In Immaterial: Rules in Contemporary Art (2022), I argue that in creating contemporary artworks, artists articulate rules for artwork display, conservation, and audience participation. Artists' communications about these rules are work-constituting, and the process of refining the rules (and thus the work itself) sometimes continues long after the work is first displayed. In a critical notice, Diarmuid Costello questions the power that my view gives to artists' remarks about their work, which often seem offhand or whimsical. Especially when such remarks (...) are made long after the work's initial creation, Costello suggests, taking them too seriously may undermine the work's integrity or value. In this reply, I argue that even when artists' remarks seem whimsical, they are often engaged in the sort of fine-grained, aesthetically responsive creative activity that might characterize an artist's work with a physical material like paint or clay. I also outline some strategies that my view affords in situations where an artist's new communications seem to significantly alter the work in an undesirable way. (shrink)

The article examines the phenomenon of conformism in the context of socialist realism, which for a long time was the main direction for the Soviet art sphere. Conformism is interpreted as an effective way for the artist to optimize relations with the authorities and society, giving the opportunity for social self-preservation. Conformism is a kind of strategy for artists, thanks to which they manage to achieve their creative goals and successfully exist within the established cultural framework. The author of (...) the article argues that conformism helped artists who put their creativity at the service of socialist realism to find some basis for their activities, because socialist realism did not initially have such a basis. The author comes to the conclusion that in the conditions of constant transformation of cultural requirements and the need to fully comply with them, conformism becomes for the artist not just a tactic in achieving creative goals, but also a kind of self-defense mechanism that allows to preserve mental and physical health. The most successful Soviet artists were able to realize their talent by creating many bright works of art due to the fact that they created precisely in the mainstream of socialist realism, and if it were not for it, perhaps the world would never have known about some outstanding Soviet artists, as well as not seen their works of art, since the realization of Soviet artists in another cultural environment might well not have taken place. (shrink)

The subject of the study is the semantic content of cultural diplomacy. The relevance of addressing this topic is determined by the specifics of the current stage of development of international relations, when cultural diplomacy finds itself in a situation of sharply narrowed opportunities amid the intensification of counterproductive strategies of “cancel culture.” The purpose of the work is to trace the features of the disclosure of values and meanings of the period of recent sociocultural turbulence. The objectives of the (...) study are 1) to clarify the nature of the attitude of representatives of creative professions to the political and ideological realities of the time; 2) highlight the difference between the dichotomies “political / non-political” and “official / unofficial”; 3) establish the significance of each part of these dichotomies in solving the problems of cultural diplomacy; 4) to trace theoretical and practical approaches to the components of these dichotomies on the part of representatives of artistic culture in the light of the paradigm of meaning-making as a key value of culture; 5) determine the possibilities and boundaries of interaction between representatives of creative professions and the political context of their activities. The research methodology is based on an integrated approach based on data from cultural history, cultural anthropology, and political psychology within the framework of the theory of intercultural communication. The key method used is categorical analysis, as well as discourse analysis, which allows us to trace blocks of value preferences, taking into account the characteristics of current historical and cultural processes. The novelty of the study lies in identifying the possibilities and boundaries for the development of cultural contacts in an era of current turbulence (primarily political), when, against the backdrop of the intensification of “cancel culture,” the possibilities for such interactions are reduced. (shrink)

The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and graduates (...) scored significantly higher on the ECI than other majors. Humanities scored significantly higher than technical/economic majors. Five creative leisure activities were significantly correlated with the ECI, specifically, writing, painting, composing music, performing drama, and do-it-yourself home improvement. Keywords: Creativity, Emotional Creativity, Emotions, Creativeness, Affect, Feelings, Leisure Activities, Creative Ability, Artistic Creativity, Creative Thinking, Creativeness, Aging, Cognitive Deficits, Performance. MeSH Headings: Emotions, Creativity, Leisure, Leisure Activities, Hobbies, Recreation, Affect Affective Symptoms, Creativeness. (shrink)

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)

This article explores recent developments in the sociology of the arts, namely the new theoretical framework set up by the French sociologist Pierre-Michel Menger in order to approach the artistic activity. It aims to show how he has shaped new tools of understanding and modelling for exploring the arts, as a particular world of action. Laying down the foundation of a conception of action related to symbolic interactionism and drawing on the economic analysis of risk and uncertainty, Menger (...) move towards a model where uncertainty, not determinism, is the default category. Uncertainty is thus the principle unifying the analysis and understanding of the particularities of the arts, and the main argument in integrating sociological and economic studies on artistic activities. Correlatively, artistic creation is qualified as an act of work, the creative work being defined as a system of action in uncertain horizon. Within this model, the artists are seen less like “rational fools” and more like Bayesian actors, adopting strategies for managing risk and uncertainty. (shrink)

Theater production is a collaborative creative activity. Social creativity recognizes the relationships between creative groups and the contexts in which creativity emerges. It also suggests that the interactive processes between the collaborators and their work form a center, which in turn becomes a kind of creative entity itself. An evolving systems case study of production practices at the Oregon Shakespeare Festival illuminates this process and illustrates the differences between seeing an aggregate creative activity and (...) the more holistic view, in which the artwork functions like another person, a creature in dialogue with the personality of the creative system. (shrink)

In the present study, we combined first-, second-, and third-person levels of analysis to explore the feeling of being and acting together in the context of collaborative artistic performance. Following participation in an international competition held in Czech Republic in 2018, a team of ten artistic swimmers took part in the study. First, a self-assessment instrument was administered to rate the different aspects of togetherness emerging from their collective activity; second, interviews based on video recordings of their (...) performance were conducted individually with all team members; and third, the performance was evaluated by external artistic swimming experts. By combining these levels of analysis in different ways, we explore how changes in togetherness and lived experience in individual behavior may shape, disrupt, and stabilize joint performance. Our findings suggest that the experience of being and acting together is transient and changing, often alternating phases of decrease and increase in felt togetherness that can be consistently recognized by swimmers and external raters. (shrink)

Urgency of the research is considered on the evolution of society and personality. The contradictions between the directions of development in the educational system and the personal need to be artistic and creative actualize the topic of our research. The purpose of the study is to clarify the etymology and semantic definition of the term «artistic and creative activity» in the context of personal development. The tasks are to consider the meaning of the term and (...) to systematize definition of «artistic and creative activity», the definition of sources and mechanisms for the development of personal «artistic and creative activity», which clarify his thesaurus. Methods of research are analysis of theoretical and methodical principles; generalization of the individual concept definition «artistic and creative activity»: the category reflects the amount and quality of information connected with the study subject and allows complete and systematic disclosure of the definition to clarify the key concept. Results. The definitions of the personal concept «artistic and creative activity» are: natural personality ; the individual ability to realize the natural potential ; the individual source of the needs, which is subconscious instinct ; the need for self-expression ; the process of creative self-expression in the process of creative activity ; human factor and internal motivation ; dynamic activity, dynamic side and moment of reproduction ; personal characteristics and the source of their transformation ; driving force and awakening of the source ; personal development, self-development ; qualitative and quantitative personality characteristics ; Integrative quality of personality, which finds itself in independence ; the measure of individual characteristics. Conclusions. Personal creativity is considered in accordance with the three main aspects: as a set of qualities of the individual, where we can see the reflection of the subject’s internal emotional relation to the world and to himself, his ways of expression, self expression; as activity of a certain character, which is a high-level activity; as intensity in the process of the individual interaction with the environment. Summary. The relevance of the study is considered in the context of the educational system development and the individual need to be artistically and creatively active in the process of these changes. The purpose is to clarify the etymology and semantic definitions of the term «artistic and creative activity» in the context of personality development. Methods of research: analysis for theoretical and methodical principles; generalization of the results of the definition according to the individual concept «artistic and creative activity»; systematization of the definitions to clarify the key concept and definition of its semantic features in the context of personality development. Results. Activity is a set of motives, needs and actions that ensure the formation, implementation and development of the individual. Also it is the implementation of individual actions that form the activity and help to achieve the purpose. (shrink)

