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Originally published in 1954, Creative Realism: A New Method of Winning provides a simple process of self-hypnosis whereby you can free the mind from its fragmentation in the subconscious. Dr. Rolf Alexander theorizes that we are all hypnotized to a considerable degree by what has happened to or around us in our lives. Assigning many of our personality troubles on “hypnosis-without-a-hypnotist,” he offers a method which he calls ‘self-realization,’ and which is used to dehypnotize ourselves. The use of this method is urged as a preliminary to the administering of autosuggestion, and provides an antidote to remaining in a suggestible trance to some extent after the use of autohypnosis. Dr. Rolf Alexander devoted himself to a lifelong program of private research and experimentation, and following extensive worldwide travel and the meticulous investigation of many little-known systems, he discovered the new and revolutionary philosophy named ‘Creative Realism,’ which this book outlines.
The Space that Separates: A Realist Theory of Art radically challenges our assumptions about what art is, what art does, who is doing it, and why it matters. Rejecting the modernist and market-driven misconception that art is only what artists do, Wilson instead presents a realist case for living artfully. Art is defined as the skilled practice of giving shareable form to our experiences of being-in-relation with the real; that is to say, the causally generative domain of the world that extends beyond our direct observation, comprising relations, structures, mechanisms, possibilities, powers, processes, systems, forces, values, ways of being. In communicating such aesthetic experience we behold life’s betweenness – "the space that separates", so coming to know ourselves as connected. Providing the first dedicated and comprehensive account of art and aesthetics from a critical realist perspective – Aesthetic Critical Realism (ACR), Wilson argues for a profound paradigm shift in how we understand and care for culture in terms of our system(s) of value recognition. Fortunately, we have just the right tool to help us achieve this transformation – and it’s called art. Offering novel explanatory accounts of art, aesthetic experience, value, play, culture, creativity, artistic truth and beauty, this book will appeal to a wide audience of students and scholars of art, aesthetics, human development, philosophy and critical realism, as well as cultural practitioners and policy-makers.
The World of Failing Machines offers the first full-length discussion of the relationship between speculative realism and literary criticism. In identifying some of the most significant coordinates of speculative-realist thought, this book asks what the implications might be for the study of literature. It is argued that the first casualty might well be the form of the traditional essay.
A examination of time-tested methods used by artists since the Renaissance to make realistic pictures of imagined things.
In assessing the current state of feminism and gender studies, whether on a theoretical or a practical level, it has become increasingly challenging to avoid the conclusion that these fields are in a state of disarray. Indeed, feminist and gender studies discussions are beset with persistent splits and disagreements. This reader suggests that returning to, and placing centre-stage, the role of philosophy, especially critical realist philosophy of science, is invaluable for efforts that seek to overcome or mitigate the uncertainty and acrimony that have resulted from this situation. In particular, it claims that the dialectical logic that runs through critical realist philosophy is ideally suited to advancing feminist and gender studies discussions about broad ontological and epistemological questions and considerations, intersectionality, and methodology, methods, and empirical research. By bringing together four new and eight existing writings this reader provides both a focal point for renewed discussions about the potential and actual contributions of critical realist philosophy to feminism and gender studies and a timely contribution to these discussions.
Political realism is a highly diverse body of international relations theory. This substantial reference work examines political realism in terms of its history, its scientific methodology and its normative role in international affairs. Split into three sections, it covers the 2000-year canon of realism: the different schools of thought, the key thinkers and how it responds to foreign policy challenges faced by individual states and globally. It brings political realism up-to-date by showing where theory has failed to keep up with contemporary problems and suggests how it can be applied and adapted to fit our new, globalised world order.
This first volume of the Collected Works of Mihaly Csikszentmihalyi represents his work on Art and Creativity. Starting with his seminal 1964 study on creativity up to his 2010 publication in Newsweek, the volume spans over four decades of research and writing and clearly shows Csikszentmihalyi’s own development as an academic, psychologist, researcher and person. Unconventional and unorthodox in his approach, Csikszentmihalyi chose the topic of creativity as a field of study believing it would help him be a better psychologist and advance his understanding of how to live a better life. The chapters in this volume trace the history of the study of creativity back to the days of Guilford and research on IQ and Jacob Getzels’ work on creativity and intelligence. Firmly grounded in that history, yet extending it in new directions, Mihaly Csikszentmihalyi started his life-long study on artistic creativity. His first extensive study at the School of the Art Institute of Chicago enabled him to observe, test and interview fine art students drawing in a studio. The study formed the very basis of all his work on the subject and has resulted in several articles, represented in this volume, on such creativity-related concepts as problem solving versus problem finding, the personality of the artist, the influence of the social context, creativity as a social construction, developmental issues and flow. The main contribution to the topic of creativity and also the main concept explored in this volume, is the Systems Model of Creativity. Seven chapters in this volume discuss the development of this conceptual model and theory.
This book is a joint effort of like-minded researchers to define the concept of process within a psychological setting. Although minor differences exist as regards choice of background theory, their common focus is on personality in a broad psychodynamic context. Their definition of personality rests on a series of test instruments that have been validated during decades of thorough and vigorous empirical work. These were originally designed to open up micro-processes underlying the adaptation to or construction of reality, and have subsequently proven diagnostically efficient. Coming from both sides of the Atlantic, the contributors have their background in psychological as well as medical institutions. The contributions in the book are examples of a vital source sustaining our efforts to get a more profound understanding of the vicissitudes of the human mind.
This book fills a gap in the literature of 21st century international visual arts education by providing a structured approach to understanding the benefits of Philosophical Realism in art education, an approach that has received little international attention until now. The framework as presented provides a powerful interface between research and practical reconceptualisations of critical issues and practice in the domains of art, design, and education that involve implications for curriculum in visual arts, teaching and learning, cognitive development, and creativity. The book extends understanding of Philosophical Realism in its practical application to teaching practice in visual arts in the way it relates to the fields of art, design, and education. Researchers, teacher educators and specialist art teachers are informed about how Philosophical Realism provides insights into art, design, and education. These insights vary from clearer knowledge about art to the examination of beliefs and assumptions about the art object. Readers learn how cognitive reflection, and social and practical reasoning in the classroom help cultivate students’ artistic performances, and understand how constraints function in students’ reasoning at different ages/stages of education.
This book rediscovers a spiritual way of preparing the actor towards experiencing that ineffable artistic creativity defined by Konstantin Stanislavski as the creative state. Filtered through the lens of his unaddressed Christian Orthodox background, as well as his yogic or Hindu interest, the practical work followed the odyssey of the artist, from being oneself towards becoming the character, being structured in three major horizontal stages and developed on another three vertical, interconnected levels. Throughout the book, Gabriela Curpan aims to question both the cartesian approach to acting and the realist-psychological line, generally viewed as the only features of Stanislavski’s work. This book will be of great interest to theatre and performance academics as well as practitioners in the fields of acting and directing.