Drawing upon a range of insights from Plato and Aristotle to Gadamer and Ingarden, this phenomenological study examines the nature of artistic creation. Mitscherling and Fairfield also draw heavily upon many artists’ statements regarding their own creative process.

A history of western civilization as reflected in creation myths from the past two millennia also evaluates the debate about whether God created man or vice versa as it has been expressed by artists in a variety of disciplines, in a lavishly illustrated chronicle that traces a range of tales from Genesis to Ovid.

In recent years, the practices of artists in non-artistic environments have set my mind in motion. Where before I could marvel at the visual outcomes of the artistic process and would want to understand how processes of creating meaning could be described, I am now particularly struck by the way in which artists are present, by their way of looking, how they make decisions, when and how they act, how they take responsibility. I have conversations with them and ask questions (...) to better understand their processes, and I explore literature to find people with a similar quest. This process of moving and being moved lies at the heart of the book 'The Artistic Attitude'"--Page 4 of cover. (shrink)

This book is a collection of pragmatist inquiries into the epistemology of artistic creation and evaluation of artworks. It offers a new concept of aesthetics and beauty of artworks. Aesthetics is the mode of artistic representation of reality, and artworks are beautiful when proven aesthetic true representations of reality.

This book is a guide to the process of artistic self-discovery.

From Chaos to Creativity is a book that teaches readers how to build a productivity system that works with their art and with their lifestyle. Author Jessie Kwak helps readers tame the chaos that often surrounds a creative career and further enhance readers' creative output.

This book explores the phenomenon of creativity and creation from a psychoanalytic point of view, focusing on understanding the psycho-emotional dynamics underlying the artistic creative activities, such as theatre, literature, and painting. Throughout, Delgado considers these works of art through a Bionian, Kleinian and Freudian lens. He uses three major psychoanalytic models of the creative process, two of them classic: the first, Freudian, based on the theory of conflict between impulse and defense, the result of the effort to manage (...) an excessive drive activity, and in which the concept of sublimation is central; the second, Kleinian, based on the attachment theory, in which creative effort corresponds to an attempt to repair the damage done to the object or to the self; and the third, more recent, affiliated with the more expanded attachment relationship theory, based on W. Bion's theory of thinking, and emphasising the continent's capacity for psyche and the oscillation between schizo-paranoid and depressive positions. With illustrations throughout, this book will be vital reading for anyone interested in the intersection of creativity, the Arts, and psychoanalysis. (shrink)

"LiteraCity is a literary and cultural mapping project of Kuala Lumpur. This book contains essays, interviews and photo essays that shed light of contemporary perspectives and discussions that go beyond existing discourse in regards to urban literature specifically in Kuala Lumpur"--.

The conditions of creation -- Actual creatures, virtual creatings -- Creatural confinement -- Creative subtraction -- Creation mediated : art and literature -- Creation unmediated : philosophy.

The artist's house is a prism through which to view not only the artistic practice of its inhabitant, but also to apprehend broader developments in sculpture and contemporary art in relation to domestic architecture and interior space. Based on a series of interviews and site visits with living artists about the role of their home in relation to their work, Kirsty Bell looks at the house as receptacle, vehicle, model, theater, or dream space. In-depth analyses of these contemporary examples—including Jorge (...) Pardo, Mirosław Bałka, Danh Vo, Gregor Schneider, Frances Stark, Marc Camille Chaimowicz, Dominique Gonzalez-Foerster, Paweł Althamer, Mark Leckey, Monika Sosnowska, Gabriel Orozco, Rirkrit Tiravanija, and Andrea Zittel—are contextualized by key artists of the twentieth century such as Kurt Schwitters, Alice Neel, Edward Krasiński, Carlo Mollino, and Louise Bourgeois. A two-way flow from the domestic arena to the exhibition space becomes apparent, in which the everyday has a significant role to play in the merging of such developments as installation art, relational aesthetics, expanded collage, and performance art. (shrink)

Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and (...) ideas of tradition, metaphor, genius, imagination and genre. This is an important collection that will be eagerly sought by philosophers of art as well as theorists in art history, cinema studies and literary criticism. (shrink)

