Subjectivity and Inadvertence in Computational Art

2015 ◽  
pp. 143-158
Author(s):  
Murat Germen
Keyword(s):  
Creative Process ◽  
Daily Life ◽  
Artistic Creation

Creativity is stochastic and assumptive in nature. The importance of randomness in the creative process must not be ignored, underestimated or intentionally disregarded in a condescending way. Notions of chance, randomness, or unpredictability are much important, especially when it comes to artistic creation. In addition to above notions, serendipity can be seen as the expected contribution for making expedient discoveries by coincidence, by chance. To put serendipity into work, there is need to accumulate a list of questions that need solving, acquaintance with already existing answers, and their use in daily life. Only when this knowledge is present, ‘chance' can take its part in establishing the perfect milieu for the ‘problem' and the ‘solution' to find each other. If there is already a great deal of knowledge accrued in our minds about the problem and the requisites for the solution, chance adds the final piece to the puzzle. It is when we can start to talk about a traditional ‘prescriptive, authoritarian and rather conventional' aesthetics vs. a new ‘generative, irregular, unprescribed' aesthetics.

Aesthetics of Serendipity

2011 ◽  
Vol 1 (2) ◽  
pp. 25-37
Author(s):  
Murat Germen
Keyword(s):  
Creative Process ◽  
Daily Life ◽  
Artistic Creation

Creativity is stochastic and assumptive in nature. The importance of randomness in the creative process must not be ignored, underestimated, or intentionally disregarded in a condescending way. Notions of chance, randomness, or unpredictability are important, especially when it comes to artistic creation. In addition to these notions, serendipity can be seen as the expected contribution for making expedient discoveries by coincidence or by chance. To put serendipity into work, a need exists to accumulate a list of questions that need solving, acquaintance with already existing answers, and their use in daily life. Only when this knowledge is present, ‘chance’ can take its part in establishing the perfect milieu for the ‘problem’ and the ‘solution’ to find each other. If there is a great deal of knowledge accrued about the problem and the requisites for the solution, chance adds the final piece to the puzzle. Traditional ‘prescriptive, authoritarian and rather conventional’ aesthetics vs. a new ‘generative, irregular, unprescribed’ aesthetics can then be examined.

George Amabile on War, Trauma, the Creative Process, and His Latest Collection Martial Music

2021 ◽  
Vol 34 ◽  
pp. 175-179
Author(s):  
Liana Cusmano
Keyword(s):  
Creative Process ◽  
Daily Life ◽  
War Trauma ◽  
The Subject ◽  
The Way

Liana Cusmano’s interview with poet George Amabile focuses on his prize-winning 2018 collection Martial Music and the art of writing in general. He offers insights on the poetic process, how to research and produce a collection of poems. Amabile’s poetry is inspired by what he has experienced or witnessed. He talks about dealing with war and trauma. He shares his frustration with daily life getting in the way of the creative process. “Life is the subject and the inspirational/ motivational source of our work, but it also sucks up our time and frustrates our ability to give our unstinted attention to our creative efforts,” says George Amabile.

scholarly journals Creativity and ownership: Protection of rights in musical works in the European Union from digitisation to artificial intelligence

Muzikologija ◽  
2020 ◽  
pp. 149-162
Author(s):  
Uros Cemalovic
Keyword(s):  
Artificial Intelligence ◽  
Creative Process ◽  
Service Providers ◽  
Technological Development ◽  
The European Union ◽  
Artistic Creation ◽  
Content Sharing ◽  
Eu Directive ◽  
Musical Works ◽  
Ownership Protection

Even more than intelligence, creativity is considered as a quintessentially human capacity. The same conclusion is fully applicable to the artistic creation in music sector. However, rapid technological development is constantly challenging not only the creative process as such, but also the legal instruments intended to protect the results of intellectual and artistic work. The first part of this article examines the provisions of the new EU Directive 2019/790 dedicated to online content-sharing service providers and fair remuneration of authors/performers, while its second part maps the main challenges the development of artificial intelligence imposes to the protection of rights in musical works.

