750 research outputs found
Critique of Creativity: Precarity, Subjectivity and Resistance in the âCreative Industriesâ
234 p. : il., Tablas.Libro ElectrĂłnicoLa creatividad siempre estĂĄ en movimiento: surge, se establece en el ente colectivo, palidece y desaparece a veces en el olvido; renace, vuelve con innovaciones, se reformula y resurge iniciando de nuevo el ciclo.
Los viejos mitos de la creaciĂłn y los creadores, los trabajos consagrados y los organismos privilegiados de los demiurgos estĂĄn de nuevo en marcha, produciendo nuevos cambios. Los ensayos recogidos en este libro analizan ese resurgimiento complejo del mito de la creaciĂłn y proponen una crĂtica contemporĂĄnea de la creatividad.Creativity is astir: reborn, re-conjured, re-branded, resurgent. The old myths of creation and creators â the hallowed labors and privileged agencies of demiurges and prime movers, of Biblical world-makers and self-fashioning artist-geniuses â are back underway, producing effects, circulating appeals. Much as the Catholic Church dresses the old creationism in the new gowns of âintelligent designâ, the Creative Industries sound the clarion call to the Cultural Entrepreneurs. In the hype of the âcreative classâ and the high flights of the digital bohemians, the renaissance of âthe creativesâ is visibly enacted. The essays collected in this book analyze this complex resurgence of creation myths and formulate a contemporary critique of creativity.Contents vii
Contributors ix
Acknowledgements xv
Introduction: On the Strange Case of âCreativityâ and its
Troubled Resurrection 1
PART ONE: CREATIVITY 7
1 Immanent Effects: Notes on Cre-activity 9
2 The Geopolitics of Pimping 23
3 The Misfortunes of the âArtistic Critiqueâ and of Cultural Employment 41
4 âCreativity and Innovationâ in the Nineteenth Century: Harrison C. White and the Impressionist Revolution Reconsidered 57
PART TWO: PRECARIZATION 77
5 Virtuosos of Freedom: On the Implosion of Political Virtuosity and Productive Labour 79
6 Experiences Without Me, or, the Uncanny Grin of Precarity 91
7 Wit and Innovation 101
PART THREE: CREATIVITY INDUSTRIES 107
8 GovernCreativity, or, Creative Industries Austrian Style 109
9 The Los Angelesation of London: Three Short Waves of Young Peopleâs Micro-Economies of Culture and Creativity in the UK 119
10 Unpredictable Outcomes / Unpredictable Outcasts: On Recent Debates over Creativity and the Creative Industries 133
11 Chanting the Creative Mantra: The Accelerating Economization of EU Cultural Policy 147
PART FOUR: CULTURE INDUSTRY 165
12 Culture Industry and the Administration of Terror 167
13 Add Value to Contents: The Valorization of Culture Today 183
14 Creative Industries as Mass Deception 191
Bibliography 20
An investigation into the spectral music idiom and its association with visual imagery, particularly that of film and video
The exploration of timbre became increasingly significant throughout the 20th century, with some composers making it the essence of their music. This artistic development occurred in conjunction with a technological advancement that together would contribute to the birth of what is now called `spectral music\u27 . Using computers, composers have been able to discover the spectra of frequencies that exist at different strengths for various sounds. The information realised then became the spectral musician\u27 s primary ingredients for composing some extraordinary works. Despite its innovative quality, spectral music is yet to gain widespread interest amongst ensembles, orchestras and ultimately the public. The first two chapters of this thesis are dedicated to the emergence of this largely unknown compositional discipline, its principal composers and the direction spectral music has taken since its inception
A Natural Image Pointillism with Controlled Ellipse Dots
This paper presents an image-based artistic rendering algorithm for the automatic Pointillism style. At first, ellipse dot locations are randomly generated based on a source image; then dot orientations are precalculated with help of a direction map; a saliency map of the source image decides long and short radius of the ellipse dot. At last, the rendering runs layer-by-layer from large size dots to small size dots so as to reserve the detailed parts of the image. Although only ellipse dot shape is adopted, the final Pointillism style performs well because of variable characteristics of the dot
Digital transformation and art: a market evolution analysis.
