Digital culture has penetrated most aspects of our lives. Yet it has also dragged us into paradoxical situations and profound uncertainty. This, in turn, requires digital learning process that is capable of fostering mature individuals characterized by specific creativity; the kind of creativity rooted in prudence, deep insight into life as well as broad and integrated personal vision of the world. This research aims to see the extent to which digital learning process is conducive to the fostering of this type of creativity. This is an exploratory research with qualitative approach, conducted by means of questionnaires, in-depth interview and focus group discussion. Gen-Y and Z students from 13 Universities in West Java, Indonesia, were chosen for observation and interview, continued with focus group discussion in two courses which are Critical Reading and Cultural Entrepreneurship classes. The result shows that the practice of online learning so far contains some inherent constraints to meet the need. Some basic constraints pertain to the condition of the students themselves. Despite the flaws, however, online learning process also has some good potentials in fostering the required creativity, provided it incorporates ‘engagement experience’ and some strategies to ‘go beyond data’ in accordance with the students’ suggestions themselves.
Culture may transgress geopolitical boundaries. these days, especially when the survival of a certain community is under the threat of global political power, the need to overemphasize cultural uniqueness arises more strongly. Tradition is ambiguous and multi-interpretable, depending on the frame of interpretation, interest, power, and above all, on the dialectical encounter of ‘translation’: only in relation with something other and different, particular aspect of the tradition comes up. More than simply a matter of ‘transmission’, tradition is in fact a process of on-going ‘transformation’ and ‘reinterpretation’. The world becames a huge stage where multiple waves of existence intersect and realize the complexity, ambiguity and subtlety of each other’s world and of their own. In the interaction self-interrogation and mutual self-criticism take place, in which the participating cultures are called into question. In such global stage, cultures would weave and reweave their conceptual networks continually. The world cultural stage today is a never-ending conversation where traditions are not only rearticulated thereby, but also reinvented, and extended to their unpredictable potentialities in terms of new contexts. Culture lives in the conjunctions of our grammar of conversation happening on the stage.<br /><br />
In the 21st century, due to its incessant auto-criticism, the orientation of science is split into two. On the one hand, the monolythic tendency of positivism -with its physicalistic paradigm- is still prevalent. On the other, the tendency of openess toward the complexity of reality is also thriving. The latter would include the openess toward non physical variables or even toward esoteric experience. At this junction, the concept of<br />ethnoepistemology is worth considering. With regard to this, this article seeks to see the fundamental differences between the universal-scientific epistemology and ethnoepistemology. Ethnoepistemology is examined in terms of its local ontological-worldview, which mostly is spiritual in character. It was found out that the local worldview generates a particular knowledge, with specific logic, method and vocabulary of its own. Complemented with some case-studies, the article comes up with the idea that the mistery of the world can be accessed from many points of view, resulting in different kinds of knowledge. That said, while scientific epistemology is not the only possible one, ethnopistemology can upgrade itself by learning from the work-ethos of scientific epistemology. <br /><br /><strong>Key words:</strong> episteme, worldview, logic, interdependency, holistic, experiential
The sacred space in Catholic Church buildings is intended for people to experience the mystery of God’s work of salvation and the epiphany of faith through light as one of its design elements. Light is seen as a significant aspect of Catholic teachings, representing divine manifestation through its symbolic function. The presence of artificial light in the worship room of the Holy Spirit Cathedral Denpasar was designed to accommodate all worship activities in conveying symbolic meanings. This study aimed to determine how artificial lighting through pragmatic, psychological, and symbolic functions is present in the prayer room. The data collection techniques used were observation, interviews, and questionnaires. The study results showed that the pragmatic function of light in the worship room of the Holy Spirit Cathedral Denpasar is considered a supporting aspect, while light with its psychological and symbolic functions is considered to be the main aspect, which is very influential in creating a spatial atmosphere that facilitates the religious experience of the churchgoer. Although the presence of artificial lighting in the worship room does not fulfill visual comfort, churchgoers consider the presence of artificial light to be able to accommodate the whole procession of worship activities.
In the World agitated by terrorism, solidification of identity, paranoia, xenophobia and genocide, art indeed expresses the negativity, that is, the void, the chaos, or the spiritual blindness of the socio-cultural plight. But it also serves as a diagnostic tool for identifying the disease; a process of intensifying and heightening our perceptual awareness of the crises; a necessary visualization of the ciritical interface between body, mind and soul. Art renders palpabic the ugliness, the meanness, the unbearableness of life, and this, in turn, will open the possibility to see what ultimately is mroe desirable, the deeper mystery of the soul, what we usually call 'peace'. It is in this spiritual sense that art can serve as the negation of negation.
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