Looking and Seeing

2014 ◽  
pp. 1-23
Keyword(s):  
Creative Process ◽  
Artistic Process ◽  
Visual Message ◽  
The Arts ◽  
New Interpretation ◽  
Comparative Inquiry

This chapter examines the artistic process and then encourages the readers to engage in visual and verbal projects. It contains a comparative inquiry about the ways of designing, conveying, and receiving images. The chapter comprises a comparative inquiry and a discussion about creating, conveying, and receiving art as three basic processes in communication in the arts: articulation of a visual message through creation of an electronic picture and its transitions; communication with a viewer; and reception of the artwork by a viewer. They appear to be decisive for both the traditional and digital artwork. Thus, the three levels in a creative process comprise an artist as a sender of a message (an idea), media of art (a process), and the viewer as the receiver (rethinking of an idea, interactive response by reshaping a work, new interpretation or a new idea).

To Let Things Unfold (by Catching the Centre)

2019 ◽  
Vol 10 (1-2) ◽  
pp. 56-64
Author(s):  
Cecilia Roos
Keyword(s):  
Pilot Study ◽  
Creative Process ◽  
Research Practice ◽  
Primary Research ◽  
Research Project ◽  
Artistic Process ◽  
The Arts

Abstract This article discusses and presents insights gained through the research project To let things unfold (by catching the centre) conducted by Jan Burkhardt and Cecilia Roos between 2016-2018 and financed by Stockholm University of the Arts. The research started with the pilot study Gestures of Exchange with us sharing an interest in how performers exchange methods during an artistic process and our aim was to explore different ways of articulating this process. In this study we realized that our interest was rather in how we can experience each other’s methods through sensation. This realization brought us into To Let Things Unfold (by Catching the Centre), a project in which we have been working on expanding the notion of sensation and practicing different ways in which experiences of sensation can be used as a material in choreographic processes. The questions we have asked ourselves are: What is the role of sensation in choreographic processes? In what ways are sensations exchanged, transformed and transacted between performers in a creative process? What kind of possibilities can emerge out of purposelessness? The act of sharing became our primary research practice supported by sensation as one of the fundaments for sharing.

IMAJINASI KE IMAJINASI VISUAL FOTOGRAFI

2017 ◽  
Vol 12 (2) ◽  
pp. 91
Author(s):  
Edial Rusli
Keyword(s):  
Creative Process ◽  
Single Unit ◽  
Digital Images ◽  
Visual Image ◽  
Construction Process ◽  
Multiple Images ◽  
Artistic Process ◽  
Visual Imagination ◽  
Human Thought ◽  
The Media

AbstrakImaji visual fotografi merupakan media rekam visual yang objektif dan representatifkebenarannya dalam merekam suatu realitas. Revolusi teknologi menyebabkan perubahandari teknologi fotografi analog sebagai salah satu media yang menyatakan kebenaran ataubukti dan sebagai media yang representatif kebenarannya ke teknologi digital yang dapatmemungkinkan untuk merekayasa gambar digital melalui perangkat lunak. Teknologi digitaltelah menjadikan kebenaran dalam sebuah foto tidak lagi absolut. Akhirnya fotografi sebagaialat perekam imaji yang representatif kebenarannya semakin diragukan. Karena semakin sulituntuk membedakan foto asli atau palsu, bahkan sebuah foto asli bisa saja dikatakan sebagaihasil manipulasi. Penciptaan imajinasi visual fotografi ini dihasilkan dari suatu olah daya pikirmanusia. Dalam proses tersebut dibutuhkan suatu kreativitas dari penggabungan imaji-imajisebelumnya atau sekarang ini untuk diimajinasikan. Pemaknaan akan bergeser dari imaji visualfotografi menjadi imaji visual fotografi yang baru. Proses artistik imajinasi visual ini diciptakandengan didasarkan pada artistik yang berdasarkan imajinasi, artistik berdasarkan imajinasi danartistik didasarkan pada kombinasi antara kenyataan dan imajinasi. Penciptaan Imajinasi visualfotografi merupakan daya untuk mengonstruksi ataau menggabungkan kembali dari berbagaiimaji-imaji atau foto- secara imajinatif dan kreatif dengan persepsi yang menyertainya untukmenjadi imaji baru yang utuh, logis, dan mungkin terjadi dengan menggunakan teknik danefek fotografi. Proses mengonstruksi membutuhkan suatu kemampuan berimajinasi untukmenggabungkan dan menyatukannya untuk menjadi satu kesatuan (unity) yang utuh dalam satupermukaan gambar/imaji secara ekspresif dan imajinatif melalui proses estetis yang kreatifberdasarkan ciri personal penciptanya. Dengan demikian, hasil dari proses konstruksi tersebutsudah tidak tampak lagi imaji sebelumnya dan pemaknaannya sudah bergeser menjadi karyaimaji dengan pemaknaan baru.AbstractImage to Photography Visual Imagination. Visual image of photography is a visual recordingmedia which is objective and representative in revealing the truth when recording a reality. Thetechnology revolution led to the change in photography, from analog photographic technologyas one of the media for promoting truth or evidence and as media representing truth to thedigital technology which allow people to manipulate digital images through software. Digitaltechnology has made the truth in a photograph is no longer absolute. In the end, photographyas an images recording tool representing truth is doubted. It is getting harder and moredifficult to distinguish the original or fake photo, even an original photo can be said as aresult of manipulation.The creation of visual imagination photography is produced by thepower of human thought. The process requires a creativity of merging the previous or recentimages to imagine. The meanings will be shifted from visual image photography into a newvisual image photography. Visual imagination of the artistic process is created on the basisof artistic imagination, artistic imagination and artistic are based on a combination of realityand imagination.The creation of visual photography imagination is a power to construct orrecombine from multiple images or pictures imaginatively and creatively with the perceptionto be a whole new image, logical, and may occur with the use of techniques and photographiceffects. The process of constructing requires an ability of imagining to combine and unitethem into a single unit as a unity which is intact on s single surface of the picture/image,expressively and imaginatively through an aesthetic creative process based on the personalcharacteristics of the creator. By doing so, the construction process will no longer visible onthe former image and the meaning will shift into an image with a new meaning.

