A Preliminary Appraisal A
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Explaining Creativity: the Science of Human Innovation/R
EXPLAINING CREATIVITY This page intentionally left blank Explaining Creativity The Science of Human Innovation R. Keith Sawyer 1 2006 3 Oxford University Press, Inc., publishes works that further Oxford University’s objective of excellence in research, scholarship, and education. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Copyright © 2006 by Oxford University Press, Inc. Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 www.oup.com Oxford is a registered trademark of Oxford University Press. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Sawyer, R. Keith (Robert Keith) Explaining creativity: the science of human innovation/R. Keith Sawyer p. cm. Includes bibliographical references and index. ISBN-13 978-0-19-516164-9; 978-0-19-530445-9 (pbk.) ISBN 0-19-516164-5; 0-19-530445–4 (pbk.) 1. Creative ability. I. Title BF408.S284 2006 153.3'5—dc 22 2005012982 135798642 Printed in the United States of America on acid-free paper ACKNOWLEDGMENTS I have been studying and teaching creativity for more than ten years, and have published several academic books on the topic. But when you write a book like this one, summarizing an entire field for the interested general reader, it’s like learning the material all over again. -
The New Art Practice in Yugo
Documents 3-6 The New Art Practice in Yugoslavia 1966-1978 Edited by Marijan Susovski Gallery of Contemporary Art, Zagreb 1978 Marijan Susovski Foreword In the last ten years, modern art in Yugoslavia, the fields of reaction on the part of the artists is to achieve spiritual and not artistic interests, the way they develop and manifest themselves materialistic results of creative work, ie. results in which have undergone essential changes in comparison to the forms the artistic quality does not derive solely from the of art which immediately preceded them or still exist. materialized esthetic quality, but in which the artistic Starting from 1966, artists of the new generation, born in the sensibility is expressed in the attitude, behaviour, option, late forties and the early fifties, became involved in artistic way of life in the activities, the acts which can most activities which differed from the established art forms in the adequately express this sensibility. Forced to carry out their milieus in which they lived and worked. New artistic trends activities within a context of art which was inappropriate, developed in Ljubljana, Zagreb, Novi Sad, Subotica, the artists inevitably came into conflict with that which, in Belgrade and Split. The very number of the cities and their their view, represented a hindrance tradition, pedagogic widespread geographical distribution testify to the scope of and art canons, conventions, the institutionalized character of interest in the new approach to artistic communication. The art and with their own social position. They advocated cities represent cultural centres with specific art traditions polemic forms of art, radical changes, analytic and critical which, in some cases, served as the basis for the development artistic activities which should represent an act of social of new trends in art and represented the starting point for relevance. -
` Copyright by Edward A. Shanken 2001
` Copyright by Edward A. Shanken 2001 ART IN THE INFORMATION AGE: CYBERNETICS, SOFTWARE, TELEMATICS AND THE CONCEPTUAL CONTRIBUTIONS OF ART AND TECHNOLOGY TO ART HISTORY AND AESTHETIC THEORY by Edward A. Shanken Department of Art History Duke University Date:__________________ Approved: ______________________ Hans Van Miegroet, Co-Chair ______________________ W.J.T. Mitchell, Co-Chair ______________________ ______________________ ______________________ Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art History in the Graduate School of Duke University 2001 ABSTRACT (Art History) ART IN THE INFORMATION AGE: CYBERNETICS, SOFTWARE, TELEMATICS AND THE CONCEPTUAL CONTRIBUTIONS OF ART AND TECHNOLOGY TO ART HISTORY AND AESTHETIC THEORY by Edward A. Shanken Department of Art History Duke University Date:__________________ Approved: ______________________ Hans Van Miegroet, Co-Chair ______________________ W.J.T. Mitchell, Co-Chair ______________________ ______________________ ______________________ An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art History in the Graduate School of Duke University 2001 ABSTRACT This dissertation argues that the artistic use of technology demands greater recognition. Scholarship on twentieth century art generally has ignored or disparaged the artistic current otherwise known as Art and Technology. Art History has failed to recognize and incorporate into its canons the rich historical and theoretical underpinnings of this tendency. This oversight is especially conspicuous in the literature's inability to grasp how the sciences and technologies particular to the Information Age have shaped the formal and conceptual development of art since 1945. The research presented here employs a synthetic method drawing on diverse disciplines, archival research, correspondence, and personal interviews.