Giants in the lab: Model conservation and the anaphoric progression of design

2020 ◽  
pp. 135918352097273
Author(s):  
Albena Yaneva
Keyword(s):  
Design Concept ◽  
Creative Processes ◽  
Cultural Objects ◽  
Large Complex ◽  
The Arts ◽  
Scale Models ◽  
Architectural Model ◽  
Complex Scale ◽  
Modes Of Existence

How is an architectural model consolidated and re-assembled in conservation to be able to continue to communicate a design concept? How does the work of care and preservation of models reveal knowledge about the often taken-for-granted dynamics of creative processes? To provide answers, this article draws on Etienne Souriau’s philosophy of creativity and follows how the ‘modes of existence’ of creative works are re-enacted in the anaphoric progression of conservation. Basing her findings on ethnography at the Canadian Centre for Architecture, the author examines the epistemic complexity of specific situations of assessing, preserving and assembling large complex scale models. Unpacking the specificity of model conservation, it is argued, allows us to challenge two established beliefs on creativity: the myth of the stable ontology of historically valuable cultural objects and the myth of teleology of creative processes. Conservation-in-action demonstrates the subtle mechanics of crafting historiographic knowledge in the arts.

The Poetry and Music of Science

2019 ◽  
Author(s):  
Tom McLeish
Keyword(s):  
School Leaver ◽  
Creative People ◽  
Creative Processes ◽  
Arts And Sciences ◽  
The Past ◽  
The Arts ◽  
The Two Cultures ◽  
Personal Accounts ◽  
Poetry And Music

‘I could not see any place in science for my creativity or imagination’, was the explanation, of a bright school leaver to the author, of why she had abandoned all study of science. Yet as any scientist knows, the imagination is essential to the immense task of re-creating a shared model of nature from the scale of the cosmos, through biological complexity, to the smallest subatomic structures. Encounters like that one inspired this book, which takes a journey through the creative process in the arts as well as sciences. Visiting great creative people of the past, it also draws on personal accounts of scientists, artists, mathematicians, writers, and musicians today to explore the commonalities and differences in creation. Tom McLeish finds that the ‘Two Cultures’ division between the arts and the sciences is not after all, the best classification of creative processes, for all creation calls on the power of the imagination within the constraints of form. Instead, the three modes of visual, textual, and abstract imagination have woven the stories of the arts and sciences together, but using different tools. As well as panoramic assessments of creativity, calling on ideas from the ancient world, medieval thought, and twentieth-century philosophy and theology, The Poetry and Music of Science illustrates its emerging story by specific close-up explorations of musical (Schumann), literary (James, Woolf, Goethe) mathematical (Wiles), and scientific (Humboldt, Einstein) creation. The book concludes by asking how creativity contributes to what it means to be human.

Mystics, Shamans, and Visionary Arts

2019 ◽  
Author(s):  
Marjorie Mandelstam Balzer
Keyword(s):  
Mystical Experience ◽  
Cultural Anthropology ◽  
Artistic Expression ◽  
Multiple Time ◽  
Sacred Sites ◽  
Creative Processes ◽  
Wassily Kandinsky ◽  
The Arts ◽  
Cave Paintings ◽  
Art For Art's Sake

Diverse theories and cases are associated with artistic expression attributed to mystical experience. To showcase variety as well as underlying commonalties, the intersecting experiences of mystics, shamans, and visionary arts builds on understanding shamanic altered consciousness in multiple time periods, attunement to nature manifest through art and sacred sites, and modernist impulses beginning in the 20th century. Cases range from prehistoric cave paintings of Chauvet and Lascaux to contemporary shamanic rituals of Siberia, from oracles, amphitheaters, and firewalking in Ancient Greece to the calendrical mysteries of Egypt, Stonehenge, Crete, and Mesoamerica. The cosmology-saturated paintings of Wassily Kandinsky and the mystical mountains of Nicholas Roerich can be productively juxtaposed, since these artists created resonating movements of global followers. For deeper analysis, insights of artists, including poets and epic singers, into their creative processes can be combined with analytical literature on spirituality and visionary arts. Focus on roots of shamanic consciousness and on cases selected from cultural anthropology and art history shifts analysis away from famous examples of religious art within organized religions. Buddhist, Christian, Hindu, Jewish, Muslim, Sikh, and Zoroastrian mystical traditions should be celebrated, but not at the expense of fluid and open-minded definitions of spirituality in the arts. This shifted gaze enables some conventional distinctions to be dissolved, for example, that between “art for art’s sake” and art that may result in individual and communal healing. In some interactive contexts of mystical artistic expression, distinctions between artists and their perceivers may also dissolve. In sum, mysticism and art are “eye of the beholder” phenomena. Experiences of mystics, shamans, and artists can be viewed as having significant interconnections without overgeneralizing about mysticism, shamanism, or the arts.

