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JOURNAL OF INTERDISCIPLINARY RESEARCH
1.2 Indicator (s) of creative talent and assessment options
The linking of indicators and artistic talent is characterized by
the fact that the acquired findings concerning the talent of art had
to be differentiated in a concrete way and the indicators are those
that were helpful during the research. We understand the
indicators as indicators of the children's art talent. Quite often,
characters are used in art or visual art that we understand as
being used more or less in the entire population, in a comparable
development period. The signs of a child's drawing are well
known, in which the characters appearing in a particular human
developmental period are described. However, the indicators do
not understand how the characters in the context of artistic
expression are explained. In our understanding, these are
indicators that are typical of the population with artistic talent,
i.e. their perception is not so narrowly understood because a
particular indicator may be present in the creation of an 8-year-
old child and may even appear at a later age. Therefore, the
indicators are not strictly tied to the age of a person with artistic
talent.
For the presence or absence of individual indicators, we have the
ambition to use a table in which the values (those used by the
researcher) are expressed as a percentage, supplemented by a
comment on the presence of weak or strong in the context of
artistic talent. Each of the indicators that is part of the triad of
key indicators can be evaluated by a five-step point scale
(Valachová, 2018).
The term indicator is associated with several sectors. In the
Pedagogical Dictionary (
Průcha et al., 2009), the educational
indicators are defined as a qualitative indicator that tells about
the characteristics of products, the functioning and financing of
the learning process (p. 82). Indicators are seen as data that
monitor the learning process. The indicator is an identification
index that Kadlec (1999) characterizes as a group of properties
expressed by a code that characterizes just one object or
expresses a defined group with generalized properties (Kadlec,
1999, p. 330). The indicators of children's creative talent
(Valachová, 2018), in the context of the present research, are
understood as the monitoring of a specific phenomenon, which
is the artistic talent as a basis for the theoretical-research
approaches in the examined issue. We include three main
indicators, namely: environment, process and product, as shown
in the processual circular arrow. In the process of assessing the
talent of art, it is necessary to define primarily the main
indicators that are considered significant during the evaluation of
research and they are supposed as significant for its actual
realization of research and subsequent evaluation (Valachová,
2018).
The process of searching the indicators of art talent was carried
out by the process of identification, which served us to recognize
and then assign a particular category to the basic three indicators
of fine art talent (so-called triads of fine art talent).
2 The triad of indicators for fine art
The fine art talent indicators (I <1; 3>) show a triad that suggests
a range of assessing the specificity of art talent. Their specificity
was taken by a circular arrow, which creates a grouping of visual
talent indicators and, at the same time, an individual saturation
of one of the triads and points to the fact that art talent does not
have to be confirmed.
Quantities (called basic and specific categories) have been
identified at the interface of the triad of indicators, which are
decisive for the visualization of the internal system of artistic
talent assessment. This sequence at the interface of three
indicators allows determining the saturation of individual
categories within a particular indicator, whereby it can confirm
or not to confirm each individual having prerequisite for creative
talent.
Despite the fact that the issue of artistic talent is unique (several
studies have been devoted to art talent in our conditions, but
there is no mention of concrete indicators, author´s note), we
find a relatively plastically described identification process
(Strieženec, 1996), which we consider consistent with the course
research (see Valachová, 2018). Strieženec (1996) argues that
identification is a process by which we identify the identity of an
object. In our case, it is the phenomenon of art talent in human
being within his or her journey of life, we start in the pre-school
age, when it is likely that the child proves the uniqueness of the
art work to adolescence. We recognize similarities or differences
in these periods. When identification touches a person, it is a
process of knowing a certain characteristic attribute(a talent for
art). Based on this characteristic, a personality can be assigned to
a particular type of class, or considered to be unique from a
certain point of view. It may also be unconscious with another
subject, group, or model. We encounter it in the elimination of
tensions, in the failure to achieve the goal when the client
identifies (or links) with those who have achieved a similar goal
during social work (see Stieženec, 1999).
2.1 Artefact: the foundation of fine art talent
The basis of the art talent was (and remained) an artefact.
Hrubec et al. (2009) defined artefact division into material
artefacts and non-material artefacts within the elements of
cultures. Based on this division, we used a multi-level hierarchy
system that allowed us to display basic information whose
hierarchy will branch out in a horizontal direction. Based on the
authors´ classification (Hrubec et al., 2009), and by taking into
account the narrow specification of the talent of fine art, we have
formed by modifying two generally defined groups, which
include indicators. We consider the described indicators to be a
fundamental and basic triad defining the structure within the
framework of assessing the artistic talent. It should be noted that
the individual indicators are typical in that they can be realized
by a researcher in different spheres of his research or practice.
They are intended for professionals who need, or more precisely,
they have a requirement within the environments to determine
whether a person possesses or does not possess talent for fine art.
2.2 Characteristics of the main indicators
As we have already mentioned, a triad was created as part of the
assessment of indicators, which includes three indicators, which
are considered to be the crucial (main) indicators and from them
are indicators in coaction with the characteristics of a particular
indicator.
The ENVIRONMENT is the first indicator within the triad of
indicators and at the same time it is of a material nature. It is
referred to as Indicator 1 (abbreviated I-1). If I-1 is evaluated, art
talent can be assessed in a school environment of varying levels
of education at both environment home and artistic or in an art
environment where a variety of artistic work arises as an interior
or exterior studio, various galleries and museums. For this
reason, each of the indicators needs to be hierarchically divided
and defined from the categorisation point of view. Individual
categories will be the result of a specific indicator environmental
data collection.
As part of the assessment of the recipient [R8], we will assess
his artistic talent so far in five specific indicators of artistic talent
in the home environment, i.e. it is clear that assessment by
family members can be significantly subjective. Within the
general category of home environment, we will assess specific
indicators (Tab. 1).
Tab. 1: Specific indicators of artistic talent within the
environment indicator
Specific indicator of fine Art gifteness
Marking specific artistic talent
indicator
He/she is interested in fine art working in
home environment.
I-1-A
He/she searches various options and situations
for creative art work without the help of
another person.
I-1-B
He/she forms fine art production on the basis
of various stimuli
I-1-C
He/she is interested in a variety of materials
I-1-D
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