The interdisciplinary research on the perception of creative identities like artists, creators,entrepreneurs, leaders, and managers brings substantial conclusions for understanding the way of ...thinking, internal features, and motivations of decisions of individuals with and without artistic factor. For this purpose, an international quantitative examination of 160 individuals was undertaken. The research exhibited that individuals with and without artistic identity perceive artists, creators, entrepreneurs, leaders, and managers statistically similar (chi-square test of independence used, p < 0.001). The negative verification of the hypotheses was astonishing and a novelty in the investigated area. The novelty should be seen as an artistic potential existing in each individual. The additional qualitative analysis of the 50 features constituting the investigated identities revealed that individuals with and without artistic identity see particular features of these identities slightly differently (the most important, the least important, and the most equally perceived features were described in detail). The outcomes were discussed with the literature on the subject, confirming most other researchers’ theses and revealing some contradictions and can be used to understand the qualities of artistic identity and the perception of investigated identities by individuals, groups, and societies dominated by persons with and without artistic factors. The applicability of the results is broad, mainly due to the role of artistry in today’s world as potential laying in every individual. Specific triggers should be catalyzed instead of looking for artist-born individuals. The education process of artists should focus on revealing artistic potential underlining the role of inspiration, and discovering the motifs of artistic activity.
The article deals with crossing the borders between artistry (from an aesthetical perspective), management (as a way of efficient organising) and creativity (as a fundamental issue in today’s ...competitive world). After adding an aesthetical lens (theory of aesthetic situation), the opposite areas of artistry, management and creativeness reveal fundamental links and common areas. Creativity, a driving force of human behaviour, should be a crucial element in artistry and management. After analysing the literature, the common denominators of arts, management and creativity are revealed: efficiency, a servant role towards goals, becoming above being, adaptation, and a tendency to drive towards kitsch traps. The particular role of performative arts for the transposition of improvisation and contextual inspiration into management and creativity is also analysed.
The digitalisation of the aesthetic experience affects the level of artistry and creativity transfer by the artwork and the quality of participation in the arts. Due to cultural differences between ...Poles other countries’ citizens in perception qualities, this study assesses the effect of the participation form (in-real or digital) in the aesthetic situation by receivers on artistry and creativity potential. The quality of participation in five arts types (musical, performing, literary, audio-visual, visual) was assessed using ten criteria. Data analysis, based on a worldwide sample (38 countries, n = 221). The participation form in arts determines participation quality in the aesthetic situation differently by Polish and non-Polish receivers. Furthermore, there are noteworthy cultural variances among Polish and non-Polish art receivers of particular types of arts and particular forms of participation in arts. The study outcomes may interest: art creators looking for the optimal way of delivering artworks among receivers from Poland and other countries; art managers and marketers for deeper understanding of Polish art receivers’ viewpoints and their preferences about participation in arts in-real or digitally; art receivers to compare their judgement about the participation ways in arts with the preferences of Polish art receivers. The first attempt in the literature assessing the quality of the participation in the aesthetic situation regarding the form of participation between Polish and non-Polish societies.
The aesthetic experience digitalisation influences the capacity of artistry and creativity of the artwork and the quality of participation in arts. Due to cultural differences between post-communist ...and non-communist countries’ citizens in perception qualities, this research aims to evaluate the influence of the participation form (in-real or digital) in the aesthetic situation by the receivers from post-communist and non-communist societies on artistry and creativity potential in the context of cultural and social sustainability. The quality of participation in five arts types (musical, performing, literary, audio-visual, visual) was evaluated using the same ten criteria. Qualitative data analysis based on an international sample from 38 countries (n = 221) concludes that the participation form in arts determines participation quality level in the aesthetic situation by post-communist and non-communist countries’ receivers differently. There are significant cultural determinants among post-communist and non-communist countries’ citizens between participation in particular arts and between particular forms of participation in particular types of arts. The reasons for these differences cannot be drawn from this research; however, future comparative qualitative research directions are set. The research results, in the context of the political system transformation theory as one of the sustainable development features, should gain the interest of: 1) Art creators looking for the optimal and sustainable way of distributing artworks among receivers from post-communist and non-communist countries; 2) Art managers and marketers for deeper understanding of post-communist and non-communist art receivers’ perspectives and their preferences about participation in arts in-real or digitally towards sustainable development; 3) Art receivers to compare their opinion about the ways of sustainable participation in arts with the preferences of art receivers from post-communist and non-communist countries.