Conference summary. This summary discusses the main issues of the proceedings of the IV International Scientific Conference “Creativity as the National Environment: Media and Social Activity,” which was held from July 2 to July 4, 2018 in Saint Petersburg. The conference was organized by the Department of Philosophy of the Humanities Faculty of the Saint Petersburg State Economic University, the Russian Philosophical Society, the Society of Russian Philosophy at the Ukrainian Philosophical Foundation, and the Department of Philosophy of the (...) Moscow State Institute of International Relations. Being united by interest in the research on social activity in the media space and the national environment of creativity, 63 scholars from Russia, Ukraine, Slovakia and Hungary took part in the conference. The summary considers the ideas discussed at two plenary sessions and at the following sections of the conference: “Metaphysical foundations of the creative process,” “Semantic element of artistic and aesthetic creativity,” “Creativity of a social subject in the field of media space.” The proceedings of the conference contain the results of research carried out in the field of the philosophy of creativity and related research areas, including social philosophy, sociology, cultural studies, political science, journalism, linguistics. (shrink)

Common sense has it that some of the greatest achievements that are to our credit are creative, whether artistic or otherwise. But standard theories of achievement and merit struggle to explain them, since the praiseworthiness of creative achievements isn’t grounded in effort, quality of will, disclosing the agent’s values, or even reasons-responsiveness. I argue that it’s distinctive of artistic or quasi-artistic creative activity that it is guided by what I call aspirational aims, which (...) are formulated in terms of evaluative predicates (like painting something “moving” or engineering something “nifty”) whose descriptive realizers are not known in advance. Aesthetic creativity itself fundamentally consists in perceiving or conceiving of some modification of raw material or a medium as promoting or constituting a novel way of realizing the aspirational aim. Creative achievements like poems and paintings are then to our credit in virtue of being exercises of spontaneity that disclose a deep layer of our selves that is manifest in active perception of affordances, showing that there is something beautiful about the way we experience the world, as a Sally Rooney character puts it. As with other creditworthy achievements, what makes them difficult is that simply trying won’t suffice to make success likely – but unlike in many other cases, neither will trying hard, since we have no direct volitional or rational control over perceptual spontaneity. (shrink)

The paper poses a question why creative processes are more and more often related to technologies and that is clearly visible in institutionalized scientific, cultural and political discourses. It is noteworthy that technologies, creative technologies including, are becoming instrumental mind-based methods, which aim to perform everything more efficiently, more economically and more advantageously. This way creative activity loses its essence and becomes a commodity easily defined in economic categories, and thus it is employed as an effective (...) means used to control, influence and even manipulate the human consciousness. It is likely that modern technologies push everything that is essential to human life to periphery, everything that joins people for shared activities and has intrinsic values. The paper attempts to show that even the so-called “scientific axiology” based on formal social technologies is unable to deal with axiological problems of creative human essence if personal or subject-related intrinsic values are not taken into account. This way it is most likely to happen that such evaluation which emphasizes individual and unique emotional and spiritual human reality tends to be downplayed. This fact corroborates intuitive understanding that technologies employed in creative activities should serve only as a supplementary tool but not become a self-contained tool which overshadows transcendental human creative powers.It points to the conclusion that though the usage of technical terms in contemporary science and art (culture, in general) is hardly avoidable, it should be attempted to return to the initial concept of creativity according to which it is perceived as a spontaneous self-expression. The underlying reason for the idea is that penetration of modern technologies into the domain of artistic creativity destroys the human essence, and turning creativity into a technological process leads to inevitable destruction of a creative process. (shrink)

Understandings of play are frequently tied to a sense of instinctual gratification—a something that must be completed, that all humans, young or old, should or need to partake in. Indeed, for many, play is characterised as a unique activity that stands apart from the ordinary and every day. While such assessments prefigure a clear demarcation between the fun of play and the more laborious, boring aspects of profane life, what this distinction alludes to is a greater sense of the (...) creativity that underlies play. Drawing from a Lacanian perspective, the following chapter will determine that an essential aspect of play and sport is the creativity it provides, namely, by considering how the act of creativity is intricately tied to the very lack that constitutes the Lacanian subject. To do so, the concept of sublimation is used to consider how the codified rules and regulations that sport both asserts and requires renders apparent the importance of the limit. Rather than conceiving of this limit as a barrier to creativity, what is revealed in sublimation is how this limit proves constitutive of our very creativity. That is, the ability to sublimate—to creatively perform unique displays of physical or artistic expression— lies in the mundanity and utter importance of the playful and sporting activity and, more importantly, the inherent restrictions and constraints these activities impose. It is in accordance with the limit that one’s creativity can expose an emancipatory potential in the context of play and sport. (shrink)

In the middle of the 19th century a new value began to appear in Western Europe - the belief that (in the words of Matthew Arnold) 'the exercise of a creative activity is the true function of man'. This book gives an account of the stages by which, and the reasons why, this development occurred at that time. In so doing it reveals a historical puzzle, for the main factors which can be seen to have given rise to (...) the new value - mainly scientific, technological, economic and political - were not reflected in the value itself, for that was applied almost exclusively to artistic and cultural activity. John Hope Mason sets out to explain this puzzle by showing how throughout European history there have been two radically different views of the creative attribute. An early example of one view was the character of Prometheus in Greek mythology; influential examples of the second were the figures of God the Creator in Judaeo-Christian theology and the neo-Platonic One in Hellenistic philosophy. The book shows how the contrast represented by those figures informed discussions of genius in the 18th century and indicates why the notion of creativity which came to prevail then assimilated it with purely aesthetic and moral concerns. Combining a broad perspective with a close analysis of key figures - from Adam Smith, Rousseau and Kant, to Arnold, Marx and Nietzsche - this book casts a new light on a central value of the modern world. (shrink)

Creativity is commonly thought of as a positive advance for society that transcends the status quo knowledge. Humans display an inordinate capacity for it in a broad range of activities, with art being only one. Most work on creativity’s neural substrates measures general creativity, and that is done with laboratory tasks, whereas specific creativity in art is gleaned from acquired brain damage, largely in observing established visual artists, and some in visual de novo artists (became artists after the damage). The (...) verb “to create” has been erroneously equated with creativity; creativity, in the classic sense, does not appear to be enhanced following brain damage, regardless of etiology. The turning to communication through art in lieu of language deficits reflects a biological survival strategy. Creativity in art, and in other domains, is most likely dependent on intact and healthy knowledge and semantic conceptual systems, which are represented in several pathways in the cortex. It is adversely affected when these systems are dysfunctional, for congenital reasons (savant autism) or because of acquired brain damage (stroke, dementia, Parkinson’s), whereas inherent artistic talent and skill appear less affected. Clues to the neural substrates of general creativity and specific art creativity can be gleaned from considering that art is produced spontaneously mainly by humans, that there are unique neuroanatomical and neurofunctional organizations in the human brain, and that there are biological antecedents of innovation in animals. (shrink)