The meaning of the noun 'creation', and the verb 'to create', range from the traditional theological idea of God creating ex nihilo to a more recent sense of the process of artistic conception. This collection of thirteen essays, written by scholars of music, literature, the visual arts, and theology, explores the complicated relationship between medieval rituals and theology, and the development of an idea of human artistic creation, which came to the fore in the sixteenth century. The volume (...) concentrates on the period from the Carolingians to the Counter-Reformation but also includes some twentieth-century musicians. Each essay is dedicated to a particular topic concerned with ritual or artistic beginnings, inventions, harmony and disharmony, as well as representations or celebrations of creation. Central themes include the interplay of the ideas of God as creator, of God acting and recreating in medieval liturgy, of God as artist - the deus artifex of the Pythagorean cosmology, which was occasionally referred to as recently as the early nineteenth century -and, finally, of the homo creator, a concept in which man reflected (and eventually replaced) God in his artistic creativity. This book therefore features new, significant, individual contributions from a range of scholarly disciplines, but, taken as a whole, it also constitutes a complex interdisciplinary study, with large-scale historical constructions. (shrink)

Stoicism is coming back in a big way. Seen as a remedy for the craziness of the times we live in, it is experiencing a great surge in academic and cultural interest. Yet, can one live stoically and be a creative artist at the same time? Delving into its underlying tenets, obscure restrictions and limits of applicability, Stankiewicz critically explores Stoicism and its complex association with artistic creativity. Stoicism and artistic creativity are two great displays of the human spirit. Yet, (...) there are multiple reasons to suspect that they are at odds with each other. Popular culture encapsulates this problem in the figure of the rational, yet emotionally remote Stoic, who achieves serenity through withdrawal, and the contrasting figure of the “cursed poet,” “tormented artist,” or simply a rock star, who lives in a whirl of creative energy, yet falls short of quietude. Is this contrast valid? Other disciplines, including psychology, have explored this problem. But it has never been done philosophically. Pioneering in its philosophical approach, this book discusses how artistic creativity and its problems of identity, expression and self-creation serve as a great testing ground for Stoicism, as well as its theoretical challenges and practical limits. Stankiewicz presents a detailed investigation into the stereotypes of Stoic life that seeks to explain the cause of Stoicism’s modern revival. This book is an essential read for anyone captivated by Stoicism’s complex allure. (shrink)

Contributed articles on the artistic and literary creation.

“Every practice is a mode of thought, already in the act. To dance: a thinking in movement. To paint: a thinking through color. To perceive in the everyday: a thinking of the world’s varied ways of affording itself.” —from _Thought in the Act _Combining philosophy and aesthetics, _Thought in the Act_ is a unique exploration of creative practice as a form of thinking. Challenging the common opposition between the conceptual and the aesthetic, Erin Manning and Brian Massumi “think through” a (...) wide range of creative practices in the process of their making, revealing how thinking and artfulness are intimately, creatively, and inseparably intertwined. They rediscover this intertwining at the heart of everyday perception and investigate its potential for new forms of activism at the crossroads of politics and art. Emerging from active collaborations, the book analyzes the experiential work of the architects and conceptual artists Arakawa and Gins, the improvisational choreographic techniques of William Forsythe, the recent painting practice of Bracha Ettinger, as well as autistic writers’ self-descriptions of their perceptual world and the experimental event making of the SenseLab collective. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. _Thought in the Act_ enacts a collaborative mode of thinking in the act at the intersection of art, philosophy, and politics. (shrink)

Here is, we think, the point. It doesn't matter for what reason the writer or painter or lover destroys the creation: the real point is that destruction itself, like a gigantic statement. It is, in fact, something of an excitation, a stimulation to further thought: what is this ACTION about?' What do Stéphane Mallarmé, Antonin Artaud, Meret Oppenheim, Asger Jorn, Yoko Ono, Tom Phillips and Martin Arnold have in common? Whereas a wealth of critics have diagnosed contemporary art's preoccupations (...) with madness, depression and self-abuse as well as its tendency to cultivate an (anti- )aesthetics of the negative, the excremental and the abject (say, from the Vienna Action Group to Serrano, McCarthy or Delvoye), much less attention has been paid to how modern and contemporary artists and public have thrived on the destruction, disfiguration and obliteration of work by the artists and/or by that of others. From Artaud's 'terminal' notebooks to the recent upsurge in 'erasure poetics', the history of 'undoing' art deserves to be recounted in a positive mode and rescued from popular narratives of the decline and death of the avant-garde. (shrink)