The research on the perception of managers, leaders, entrepreneurs, creators, and artists by individuals with and without manage-rial identity brings significant conclusions for understanding the way ...of thinking of managers, their inner characteristics, and the stimuli of their decisions. For this purpose, a global quantitative examination (n = 160) was designed and undertaken. The research exposed that indi-viduals with and without managerial identity perceive managers, leaders, entrepreneurs, creators, and artists statistically similar (confirm-ing hypotheses with the chi-square test of independence devoted to small samples without a normal distribution; p < 0.001). The supple-mental qualitative analysis of the variances of the 50 features of investigated identities revealed that managers and nonmanagers see these elements differently in some areas. These discrepancies were analysed, and the most important, the least important, and the most equally perceived features were portrayed. The results were discussed with the literature, confirming most other researchers’ views and revealing some contradictions. The practical research outcomes may be used to understand the qualities of a manager and the perception of explored identities by individuals, groups (with certain underlining of business organizations), and societies governed by persons with and without entrepreneurial factors.
Forced virtualisation and digitisation – such as the COVID-19 pandemic – significantly affect the quality of the creative process within the aesthetic situation, depending on the form of ...participation in visual arts. The visual arts creator, managing the creative process within the aesthetic situation, must take into account the new optics concerning the components of the aesthetic situation because other-wise, his work will be incomprehensible or unattainable for the recipients – not due to the low quality of the artwork, but because the art-work in new virtualised circumstances may change its features. The features of the aesthetic situation vary depending on the optics of the visual arts creator and the visual arts recipient. This paper focuses on the creator’s perspective. Management in the field of visual arts may have three dimensions: self-management, managing the aesthetic situation and managing a cultural institution. Each of these dimensions is characterised by different issues; however, they also have common denominators in the need to consider the metaphysical nature of the essence of the aesthetic situation. This work aims to analyse changes in the artistically creative process understood as the management of the aesthetic situation depending on the form in which participation in visual arts takes place: traditionally, i.e. in-person or virtually using digital methods. Literature analysis and empirical qualitative research in the form of interviews with visual arts creators did allow to answer the following research questions: 1) How do forced virtualisation and digitisation affect the quality of the creative process in an aesthetic situation regarding visual arts? 2) Which qualitative parameters of the aesthetic situation are losing and which are gaining quality in con-nection with the virtualisation of the creative process in an aesthetic situation regarding visual arts? The presented results of empirical re-search show which of the components of the aesthetic situation are subject to modifications due to the form of participation in visual arts.
Because personal identity is a crucial component forming an individual, the perception of identity is a key feature in identity work. As a crucial component of the constant development of an ...individual, identity work influences the sustainability of groups and socie-ties. Due to gender differences in many areas, the research on the impact of gender factors on the perception of creative individuals (like an artist, creator, entrepreneur, leader, and manager) may bring significant conclusions. Although gender factor is widely present in the litera-ture, there is a gap about the impact of gender on the perception of creative individuals. A quantitative examination among the international society representatives (n = 160) was undertaken to fill this gap. The research displays that male and female perspectives of the perception of the creative identities are statistically similar. The hypotheses were confirmed using the chi-square test of independence (p < 0.001). The additional qualitative analysis reveals that females, in comparison to males, see the particular factors constituting each studied identity slightly more transparent and as more important: the artist’s identity by 1.73%, the creator’s identity by 0.98%, the entrepreneur’s identity by 2.23%, the leader’s identity by 2.11%, and the manager’s identity by 1.15%. The research results may be used to understand the gender differences of creative identities’ perception by male- or female-dominated groups, organizations, and societies. The consequences of the differences for management and entrepreneurship may be seen as minor from the general perspective. However, they may be essential in the efficiency of the cooperation: 1) There is no evidence that any gender should be limited or preferred about working with creative individuals; 2) There is a slight difference indicating female predispositions in the perception of creative identities; 3) Particular features of creative individuals are underrated or overrated by males and females and can determine particular decisions. The research conclusions should be seen as a novelty compared to results describing essential differences in many areas of human activities regarding gender.