Phenomenology and the Creative Process explpores the subject of creativity from a vast range of perspectives. While the emphasis is placed on fundamental ideas taken from phenomenological philosophy and its precursors, the book also engages with related issues from the fields of psychology, physics, narrative studies, art, literature, cognitive science and neuroscience. Author Steven L. Bindeman's objective is to employ an analysis of creativity from the dual perspectives of "identity" and "difference," in order to develop a pluralistic and open-ended (...) understanding of the creative process. His central position is that while creativity can and should be studied as a physical, measurable phenomenon, we need to integrate quantitative studies with a phenomenological perspective that enables us to appreciate the distinctive experiential features of creative activities in order to fully appreciate the complex nature of the creative process. Bindeman's approach is important in that it recognizes the value of phenomenological studies without being afraid to draw insights from other fields of inquiry. This book thus offers unique analysis of creative individuals and works, applying insights from phenomenological philosophers to enrich our understanding of the creative processes of great artists, philosophers, and scientists. (shrink)

The aim of this dissertation is to create a naturalistic philosophical picture of creative capacities that are specific to our species, focusing on artistic ability, religious reflection, and scientific study. By integrating data from diverse domains within a philosophical anthropological framework, I have presented a cognitive and evolutionary approach to the question of why humans, but not other animals engage in such activities. Through an application of cognitive and evolutionary perspectives to the study of these behaviors, I have (...) sought to provide a more solid footing for philosophical anthropological discussions of uniquely human behavior. In particular, I have argued that art, religion and science, which are usually seen as achievements that are quite remote from ordinary modes of reasoning, are subserved by evolved cognitive processes that serve functions in everyday cognitive tasks, that arise early and spontaneously in cognitive development, that are shared cross-culturally, and that have evolved in response to selective pressures in our ancestral past. These mundane cognitive processes provide a measuring rod with which we can assess a diversity of cultural phenomena; they form a unified explanatory framework to approach human culture. I have argued that we can explain uncommon thoughts in terms of interactions between common minds. This dissertation is subdivided into four parts. Part I outlines the problem of human uniqueness, examining theories on how humans conceptualize the world, and what their mental tool box looks like. Part II discusses the evolutionary and cognitive origins of human artistic behavior. Part III focuses on the cognitive science of religion, especially on how it can be applied to the reasoning of theologians and philosophers of religion. Part IV considers the cognitive basis of scientific practice. (shrink)

According to R. G. Collingwood in The Principles of Art, art is the expression of emotion--a much-criticized view. I attempt to provide some groundwork for a defensible modern version of such a theory via some novel further criticisms of Collingwood, including the exposure of multiple ambiguities in his main concept of expression of emotion, and a demonstration that, surprisingly enough, his view is unable to account for genuinely creative artistic activities. A key factor in the reconstruction is a (...) replacement of the concept of expression with that of interpretation: what artists do is to interpret, rather than express, their initial emotions, in creative ways that may go far beyond their initial impulses. Thus more broadly the paper attempts to show that the concept of interpretation is just as central to understanding artistic creativity as it is in the analysis of the critical appreciation of artworks. (shrink)

This study is devoted to the artistic and stylistic analysis of traditional Chinese New Year's pictures called "puhui nianhua" on the example of historical and documentary material collected in the city of Gaomi in Shandong province. It traces the changes in its form and content, the means of expression used during the five-hundred-year history of its distribution in China. The subject of attention is the development of Chinese splint pictures from the Ming Dynasty to the present. As an object, (...) we see the transformation of technological and visual features of the performance of such works within their individual varieties, which were popular in the creative activities of several generations of masters of the city of Gaomi. The purpose of the study is to get a general idea of how the main varieties of "puhui nianhua" were born and formed in the creative activity of Gaoming artisan artists. By means of artistic-stylistic, iconographic and comparative-historical analysis, the author identifies several stages in the process of formation of the tradition of making such pictures. Moreover, a typological series of Chinese New Year's splints is proposed, consisting of images of Lao and Buddhist saints, visualizations of homophonic metaphors, and a description of Chinese life. Each of the presented types differs not only in the originality of the content, but also in the set of compositional and visual means used by the authors. (shrink)

The shaping of creative economy is particularly important for development of cities and regions. This process can be analyzed in conjunction with changes in work and leisure time and their place in the human life cycle. This article aims to approximate the main features of: contemporary position of elderly people, creative ageing policy, benefits from seniors creativity and controversies linked to this concept. This essay also indicates the patterns of recommendations and activities in development of services for older (...) people which may be the subject of further in-depth research. These examples exist in: documents and strategic programs, the activities of network organizations and the activities of urban cultural and artistic institutions. (shrink)

While artists often present their works as communicating to and through them, this idea has rarely been taken seriously, nor empirically studied from a communicational perspective. Building upon the pragmatist tradition, we show how this particular form of communication takes place. Using Peirce’s concept of abduction, we argue that a creative process essentially happens when a resonance between two materials leads to the unification of these materials into a new whole. Drawing upon a case study, we show how we (...) can retrace such resonances by paying close attention to the interactions between participants collectively involved in a creative project. This paper makes an important contribution to communication studies by revealing the communicational mechanism of our creative impulsions. It also opens new avenues for the study of artistic endeavors as well as other creative activities such as science, politics, or design. (shrink)

The article is devoted to the analysis of the concept of the game and its presence in creative activity. The gameplay is presented as an important part of human life. The presence of both elements in a person's work shapes him as a "creative" and "creating" entity. The introduced characteristics are analyzed from the point of view of the historical context, where the concepts of a creative person and a person playing are equated to each other. (...) Their similarity is established on the basis of the description of the signs of the game revealed at the beginning of the XX century. Game and art are considered abstractly from a specific cultural background, as functions that organize a person and preserve an abstract character. The features of the game highlighted in the article are given as evidence that plastic art stores it at its core as well as musical art. Their division within the cult and myth has led to the question of whether there is a game in art. The solution to this question lies in the field of the role of the participant in the game. Analysis from the point of view of the roles of the "creator" and "observer" allows us to uncover misconceptions about applied art and its game function.The findings showed that the position of the "observer" does not always allow you to see a complete picture of the process of plastic creativity. Due to the secrecy of most of the activity in the inner world of the artist, the observer cannot see the mechanical work of the gameplay. On this basis, he concludes about the insufficiency of plastic art. Analysis from the position of a creative person, on the contrary, indicates the full compliance of applied arts with the gameplay. On this basis, it is indicated that the game is not only an abstract concept that characterizes a person's life, but also the main component of any creative process. (shrink)

