla det öppna forskningslandskapet, men hur kommer arbetet att se ut och vad kommer att förändras? Vi har träffat Gustav Nilsonne, ordförande för den europeiska arbetsgruppen som hanterar frågan och deltagare i SUHF:s arbetsgrupp för meritbedömningar., The text of the feature "Towards a new reward system for open science" is licensed with a Creative Commons Attribution 4.0 license (CC BY 4.0). This allows for extended sharing and use of the material. For more information, see the original document as web page or full text document.

The transition to an open science system affects the entire research process. The reward systems also need to be adjusted in order to support and mirror the open research landscape, but what will this work look like, and what will change? We met Gustav Nilsonne, chair of the European working group dealing with the issue and a participant in the SUHF working group on merit reviews., Övergången till ett öppet system för vetenskap och vetenskaplig kommunikation påverkar hela forskningsprocessen. Meriteringssystemen behöver anpassas för att stödja och spegla det öppna forskningslandskapet, men hur kommer arbetet att se ut och vad kommer att förändras? Vi har träffat Gustav Nilsonne, ordförande för den europeiska arbetsgruppen som hanterar frågan och deltagare i SUHF:s arbetsgrupp för meritbedömningar., The text of the feature "Towards a new reward system for open science" is licensed with a Creative Commons Attribution 4.0 license (CC BY 4.0). This allows for extended sharing and use of the material. For more information, see the original document as web page or full text document.

Övergången till ett öppet system för vetenskap och vetenskaplig kommunikation påverkar hela forskningsprocessen. Meriteringssystemen behöver anpassas för att stödja och spegla det öppna forskningslandskapet, men hur kommer arbetet att se ut och vad kommer att förändras? Vi har träffat Gustav Nilsonne, ordförande för den europeiska arbetsgruppen som hanterar frågan och deltagare i SUHF:s arbetsgrupp för meritbedömningar., The transition to an open science system affects the entire research process. The reward systems also need to be adjusted in order to support and mirror the open research landscape, but what will this work look like, and what will change? We met Gustav Nilsonne, chair of the European working group dealing with the issue and a participant in the SUHF working group on merit reviews., Texten i reportaget är licenserad under en Creative Commons Attribution 4.0-licens (CC BY 4.0). Det ger dig utökade möjligheter att använda och sprida materialet. För mer information: Se originalet i fulltext som dokument eller webbsida.

I denna kandidatuppsats undersöktes sambandet mellan psykisk hälsa och kreativitet, samt huruvida det föreligger några könsskillnader i variablerna och om relationen mellan psykisk hälsa och kreativitet ser olika ut för män och kvinnor. Huvudhypotesen var att det finns ett samband mellan psykisk hälsa och kreativitet. Studien är kvantitativ och utfördes genom att låta deltagare svara på en webb-distribuerad enkät med syfte att mäta deras psykiska hälsa på två olika sätt, både som subjektiv livstillfredsställelse samt genom symptombeskrivningar av psykisk ohälsa. Deltagarnas kreativitet mättes via två dimensioner, divergent tänkande och kreativt själv. Undersökningen bestod av 69 kvinnor och 21 män. Då den insamlade datan analyserades framkom ett svagt positivt samband mellan psykisk hälsa och kreativitet, mer specifikt negativt mellan psykisk ohälsa och divergent tänkande. Resultaten tyder på att individer som upplever sig må sämre psykiskt presterar sämre på divergent tänkande. Vidare upptäcktes inga könsskillnader mellan män och kvinnor för varken psykisk hälsa eller kreativitet. Vid explorativt undersökande kunde eventuellt små skillnader ses mellan könen gällande sambanden mellan psykisk hälsa och kreativitet., In this thesis the connection between mental health and creativity was examined, as well as gender differences in the variables and whether the relationship between mental health and creativity looks different for men and women. The main hypothesis was that there is a connection between mental health and creativity. The study was conducted in a quantitative manner by having participants answer a web-distributed questionnaire with the aim of measuring their mental health in two different ways, both as subjective life satisfaction and through symptom descriptions of mental illness. Participants' creativity was measured via two dimensions, divergent thinking and creative self. The survey consisted of 69 women and 21 men. When the collected data was analyzed, a weak positive relationship emerged between mental health and creativity, more specifically negative between mental illness and divergent thinking. The results indicate that individuals who feel worse mentally perform worse on divergent thinking. Furthermore, no gender differences were detected between men and women for either mental health or creativity. During exploratory research, small differences could be seen between the sexes regarding the connections between mental health and creativity.

