Children’s creative imagination is tested through tasks involving narrative and drawing abilities for participants between the age of 8 and 12 years. The test determines the relative importance of ‘narrative’ against ‘graphic’ imagination in interpretive, problem-solving strategies, and also considers how such distinctive functions of the creative imagination could affect ‘general’ creativity of the child learner. Participants were chosen from designated primary schools in the state of Guanajuato, Mexico. The test on creativity complements facts from observational methodology in a population of mixed Castilian-speaking children. The name of the test is Prueba de Imaginación Creativa Niños (2008) or ‘Test of Creative Imagination in Children’, the Castilian acronym being PIC-N. It comprised four sub-tests: Three designed to evaluate narrative (verbal) creativity, and one for drawing (i.e., graphic) creativity. The first three ‘exercises’ in the suite indicates (a) fluency, (b) flexibility, and (c) originality in narrative representations, whereas the fourth indexes (d) graphic abilities of the child learner. Results suggest that creative imagination causes variations in specific aspects of creativity, like narrative and graphic improvisation, and also modifies ‘general’ creativity as understood from the perspective of a developmental psychology of learning abilities in growing children within the defined age group.
Uto-Aztecan iconic practices are primarily conditioned by the consciousness of the snake as a death-dealing power, and as such, an animal that displays the deepest fears and anxieties of the individual. The attempt to study a snake simulacrum thus constitutes the basic objective of this volume. A long, all-embracing iconicity of snakes and related snake motifs are evident in different cultural expressions ranging from rock art templates to other cultural artifacts like basketry, pottery, temple architecture and sculptural motifs. Uto-Aztecan iconography demonstrates a symbolic memorial order of emotional valences, as well as the negotiations with death and a belief in rebirth, just as the skin shedding snake reptile manifests in its life cycle.
A pressing problem in archival preservation of information on electronic art, and any possible virtual conservation of such artifacts in Latin America, is the lack of strategic initiatives in the field. Unfortunately, a certain so-called ‘history of digital art’ has not been constructed in the southern continent; neither is any ‘history of digital art in Latin America’ valorized per se in the literature on contemporary art. The creation of databases and sets is inevitable as Latin America transforms into an economic power. Intelligent and user-friendly archival platforms are urgently needed. The potential of a 5G empowered mining for retrieval of dynamic contents in new media arts is immense and would further point to the aesthetic needs of the future.
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