The specificity of the process of professional training and formation of future teachers of fine arts is due to the direction of art and pedagogical education, the peculiarities of communication with art, approaches to the use of its educational potential. Therefore, in determination of the principles of professional development of teachers of fine arts, the problem of theoretical and methodological understanding of the nature and content of decorative and applied arts in the preparation and professional development is actualized. On the (...) one hand, this applies to how the artistic and aesthetic consciousness of the future teacher will be formed, and on the other - on what basis this teacher will educate his or her students. In accordance with the theoretical aspect of the formation of artistic and pedagogical competence of future teachers of fine arts in the process of studying of decorative and applied arts, a research was conducted. It made it possible to analyze the content, forms, methods and conditions of formation of artistic and pedagogical competence of future artists-teachers. Diagnostic research tools have been developed, which make it possible to identify the level of formation of the main structural components of artistic and pedagogical competence of future teachers of fine arts. The research showed an insufficient level of formation of artistic and pedagogical competence of future teachers of fine arts, which is characterized by a lack of thoroughness and systemness of knowledge in decorative and applied arts, by insufficient development of the emotional and sensual sphere of students and reproductive readiness for professional and creative activities. (shrink)

The article is devoted to the exhibition and creative activities of representatives of the Juelan Society and figures of Soviet unofficial art – a comparative analysis allows us to see common points regarding the choice of artistic means and techniques, themes and motives, the fate of creative associations. The purpose of the article is to determine the similarities and differences of the process of the origin of unofficial art in China and Soviet Russia. The author's field of (...) attention includes identifying similarities in the choice of genre, composition, artistic means, as well as the semantic content of the images revealed in the works of artists. It is important for the disclosure of the topic to determine the features and common features in the organization of creative activity and communication between members of artistic associations. The study concluded that Chinese and Soviet figures of unofficial art rallied around small associations, "circles", clubs, societies, offering an alternative to the official and, from their point of view, regressive art view of independent creativity. The artists of the Juelan Society sought to instill a modernist vision in Chinese culture, and Soviet conformists decades later developed their own understanding of contemporary art. Their attempts had a strong influence on the work of Chinese painters of subsequent generations and became a phenomenon in the art of their countries, still have an impact on its development. Their ideas and creative findings are the sources of the processes that take place in the artistic worlds that cooperate in the field of culture of Russia and China. (shrink)

We are living in an increasingly complex world. How are we able to cope with this complexity and the difficulties that arise from it? Can philosophy and art, classified as the two utmost useless and pointless disciplines, have any (positive) influence on the urgent and pressing problems at hand? And, related to this, if the two have more than just their uselessness in common, how, then, are philosophy and art related? In this article, I will argue that although ‘useless’ disciplines (...) such as philosophy and art have no direct influence on our complex world, they are nonetheless the most important ones, because those working within them practice their insights in an indirect way. Indirect influence may take a little longer, but the impact is much stronger, affecting our thinking and our attitudes from within, as it were. This indirect approach has everything to do with the sort of questions philosophers and artists occupy themselves with. I will show how both address, albeit each in their own way, fundamental questions, and thereby make use of thought experiments. Intuition and imagination play a decisive part in the creative processes that are involved in thought experiments and thinking. It is argued that we all are able to learn a ‘delayed unconscious thinking’ that leads to an artistic attitude; one that will activate an artistic turn. (shrink)

Environmental Sound Artists: In Their Own Words is an incisive and imaginative look at the international environmental sound art movement, which emerged in the late 1960s. The term environmental sound art is generally applied to the work of sound artists who incorporate processes in which the artist actively engages with the environment. While the field of environmental sound art is diverse and includes a variety of approaches, the art form diverges from traditional contemporary music by the conscious and strategic integration (...) of environmental impulses and natural processes. This book presents a current perspective on the environmental sound art movement through a collection of personal writings by important environmental sound artists. Dismayed by the limitations and gradual breakdown of contemporary compositional strategies, environmental sound artists have sought alternate venues, genres, technologies, and delivery methods for their creative expression. Environmental sound art is especially relevant because it addresses political, social, economic, scientific, and aesthetic issues. As a result, it has attracted the participation of artists internationally. Awareness and concern for the environment has connected and unified artists across the globe and has achieved a solidarity and clarity of purpose that is singularly unique and optimistic. The environmental sound art movement is borderless and thriving. (shrink)