This article is an adequate translation of the work andto the theoretical classification of equivalence.Literary translation is also a form of creativityare considered. A work written in one language in the process of literary translationas subtle in the author's text as possible in another languagere-created while preserving the edges. That's right as long as we are authentic based on the results obtained from this processwritten in another language and re-created by means of another language We study art from a theoretical point of view. &nbsp

This article is an adequate translation of the work andto the theoretical classification of equivalence.Literary translation is also a form of creativityare considered. A work written in one language in the process of literary translationas subtle in the author's text as possible in another languagere-created while preserving the edges. That's right as long as we are authentic based on the results obtained from this processwritten in another language and re-created by means of another language We study art from a theoretical point of view. &nbsp

This article is an adequate translation of the work andto the theoretical classification of equivalence.Literary translation is also a form of creativityare considered. A work written in one language in the process of literary translationas subtle in the author's text as possible in another languagere-created while preserving the edges. That's right as long as we are authentic based on the results obtained from this processwritten in another language and re-created by means of another language We study art from a theoretical point of view. &nbsp

Denna kandidatuppsats undersöker kopplingen mellan tre välmåendemått, life satisfaction, psykologisk flexibilitet and psykologisk inflexibilitet och tre kreativitetsmått, kognitiv flexibilitet, originalitet och creative self-efficacy. Huvudhypotesen var att det finns en koppling mellan kreativitet och välmående. Det var en kvantitativ tvärsektionell studie i forma av en enkät. 120 personer svarade på enkäten, av dem studerade 47 personer kreativt skrivande på universitetsnivå. De övriga 73 utgjorde jämförelsegrupp. Ytterligare en preliminär skrivarenkät utvecklades för att undersöka skrivarstudenternas förståelse för hur de kunde använda kreativt skrivande för att tillfredsställa behov och bearbeta negativa känslor. Resultatet visade hur viktig creative self-efficacy är för kreativa människor. Creative self-efficacy är direkt kopplat till life satisfaction, psykologisk flexibilitet och psykologisk inflexibilitet och det modererar också förhållandet mellan originalitet och välmåendemåtten samt förhållandet mellan kognitiv flexibilitet och life satisfaction. Studenterna vid skrivarskolorna var mycket kreativa och hade hög creative self-efficacy jämfört med jämförelsegruppen. De svarade lika högt på life satisfaction-enkäten och och var lika psykologiskt flexibla. Skrivarenkäten visade att ju mer studenterna identifierade sig som kreativa personer desto mer använde de sitt skrivande för att bli på bättre humör, återhämta sig och bli nöjda med livet., This thesis investigated the connection between three well-being dimensions consisting of life satisfaction, psychological flexibility, and inflexibility and three creativity measures consisting of cognitive flexibility, originality, and creative self-efficacy. The hypothesis was that there was a connection between creativity and well-being. It was a quantitative study with a cross-sectional design in the form of a survey. There were 120 respondents, 47 attended a creative writing school and the remaining 73 acted as a comparison group. An additional preliminary writer survey was developed to investigate the creative writing students' understanding of how they could use creative writing to satisfy needs and deal with emotions. The result showed the importance of creative self-efficacy for creative individuals. Creative self-efficacy was directly connected to life satisfaction, psychological flexibility and inflexibility and it also moderates both the relation between originality and the well-being measures and the relation between cognitive flexibility and life satisfaction. Students at creative writing schools were highly creative and displayed high creative self-efficacy compared to the comparison group. They were as satisfied with life as the comparison group and as psychologically flexible. The writer survey showed a relation to creative self-identity; the more the students identified themselves as creative, the more they consciously and actively used the writing to improve their mood, recover from stress and to increase satisfaction with life.

Originality is an important goal of research. However, relatively little is known about the characteristics and motivations of individual researchers or about the facilitating or hindering factors that, in combination, can lead to original research outputs. This is a gap this study aims to fill. Interviews with 20 highly original academics (identified by their peers) active in the field of tourism identify four shared main traits among such researchers—nonconformism, commitment, self-confidence, and interdisciplinarity—and the importance of situational factors. The findings also show that there is no single optimum way of “becoming original” and, therefore, efforts to “replicate” originality may constrain rather than enable originality. From a managerial perspective, this suggests that it is easier to remove barriers than to positively facilitate original research.