METAPHORIC REPRESENTATION OF THE CONCEPT “CREATIVE PROCESS” IN V. NABOKOV’S NOVEL “THE GIFT”

2020 ◽  
Author(s):  
Yuliya Golovnyova ◽  
Albina Novikova
Keyword(s):  
Creative Process ◽  
Theoretical Basis ◽  
The Novel ◽  
Artistic Creation ◽  
The Gift

Descriptions of the process of artistic creation take an outstanding place in V. Nabokov’s works and abound both in conventional and creative metaphors. In this article we analyze metaphoric representation of the concept “creative process” in V. Nabokov’s novel “The Gift”. The theoretical basis of research is the descriptor theory of metaphor by A.N. Baranov. The article reveals the most frequent metaphorical models of creative process in the novel and the areas of its metaphoric conceptualization.

Creative Process as Labor

2021 ◽  
Author(s):  
Pierre-Michel Menger
Keyword(s):  
Nineteenth Century ◽  
Creative Process ◽  
Large Body ◽  
Special Focus ◽  
Sociological Research ◽  
Aesthetic Value ◽  
Artistic Creation ◽  
Self Actualization ◽  
Uncertainty Of Results

This chapter synthesizes a large body of sociological research dedicated to artistic creation as a labor-intensive activity. Questioning the nineteenth-century expressivist ideal of self-actualization, contemporary ontologies—whether defined by artists, scholars, or various professional assessors—function within two opposing regimes: elite egalitarianism and competing differentiation. Adopting a processual perspective, the chapter first turns to creation as a sequence of choices and tests realized under strict uncertainty of results, with an extreme discrepancy between accumulated efforts and reputational as well as monetary outcomes. Second, the chapter follows the downstream production of aesthetic value, turning to scores and performances and the reallocation of creative roles they rest upon. Third, the chapter sketches a genealogy of finishedness, from Romantic idealization to modern relativization, with a special focus on the completion of uncompleted works. Finally, the chapter outlines several caveats regarding the study of the creative process and their consequence for the sociology of labor, work, and innovation.

The Aesthetics of the Intellectual (Wenrenhua) School in the Milieu of Chinese Renaissance Ideas

2020 ◽  
Vol 30 (3) ◽  
pp. 245-261
Author(s):  
Antanas Andrijauskas ◽  
Keyword(s):  
Creative Process ◽  
Complex Analysis ◽  
Natural World ◽  
Fine Art ◽  
Creative Potential ◽  
Internal Factors ◽  
Artistic Creation ◽  
Factors Influencing ◽  
Su Shi ◽  
Aesthetic Ideas

This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual (Wenrenhua) Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes toward the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world.

The anthropology of creativity in the context of S.N. Bulgakov’s sophiology

2019 ◽  
pp. 140-153
Author(s):  
O.V. Shchekaleva
Keyword(s):  
Creative Process ◽  
Human Life ◽  
Creative Work ◽  
Creative Activity ◽  
Ontological Status ◽  
Artistic Creativity ◽  
Artistic Creation ◽  
True Meaning ◽  
The Impact

This paper deals with Bulgakov’s doctrine on the human being and creative work. The reason why it is possible to interpret and understand Bulgakov’s conception of creativity in the light of anthropology is justified in the paper. It is indicated that many researchers of Bulgakov's philosophy did not make an explicit connection between anthropology and creativity and did not raise the question why man is capable of creativity. Anthropology and the concept of creativity are reconstructed using Bulgakov's texts. The role of Sofia in the creative process and her role in human life as a whole are determined. The change of the ontological status of man as a result of the original sin is analyzed. The specificity of Bulgakov's understanding of the creative act and its influence on man is revealed. The impact of creativity on a person is analyzed in the paper. It is proposed to consider artistic creation separately from self-creation, as it is fundamentally different from artistic creativity. It is emphasized that according to Bulgakov, self-creation can lead a person to salvation and even to Holiness. It is argued that self-creation as the implementation of one's own idea-norm is the true meaning of human life. Attention is drawn to the tragedy of creativity, which every person-creator experiences. In conclusion, it is pointed out that in the future the concept of Bulgakov's creativity can be ap-plied to the evaluation of works of art. The article concludes that, according to Bulgakov's philosophy, the main characteristics of a person that make him capable of creativity are his freedom, genius and talent. This way the importance of creative activity, both for an individual and for the whole world, is proved and the eschatological role of creativity is indicated.