Alain Lévêque, né en 1942 à Paris, est l'auteur notamment de Bonnard, la main légère (Deyrolle Editeur/L'Arbre voyageur, 1994 ; Verdier, 2006), et le préfacier des Observations sur la peinture de Pierre Bonnard, parues aux éditions L'Atelier contemporain en 2015. Il faut miser pour voir. Savoir jouer, ruser, cacher, mais aussi dévoiler son jeu, s'attendre à perdre, à gagner, réfléchir, avoir des coups de tête, de la chance, se recueillir, tout dépenser. Ne pas retenir quelques mots bien au chaud pour (...) l'hiver, dans son bas de laine pour les temps de disette. Tout dépenser. Il faut à chaque fois écrire toutes voiles dehors, au risque de se trouver fort dépourvu quand la bise n'est pas venue. Je ne connais rien de plus difficile que ces commandes d'un " petit texte " pour une exposition de peinture, le travail d'un sculpteur. Car jamais de moi-même je n'irais me fourrer dans pareil pétrin (encore qu'il est tentant de mettre ses mains dans la pâte qui finira par s'échauffer et lever, mais c'est une autre histoire). Il s'agit qu'on m'invite à jouer, et si le jeu est engageant, je ne peux m'empêcher de dire chiche et de jouer à perdre haleine, me fiant à l'excitation, à l'emportement, et croisant les doigts pour qu'à la fin je puisse enlever le bandeau que j'ai sur les yeux et reconnaître ce que j'ai cru toucher. Ecrire pour voir. Est-ce écrire en regard du tableau? On peut bien écrire quelques mots dans un carnet devant le tableau, il ne s'agit jamais d'un tête-à-tête. Le tableau a une et même plusieurs longueurs d'avance. Qu'il soit peint comme de toute éternité et ne demande rien à personne crève les yeux. Le tableau est immobile, cela crève aussi les yeux, on ne peut pourtant pas le fixer. Ecrire dans son carnet oblige à baisser les yeux. Lorsqu'on les relève, le tableau a détalé. On envoie des mots en éclaireur. L'ensemble des textes écrits par Maryline Desbiolles (parus pour la plupart dans des catalogues ou revues, ou inédits) sur l'art, autour de l'art, à partir de l'art est ici réuni : une première partie rassemble les approches les plus réflexives sur la création ; dans le second chapitre les textes s'articulent autour de deux thématiques chères à l'auteur : l'Italie, la cuisine ; le troisième chapitre réunit les essais et poèmes consacrés aux sculptures de Bernard Pagès ; sont ensuite regroupés les essais consacrés à des artistes ou des oeuvres ; le volume se clôt enfin sur des oeuvres de fiction dont l'élément déclencheur de l'écriture fut la fréquentation d'oeuvres plastiques. L'ensemble des textes a été revu en prévision de cet ouvrage, tout autant essai sur l'art qu'oeuvre littéraire. (shrink)

Maurice Blanchot, the eminent literary and cultural critic, has had a vast influence on contemporary French writers—among them Jean Paul Sartre and Jacques Derrida. From the 1930s through the present day, his writings have been shaping the international literary consciousness. The Space of Literature , first published in France in 1955, is central to the development of Blanchot's thought. In it he reflects on literature and the unique demand it makes upon our attention. Thus he explores the process of reading (...) as well as the nature of artistic creativity, all the while considering the relation of the literary work to time, to history, and to death. This book consists not so much in the application of a critical method or the demonstration of a theory of literature as in a patiently deliberate meditation upon the literary experience, informed most notably by studies of Mallarme;, Kafka, Rilke, and Hölderlin. Blanchot's discussions of those writers are among the finest in any language. (shrink)

Returning to the Greek understanding of art to rethink its capacities, Creation and the Function of Art focuses on the relationship between techné and phusis (nature). Moving away from the theoretical Platonism which dominates contemporary understandings of art, this book instead reinvigorates Aristotelian causation. Beginning with the Greek topos and turning to insights from philosophy, pure mathematics, psychoanalysis and biology, Jason Tuckwell re-problematises techné in functional terms. This book examines the deviations at play within logical forms, the subject, and (...) upon phusis to better situate the role of the function in poiesis (art). In so doing, Tuckwell argues that art concerns a genuinely creative labour that cannot be resolved via an ontological or epistemological problem, but which instead constitutes an encounter with the problematic. As such, techné is shown to be a property of the living, of intelligence coupled to action, that not only enacts poiesis or art, but indicates a broader role for creative deviation in nature. (shrink)

Chapter INTRODUCTION Charles Sanders Peirce is quickly becoming the dominant figure in the history of American philosophy. The breadth and depth of his work ...

Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organized in four parts: · Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything as a commodity. · (...) Defining creativity, creating definitions traces the changing meaning of "create" from religious ideas of divine creation from nothing to advertising notions of concept creation. It also examines the complex history and extraordinary versatility of terms such as imagination, invention, inspiration and originality. · Creation as myth, story, metaphor begins with modern re-telling of early African, American and Australian creation myths and -picking up Biblical and evolutionary accounts along the way - works round to scientific visions of the Big Bang, bubble universes and cosmic soup. · Creative practices, cultural processes is a critical anthology of materials, chosen to promote fresh thinking about everything from changing constructions of "literature" and "design" to artificial intelligence and genetic engineering. Rob Pope takes significant steps forward in the process of rethinking a vexed yet vital concept, all the while encouraging and equipping readers to continue the process in their own creative or "re-creative" ways. Creativity: Theory, History, Practice is invaluable for anyone with a live interest in exploring what creativity has been, is currently, and yet may be. (shrink)

Wenn eine Kultur etwas als Erfindung akzeptiert, dann hat dieses Etwas bereits den Status einer Tatsache erhalten, die vorhanden ist und auf ihren Nutzen oder auf ihre Funktion hin befragt werden kann. Was aber geschieht davor? Wie gewinnt das Erfundene Wirklichkeit? Wie in der Kunst, wie im Theater, wie in der Literatur und Musik, wie in der Wissenschaft? Und mit welchen Folgen? Die Beiträge in diesem Band beschäftigen sich alle mit einem Moment oder einem bestimmten Modell der Invention. Ausgehend von (...) den jeweils involvierten Medien wird der Versuch unternommen, diese Momente und Modelle zu rekonstruieren. Um etwas über die entsprechenden Inventionen in Erfahrung bringen zu können, werden diese als Ergebnisse oder Effekte von Improvisationsprozessen begriffen: Improvisationen in dem Sinne, dass von einem grundsätzlich offenen Zukunftsspielraum ausgegangen wird, gleichzeitig aber auch davon, dass es ein Umgebungs- und Verfahrenswissen gibt, das im Einzelfall beschrieben werden kann. (shrink)

'Io poi ho sempre pensato--scrive Henri Matisse nel 1935--che gran parte della bellezza di un quadro derivi dalla lotta impegnata dall'artista con i limiti del suo mezzo espressivo.'" Le sue parole riassumono bene il tema di questo libro, la lotta dell'artista con la materia dell'arte, dunque il ruolo fondamentale della costruzione concreta dell'arte rispetto all'idea. L'opera d'arte--una composizione, un romanzo, un dipinto, una scultura, un film--è il risultato di un atto intellettuale consapevole--dunque di un'idea--dove tuttavia entra in gioco l'azione concreta, (...) materiale del fare artistico, che inevitabilmente pervade e condiziona l'opera fin dal momento in cui essa inizia a prendere forma sul pentagramma, sulle righe, sulla tela, sulla pellicola. L'immagine iniziale o idea può mantenere inalterata la sua forza oppure trasformarsi nel corso del lavoro, ma il più delle volte serve soprattutto da stimolo, perché a poco a poco--come scrive Italo Calvino--la materia resta padrona del campo e offre il suo prezioso, indispensabile alimento all'immaginazione. È solo mentre si scrive o dipinge che la fantasia dona i suoi frutti, in astratto la materia è ancora troppo lontana per suggerire combinazioni, accostamenti, soluzioni, scoperte. Le testimonianze dei maggiori protagonisti delle arti del '900, qui ampiamente riportate, confermano nella sostanza la tesi del libro: anche il pittore più desideroso di trasmettere un messaggio e di contribuire attraverso la sua arte alla crescita civile della società, quando riflette sul proprio lavoro difficilmente può negare che l'opera sia il risultato talvolta inatteso di un percorso accidentato nel quale l'azione concreta, materiale del fare artistico entra in gioco giungendo in alcuni casi a modificare in modo radicale le intenzioni originali. L'arte--scrivono Fellini, Mirò, Calvino, Stravinsky e tanti altri--si fa facendola. Sul piano interpretativo ciò comporta un radicale ridimensionamento del ruolo messianico dell'artista, il quale spesso non ha alcuna intenzione o pretesa di comunicare qualcosa di fondamentale, è perso in questo mondo esattamente come tutti noi. 'Giornalisti curiosi e amatori di pittura'--scrive Picasso--vengono a vederci per trarre da noi verità dogmatiche o definizioni che potrebbero spiegare loro la nostra arte, mettendo in rilievo il suo valore pedagogico, valore che io nego categoricamente. Noi facciamo della pittura. Vorrebbero forse che, per aggiunta, noi fossimo fabbricanti di verità e di massime?'"--Back cover. (shrink)

Le immagini leonardiane di nascita e creazione, di trasformazione dei corpi e della morfologia terrestre, di eventi atmosferici violenti, sottolineano una concezione metamorfica e trasformista dell'arte che si accorda con una visione della natura e della terra come animata da uno spirito vitale.