This article addresses the issue of speech culture in preschool educators. Communication with preschool children provides methodological guidance on the requirements of speech culture.

This article addresses the issue of speech culture in preschool educators. Communication with preschool children provides methodological guidance on the requirements of speech culture.

Este artículo intenta precisar, en primer lugar, hasta qué punto fueron originales las civilizaciones axiales producidas en torno al 500 antes de nuestra Era. Para ello, partiendo de una Sociología comprensiva weberiana y de los métodos heurístico social e histórico, se indagará en la etimología del concepto originalidad, que resulta básico en la creatividad y que remite, dialécticamente, a los términos aledaños de “origen” y “originario”. El primero supone, básicamente, un retorno al pasado y, el segundo una proyección hacia el futuro, algo que -como se verá- efectúa la Era Axial, uno de los momentos creativos más intensos de la historia de la humanidad. En segundo lugar, se tratará aquí la estrecha vinculación existente entre el juego y la creación de las utopías axiales y, con esta finalidad, se desarrollarán dos mapas conceptuales que delimiten los aspectos caracterizadores tanto de uno como de la otra. Después, se interrelacionarán dichas características a fin de encontrar las correspondencias de significado existente entre ellas y, finalmente, se concluirá desvelando tres fundamentos de la Era Axial útiles para comprender algunos de los problemas contemporáneos. Se comprobará, así, que la Era Axial es, ciertamente, original y que organiza una narrativa temporal muy creativa., This article tries to specify, first of all, to what extent the axial civilizations produced around 500 before our era were original. To do this, starting from a comprehensive Weberian sociology and the social and historical heuristic methods, the etymology of the concept of originality will be investigated, which is basic in creativity and refers, dialectically, to the neighboring terms of “origin” and “original “The first is basically a return to the past and the second is a projection into the future, something that, as will be seen, is carried out by the Axial Age, one of the most intense creative moments in human history. Secondly, will be discussed here the close link between play and the creation of axial utopias and, with this purpose, will unfold two conceptual maps that delimit the characterizing aspects of both. Later, will interrelate these characteristics in order to find the correspondences of meaning between them. Thus, it will be verified that the Axial Age is, indeed, original and that it organizes a very creative temporal narrative. Finally, we will conclude by revealing three foundations of the Axial Age, useful for understanding some of the contemporary problems.

This study examines specific exploration activities in students’ visual arts portfolios from secondary education. Creating original visual arts products requires exploration according to Getzels and Csiksentmihalyi (The creative vision. A longitudinal study of problem finding in Art. New York: John Wiley & Sons Inc., 1976). Obtaining insight about the contribution of specific exploration activities to the originality of arts products is important for designing and supporting learning in arts education. The aim of this study is to examine the contribution of activities within three types of exploration: association, combination, and abstraction to originality of visual arts designs. Data consist of 196 portfolio events showing exploration activities and art designs, from 11 Grade 11 visual arts students. Portfolio events were coded for three different types of exploration: association, combination, and abstraction, on a dimension of ascending abstractness. We coded activities within each of these types, on a scale of remoteness, to determine the metaphorical distance. Visual originality of each portfolio event was assessed using the comparative judgment method. Multilevel regression analyses showed all three types of exploration significantly contributed to originality of visual designs. In total, 31% of the variance in originality at portfolio events level was explained by these types of exploration. In general, the more remote exploration activities were, the more original the visual design. These findings are discussed related to the literature on creative processes.

This article is an adequate translation of the work andto the theoretical classification of equivalence.Literary translation is also a form of creativityare considered. A work written in one language in the process of literary translationas subtle in the author's text as possible in another languagere-created while preserving the edges. That's right as long as we are authentic based on the results obtained from this processwritten in another language and re-created by means of another language We study art from a theoretical point of view. &nbsp

The present work reflects on the possibilities that the technologies of data acquisition and three-dimensional reproduction of artistic objects offer for the generation of never built historical artworks. The research focuses on the scientific and manufacturing labours carried out by Factum Arte on the work of Canova and Piranesi. Through the projects of materialization of some pieces that were not executed by the Veneto artists in their age, we revaluate the changing consideration of the reproduction of the artistic work and we analyse the parameters that allow considering the originality in the creations of historical artefacts in our present time.

This article addresses the issue of speech culture in preschool educators. Communication with preschool children provides methodological guidance on the requirements of speech culture.

This article addresses the issue of speech culture in preschool educators. Communication with preschool children provides methodological guidance on the requirements of speech culture.