Flight Myths in Ovid's Metamorphoses: An Interpretation of Phaethon and Daedalus

Ramus ◽  
1977 ◽  
Vol 6 (1) ◽  
pp. 44-59 ◽  
Author(s):  
Valerie Merriam Wise
Keyword(s):  
Creative Process ◽  
Artistic Creation ◽  
Artistic Experience ◽  
Works Of Art

Several myths of theMetamorphosesare stories about nights. These imaginary voyages are taken either by artists or by characters granted an experience analagous to artistic experience. The possibility of vision made available through the act of flying provides the immediate connection between flight and art. Characters within the fictive world of the poem achieve literally a perspective on the cosmos analogous to Ovid's metaphoric vision of his poetic universe. Insofar as vision is the initial act of artistic creation, characters who engage in flying, whether specifically artists or not, enact within the context of the narrative this part of the creative process. Because the attempt at vision is only a preliminary, Ovid must find a way for the metaphor of flight to express the rest of the creative process and its culmination in an artifact. The means of flight, whether Apollo's chariot or the wings designed by Daedalus, are therefore works of art that express both the mimetic and interpretive aspects of this process. Artifacts created by Ovid's fictive artificers repeatedly prove inadequate or ambiguous, however, and they fail as their makers' attempts at vision fail. These characters are unable to sustain vision or interpret what they see, and so the efficacy of their art is called into question. In telling their stories, Ovid conveys the powers and limitations of vision and art. At the same time, he implies his own success as poet through the ironic treatment of the artists within the poem.

scholarly journals Corporealities to the limit

2021 ◽  
pp. 336
Author(s):  
Diana Coca
Keyword(s):  
Public Sphere ◽  
Creative Process ◽  
The Body ◽  
Practical Approach ◽  
Value Systems ◽  
Artistic Creation ◽  
The Public ◽  
Common Space ◽  
The World ◽  
The Public Sphere

I propose a theoretical-practical approach to the presentation and representation of the female body in artistic creation. That is, the use of the body as a space at the limit, liminal, of danger and transgression, with the consequent potentially re-signifying effects of territory and common space through art. This narration is accompanied by the dissection of the creative process in phases and its final product, where I start from my own body, as testimony, meeting place, object and subject, studying its relationship with the context in an act of defiance to patriarchal authority. In this sense, we could relate it to the de-hierarchisation and proximity to others, in an unregulated but vital encounter of desiring, non-docile subjectivities, which eroticize politics with their irruption into the public sphere, with the intention of living, creating, loving, inventing another society, another perception of the world and other value systems.

Introduction

2020 ◽  
pp. 171-182
Author(s):  
Gillian Knoll
Keyword(s):  
Dynamic Process ◽  
Creative Process ◽  
Daily Life ◽  
Collaborative Work ◽  
Kenneth Burke ◽  
Work Of Art ◽  
Twelfth Night ◽  
The World ◽  
The Subject

Part III studies characters who conceive of desire as a dynamic process of mutual creation. These introductory pages explore the world-making capacities of the metaphor ‘Love is a Collaborative Work of Art,’ which conceptualises love as artfully creating a reality. This creative process often invites a third entity—a filter, a buffer, or an instrument—that mediates between the subject and object of desire. When Kenneth Burke writes about the role of instruments in daily life, he emphasises the instrument’s ontological connection, its potential fusion, with the subject who deploys it. This section explores this dynamic connection in the collaborative work of art that is Shakespeare’s Cesario. In Twelfth Night, Cesario is an ongoing process rather than a finished product. An erotic subject, object, and instrument, Cesario keeps becoming Cesario through his/their continued exchanges with Orsino and Olivia.

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