Bytheway - Pedagogická fakulta MU - Masarykova univerzita

O INTRO
Y LUDMILA FIDLEROVÁ
PREFACE
Li refl ect the order and pattern in Nature... but it is
not pattern thought of as something dead, like a mosaic:
it is dynamic pattern as embodied in all things living; and
in human relationships, and in the highest human values.
Joseph Needham
It`s to be done as little as to leave out a few heartbeats or
breathes and the movement of life ceases. Everything is in
motion and this fl ow constitutes a driving force of existence.
Following composition of pictures and texts refl ects such
a motion by its leitmotiv by the way, through which captures
the current outputs of continuous inner process of cognition in
the form of short essays, as like as the projects already been
realized.
The undercover objects or even main reasons of our
creativity are often displayed in just one remark and suddenly
enlights the continuity of one`s demonstration and leaving the
whole personal universe of an individual and his creativity wide
open for understanding.
Capturing of the streaming which invigorates and carries
out development of creative cognizing is quite similar to the
endeavour of capturing of a river`s fl ow, whose shores are
relatively designated, but water keeps fl owing in again and again
and regarding its very purpose will be still tiding past. As far as
we can see, we can spot this motion-inside ourselves, among
planets (either of microcosms or macrocosms). Creativity of
art is capable to inlay it and simultaneously represents such
a power which moves a creative man. The particular fulfi lment
of universal potentiality of creative force earning the form of
an artistic act/artefact is exposed within loosely composed
contributions of pedagogues, students, specialists on creative
art and even other areas transcending its impact into the culture
of art. The force of such a movement is depicted in the note
beyond the line written by paintress and museum animation
maker Barbora Svatkova, added after she has read this
preface:
Paintings have been hanged in museums but I am not sure
whether anyone has ever refl ected the painter did not wish to
create a piece of art, but the painter`s hand itself was being led
maybe because of his fl owing tears or something else... We
are on our way like Rasvad`s fi acre.
The articles in this monograph are categorized into three
parts, as it was done in case of the fi rst publication of this team
of authors. Previous book With the Liteline (Masaryk University
2005, Brno, Czech Republic) getting the public acquainted
with the expressive means of creative art was based on triform
division into parts called Okem (With the eye), Rukou (By
the hand) and Tělem i duchem (By body and soul) and even
this book follows similar structuring; its three parts are called
Vesmírum (to the Universes) Sadům (to the Orchards) and
Tvorům (to the Creatures). Between this editor’s by the way
we can fi nd certain parallel in terms of an immense process of
beholding, creative osculating and existential fulfi lment.
The continuation of the concept drawn out in With the
Liteline is here shaped into the image which can be referred
to as inconcrete didactics. This offers an inspiration through
the individual creation of contemporary creative art teachers,
students, authors and akin specialists.
The publication you ‘re just about to open also bases itself
upon brightness of an artistic transcendence, as all we know is
not easy to judge but what we can see is visible instantly.
The main objective of this book is to capture refl ection of
the whole passing of personal knowledge in fragments. We
consider these sketched creative processes themselves
as upbringing educational procedures- of such education
which according to Václav Cílek embodies an experience
impregnating a personality.
First part dedicated to the Universes sets the view – through
open to view the inner sceneries of their authors. Artists pass
through this bridge leading into an individual level of spirit more
often, at safer pace and lift out the experience picked up by
their production more skilfully.
The section to the Orchards is dedicated to the authors whose
hands plant a creation not dissimilar to a garden, a biotope, in
which their creation positions itself to the purposeful place and
oftimes transcends the horizon of author`s private life and runs
into the others` as a proof of this transcendental functionality.
The third area is devoted to the Creatures – people who
touch the other people`s hearts in the same way their creativity
touches the world. They open the metaphorical homeland wide
to every incomer who fi nds the common ground with them, and
specifi cally incorporate the knowledge of that modality of being
a creator to any craft or theory.
Follow the traces of these creative and educational processes
in the spirit of The Rules of Breezing, (one of The Pilgrim`s
Memories in line with Václav Cílek): A spirit blows wherever it
wants to but there are certain places which prefers. The inner
soul rarely perceives the outer soul. We are not the angels and
need a substantial mediator – either a place or a subject. They
deserve our honour, but even more regard belongs to those
who manage to move them.
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