scholarly journals Toward a Workshop in Theatre Phenomenology

1969 ◽  
Vol 2 (1) ◽  
Author(s):  
Daniel W. Johnston
Keyword(s):  
Creative Process ◽  
Conscious Experience ◽  
New Approach ◽  
Artistic Process ◽  
Preliminary Examination ◽  
The World ◽  
Cherry Orchard ◽  
Basic Concepts ◽  
Voice Recorder ◽  
Philosophical Phenomenology

This text and accompanying audio-visual files document a theatre workshop aimed at investigating how philosophical phenomenology might be useful in the creative process. Phenomenology is understood here as the study of the way the world shows itself to conscious experience through practical engagement with the world. The workshop involved five professional actors and four undergraduates working on Act II of Anton Chekhov’s The Cherry Orchard over two days. Basic concepts of phenomenology were introduced including Worldhood, Being-with-others, Moods, and Temporality. Each participant used a digital voice recorder to reflect on a series of exercises and tasks aimed at focusing attention on the experience of objects, places, and rehearsal itself. The workshop had three phases: developing an awareness of one’s own experience of the world, applying the same aspects of worldhood to a character, and reflection on the creative process of the actor in the part. Given the limited timeframe of the rehearsal, this was merely a preliminary examination of how phenomenology might inform and contribute to the artistic process of theatre-making. Rather than constituting an entirely new approach to rehearsal, theatre phenomenology might enable performers to develop an awareness of their own engagement with the world and creative practice.

Trans-Religious Dancing Dialogues: Michel Henry on Dionysus and the Crucified

2021 ◽  
Vol 9 (2) ◽  
pp. 243-264
Author(s):  
Joshua M. Hall
Keyword(s):  
Transcendental Subjectivity ◽  
The Arts ◽  
The Social ◽  
Religious Dialogue ◽  
Michel Henry ◽  
New Interpretation ◽  
Four Levels ◽  
The U.S

Abstract Perhaps owing to frictions between his Christological worldview and the dominant secularism of contemporary French thought as taken up in the U.S., and persistent worries about a seeming solipsism in his phenomenology, Michel Henry’s innovative contributions to aesthetics have received unfortunately little attention in English. The present investigation addresses both issues simultaneously with a new interpretation of his recently-translated 1996 interview, “Art and Phenomenology.” Inspired by this special issue’s theme, “French Thought in Dialogue,” it emphasizes four levels of dialogue in the interview, as follows: (1) the interview as such, with Jean-Marie Brohm; (2) its titular dialogue between art and phenomenology; (3) what I term a “trans-religious” dialogue between Christianity’s Jesus and Friedrich Nietzsche’s Dionysus; and (4) a related dialogue between painting (Henry’s favored genre) and dance that is “Dionysian” (in Nietzsche’s sense). It concludes with new phenomenological accounts of a literal and a figurative dance, namely the social Latin dance called bachata, and an improvised musical dialogue with the mockingbirds of my hometown. In sum, thanks to Henry’s engagement with various forms of dialogue, including with Brohm, the arts, paganism, and dance, one can find room in his transcendental subjectivity of Life for others, dancingly transcending even humanity.