Are artists, designers and musicians inventors? Or does the invention originate from scientific discovery alone? Ecologies of Invention is the first collection of essays that brings together writers and scholars of international standing from the University of Sydney and beyond to examine assumptions underlying notions of inventiveness. The writers explain how inventiveness borne out of aesthetic ambitions is impacting on and changing our culture and society. Ecologies of Invention describes the articulation of inventive capacities across disciplines and across multiple scales, (...) from personal capacities to the social, spatial and network configurations that drive people to produce inventions. The book poses new questions for scholars, artists, architects, designers, historians, engineers, scientists, lawyers and economists about the nature, origins and processes of invention. 'This is a challenging book which confronts traditional thinking around creativity and inventiveness and raises issues that need serious debate'. Barry Jones AO. (shrink)

En quoi consiste l'acte de créer? Quelle est son incidence sur son auteur? Telles sont les questions qui constituent le coeur de cet ouvrage. Le lien qui unit un créateur à son oeuvre depuis l'émergence d'un simple projet jusqu'à sa concrétisation est ici abordé. L'idée directrice est que la création, en particulier dans les champs philosophique et artistique, travaille à une transformation, parfois discrète, du réel et permet à un sujet de se construire, et, parfois même, de s'épanouir. De nombreux (...) auteurs (philosophes, artistes, psychanalystes, sociologues...) ayant traité la relation entre existence et création sont convoqués. L'analyse de leurs textes trace un itinéraire dynamique où l'on saisit que l'acte créateur, quel que soit son domaine d'expression, constitue toujours une force de résistance à l'inertie du réel. (4e de couv.). (shrink)

Critical Concepts for the Creative Humanities is the first book to outline and define the specific and evolving field of the creative humanities and provides the field's nascent bibliography.

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

A multi-media artist and noted musician explores the value of improvisation in art, work, and relationships, illustrating his insights with personal experiences and quotes from great thinkers, past and present.

Qu'il s'agisse de recherche ou d'enseignement, la création artistique interpelle autant les théoriciens que les praticiens. Abordée selon diverses approches, la démarche de création révèle des perspectives de recherche multiples. Grâce aux contributions de plusieurs chercheurs, enseignants, artistes et médiateurs d'institutions culturelles, cet ouvrage participe à un changement de paradigme, où les rapports entre créateurs-enseignants-étudiants-chercheurs tracent désormais de nouveaux réseaux et de nouvelles perspectives.

There is no prepared script for social and cultural life. People work it out as they go along. Creativity and Cultural Improvisation casts fresh, anthropological eyes on the cultural sites of creativity that form part of our social matrix. The book explores the ways creative agency is attributed in the graphic and performing arts and in intellectual property law. It shows how the sources of creativity are embedded in social, political and religious institutions, examines the relation between creativity and the (...) perception and passage of time, and reviews the creativity and improvisational quality of anthropological scholarship itself. Individual essays examine how the concept of creativity has changed in the history of modern social theory, and question its applicability as a term of cross-cultural analysis. The contributors highlight the collaborative and political dimensions of creativity and thus challenge the idea that creativity arises only from individual talent and expression. (shrink)

The book offers the first systematic reading of Gilles Deleuze's mature philosophy through the lens of creative practice. Six authors - two fine artists, a dancer, a creative writer, a designer and a philosopher - open multiple dialogues between contemporary creative practices and the generative philosophy of Deleuze. These conversations are focused around key aspects of production: forming, framing, experiencing, encountering and practising."-- Back cover.

