Artistic process, dream process, and psychoanalytic process: Fairbairnian links

2018 ◽  
pp. 126-142
Author(s):  
Emílio Salgueiro
Keyword(s):  
Artistic Process

Dante Alighieri

2018 ◽  
Author(s):  
Paolo Bartoloni
Keyword(s):  
Dante Alighieri ◽  
The Political ◽  
Giorgio Agamben ◽  
Artistic Process ◽  
Body And Soul ◽  
Forms Of Life ◽  
The Aesthetic

The Italian poet Dante Alighieri (1265–1321) is invoked several times in the work of Giorgio Agamben, often in passing to stress a point, as when discussing the political relevance of désoeuvrement (KG 246); to develop a thought, as in the articulation of the medieval idea of imagination as the medium between body and soul (S, especially 127–9); or to explain an idea, as in the case of the artistic process understood as the meeting of contradictory forces such as inspiration and critical control (FR, especially 48–50). So while Agamben does not engage with Dante systematically, he refers to him constantly, treating the Florentine poet as an auctoritas whose presence adds critical rigour and credibility. Identifying and relating the instances of these encounters is useful since they highlight central aspects of Agamben’s thought and its development over the years, from the first writings, such as Stanzas, to more recent texts, such as Il fuoco e il racconto and The Use of Bodies. The significance of Agamben’s reliance on Dante can be divided into two categories: the aesthetic and the political. The following discussion will address each of these categories separately, but will also emphasise the philosophical continuity that links the discussion of the aesthetic with that of the political. While in the first instance Dante is offered as an example of poetic innovation, especially in relation to the use of language and imagination, in the second he is invoked as a forerunner of new forms of life. Mediality and potentiality are the two pivots connecting the aesthetic and the political.

Arguing for Design Thinking Interventions as a Form of Artistic Interventions

2016 ◽  
Vol 10 ◽  
pp. 40-47
Author(s):  
Ulla Johansson Sköldberg ◽  
Jill Woodilla
Keyword(s):  
Organizational Change ◽  
Design Thinking ◽  
Organizational Innovation ◽  
Frame Of Reference ◽  
Full Potential ◽  
Artistic Process ◽  
Theoretical Frame ◽  
Artistic Interventions ◽  
Innovation And Change ◽  
Empirical Material

Drawing on data from two projects where artists used their artistic competence as organizational change facilitators, we argue for a theoretical coupling of the discourse(s) of design thinking to research streams within art-and-management. The artistic dimension of design, the practice perspective and the artistic process should be considered if we are to understand the full potential of design thinking for companies. This paper describes two artistic intervention projects that highlight valuable ways artists can contribute to organizational innovation and change.  We begin with the theoretical frame of reference and a short methodological statement, followed by the empirical material.  In the analysis section we point to ways in which such interventions are similar to ones led by designers when we consider the designer’s process as individualized and contextualized.  Finally, we draw conclusions.

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.

ДО ПИТАННЯ ПРО ОСОБЛИВОСТІ ТЕАТРАЛЬНО-КРИТИЧНОГО ПРОЦЕСУ В УКРАЇНІ 1920-х РОКІВ

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Editorial Policy ◽  
Freedom Of Speech ◽  
Professional Status ◽  
Short Term ◽  
Artistic Process ◽  
The Press ◽  
Theater Criticism ◽  
Ideological Attitudes ◽  
Theatrical Criticism ◽  
Political Realities

Досліджуються закономірності розвитку театральної критики на тлі культурно-мистецького процесу та складних суспільно-політичних реалій 1920-х років. В Україні у першій пол. 1920-х рр. мав місце спонтанний вихід багатьох нових видань, для яких характерна несистематична поява, короткотривалість існування та нечітка редакційна політика. На відміну від політизованої преси ІІ пол. 1920-х рр. періодика І пол. 1920-х рр. не завжди відповідала ідеологічним настановам влади. Це обумовлено ситуацією у країні, невпорядкованою системою друку та, відповідно, відносною свободою слова. Зосереджено увагу на зміні мистецьких орієнтирів, вагомості та професійному стані театральної критики ІІ пол. 1920-х рр. у порівнянні з попереднім періодом. Адже саме тоді відбувається активізація представників різних поколінь театральних критиків. Ключові слова: театральна критика, 1920 роки, суспільно-політичні реалії, періодичні видання. The objectives of the article are to study the patterns of the theatrical criticism development against the turbulent cultural and artistic process and the complex of socio-political realities of the 1920 s. In Ukraine in the 1st half of the 1920 s there was a spontaneous output of many new publications, which are characterized by a non-systematic appearance, short-term existence and a rather fuzzy editorial policy in Ukraine in the first half of the 1920 s. Unlike the politicized press of the 2 nd half of 1920 s, periodicals of the 1st half of the 1920 s not always corresponded to the ideological attitudes of the authorities. This was due to the situation in the country, the disorderly system of the press and, accordingly, the relative freedom of speech. The article also focuses on the changing of artistic guidelines, the weight and professional status of theater criticism of the 2 nd half of 1920 s, compared with the previous period. It is at this time that the representatives of different generations of theater critics become more active. Key words: theater criticism, 1920-s, socio-political realities, periodicals.