Is the Creative Process Similar in the Arts?

1960 ◽  
Vol 19 (2) ◽  
pp. 191 ◽  
Author(s):  
Julius Portnoy
Keyword(s):  
Creative Process ◽  
The Arts

The Playwright Within: Fun, Freedom, and Agency Through Playwriting for Urban Elementary Students

2016 ◽  
Vol 55 (4) ◽  
pp. 592-624
Author(s):  
Jenice L. View ◽  
Mary Stone Hanley
Keyword(s):  
Elementary Students ◽  
Language Arts ◽  
Positive Relationship ◽  
Research Question ◽  
Cultural Knowledge ◽  
Sense Of Agency ◽  
Experienced Teacher ◽  
Artistic Process ◽  
The Arts ◽  
Urban Elementary Students

The participants in this study are 9-year-olds who demonstrate signs of incipient alienation. Even with an experienced teacher who had a positive relationship with her students, some students describe school as boring. The arts may provide a path away from alienation when learning is embedded in the students’ cultural knowledge and when the artistic process is primary. Our research question was, “What do students learn when engaged in a playwriting experience in school?” The evidence suggests that students discovered fun, freedom, and a sense of agency with language arts as a result of their participation in the program.

Intersections in Design Thinking and Art Thinking: Towards Interdisciplinary Innovation

2018 ◽  
Vol 5 (1) ◽  
pp. 4-25 ◽  
Author(s):  
Jessica Jacobs
Keyword(s):  
Creative Process ◽  
Design Thinking ◽  
Cognitive Strategies ◽  
Research Problem ◽  
Emotional Engagement ◽  
Design Pedagogy ◽  
Artistic Process ◽  
Tolerance Of Ambiguity ◽  
Educational Environments ◽  
Creativity And Innovation

AbstractAs the problem-solving methodology of design thinking has gained legitimacy in business and educational environments, this article suggests we also think about incorporating “art thinking” into approaches in design pedagogy. To study what skills and techniques can be useful in other disciplines, we can first review the stages of the creative process which are centered around preparation, incubation, ideation, illumination, and evaluation. Within those stages, we can tease out specific elements unique to the artistic process that can be particularly useful, including mindsets of emotional engagement, intuition, and tolerance of ambiguity as well as cognitive strategies such as the use of metacognition, resource banks, generators and constraints, prolonged research, problem-creation, conversation with the work, closure delay, and reflection and thematic coherence. Emphasizing these elements and strategies in design pedagogy can expand possibilities for creativity and innovation.

scholarly journals The Conversion of Saint Paul Series at the Courtauld: Rubens's Artistic Process Revealed by New Technical Discoveries

2021 ◽  
Vol 13 (1) ◽  
Author(s):  
Clare Richardson ◽  
Kate Stonor
Keyword(s):  
Creative Process ◽  
Imaging Techniques ◽  
Saint Paul ◽  
Pragmatic Approach ◽  
Peter Paul Rubens ◽  
X Ray ◽  
Artistic Process ◽  
Technical Study ◽  
Multi Mode ◽  
Insight Into

The Courtauld Gallery has three works by Peter Paul Rubens depicting the Conversion of Saint Paul, all dated to ca. 1610–1612: a compositional drawing, an oil sketch, and a finished painting. The serendipitous survival of these works provides insight into Rubens’s creative process and has long been a topic of discussion for art historians. Recent technical study and improved imaging techniques have highlighted Rubens’s extremely fluid approach to the development of the design and revealed complex reworkings of all three compositions. These findings suggest a much longer gestation of these ideas than the 1610–1612 date proposed, and they cast light on Rubens’s broader working practice and his ceaseless striving for aesthetic perfection, combined with a pragmatic approach to the reuse and reworking of his compositions. Building on research done by E. Melanie Gifford, the complex changes revealed by X-ray; by infrared, transmitted, and raking light; and by microscopic examination can be explored using enhanced image tools and navigation. Readers can compare works of art with each other and with their technical images using the “IIIF multi-mode viewer” to better understand Rubens’s artistic exploration of ideas and aid their own research.

scholarly journals The 21st Century Business Model

2011 ◽  
Author(s):  
Ben Walmsley
Keyword(s):  
Popular Music ◽  
Business Model ◽  
21St Century ◽  
Creative Process ◽  
Performing Arts ◽  
Business Models ◽  
Entertainment Industry ◽  
The Arts ◽  
Fundamental Shift

In the opening chapter, we saw how relationships between producers and audiences are undergoing a fundamental shift, with audiences becoming increasingly involved in the creative process. In this chapter, we will move on to consider the repercussions of this phenomenon by exploring how traditional business models are evolving in the arts and entertainment industry: popular music and the performing arts.

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