Entropy and Stability in Painting: An Information Approach to the Mechanisms of Artistic Creativity

Leonardo ◽  
2002 ◽  
Vol 35 (2) ◽  
pp. 197-202
Author(s):  
Vladimir M. Petrov

The author presents a method for identifying the sequence of stages of the creative process in painting, specifically an artist's decisions about such parameters as genre, composition, color structure, etc. The method is based on the calculation of the coefficients of informativity relating to the distribution (and hence, entropy) of the artist's works over the above parameters. Using this method, 240 paintings by three famous Russian artists (Pavel

2019 ◽  
pp. 140-153
Author(s):  
O.V. Shchekaleva

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


2019 ◽  
Vol 7 (6) ◽  
pp. 81-84
Author(s):  
Ekaterina Vladimirovna Smyslova ◽  
Liliya Fuatovna Khabibullina

Purpose of the study: Anthony Burgess (1917 – 1993) is an English writer, author of the intellectual novels and serious musical works. Being a talented and inventive person, he was very interested in art and its creative processes. Anthony Burgess’s artistic creativity concept can be traced in many of his works about fictional and non-fictional writers Methodology: The article uses the analysis of the fictional world created in the novels as a means of its consideration. The image of the artist is considered from the perspective of the writer's worldview reflected in the composition and the message of his works. Results: The conducted analysis shows that in Anthony Burgess’s opinion the artist is a craftsman whose artistic activity is closely connected with his sexual attraction. In addition, the writer is characterized by isolation as the main condition of the creative process and the total devotion to Art. Applications of this study: This research can be used for the universities, teachers, and students. Novelty/Originality of this study: Thus, the novelty of the paper consists in its first trial to present the artist’s image thoroughly studied in the mentioned above novels. It is worthwhile mentioning that the research is conducted according to Anthony Burgess’s creative concept.


2016 ◽  
Vol 8 (1) ◽  
pp. 1-8
Author(s):  
Ilze Briška

Abstract The aim of the study is to investigate the possibilities of artistic creativity to foster the development of prospective teachers’ professional values to enable an appreciation of the diversity and individuality. The central idea of the article is on the development of the student’s values and its relation to a person’s direct emotional experience of a particular value and reflective arrangement of its emotional trend and subjective sense. One of the modes of experience of artistic creativity - experience of the creative process - is analysed as a source for emotions, necessary for the initiation of the process of development of values. The analysis of qualitative and quantitative data reveals significant interconnections between prospective teachers’ experience of creative process in art classes and their attitudes towards diversity and individuality as personally and professionally significant values. The results of the research enable us to provide suggestions about the content of visual art studies in teacher training curriculum, recommendable for facilitating the development of prospective teachers’ professional competence.


Author(s):  
William Kinderman

This book opens the door to the composer's workshop, investigating not just the final outcome but the process of creative endeavor in music. Focusing on the stages of composition, the book maintains that the most rigorous basis for the study of artistic creativity comes not from anecdotal or autobiographical reports, but from original handwritten sketches, drafts, revised manuscripts, and corrected proof sheets. It explores works of major composers from the eighteenth century to the present, from Mozart's piano music and Beethoven's Piano Trio in F to Kurtág's Kafka Fragments and Hommage à R. Sch. Other chapters examine Robert Schumann's Fantasie in C, Mahler's Fifth Symphony, and Bartók's Dance Suite. Revealing the diversity of sources, rejected passages and movements, fragmentary unfinished works, and aborted projects that were absorbed into finished compositions, the book illustrates the wealth of insight that can be gained through studying the creative process.


1974 ◽  
Vol 5 (4) ◽  
pp. 303-329 ◽  
Author(s):  
Renaldo Maduro

This paper is a focused consideration of artistic creativity in relation to different phases of the Hindu life cycle. Life history and psychological test data collected from 110 male Brahmin folk painters at an orthodox sacred pilgrimage center in western India are presented. Folk theories of creative process and the psychogenesis of creative energy for symbolic expressive behavior throughout the life cycle are related to recent theoretical interest in ego boundary maintenance, to Jungian psychoanalytic theory, and to Hindu notions of achieving psychological wholeness, balance, and augmented creative potential in later life. It is argued that artistic creativity does not necessarily decline with chronological age. Male painters asked to rank each other along a creativity continuum into three groups according to high or low degree of perceived creativity are discussed: mean ages for each of these painter-defined groups are presented. Scores on the Barron-Welsh Revised Art Scale from painters of all three groups are related to preferences for perceptual complexity, ambiguity, and asymmetry.