This research investigates flow experiences and explores meaning construction for artistic practices that differ in haptic nature. In addition to the phenomenological analysis of interviews, videos of artistic practice and practice-based research were employed to obtain both retrospective and real-time records of the physicality of artistic practice. Drawing on authors who emphasise the automatisation of actions in flow and heightened body awareness flow is reconceptualised in non-representational terms as optimal precognitive engagement with the world. In this light (...) meaning in flow results not from bringing order to the mind as Csikszentmihalyi proposed, but through its embodied construction in activity. Analyses revealed that the sources of enjoyment and meaning, the relationship between artist, tools and artwork, and the nature and extent of self-differentiation differ between artists who work in two and three dimensions, and whose physical actions differ in the production of their artwork. 2D artists derive enjoyment from their creative process and meaning from capturing an atmosphere or place, and attribute artistic control to their artwork. 3D artists derive more enjoyment from the product of their artistic activity and meaning from the recreation of the self in material form, and do not attribute artistic control to the artwork. Consequently, embodied physicality of activity appears fundamental to similarities in flow experiences and meaning-making: accounts of flow and the meanings generated in activity differ between activities that differ in their haptic or performative nature but are similar among haptically similar activities. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Gender Ideology and the “Artistic” Fabrication of Human Sex: Nature as Norm or the Remaking of the Human?Michele M. SchumacherUntil quite recently,” the famous English novelist C. S. Lewis remarked in 1959, “it was taken for granted that the business of the artist was to delight and instruct his public”: that is to say, to address simultaneously their passions and their intellects. “There were, of course, different publics.... (...) And an artist might lead his public on to appreciate finer things than they had wanted at first; but he could do this only by being; from the first, if not merely entertaining, yet entertaining, and if not completely intelligible, yet very largely intelligible.” This constraint—let us call it intelligent (or purposeful) design, in keeping with a basic analogy that we will draw upon in these pages—had however been lost, Lewis observed. Hence, even “in the highest aesthetic circles one now hears nothing about the artist’s duty to us. It is all about our duty to him. He owes us nothing; we owe him ‘recognition,’ even though he has never paid the slightest attention to our tastes, interests, or habits.”1 In short, the artist of modernity need not pay the slightest attention to an intention, not even his own. Modern art need not be an expression of intelligence or [End Page 363] understanding; it is expression as such (tout court): personal and autonomous.2Lewis’s remarks do not point merely to the increasingly relativist tendencies of art in the Western world, to the lack of objective criteria or norms governing the artistic disciplines. They also point to the growing disregard among artists for the sociocultural expectations of their publicum. Mediating between the two is, without a doubt, the basis upon which both artistic and social norms were traditionally founded: nature, which served as a classic analogy for both art (understood in the broad sense, so as to include not only the fine arts, but also technology and practical sciences) and ethics in virtue of nature’s intrinsic inclination towards its defining end and perfection.With regard to the first of these analogies (that of art and nature), Mark Schiefsky explains that although art does bring about “results that nature itself cannot,” it does so in the classic understanding “by acting in a natural way—the way nature would act if it could generate the products of art.”3 As for the difference between the two, nature is moved to its specifying end by way of intrinsic inclinations that are implicit to it, whereas a work of art is moved to its end extrinsically, and thus with more or less violence.4 A sculptor, for example, who introduces a form into a piece of marble, does so by chiseling [End Page 364] and hammering away at the fine stone.5 “Art is,” Aristotle explains, “the principle and form of the thing that comes to be [let us say, a sculpture]; but it is located elsewhere [in, for example, the artist’s mind or in a sketch that he has made] than in that thing, whereas the movement of nature is located in the thing itself that comes to be [a tree, for example, or a baby], and is derived from another natural organism [a tree or human parents] which possessed the form in actuality.”6This classic distinction between art and nature parallels the distinction between art and ethics. Ethics “does not affect human action in the same way as do art and technique,” Servais Pinckaers explains. Unlike art and technique, which are concerned with “the external work produced by human action”—this painting or that machine, for example—ethics is concerned with an immanent principle, qualifying the actor as such: the stable dispositions (or habitus: virtues or vices) at the origin of “the active willing that is the principle source of the action.”7 This immanent principle at the source of ethical action is—to complete our analogy—creative in only a limited sense. The human person is indeed free to choose, but he or she is not free to decide “what is good or evil” as such, nor what is “good or bad for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.2 (2005) 36-57 [Access article in PDF] "Being With": The Resonant Legacy of Childhood's Creative Aesthetic Lori A. Custodero Teachers College, Columbia University Introduction...enrichment of the present for its own sake is the just heritage of childhood....1In this paper, the qualities of artistic pursuit exemplified in the musical play of children and the compositional processes of adults provide a context for exploring (...) how "being with" influences teaching and learning. Specifically I propose that "being with" music generates a sense of the aesthetic as we both transform musical materials — timbres, pitches, rhythms, phrases, harmonies — and are transformed by our experiences with them, and that "being with" others as we partake in musical activity often broadens and deepens that experience. In many ways, this is an exploration into why childhood matters, how it functions as a mirror for our adult lives as we experience and revel in the seemingly miraculous moments of aesthetic insight, where the familiar is welcomed with fresh perception and the addition of novelty is greeted as the solution to a previously unfathomable problem. It is also about why children matter, as our responses to their ways of being connect and transform us as adults. In this piece, recorded observations of children's musicality are juxtaposed with first-person accounts of adults' creative processes, revealing contributions to our understanding of artistry-in-action as it is manifested in both the musical and the pedagogical. The Aesthetic in Childhood and Adulthood To be "in the moment" is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital, aware of surprise relationships between seemingly disparate phenomena, and enveloped by sensory messages of color, sound, and movement meeting personal criteria for beauty. Such experiences exemplify features of artistry, an approach defined by openness to possibility and orientation toward discovery, where cues emanating from involvement in activity are clearly interpreted and utilized, and reflection is an ongoing process informing action. Characterized by a sense of wonder and ability to imagine and invent, the creative worlds of young children have provided a source of artistic genesis cited by composers, performers, psychologists, and educators.2Edith Cobb's thoughtful, groundbreaking account of the relationship between childhood and artistry, The Ecology of Imagination in Childhood, was introduced by Margaret Mead, who highlighted the work's thesis: "that in the imaginative experiences of childhood could be found the essential kernels of the highest forms of human thought."3 The legacy of childhood is universal to our existence; in acknowledging its contributions to ontological and cultural artistry, we can both connect personal histories across the [End Page 36] lifespan and identify characteristic trends across a spectrum of aesthetic rendering.4One trait common to both the child and the creative adult is a focused attentiveness to perceived affordances, that is, materials and human resources accessible in the environment. Acting upon and with these resources,children and artists become aesthetic agents as sensitivity to both experience and milieu combine to produce relevant and innovative outcomes.5 These two interactive dimensions have been described in interviews with composers I have interviewed as "being with the moment" and "being with yourself and at the same time with another" and are operating in the musical play of children, as noted in this description recorded by a mother/student: On Thanksgiving Day, we had a family gathering of sixteen people, five of whom are under the age of eight years. Three-year-old Louise is thrilled to be with her female cousins, who all dress up in ballet-type frilly costumes in order to put on a "show" for the family. Cousin Lily, now eight years old, assumes the role of pianist, while Louise, and five-year-old cousin Amy creatively dance to Lily's improvised accompaniment. Their movements are directly related to Lily's playing, in her fluidity and well as "jumps!" Here, family members serve as catalysts for creative activity — costumes and musical instruments in the environment... (shrink)

Abstract:This paper argues that the neoliberal (mis)appropriation of artistic creativity that begins to have a serious impact on music education can be seen as the result of a reverse détournement, whereby the very terms that used to play a pivotal role in describing the anti-systemic, anti-commercial, unsettling, emancipatory qualities of artistic creativity are being used to legitimize a thoroughly economized conception of creativity. It is suggested that this reverse détournement shapes a notion of creativity that can be referred (...) to as subsumptive, a term that denotes the thorough instrumentalization of creativity that leads to a managerial approach to creative processes and practices. The paper identifies some of the main terms that have been sacrificed in the process of the neoliberal colonization of creativity, suggesting that we actively resist subsumptive creativity by molding a counter-hegemonic language that offers an alternative conceptual apparatus that might permit a conceptualization of creativity as subversive. Thus, it is suggested that instead of drawing on notions of flexibility and adaptability we explore the notion of nondeterminist plasticity of minds; instead of emphasizing uncertainty and risk-taking we choose to cultivate fearless exploration; in the place of notions of collaboration (that easily slips to networking) we emphasize dis-identification; instead of celebrating independence we engage with the notion of collectivity; instead of emphasizing learning how to anticipate future needs we choose to explore the merits of (temporary) withdrawal; instead of celebrating innovation we choose to explore practices of dismeasure; and instead of seeking ways to boost confidence, we explore the subversive potential of vulnerability. (shrink)

We will assert than in the era of Ubiquitous Technology to be human is to be creative. Small children are experimental and creative actors. The socialisation process in modern societies, both at home and at educational institutions, does not enhance and develop their creativity. On the contrary, their creativity is discouraged in many ways. We conceptualise creativity developmentally: It is possible to use activities, teaching methods, motivation and procedures to enhance and develop creativity, even in older people. This (...) paper gives some guides that can be used both at home and at work to explore, enhance and develop ones own creativity and the creativity of others. Each suggestion is presented from a practical viewpoint and then related to some of the tools and concepts that scientists and artists use in their creative endeavours. (shrink)