“Seeing Law in Terms of Music” A Short Essay on Affinities between Music and Law

2017 ◽  
Vol 58 (1-2) ◽  
pp. 67-86
Author(s):  
Erika Arban
Keyword(s):  
Academic Discipline ◽  
Intellectual Structure ◽  
Creative Processes ◽  
The Arts ◽  
Short Essay

It is often believed that law and the arts have very little in common, since law is perceived as a rather formalistic and inaccessible subject incapable of eliciting emotions in the same way as the arts. This article, however, aspires to offer a different picture : by exploring music in its interconnectedness with law, it condenses the main arguments discussed by literature to ultimately show that law and music may reveal, after all, surprising affinities, so that some thought-provoking parallels between them can be made. Similarly, the paper strives to find points of connection between law and music in order to show the profound resiliency of law as an academic discipline. Finally, the paper advances the idea that the unbridgeable distance between the two disciplines exists (partially) in appearance only and that, in spite of its allegedly technical nature, law is a very flexible field of knowledge whose intellectual structure can influence and inform other creative processes.

Similarities and Contrasts in the Creative Processes of the Sciences and the Arts

Leonardo ◽  
2010 ◽  
Vol 43 (1) ◽  
pp. 59-62 ◽  
Author(s):  
Roger Guillemin
Keyword(s):  
Art And Science ◽  
Creative Processes ◽  
The Arts

The author describes his experiences as first a scientist and later an early digital artist, which led him to recognize both similarities and contrasts in the thinking and practice of art and science.

scholarly journals Le Corbusier y Charles Lasnon: De las maquetas blancas de los Salones de Otoño a los plan-reliefs del nuevo urbanismo

2015 ◽  
Author(s):  
Miguel Angel De la Cova Morillo
Keyword(s):  
Three Dimensional ◽  
Le Corbusier ◽  
Arts And Crafts ◽  
New Techniques ◽  
Avant Garde ◽  
The Arts ◽  
Palabras Clave ◽  
Scale Models ◽  
Siglo Xx ◽  
Made In