scholarly journals Belt v Lawes and the Meaning of Authorship

2021 ◽  
pp. 174387212110268
Author(s):  
Amitpal C. Singh
Keyword(s):  
Royal Academy ◽  
Artistic Process ◽  
Vanity Fair ◽  
The Status ◽  
Historical Episode ◽  
The Law

The 1882 Belt v. Lawes libel trial centered around aesthetic questions, of precisely the kind that judges usually seek to avoid. The occasion for the dispute was an article in Vanity Fair by Charles Lawes, asserting that Richard Belt, a sculptor and member of the Royal Academy of Arts, relied on his assistants to do his work. At trial, Lawes proposed an artistic skills test of sorts, suggesting that Belt verify his abilities by executing a sculpture in the courtroom. This evidentiary drama, and the aesthetically freighted-arguments mustered by the parties at trial, make it a fruitful historical episode to study conceptions of authorship and the artistic process, the development of modern copyright doctrine, and the status of expert artistic testimony in the law.

EXPLORING CREATIVE ARTISTIC PROCESS IN THREE ART CLASSROOMS

2021 ◽  
Author(s):  
Dubravka Kuscevic ◽  
Ivana Batarelo Kokic ◽  
Karmen Selak
Keyword(s):  
Artistic Process ◽  
Art Classrooms

Aesthetics, Medium, and Method: An Introduction to the Differences and Similarities Between Arts and Non-arts Entrepreneurs

2021 ◽  
pp. 251512742110456
Author(s):  
James D. Hart ◽  
Gary D. Beckman
Keyword(s):  
Artistic Process ◽  
Analogous Process ◽  
Similarities And Differences ◽  
Materials Used ◽  
Initial Exploration

A topic not often addressed in entrepreneurship literature is the broader similarities and differences between arts and non-arts entrepreneurs and the implications these analogous distinctions have in the classroom. This article is an initial exploration of the topic and outlines a minimal, broad-based hierarchy of the artistic process. Further, we attempt to identify the fundamental similarities of the two entrepreneurs and suggest they both engage not only in an analogous process, they are somewhat distinct in the “meta” materials used. Through comparison, we posit that the “meta” process used by artists is also used by non-arts entrepreneurs. By drawing attention to these analogies, educators will likely discover components applicable to traditional entrepreneurship courses; the inverse is already occurring within the medium of creative and arts entrepreneurship.

scholarly journals Art and Bioethics: Shift/Fusion of Understanding Genres

2018 ◽  
Vol 23 (2) ◽  
pp. 245-258
Author(s):  
Hanna Hubenko
Keyword(s):  
Common Ground ◽  
Laboratory Research ◽  
Public Attention ◽  
Aesthetic Experiences ◽  
The Public ◽  
Artistic Process ◽  
Common Space ◽  
Everyday Practices ◽  
Artistic Experience ◽  
Bioethical Issues

A fusion of «bioethics» and «art» changes the means and ways of broadcasting art in the field of new biotechnological achievements and recalls responsibility in science. Bioethics socializes art. Art popularizes bioethics and complements its «experience of comprehension» with aesthetic experiences. The article analyzes the connections that unite bioart with science and bioethics. Examples of creative bioart projects at the World Congresses on Bioethics, which draw attention to the installation and performative forms, expressing the artistic experience of bioethical values and meanings that museums and other public fields represent, are given. The processes of forming links between laboratory research (often hidden from public attention) and art-works through practical experiment, dialogue, observation, or play are analyzed. The tandem of art and bioethics provides a link between scientists and the public, reveals new possibilities for ethical reflection, and represents a living manifesto of overcoming the disunity of scientific and everyday practices. Art and bioethics are sources of inspiration for each other. Not only does art expand its boundaries, transforming a scientific experiment into an artistic process, but also bioethics is entering a new level of research and discussion, reinforcing its creative potential through art. Despite the fact that they differ in genre, they create a common space of rational discourse as well as a common ground for familiarizing with the artistic experience in the process of their cooperation and communication, with the purpose of understanding the emerging problems, attracting to them not only professionals, but also broad circle of people interested in bioethical issues.

scholarly journals Haptic Thinking and Experience through Collective Artistic Research

POIÉSIS ◽  
2019 ◽  
Vol 20 (34) ◽  
pp. 159
Author(s):  
Dasha Lavrennikova
Keyword(s):  
Visual Culture ◽  
Dance Performance ◽  
Creative Processes ◽  
Artistic Process ◽  
Physical Theater ◽  
Social Technologies ◽  
Theoretical Reflection ◽  
Artistic Research

This article offers a theoretical reflection and practical proposals from the HeterotRópico artistic laboratory, a nomadic laboratory - where we are investigating dance, performance, physical theater, in conjunction with other diverse social technologies. They bring tools to activate collective practices developed within open creative processes. We will focus on the seminar lab I have proposed at the Masters in Arts Practice and Visual Culture 2018-2019 in Madrid, bringing together an intercultural group of artists and thinkers of around practices of trans-disciplinary arts. Artistic laboratories, in the diverse formats that they are defined today, aim to activate a field of subjectivities and corporeality, explored and co-produced in their uniqueness during the artistic process.

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