Since literary historian Robert Bone published his seminal essay ‘Richard Wright and the Chicago Renaissance’ in 1986, scholars have created new cartographies of previously unexplored terrain in American cultural history. The earliest studies focused on literature, but more recently attention has turned to other disciplines, including visual arts. Recent publication of The Muse in Bronzeville: African American Creative Expression in Chicago, 1932–1950 (2011) by Robert Bone and Richard A. Courage promises to decisively broaden scholarly understandings of the scope and (...) significance of Chicago-centred cultural production during the Great Depression and post-war years. Of particular relevance to contemporary studies of new media art is the manner in which then-emergent ideas and practices – centring on racialized subject matter, elite and mass audiences, traditional and new mediums of expression, private vs public sponsorship, and passive vs active reception of art objects – converged to create new paradigms and possibilities for visual artists to reshape consciousness in a period of institutional collapse and change. Chicago’s New Negro artists of the 1930s and 1940s, like their counterparts in 1920s Harlem, sought to reframe perceptions of African American life, to re-present the black subject as something other than an object of contempt or amusement beneath the privileged gaze of the white viewer. Just as these artists sought to revise perceptions of racial reality, examination of the wide range of actual images they created and the mediums and styles they explored revises reductive notions about creative expression in this period, which often portray a mere subordination of art to propaganda and an embrace of representational aesthetics and simplistic narratives in a fruitless detour in the evolution from modernism to postmodernism. On the contrary, Andrew Hemingway notes the range of stylistic experiment and characterizes so-called ‘social art’ as ‘a hybrid and unstable mode [which] had to carry the imperative to be an art equal in formal achievement to both the great art of the past and the modern tradition … [and] to suggest a political orientation without becoming overt revolutionary propaganda’ (2002).New media theorist Oliver Grau observes thatIn many quarters, virtual reality is viewed as a totally new phenomenon… but it did not make its first appearance with the technical invention of computer-aided virtual realities. On the contrary, virtual reality forms part of the core of the relationship of humans to images… grounded in art traditions that have receivedscant attention up to now.(2004)In the midst of another period of change, of transformed and transforming ideas and practices in the arts, we have much to learn from the attempts of Chicago’s New (Media) Negro artists to create ‘art for the people’, to immerse broad audiences in such accessible media as mural painting, photography and graphic arts. (shrink)

While entanglement is a phenomenon discussed in quantum theory, it can also be found in art. We propose to connect entanglement to art’s most fundamental question: what is creativity? For example, Marcel Duchamp found the essence of the creative act in the “art coefficient,” the difference and/or gap between the artist’s intention and realization which is created. This paper locates the common sense understanding of entanglement in an inseparable whole that ensures difference between the intention and realization. Seeing the (...) artistic act as actively designing entanglement within artistic production, we present examples of this from the work of the Japanese-style painter Nakamura, and present a concrete vision for an answer regarding the question of the nature of creativity. (shrink)

The article presents an analysis of the activities of formal and informal art associations in the space of contemporary art in Russia and China. The two countries actively cooperate in the field of art, including at the institutional level, which actualizes the appeal to the work of existing creative unions. The object of attention in the framework of the study is the modern art associations of the two countries, and the subject is the relationship between the structure and activities (...) of official and informal art associations of China and Russia. The aim is to analyze the features of the activity of art associations in the conditions of the modern art space of their countries. The analysis of the state and directions of development of both official structures and informal art groups is carried out. The former in both Russia and China, as a rule, are the continuers of the traditions of the former structures, but the original function of the guide of the political course of the leadership of the countries in them remained at different levels, mostly decreasing. The latter are communities of artists who unite by creative interests or around a common exhibition space for them, in particular galleries. Moreover, both forms successfully exist in both states, reflecting the trends of artistic life and at the same time influencing it. (shrink)

The article presents an analysis of the existential paradigm of M. Lermontov's creativity in the light of the existential theories of S. Kierkegaard and K. Jaspers, which is considered in the context of the cultural transition in Russian literature of the 1830s-1840s. It is argued that Lermontov radically changed the nature of his literary activity by the mid-1830s, overcoming his own existential ambivalence and abandoning the subjective emotionality and exoticism of his youthful poetry in favor of objective observations and (...) research of the surrounding world. Lermontov was aware of his existential ambivalence and sought to overcome this state in order to achieve cultural integrity, which should be considered as one of his main values. Lermontov's works reflect the concept of integrity as the integration of culture through a set of prevailing norms and ideals, as well as the feeling that this integrity was disintegrating in transitional times. This state of affairs caused a sense of disintegration in Lermontov, which is similar to the borderline situation of Jaspers. Lermontov's works illustrate the loss of cultural ideals with the decline of Romanticism. But rejecting the ideals of Romanticism, Lermontov conveys the feeling that post-Romantic disappointment generated cynicism and distorted thinking. The novel "The Hero of Our Time" has become the embodiment of such shortcomings. Lermontov's works do not belong to romanticism, nor to protorealism, nor to any combination of both. But Lermontov played his transitional role superbly. Not only did he raise questions about Romanticism that realism would later make its own, he also shed light on Romanticism itself and how it was fading. Lermontov showed how difficult it is for an artist who is aware of his own existential ambivalence to create and live in a transitional time devoid of a unifying sense of cultural integration and integrity, illustrating how badly a creative personality needs such integration and integrity. (shrink)

Contemporary development of research methods and tools is often conducive to ambitious art studies, in which the research methodology and study protocol are the result of negotiations between creative and research strategies. The article discusses the key sources, possibilities, and threats of interdisciplinary projects often referred to as practice-as-research. The following comparison of the orders of the scientific methodology and the artistic convention allows one to show the similarities and potential points of contact between science and art, which (...) are independent of the different values and methods of evaluation in both of these areas. The research-based practice model by Pil Hansen and Bruce Barton is also presented as a solution that takes these issues into account. It is also used to present the project of Interdisciplinary Center for New Technologies of the Nicolaus Copernicus University in Toruń and the Art & Science Research Foundation om—organisms and machines in culture (FUNom) the project "Neurophysiology of the Artist in Performance", which is a bold example of the transdisciplinary activities of scientists and researchers. Its content is analyzed through the reports of artists, researchers, and participants taking part in public presentations of the project. (shrink)

The subject of this research is the rehearsal process in choreographic art. The object of the study is the comprehension of this process as a creative integration of an artist and a teacher-tutor. The author examines in detail such aspects of the topic as the role of an artist, the preparation of a ballet dancer for a performance, gives examples of works of art that contribute to honing the professional skills of dancers. The author focuses on the importance of (...) participation in stage practice during the years of study, which allows you to feel more confident on stage as a professional ballet dancer, and also points out the main contradiction – the time limitation on the preparation of the artist for the part and the need to demonstrate impeccable performance. The importance of this research is expressed in the fact that in modern education and tutoring work in the theater, such a phenomenon as creative integration is an important factor in achieving the goals set, namely in obtaining and maintaining the professional level of academic theaters. The result of the conducted research is the design of a model of modern training of artists to participate in performances of the classical repertoire, with a focus on preserving the choreographic text and heritage as a whole. The novelty of the research lies in a comprehensive approach to the characterization of the creative integration of a ballet dancer and a teacher in the process of preparing for a performance, determining the leading professional traits of dancers, the presence of which allows us to realize the task of creating a high-quality product of joint activity of the performer and the teacher-tutor. (shrink)

This book introduces a new way for thinking about, creating, and viewing art. Rudolf Steiner saw his task as the renewal of the lost unity of science, the arts, and religion; thus, he created a new, cognitive scientific and religious art in anthroposophy. The implications of his act --recognized by such diverse artists as Wassily Kandinsky and Joseph Beuys --are only now coming fully to light. In his thorough introduction of more than a hundred pages, Michael Howard takes readers through (...) these thought-provoking chapters: Is Art Dead? To Muse or Amuse Artistic Activity As Spiritual Activity The Representative of Humanity Beauty, Creativity, and Metamorphosis New Directions in Art Lectures include: The Aesthetics of Goethe's Worldview The Spiritual Being of Art Buildings Will Speak The Sense Organs and Aesthetic Experience The Two Sources of Art The Building at Dornach The Supersensible Origin of the Arts Truth, Beauty, and Goodness Christ, Ahriman, and Lucifer Plus a bibliography and index. (shrink)

