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The article focuses on the city of Lagos in West Africa and its significance in human development and modernity. It discusses how Lagos has been a hub of economic, political, and artistic activities for centuries, and how it has inspired artistic production by various creative minds. It examines the works of contemporary visual artists who has depicted Lagos in their artworks, analyzing paintings, sculptures, and drawings that represent the physical aspects and realities of the city and highlights the historical, geographical, cultural, and cosmopolitan nature of Lagos, as well as the challenges and joys of living in the city.

The premise that every work belongs to an art-kind has recently inspired a kind-centred approach to theories of art. Kind-centred analyses posit that we should abandon the project of giving a general theory of art and focus instead on giving theories of the arts. The main difficulty, however, is to explain what makes a given kind an art-kind in the first place. Kind-centred theorists have passed this buck on to appreciative practices, but this move proves unsatisfactory. I argue that the root of this dissatisfaction stems not from the act of kicking the can down the road, but from not kicking it far enough. The missing ingredient, I argue, is a notion of convention which does the work of marking the difference between art and non-art for a given physical medium. [ABSTRACT FROM AUTHOR]

Conversations about art often include broad statements about the stature of artists. Such statements raise questions about the best way to look at the bodies of work of artists. Like individual works of art, bodies of work are artistic objects worthy of appreciation. Through the body of work, we are better able to engage the aspects of creativity that require a long-term perspective. This long-term perspective allows us to look for a range of aesthetic qualities not readily evident in individual works of art. Looking at bodies of work also helps us to appreciate artistic accomplishments unfolding over a lifetime. [ABSTRACT FROM AUTHOR]

The article explores several artists who deploy generosity as tactic and strategy including Arianna Richardson, Juliana Capibaribe, and Cristiane Bouger. It outlines the boundaries of thinking, proliferates examples and suggests the seeming boundlessness of the question of generosity. It also considers the inaugural action for a phase of work that will more explicitly pursue generosity as a theme.

Engaging students in higher order thinking such as evaluation and analysis has been recognized as being an important strategy for helping them develop knowledge and skills, in particular, in creativeness-oriented learning activities such as artwork design. In this paper, an interactive peer-assessment criteria development approach is proposed to help students develop assessment criteria, learn from viewing peers' work, and make reflections in artwork design activities using mobile devices. To evaluate the effectiveness of the proposed approach, an experiment was conducted in an elementary school art course. A total of 103 students participating in the experiment were assigned to an experimental group and a control group. The students in the experimental group learned with the proposed approach, while those in the control group learned with the conventional peer assessment approach. From the experimental results, it was found that the proposed approach significantly improved the students' learning achievement, learning motivation and meta-cognitive awareness, suggesting the effectiveness of engaging students in assessment criteria development in an interactive manner. [ABSTRACT FROM AUTHOR]

The article focuses on the 1999 Letter to Artists which was written by Pope St. John Paul II in which he discussed the New Evangelization. Various other topics discussed includes creativity of God, distinctiveness of the artistic work, communication with artwork, testimony of a mind and romantic tradition.

The author discusses aspects of laziness that become enemies of productivity but do not necessarily impair creativity. He explains that a contented society can allow or encourage individuals to take time for contemplation and serenity of inner silence. The author believes that many great ideas, scientific innovations, and immortal works of art are created during moments of quiet reverie.