Resumen: El “mouleur” Charles Lasnon representa la convivencia que durante el primer tercio del siglo XX se dará entre las Artes y Oficios y las nuevas técnicas de representación vinculadas a la fotografía. Lasnon realizará para Le Corbusier una serie de maquetas que presentarán sus propuestas a escala doméstica y urbana, primera aproximación a una expresión tridimensional de sus teorías: los modelos 1:20 de los Salones de Otoño en 1922 y 1923, a camino entre el objet-type y la escultura de vanguardia, y las del “Urbanisme á trois dimensions” del Plan Obus y Nemours. Las maquetas de las Villas se establecerán como “manifiestos estéticos y arquitectónicos”. En ellas se ensayarán principios teóricos plásticos, previos incluso a una idea de construcción, indagaciones que abren la puerta a transferencias entre la representación a escala realizada en yeso y la arquitectura a realizar. Por otra parte, la vinculación de Lasnon con el Service Geographique de l’Armée le familiarizará con las nuevas técnicas de representación del territorio. Así, realizará los Carte-Relief de Argel coetáneamente a la ejecución de las maquetas de las propuestas urbanas argelinas de Le Corbusier, garantes no sólo del rigor geométrico de sus postulados: quedan en ellas registradas el paisaje original, cuya topografía se modela y manipula como si de un trabajo plástico se tratara. Utopías en busca de un lugar imaginado sobre un trozo de yeso. Abstract: Charles Lasnon, "mouleur",represents the coexistence between the Arts and Crafts and the new rendering techniques related to photography that took place in the first quarter of the twentieth century. Commissioned by Le Corbusier, Lasnon made in those years several models that represent his new proposals at a domestic and urban scale. That was the first approach to a three-dimensional expression of his theories –the scale models of 1:20 from "Salon d'Automne" in 1922 and 1923, which were halfway between objet-types and avant-garde sculptures, and the theories of "L'Urbanisme à trois dimensions" from Plan Obus and Nemours. The scale-models of "Villas" were established as “aesthetic and architectural manifestos”. They were used to test theoretical and plastic principles, formulated before the idea of construction. These tests resulted in "transfers" between plaster-craft scale models and the architecture to be built. Additionally, the links between Lasnon and the “Service Geographique de l’Armée” enabled him to be familiar with new techniques to represent landscape. Thus, Lasnon made the Carte-Reliefs d'Argel at the same time as Le Corbusier made the models for the urban proposals in Alger. These models not only guarantee the geometrical accuracy of his proposals, but also capture an original landscape whose topography is modeled as if it was a plastic craftwork. Utopias seeking an imaginary place on a plaster slice.  Palabras clave: maqueta; moulage; Charles Lasnon; urbanismo; plan-relief; Salón de Otoño. Keywords: model; "moulage", Charles Lasnon; urbanism; plan-relief; Salon d'Automne. DOI: http://dx.doi.org/10.4995/LC2015.2015.729

scholarly journals SASTRA LISAN DALAM PERKEMBANGAN TEKNOLOGI MEDIA: STUDI TERHADAP TRADISI SALAWAT DULANG DI MINANGKABAU

2019 ◽  
Vol 6 (1) ◽  
pp. 1-8
Author(s):  
Eka Meigalia ◽  
Yerri Satria Putra
Keyword(s):  
Social Media ◽  
Primary Data ◽  
Oral Literature ◽  
Media Technology ◽  
Creative Processes ◽  
Digital Era ◽  
The Arts ◽  
The People ◽  
Technological Developments ◽  
Data Source

This paper explains the conditions of oral literature when dealing with the development of media technology. In addition, it explains the use of technologies and media developments in this digital era by oral literary actors in their creative processes for the continuity of tradition. For this reason, the tradition of salawat dulang which developed in Minangkabau was used as the primary data source for the study. The method in this research will be a qualitative. Meanwhile the technique of data collection is done by observation, interviews, and literature review. Based on the research conducted, salawat dulang is one of the oral literature that is able to survive because of its ability to adapt to technological developments. The text that is spoken is always updated according to the tastes of the people that are obtained by speakers through media such as television, radio or social media. Social media was used by speakers as a means of promotion and publication of their activities in the arts.

scholarly journals Co-creativity: possibilities for using the arts with people with a dementia

2018 ◽  
Vol 19 (2) ◽  
pp. 135-145 ◽  
Author(s):  
Hannah Zeilig ◽  
Julian West ◽  
Millie van der Byl Williams
Keyword(s):  
Relevant Literature ◽  
Future Research ◽  
Artistic Practice ◽  
Content Type ◽  
Creative Processes ◽  
Creative Agency ◽  
The Arts ◽  
People With Dementia ◽  
Nuanced Understanding ◽  
The Way

