tetradic


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te·trad·ic

(te-trad'ik),
Relating to a tetrad.

tetradic

having four parts. See tetrad.
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Firstly, the cultural psychology of creativity perspective understands elements of tetradic framework as a dynamic whole, secondly, it supports the multiplicity of "fields" and "domains" in which the creator is involved, and thirdly the notion of existing artefact (Glavaneu, 2010, p.
The importance of a dynamical and dialogical relationship of elements of tetradic model within the cultural psychology of creativity approach (Glavaneu, 2010) can be noticed regarding not only a better understanding of a dance phenomenon but dancing practice as well.
On the whole, it can be concluded that the findings of this study support the importance of the dynamical and dialogical relationship of elements of the tetradic model within the cultural psychology of creativity approach (Glavaneu, 2010).
In that sense these other aspects, concerning the dynamical and dialogical relationship of elements of the tetradic model within a cultural psychology of creativity approach applied to dance could be the inspiration for future research.
McLuhan's law of media interweaves two fundamental elements key to understanding his tetradic model: (1) the distinction between visual and acoustic space and (2) the relationship between figure and ground as outlined in Gestalt psychology.
Tying the relationship between GIS and society to McLuhan's law of media, we will conduct a tetradic analysis by answering the four questions raised in McLuhan's framework.
In fact, McLuhan's law of media only makes sense when its four elements are taken into consideration as a whole in his tetradic framework.
The question was whether the tetradic protocol would maintain its effectiveness with respect to the AIM-dyad protocol and the standard individual protocol.