2018 ◽  
Vol 11 (1) ◽  
pp. 85-101
Author(s):  
Adina MANTA

Common understandings of creativity reduce it to a flash of insight or to a personal characteristic of a highly-gifted person. This paper develops an alternative way of understanding creativity departing from a series of interviews with local painters by conceptualizing creativity as a process of articulating and getting caught up in a “meshwork” of materials, places, spaces and social encounters. Using assemblage theoretical framework, my perspective examines how different elements (both human and non-human) are brought together in flows of connections. Looking at the art world this paper takes into account also the materiality of the creative process and inquiry into how the materiality of working materials (paint, coal, brushes etc.) and the materiality of the space affect and are affected in the creativity assemblage. As such, departing from an anthropocentric perspective on artistic creativity, that takes only in consideration the meanings attributed by people (especially the artist) to forms, social uses and trajectories of artistic objects.


2020 ◽  
Vol 20 (1) ◽  
pp. 304-308
Author(s):  
Margarita Tetelea

AbstractIn this article, concepts such as “creativity” and “artistic creativity”, based on the ideas of a number of famous scholars, are dealt with. The concept of “creativity” is defined according to the aspiration of an artistic person to self-expression. Speaking about the structure and the components of the creative process, we have identified the factors that enhance the development of the creative abilities of the students from the pedagogic-artistic specialties in the process of designing the didactic-artistic approach. It is also reflected in the diversity of these factors: psychological, pedagogical, didactic, artistic. In conclusion, the emphasis is on the fact that self-expression in artistic creativity is the individual’s need, and need is classified as aesthetic.


2012 ◽  
Vol 22 ◽  
pp. 76-95
Author(s):  
Nicholas Davis ◽  
Ellen Yi-Luen Do

Creativity research has gradually moved away from controlled laboratory settings to more naturalistic and real world domains. As a result, new research methods are required to systematically analyze the artistic experience that includes the artist’s perception, behavior, and conception throughout the creative process. We use research findings from the Cognitive Science literature to create a framework called Perceptual Logic to categorize different types of artistic experience. This framework is applicable to open-ended artistic creativity. Empiri- cally validating such a framework requires new tools that provide insight into the naturalistic creative process. We describe the initial design of a set of digital sketching tools that enables creativity researchers to quantitatively analyze the artistic experience. These tools focus spe- cifically on understanding how visual digital artists perceive and interact with their drawings and paintings throughout their creative process.


2007 ◽  
Vol 38 (2) ◽  
pp. 217-255 ◽  
Author(s):  
David Rawlings ◽  
Barnaby Nelson

AbstractThe phenomenology of the creative process has been a neglected area of creativity research. The current study investigated the phenomenology of artistic creativity through semi-structured interviews with 11 artists. The findings consisted of 19 interlinked constituents, with 3 dynamics operating within these constituents: an intuition-analysis dynamic, a union-division dynamic, and a freedom-constraint dynamic. The findings are discussed in relation to the issues of creativity and spirituality, intuition and analysis, the creative synthesis, affective components, and flow. The findings display considerable overlap with previous research into the phenomenology of the artistic creative process, yet place particular emphasis on the shift in sense of self associated with creative experience and the energising effect of a synthesis of disparate elements.


2020 ◽  
Vol 3 (2) ◽  
pp. 106-117
Author(s):  
SepBianti Rangga Patriani

Creative artists are people who cultivate their imagination to always explore art through experimental and trial methods. Experiments carried out by an artist in creating a new work of art are part of an original creative process. As is the case, Zainal Beta is a regional artist in Makassar who develops his artistic creativity by painting using clay media. The purpose of this study was to determine the stages of Zainal Beta's creative process as a clay painter. This research method is described descriptively analysis using the creativity approach. This qualitative research data was obtained through observation, interviews, documentation studies, and literature review. The conclusion of this research is that the stages of the creative process that Zainal Beta went through in the creation of clay painting works originated from inventions accidentally. This discovery motivated Zainal Beta to continue to explore his painting experience using clay media. He continued to develop his creativity in painting using bamboo blades as a painting tool. He used the bamboo slats to make a scratch in painting. Related to the visualization of the object, Zainal Beta clay painting works tend to present the theme of the social and cultural life of the area where he lives, which is depicted in a naturalist and expressive style. The embodiment of the painting object is a representation of various life experiences obtained by Zainal Beta as a clay painter in Makassar.


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