Dance is an enjoyable, non-therapy-focused activity that may provide a range of benefits for people with Parkinson’s. The internal simulation of movement through observation, imitation, and imagery, is intrinsic to dance and may contribute to functional improvements for people with Parkinson’s. This study explored the feasibility and potential benefits of a dance program designed by a collaborative team of dance artists, researchers, physiotherapists, and people living with Parkinson’s. The program incorporated motor simulation through observation, imitation and imagery of movement, (...) supported by creative themes, expression, and music. A 6-week pilot trial of the program was conducted with 10 people with Parkinson’s. A focus group following the trial (N= 8) provided insights into the use of imagery, observation and imitation within dance, and the link between creativity and functional outcomes, as well as indicating multidimensional benefits of dance as reported in previous studies. Exploratory outcome measures also suggested potential effects on motor simulation, functional dexterity, and quality of life. The present study demonstrates the feasibility of a co-developed dance program for Parkinson’s and indicates how creative elements of dance may support functional outcomes. Future research should examine the role of motor simulation processes in dance for Parkinson’s, including the potential to develop transferable cognitive-motor skills. This study also highlights the value of collaborative partnerships in designing dance for health programs, which may optimise beneficial effects by using creative approaches to incorporate evidence-based elements, with guidance from individuals with lived experience to ensure the relevance to their goals. (shrink)

The subject of the study is the works of contemporary St. Petersburg artists of different generations and creative trends, as well as the forms and features of their communication with each other and with the general as well as professional public. The trends of artistic communication in the city are determined by the activities of such institutions as art and non-art museums, art galleries and exhibition centers, which are a classic form of presentation of contemporary art; alternative venues (...) such as creative spaces and art clusters. The field of attention also includes the attraction of St. Petersburg authors to the organization of small artistic associations, mainly art groups, for example, "Unconquered", "North-7", "Parasites", etc. In addition to works of art, theoretical works and reflections by researchers of contemporary art in St. Petersburg and the spaces of its public presentation are involved. The methodological basis is the analysis of the works of St. Petersburg masters of the beginning of the XXI century in the context of the development of urban institutions of artistic communication. The research is based on theoretical works devoted to the problem of artistic communication and trends in the current art process. Comparative-interpretative and typological methods are used to compare the works of artists and forms of artistic communication. The problem of artistic communication in the field of fine art in St. Petersburg is becoming the subject of a separate study. This area of city life is currently developing quite dynamically, as new art associations, curatorial practices and alternative classical platforms for the presentation of the work of authors belonging to different generations and art movements are emerging. Traditional museums and galleries, as well as creative spaces, art clusters and other often non-core institutions, such as libraries and cafes, are involved in this process. Against this background, the features of St. Petersburg artistic communication crystallize, which is characterized by a desire to organize communities, to fuse realistic traditions and current trends, to escapism and symbolism, as well as an interest in oriental themes and stylistics. (shrink)

Arthur Danto’s analytic theory of art relies on a form of artistic interpretation that requires access to the art theoretical concepts of the artworld, ‘an atmosphere of artistic theory, a knowledge of the history of art: an artworld’. Art, in what Danto refers to as post-history, has become theoretical, yet it is here contended that his explanation of the artist’s creative style lacks a theoretical dimension. This article examines Danto’s account of style in light of the role (...) the artistic metaphor plays in the interpretation of the artwork, arguing that it is unable to account for the metaphorical power he claims is embedded within the work of art. An artist’s style issues from a unique perspective, the way an artist inhabits a specific spot in history. Though each person has such a perspective, when applied aesthetically, it is the key to the articulation of a unique historical meaning in the work of art. At the same time, artists’ knowledge of their contribution remains cut off from this perspective, for they are unaware of their self-manifestation of the historical concept of style. This article makes the case that Danto’s notion of style, based on Sartre’s notion of being-for-itself, cannot fulfil the role he allots it in his theory because, at some level, artists must apprehend their style to create a work of art capable of functioning critically as a countertext. It is only through the apprehension of their style, and dialogical activity that takes place between the artist and the beholders, that the unseen body of artworld theory is formed. Without this, when oriented to the aesthetic, style provides no concept or theory for the mind to behold. This article presents an alternative approach to style that recognizes the role of theory in the creation of metaphor, which would circumvent this problem. (shrink)

The purpose of the article is to raise a question on reasons for the availability of Greek content in the work of the great Ukrainian thinker Hryhorii Skovoroda and on the functions of bi-/ multilingualism of his texts. The relevance of the study is based on the contradiction between the objective need to reveal the phenomenon of artistic bilingualism and the features of his polycode text caused by verbal and cogitative activity of his creative bilingual personality. The (...) author of the article concludes that the emergence of texts of bi-/polylingual personalities is preceded by a change in their worldview and the formation of a new culture and language space. Thus, the implementation of the linguistic and worldview approaches of Hryhorii Skovoroda is based on the old Ukrainian literary and written tradition of the late 16th–18th centuries, guarded within the walls of the Kyiv-Mohyla Academy. Exploring the artistic models of the writer’s world, the researcher focuses on the definition of intertextual connections, in particular on the fact of intertextuality. In the article the phenomenon of bilingualism is discussed contextually and correlates with the problem of intercultural contacts and influences. (shrink)

The paper presents a scientific profile of Mieczysław Wallis in the perspective of the question of his intellectual status. The author looks for the answer within two areas that were the subject of Wallis’ interest: philosophy and history of art. She analyses the path of Wallis’ intellectual development and the formation of his creative interests: from his education (in Heidelberg and Warsaw) and inspirations, through his first intellectual concerns, to an analysis of his scientific output. In his youth, Wallis (...) wrote about the desire to create a philosophical system. Did this aspiration determine his scientific work, and to what extent? Did it set the course of his intellectual path? Was Wallis’ profile dichotomous in nature? For, as a philosopher, Wallis asked himself a fundamental question about the phenomenon of human being and its relation to the world. As a historian of art, he sought the answer by analyzing the world of man’s creative activity, his aesthetic experiences and artistic creations. Thus, on the one hand, the author emphasizes the role of philosophy in the development of Wallis’ intellectual views; on the other hand, she points to the philosophical depth of his achievements in the field of art theory. (shrink)