Digitalization and digital technologies are a growing and developing trend, able to invest all markets, included the art sector. The convergence of art and digital transformation is leading and will lead in the future to change the rules of this market and the players operating in it will have to innovate to keep in line with their competitors and meet the needs of a new, broad and multiform audience. The primary objective of this thesis is to represent and analyze the evolution over the years of the art market, focusing on the influence that the process of technological innovation, an increasingly important and indispensable factor for this traditional sector, has had. In order to do this, the structure is organized according to four chapters, starting with the two main themes, the digital transformation and the art market, and then representing the combination of these two worlds, both from a theoretical and empirical point of view.Digitalization and digital technologies are a growing and developing trend, able to invest all markets, included the art sector. The convergence of art and digital transformation is leading and will lead in the future to change the rules of this market and the players operating in it will have to innovate to keep in line with their competitors and meet the needs of a new, broad and multiform audience. The primary objective of this thesis is to represent and analyze the evolution over the years of the art market, focusing on the influence that the process of technological innovation, an increasingly important and indispensable factor for this traditional sector, has had. In order to do this, the structure is organized according to four chapters, starting with the two main themes, the digital transformation and the art market, and then representing the combination of these two worlds, both from a theoretical and empirical point of view
POSTMODERN TRENDS IN SET DESIGNS OF SELECTED PRODUCTIONS IN ULTIMA STUDIOS AND ZMIRAGE, LAGOS
The need for technical input, particularly set design in the overall theatrical process cannot be overemphasised in the pursuit of an aesthetically pleasing stage performance. This is because set design (flats and platforms) is the first place of contact irrespective of the medium of production. This work, therefore, examines postmodern trends in set designs within the backdrop of emerging set design concepts and interpretations via the use of sophisticated technology (such as light emitting diode screen, green-hippo software, 3D digital model among others), in our contemporary society, using selected productions in Ultima Studios and Zmirage, Lagos. The study employs the descriptive and participantobservation methods while the interview instrument complements the two methods. The two methods enable us to study the trends, dimensions and techniques of set designs in Ultima
Studios and Zmirage, Lagos. This study also relies on relevant journals, articles, textbooks and appropriate internet materials. More so, Sunnie Enessi Ododoâs (2002)
Representational and Presentational Performance Styles, is adopted as our theoretical
framework. Our findings show that set design for the stage or screen production goes beyond physical set design method to include the virtual set design. Postmodern trends in set design such as media mapping projection set design are also recognised. We also discover that, set design is a make-believe world that requires expertise, experience and professionalism in the process of its artistic utilisation within the postmodern age. The work concludes that, technical experts in the theatre should advance with the new trends of set design for both stage and screen production by studying and learning various trends and dimensions of postmodern set design. The study recommends that postmodern set design should not be downplayed in any production either screen or stage in the Nigerian theatre
A cat directory of art movements: As visualised by AI
This directory explore the use of AI text to image generators by prompting these systems to generate images in the style of specific art movements. This book is an exploratory work in prompt engineering as well as a practical guide to art movements
Aesthetics of Experiment: Imagism, Vorticism and the European Avant-Garde
This dissertation is a critical re-assessment of Imagism and Vorticism in relation to the European avant-garde, which both movements aspired towards in their reactions against the contemporary English arts and letters. I explore the implementation of such aspirations in the English arts by chronicling the complex relationship between the English movements and Cubism, the Parisian avant-garde, Italian Futurism and German Expressionism. The thesis argues that Imagism and Vorticism simultaneously modelled themselves on and reacted against their Continental counterparts, in terms of aesthetic concepts, artistic techniques and promotional tactics in creating a modern art.
