Although the creative impulse surges in revolt against everyday reality, breaking through its confines, it makes pacts with that reality¿s essential laws and returns to it to modulate its sense. In fact, it is through praxis that imagination and artistic inventiveness transmute the vital concerns of life, giving them human measure. But at the same time art¿s inspiration imbues life with aesthetic sense, which lifts human experience to the spiritual. Within these two perspectives art launches messages of specifically human inner propulsions, strivings, ideals, nostalgia, yearnings prosaic and poetic, profane and sacral, practical and ideal, while standing at the fragile borderline of everydayness and imaginative adventure. Art¿s creative perduring constructs are intentional marks of the aesthetic significance attributed to the flux of human life and reflect the human quest for repose. They mediate communication and participation in spirit and sustain the relative continuity of culture and history.

Indulges the reader with a creative experience, full of aesthetic inspiration, that transmutes and transforms

INAUGURAL STUDY: THE PAS DE DEUX: WEAVING THROUGH AND ACT, Patricia Trutty-Coohill, SECTION I: THE ARTIST AS MEDIATOR OF EVERYDAYNESS AND INSPIRATION. THE LIMITS OF CREATION; THE ARCHITECT AS THE MEDIATOR OF THE BEAUTY AND THE BEAST, Gul Kal. THE ARTISTIC LIFE, THE ART ALIVE, Mariola Sulkowska. THE HISTORICAL LOGIC OF NON-VERBAL EXPRESSION IN EVERYDAY LIFE AND THE ARTS: THE PERCEPTUAL FOUNDATION OF THE PRECEPT, Mark E. Blum. THE RELEVANCE OF BEAUTIFUL INFRASTRUCTURE, David M. Foxe. JOHN STEINBECK'S LOG FROM THE 'SEA OF CORTEZ': ONE OF HUSSERL'S INFINITE TASKS? Gretchen Gusich RECONFIGURING OLDENBURG'S FREE STAMP (1982-1991), Diane G. Scillia. AESTHETIC & HISTORICAL CONTOURS OF RUSSIAN MANOR AS A GENRE, Ludmila Molodkina. SECTION II: THE MESSAGE OF ART IN THE EVOLUTION OF CULTURE. BETWEEN A ROCK AND A SOFT PLACE: FINDING CREATIVITY IN THE FACE OF OPPRESSION, Mary Jeanne Larrabee. MIRROR, MIRROR ON THE WALL: THE CULTURAL-HISTORICAL TORNI DREAM OF A TIME-TRAVELER, Matti Itkonen. THE PAIN OF THE SEER IN THE CIVILIZATION OF THE BLIND: FAULKNER AND SALINGER, Raymond J. Wilson III and Jerre Collins. OPUS CORDIS: REFLECTIONS OF A CONTEMPORARY ARTIST EMBRACING THE DRAMA OF RELIGIOUS IMAGERY, Constance Pierce. ECCE HOMO: ON THE PHENOMENOLOGICAL PROBLEMATICITY OF THE RELIGIOUS IMAGE, Victor G. Rivas Lopez. SECTION III: ART AND TECHNE. CREATION VS. TECHNE: THE INNER CONFLICT OF ART, Davor Dzalto. VINCENT VAN GOGH'S LILIES: VENTURING UPON DIZZY HEIGHTS, Bruce Ross. ON THE POETICS OF CINEMA IN THE LIGHT OF THE PRESENT CULTURE, Victor Gerald Rivas. ART AS INFORMATIONAL READYMADE, Mariola Sulkowska. OH, BEHAVE! NOTHING IN EXCESS OR EVERYTHING IN GOOD ORDER: THE 'PORTRAITS' OF SOLON AND KHILON ON A LATE ARCHAIC ATTIC RED-FIGURE CUP BY OLTOS, Jeremy J. Johnson. SECTION IV: ARTISTIC AND PHILOSOPHICAL ITINERARIES. VISUALIZING TYMIENIECKA¿S APPROACH TO ORIGINALITY, Patricia Trutty-Coohill. ARTISTIC AND PHILOSOPHICAL ITINERARIES, Marcella Tarozzi Goldsmith. THE ONLY STAR IN ANIHILIST HEAVEN: A REFLECTION OF THE PROBLEMATIC IDENTITY OF HISTORY, ART AND CINEMA, Victor Gerald Rivas. 'BOHDER PRATYUSHE BUDDHIR PRADIP': THE LAMP OF INTELLIGENCE AT THE DAWN OF ARTISTIC FEELING, Sitansu Ray. THE PHILOSOPHER¿S PUPIL, IRIS MURDOCH¿S POST-MODERN ALLEGORY OF THE CREATIVE PROCESS, Raymond Wilson. RA¿ANAN LEVY¿S METAPHYSICAL SPACE, Bruce Ross. SECTION V: MEDIATING INSPIRATION. ART, INTENTION, AND COMMUNICATION, Patricia Trutty-Coohill. HAROLD PINTER¿S MINDSCAPE: HIS FOOD-CLOTHING PARADOXES, Emil Roy. MEDIATED: THE IMAGE AS A PERFORMATIVE INTERFACE IN THE PHOTOGRAPHIC RELATIONSHIP, Molly Samsell. THE PHENOMENOLOGY OF COLOR (AS A WORKING METHODOLOGY FOR DESIGN PRACTICE), Jada Schumacher. THE METAPERFORMATIVE AND GENDERED SPACE, Jenn Figg, Richmond. A REVISED TAIJI DIAGRAM TO CONVEY THE UNITY OF WORLD PHENOMENA, Tsung-I Dow