L'art, loin des habitudes qui figent tout réel élan créateur, est la jeunesse du monde. Il a tout à créer. Tout à construire, tout à proposer. Les temps de l'art mimétique comme ceux de l'art visionnaire sont révolus, pour laisser place à ceux de l'intuition. Cet ouvrage revendique ainsi la liberté de s'imposer des règles, de nouvelles règles et préconise un art de l'intuition, un art de la sensibilité, qui puisse s'exprimer avec spontanéité, une spontanéité qu'il n'est possible d'obtenir qu'après (...) un long travail. L'art ne doit plus être pensé comme une intention. Suivant ce principe, le scénario dans le récit doit être abandonné. Du point de vue de la forme, la poésie doit pouvoir mélanger dans le même poème vers libres. vers en prose, versets et alexandrins, selon le souhait du poète. De même, il faut oser une autre forme de peinture, qui ne soit ni figurative, ni abstraite, mais intuitive, née du flou ou de l'éblouissement, de la fulgurance intuitive! Franchir les frontières, à commencer par celles de l'intolérance, en faisant dialoguer et se croiser différentes disciplines artistiques, pour aller vers un espace pluriartistique, ouvre ainsi de nouvelles perspectives de création."--Page 4 of cover. (shrink)

Les vocations sont des chemins que la mémoire trace après-coup pour donner sens au parcours singulier qui nous mène de l'enfance à l'âge adulte. Aux lisières de l'adolescence, je me voyais chauffeur de train ou de taxi, même si je rêvais surtout de devenir journaliste. Je voulais écrire pour raconter ce que je voyais, pour rendre compte d'événements dont j'étais le témoin. L'essentiel était de prendre la route, d'explorer quelque chose qui n'avait été qu'entrevu ou d'en parler d'une manière originale. (...) La recherche en philosophie et l'enseignement de cette discipline devinrent mon métier. Sartre a raison de dire qu'on rate toujours sa vie, qu'on ne devient jamais celui ou celle qu'on aspirait à devenir. Les points d'arrivée ne sont pas forcément des points d'aboutissement. On croit achever quelque chose alors qu'on a creusé une brèche dans son devenir. Les crises, existentielles ou intellectuelles, peuvent avoir du bon. Elles réveillent le sens de la révolte, elles aiguisent l'envie d'un nouveau départ, elles invitent à d'autres commencements. Ce livre est le récit d'une tentative pour inaugurer dans ma quelque chose de neuf en la racontant. Un écrivain n'est pas quelqu'un qui vit de son écriture. Ce n'est qu'un nom, utile pour désigner celui qui ne sait pas ce qu'il est mais aspire seulement à exprimer quelque chose de lui-même"--Page 4 of cover. (shrink)

本书共分三篇。上篇,艺象与艺术创造之维;中篇,戏剧艺术的多维审视;下篇,影视艺术与审美之维。.

When art meets craft -- Glass -- Metal -- Stone -- Textiles -- Other materials -- Interviews.

Der Band dokumentiert Beiträge zum 18. Symposium des Mediävistenverbandes, das im Frühjahr 2019 in Tübingen stattgefunden hat. Das Thema greift aktuelle Debatten über Autorschaft, Urheberrecht, Originalität und Plagiat auf, die anzeigen, dass diese Konzepte neuerdings in Bewegung geraten sind. Die Beiträge des Bandes fragen aus unterschiedlichen Fachperspektiven, ob und inwiefern die Verfahren des Umgangs mit Autorschaft zwischen Mittelalter und Moderne am Ende stärker vergleichbar sind als gemeinhin angenommen. So werden die aus der Moderne gebildeten Kategorien von Kreativität hinterfragt und unterlaufen. (...) Zugleich zeigt sich, dass eben diejenigen Kreativitätsprozesse der Moderne, die den hohen normativen Ansprüchen einer Geniekultur nicht entsprechen, nicht einfach Defizienzerscheinungen sind, sondern Variationen vielfach geübter Techniken, zu deren Verständnis die mittelalterliche Produktivität dient. Schaffen und Nachahmen sind nicht in einen "künstlerischen" Bereich der Kultur sektorierbar, sondern sie erweisen sich als Grundstruktur menschlichen Handelns auch im wissenschaftlichen, ethischen oder religiösen Feld. So liegt mit diesem Band ein starkes Plädoyer für die Anerkennung der kreativen Kraft der Nachahmung vor. (shrink)

Книга автора - размышления об отношениях Православия и творчества, культуры и Церкви.

Creativity is fundamental to human experience. In _On Creativity_ David Bohm, the world-renowned scientist, investigates the phenomenon from all sides: not only the creativity of invention and of imagination but also that of perception and of discovery. This is a remarkable and life-affirming book by one of the most far-sighted thinkers of modern times.