As movements with contributors of different nationalities and working in different artistic media, including poetry, painting and sculpture, there necessarily exists many aesthetic varieties within Imagism and Vorticism apart from foundational consensus shared by group members. In order to address the complexity of the groupsâ make-up and the interdisciplinarity of their avant-garde aesthetics, the enquiry is made through a two-fold approach: firstly, by conducting contextual and comparative studies of significant individuals of the movements, including T. E. Hulme, Wyndham Lewis and Ezra Pound, to gauge their individual perspectives on literature, visual arts and aesthetic theories; secondly, by considering the heterogeneous nature of these movements and exploring the group dynamics, tensions and rivalries within the movements and with other contemporary groups.
With this dual focus, my thesis reconstructs the cultural milieu through the artistsâ works and correspondence, as well as the circulation network of little magazines, publicity and patronage, in order to reconcile the aesthetic and social contexts of Imagism and Vorticism, both in England and beyond. Ultimately, my thesis provides a more comprehensive analysis of the evolution of the English movementsâ aesthetics, their relationship with the European avant-garde, and their impact on artistic and literary experimentation in modernist English literature and visual arts
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Avant-Garde Poetics of Language in Central and Eastern Europe: Vladimir Mayakovskyâs and Karel Teigeâs Responses to the Crisis of Language and Representation
This dissertation is a comparative study of the Russian and Czech avant-gardes and their responses to the crises of representation and artistic language in the first decades of the 20th century. In particular, it examines the theoretical and creative output of two artists who worked at the intersection of the word and image: the poet Vladimir Mayakovsky and the visual artist Karel Teige. Both artists were central figures in the founding and theoretical articulation of Russian Futurism and Czech Poetism, respectively. The chapters trace these artistsâ artistic evolutions, from their earliest conceptions of a crisis in art to the development of solutions for overcoming this crisis. The theoretical and creative output of these figures is examined both within the artistsâ individual oeuvres, as well as in light of their respective artistic movements and the broader tendencies of the international avant-garde.
Chapter 1 traces Mayakovskyâs response to the crisis from his initial impulse toward abstraction, characteristic of the Russian Cubo-Futurist movement in the verbal and visual arts more broadly, to the introduction of a political agenda into his art. On the basis of Mayakovskyâs participation in collective Futurist publications, his individually authored theoretical essays, and narrative poems, this chapter argues that the poetâs solution to the crisis of language coalesced around the possibility of realizing democratic representation in art. The chapter shows that in poems written between 1914 and 1921, Mayakovsky was concerned with the question of how to accommodate othersâ voices in lyric poetry, how to allow them to speak in and through his works. His vision of a more democratic form of representation necessitated the poetâs metaphorical self-sacrifice, which he repeatedly performed in his poems on the level of plot. This sacrifice enabled him to realize his vision of democratic representation in the idea of collective authorship performed in his narrative poem 150,000,000.
Chapter 2 highlights Karel Teigeâs response to the crisis of artistic language and representation in his theoretical essays and artworks. By contrast to Mayakovskyâs politicized response, Teige prioritized formal innovation. More specifically, this chapter argues that Teige viewed the fusion of the word and image in a multimedia art form as a solution to the parallel crises that afflicted the visual and the verbal arts. This desired fusion remained a constant of Teigeâs artistic solutions throughout the 1920s. His first attempts to overcome the crisis are contained in the Poetist conception of âimage poetry,â which incorporated words, painted images, photographs, and other materials. The photograph, understood as a direct imprint of reality, introduced the element of the real into image poetry and thereby transfigured the word and image. After image poetry, Teige went on to replay his formal solution to the crisis of representation in another fused formâthe typophoto, which was integrated into the experimental multimedia book ABCs (1926).
The introduction and conclusion frame these case studies in terms of the broader trends that inform the artistic experiments of these figures. More specifically, the introductory chapter grapples with questions of how the crisis of language and representation at the turn of the 20th century can be conceptualized. Arguing that the artistic experimentation of the 1910s and the 1920s represents a continuity of what Foucault calls the modern episteme, the introduction at the same time seeks to address the fissures and breaks represented by abstraction in art and the proto-structuralist understanding of the sign in linguistics. The conclusion addresses the role of figurative language in the articulation of the crisis and maintains that while the language of crisis was productive for artistic experiment, it confined the avant-garde to perpetual renewal of forms and artistic language
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