Purpose The purpose of this paper is to explore the concept of co-creativity in relation to artistic practice with people with a dementia. The aim of the discussion is to outline how co-creativity offers fresh approaches for engaging artists and people with dementia, can contribute to less restrictive understandings of “creativity” and above all, expand the understanding of people with a dementia as creative, relational and agential. Design/methodology/approach In order to examine current conceptions of co-creativity and to inform the artistic practice, relevant literature was explored and eight expert interviews were conducted. The interviews were thematically analysed and are included here. Findings This paper consequently demonstrates that improvisation, structure, leadership and equality are central elements of co-creative processes and outlines how co-creativity can offer fresh insights into the way in which the arts can engage people with a dementia, the relationship between creativity and dementia and the transformative potential of the co-creative arts for those living with a dementia. Research limitations/implications The paper discusses some of the difficulties that are inherent a co-creative approach, including power relations and the limitations of inclusivity. Due to ethical restrictions, the paper is limited by not including the perspectives of people living with a dementia. Practical implications This paper paves the way for future research into co-creative processes in a variety of different contexts. Social implications A more nuanced understanding of co-creativity with people with dementia could challenge the dominant biomedical and social paradigms that associate “dementia” with irretrievable loss and decline by creating opportunities for creative agency. Originality/value This exploration of co-creativity with people with dementia is the first of its kind and contributes to the wider understanding of co-creativity and co-creative practice.

scholarly journals Transcending utility? The gendered conflicts of a contemporary creative identification

2019 ◽  
Vol 30 (1) ◽  
pp. 63-79 ◽  
Author(s):  
Stephanie Taylor ◽  
Marie Paludan
Keyword(s):  
Visual Arts ◽  
Well Being ◽  
Cultural Industries ◽  
Creative Processes ◽  
Practical Applications ◽  
Creative Practice ◽  
The Arts ◽  
Art For Art's Sake ◽  
Therapeutic Utility ◽  
Psychology Of Creativity

The late 20th and early 21st centuries have been described as an age of creativity in affluent Western societies because of the increased popularity of the visual arts and the expansion of the global sector of the creative and cultural industries (CCI). The psychology of creativity has contributed new conceptualisations of creativity and creative processes, challenging associations that derive from the elite arts. This article investigates the implications of these changes for the gendering of creativity and creative practice. It asks if contemporary reconceptualisations of creativity open new possibilities for women to identify as creative practitioners. The article presents a critical discursive study of interviews with UK women maker-artists. The analysis shows how the women emphasise the practical applications or utility of their creative practice. A claim of utility can function to justify the practice. In addition, a claim of therapeutic utility, for others and for the artist herself, potentially addresses the neoliberal priority that people take responsibility for their personal well-being. However, the justification of utility contrasts with the creative vocation associated with the masculine elite artist who pursues “art for art’s sake”. The justification can therefore be seen to undermine the women’s creative identifications, reinstating the conventionally masculine status of creativity and the arts.

scholarly journals Ethical and Legal Considerations for Collection Development, Exhibition and Research at Museums Victoria

Heritage ◽  
2019 ◽  
Vol 2 (1) ◽  
pp. 858-867
Author(s):  
Nancy Ladas
Keyword(s):  
Best Practice ◽  
Legal Protection ◽  
Due Diligence ◽  
Cultural Objects ◽  
Practice Guide ◽  
The Public ◽  
The Arts ◽  
Policies And Procedures ◽  
Ethical And Legal Considerations ◽  
Principles And Standards

With over 17 million collection items, Museums Victoria is the largest museum in Australia. Museums Victoria recognises the public benefit derived from lending and borrowing between collecting institutions and actively participates in the international loans network in order to complement and enhance the potential for learning and enjoyment for all audiences. Museums Victoria staff undertook an extensive review of policies and procedures in order to apply for approval for protection under the Australian Government’s Protection of Cultural Objects on Loan Scheme (PCOL Scheme), established to administer the Commonwealth Protection of Cultural Objects on Loan Act 2013 (PCOL Act). The PCOL Scheme provides (with some limits) legal protection—immunity from seizure—for Australian and foreign cultural items on loan from overseas lenders for temporary public exhibition in Australia. The Ministry for the Arts also released the Australian Best Practice Guide to Collecting Cultural Material in 2015. The Guide is not a mandatory code. It recommends principles and standards to apply when acquiring collection items and in part for inward and outward loans. In 2016–2017 Museums Victoria staff used the Act and its Regulation along with the Guide to substantially update and formalise previous formal and informal policies and practices, in order to demonstrate its commitment to due diligence endeavours to verify the accuracy of information before acquiring, deaccessioning, borrowing, or lending items. This paper outlines the steps we took and what we have learned since receiving approval as a registered borrower under the PCOL Scheme.

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