The interdisciplinary research on the perception of entrepreneurs, managers, leaders, creators, and artists by individuals with and without entrepreneurial identity brings significant conclusions for ...understanding the way of thinking of entrepreneurs, their internal fea-tures, and motivations of their decisions. For this purpose, an international quantitative examination (n = 160) was undertaken. The re-search displayed that individuals with and without entrepreneurial identity perceive entrepreneurs, managers, leaders, creators, and artists statistically similar (the hypotheses were confirmed using the chi-square test of independence devoted to small samples without a normal distribution at p < 0.001). The negative verification of the hypotheses was astonishment and should be perceived as a novelty in the investi-gated area. The novelty can be perceived as an entrepreneurial potential existing in each individual (similar perception of the creative iden-tities) that requires a specific spark and a fuel. The supplementary qualitative analysis of the variances among the 50 features constituting the investigated identities revealed that individuals with and without entrepreneurial identity see particular features of the investigated iden-tities somewhat differently. Analysis of these differences was made, and the most important, the least important, and the most equally per-ceived were described and illustrated in detail. The results were discussed with the literature on the subject, confirming most other re-searchers’ theses and revealing some contradictions. The conclusions reveal characteristics of an entrepreneur’s identity perception by in-dividuals with and without entrepreneurial factors and the meaning of all investigated identities in an entrepreneur’s identity. The research outcomes may be used to understand the qualities of entrepreneurial identity and the perception of investigated identities by individuals, groups (with particular underlining of business organizations), and societies dominated by persons with and without entrepreneurial factors. The applicability of the findings is broad, mainly due to the crucial role of entrepreneurship in today’s world as potential in each individual. Particular triggers should be catalyzed instead of looking for entrepreneurial individuals. The education process of entrepreneurs should focus on revealing entrepreneurial potential underlining the role of inspiration, and discovering the motifs of entrepreneurial activity.
Because digitalisation of the aesthetical experience, a process speeded up by the not-yet-finished COVID-19 pandemic, should be considered in the context of growth or loss of artistry/creativity, ...this paper aims to assess the influence of the participation form in the aesthetical situation by receivers on the level of artistry/creativity potential loss. Assessment of the quality of participation by the receivers in each of five types of arts (musical arts, performing arts, literary arts, audio-visual arts, visual arts) was done using the same ten criteria for each type of art: satisfaction, pleasure, engagement, the possibility of experiencing catharsis, contact with the artwork itself, contact with the performer itself, comfort of participation, possibilities of shaping the aesthetical experience, own motivation to participate, easiness of participation. The literature review was run using NVivo Pro software. Data analysis (n = 221) was executed using IBM SPSS and Microsoft Excel. Answering the research hypotheses: H1) the digital form of participation in arts determines the level of quality of participation in the aesthetical situation by receivers; H2) the form of participation in art shapes the level of quality of participation in the aesthetical situation by receivers of each type of art differently: in musical arts, performing arts, literary arts and visual arts, in-real participation gives higher quality than digital participation; in audio-visual arts, in-real participation gives lower quality than digital participation. The research results may be helpful for: art creators wanting to choose the optimal way of distributing their artworks; art managers to better understand art receivers’ perspectives and their opinion about participation in arts in real or digitally; art receivers to compare their private opinion about the ways of participation in arts with the general opinion of art receivers.
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