This intimate account of how ideas get turned into artwork—including dance performance, film, sound installation, sculpture, and painting—looks at how the material thinking that art embodies produces new understandings about individuals, their histories, and the cultures they inhabit. Discussing the philosophy of signs (images, text, and their interaction), the psychology of visual perception, and the overarching notion of mythopoeic place-making, this intellectually wide-ranging and anecdotally narrated primer provides a fresh perspective to the concept of inventing. All active practitioners in the (...) fields of performance, media, film, museum, painting, sculpture, and cultural studies will benefit from this look at how artists participate in the conceptual invention of their world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 19-26 [Access article in PDF] Restriction and Individual Expression in the "Play Activity / Zokei Asobi " Since World War II, art teachers in Japan have wavered between two senses of value. The first issue is whether they should foster children's specific artistic ability (for example, drawing, painting, or sculpture) in art class. Many art teachers believe that there is (...) a standard body of knowledge about art that should be taught, much like chemistry or mathematics. In fact, teachers do set these restrictions by giving teaching materials or subjects of expression to children in art class. On the other hand, art teachers recognize the need to encourage the expression of each child's individual emotions and creativity. So, Japanese art teachers are faced with a contradiction: requiring [End Page 19] each child to express herself "freely" within an environment restricted by a set curriculum.In Japan, when the government guidelines for teaching were revised about 25 years ago, a new domain was instituted in the elementary school art class. The domain is called "Play Activity/Zokei Asobi." The field of expression consists of two domains: the making of works (visual objects) according to a theme or subject and the "Play Activity" using various materials. The former is equivalent to the basic picture, craft, design, and sculpture education. The Play Activity is based on the viewpoint that children's expression naturally comes from within and is expressed as spontaneous play, such as playing in the sand or with blocks. Because children have a natural curiosity, play is not to be directed by someone else, but by their own will. Children's spontaneous play is viewed as the beginning of individual expression. Although the Play Activity has not yet fully permeated into art education of Japan, it has brought some changes to art class. The Play Activity has forced art teachers to think about their role: whether one should emphasize restriction — "shall I teach something to children?" or freedom — "how should I deal with each child's individual expression?" In this essay, I explore teachers' stream of consciousness about children's expression and meanings and subjects of the Play Activity in Japan. Child's Expression and Works of Art The Japanese art class consists of two fields: "expression" and "appreciation." In the past, children's main activity has been expression in art class. In recent years, appreciation has gradually come to be thought of as important as expression. There are historical reasons for this general philosophy about "art".Many Japanese people think that only talented and famous painters or sculptors create "art." In their minds, "art" consists of highly valued "works of art" like those seen in museums and galleries. So, because it is quite different from that of a talented artist's masterpiece, children's expression has not been considered as art.On the other hand, children's expression is considered to be an important part of ego formation. In order to accomplish this, suitable materials and techniques must be part of the various formative experiences in art class. In this way, their inner emotions and thoughts can be communicated through the process and product of their expression. Because art teachers know such intuitive expression is an important part of life, it has been regarded as more important than appreciation. In this art class, children have not made "works of art" but have "expressed" themselves, thus they have been distanced from "Real art" (famous masterpieces). The Restriction Born of Confusion about the Sense of "Art" The Japanese general sense of "art" has brought a contradiction into art class. Because the works of talented and famous artists are highly valued in [End Page 20] many adults' minds, teachers often unrealistically expect young children to express as well as an adult.For example, many Japanese value lifelike pictures as excellent. Consequently, many adults expect children to draw objects exactly as they appear. A college student who grew up surrounded by this value system retains such a sense of value. And if she cannot draw a lifelike... (shrink)

This study explores Honoré de Balzac’s iconic representation of artistic creativity in The Unknown Masterpiece by focusing on an unexamined aspect of his text, namely the seminal role played by critical reception and consumption in artistic production. This influential tale is examined in terms of its artistic and philosophical contributions to reenvisioning creativity by modern and postmodern critics and thinkers. Challenging the ideology of the artist as creative genius, this analysis targets the processes, labor and materials (...) of artistic production and its relations to critical consumption. At issue is the expressive potential of the art work in its creative capacities to bring about the new, to happen and make things happen. (shrink)

I describe how close attention to the process of sculpting clay from the perspective of Material Engagement Theory can create a detailed description of a mutable sense of agency and of self. First, I show that sculpting is associated with a loss of sense of agency and self. Second, that to sense agency as a systemic phenomenon creates anxiety. Third, that meaning in an art encounter develops in association with an anterospective viewpoint. Fourth, that within the logic of the extended (...) mind, emergent meaning becomes openly available for further exploration. Fifth, that artistic creativity is not an opaque process. It proceeds in a similar manner to other forms of human, sense-making activities. Finally, that playing seriously with clay can be used in an investigative manner—as a tool for material conceptualisation. (shrink)

It seems natural to think that there are aesthetic reasons for action and that an artist must be guided by such reasons as he or she begins work on the canvas or poem or symphony or marble. This latter supposition seems at odds, however, not only with classical inspiration theory but also with the views of one of the last century’s most important philosophers of art, R. G. Collingwood. We propose an account of acting for an aesthetic reason inspired by (...) G. E. M. Anscombe’s Intention, specifically by her concept of ‘practical knowledge’, which we believe can accommodate Collingwood’s reservations about the sort of knowledge of their ends, and of the means to those ends, which artists have as they engage in their creative activity. (shrink)

Ambitious in scope and innovative in concept, this book offers an overview and critique of the conventions surrounding artistic creativity and intellectual endeavour since the outset of 'the broader modernity', which the author sees as beginning with the decline of feudalism and the Church. As a work of intellectual history, it suggests that art and the conventions associated with the artistic constitute a secular institution that has supplanted pre-Reformation theology. Beginning with Luther, Calvin, and Shakespeare and culminating with (...) the Kantian notion of the artist as an 'original genius,' the author reconstructs the steps by which art and creative activity were installed as the redemptive values of a modernity. In the process, the author reads passages from Plato, Proust, Donne, Locke, Berkeley, Hume, Kleist, Rousseau, Melville, Wittgenstein, Benjamin, as well as the graphic works of Holbein, Dürer, Mondrian, and Rothko. (shrink)

The article manifests and analyzes the process of decentration of the Author, which corresponds to a number of trends, such as: decentration of the subject, dividualization, decentralization of information systems, etc., which determine contemporary transformations of the Lifeworld of a human, who appears precisely as a decentralized, multilayered, split, multiple being. It is noted that the model of authorship, which was constituted according to the concept of a centered/holistic subject/individual, which, in particular, is embodied in copyright, needs to be reconsidered. (...) The meaning of such a model, which is conceptualized in the figure of "authenticity of an authoritative author", is reduced to the creation of Surplus Value with behalf of the author of the product/work/goods. The article presents the stages of decentration of the Author, authority and authenticity, which are personified by the figures of S. Kierkegaard, M. Duchamp, and R. Stallman. For Kierkegaard, it is fundamental to separate the function of the author from authority and the formation of existence/singularity, which, in particular, is embodied in his use of pseudonyms. Duchamp problematizes the author as a producer of a product, contrasting him with the practice of using ready-made objects, and contrasts the tradition of the author's signature with the multiplication of names/signatures. Duchamp exposes the exploitative essence of work even in relation to artistic creativity, manifesting as an alternative to laziness/"lazy activity", which allows shifting the emphasis from the production of things to the process of becoming subjectivity. In the end, the author as integrity and unity loses its meaning in the context of the development of contemporary technologies and network communication. Stallman presents a strategy of friendly exchange of free software instead of selling it based on copyright (intellectual property). This is what should increase productive activity and free up time, and in the long run, creativity should hardly be distinguished from laziness. These three examples testify to the possibility and necessity of overcoming the repressive component of authorship and copyright as a way of controlling/restricting human life, which is not a totality, does not have substantial authenticity, does not require authority, and does not focus on authorship. (shrink)