Autopoiesis in creativity and art

The term autopoiesis, (meaning ‘self’) and ‘poiesis’ (mean- ing ‘creation, production’) defines a system capable of repro- ducing and maintaining itself. The term was introduced by the theoretical biologists, Humberto Maturana and Francisco Varela, in 1972 to define the self-maintaining chemistry of living cells. The term has subsequently also been applied to the fields of systems theory and sociology. In this paper we apply this model to characterise creativity in art practise

Biomimetics in Modern Organizations - Laws or Metaphors?

Biomimetics, the art and science of imitating nature and life for technological solutions is discussed from a modern organization theory perspective. The main hypothesis of this article is that there are common laws in nature that are applicable to living, social and likewise organizational systems. To take advantage of these laws, the study of nature's principles for their application to organizations is proposed - a process which is in product and technology design known as bionic creativity engineering. In a search for most interesting concepts borrowed from nature we found amoeba organizations, the theory of autopoiesis or self-creation, neural networks, heterarchies, as well as fractals and bioteaming which are described and reviewed. Additionally other concepts like swarm intelligence, stigmergy, as well as genesis and reproduction, are introduced. In the end all these ideas are summarized and guidelines for further research are given.biomimetics, organization theory, autopoiesis, network science, bionic creativity engineering

Artificial life meets computational creativity?

I review the history of work in Artificial Life on the problem of the open-ended evolutionary growth of complexity in computational worlds. This is then put into the context of evolutionary epistemology and human creativity

The Translocal Event and the Polyrhythmic Diagram

This thesis identifies and analyses the key creative protocols in translocal performance practice, and ends with suggestions for new forms of transversal live and mediated performance practice, informed by theory. It argues that ontologies of emergence in dynamic systems nourish contemporary practice in the digital arts. Feedback in self-organised, recursive systems and organisms elicit change, and change transforms. The arguments trace concepts from chaos and complexity theory to virtual multiplicity, relationality, intuition and individuation (in the work of Bergson, Deleuze, Guattari, Simondon, Massumi, and other process theorists). It then examines the intersection of methodologies in philosophy, science and art and the radical contingencies implicit in the technicity of real-time, collaborative composition. Simultaneous forces or tendencies such as perception/memory, content/ expression and instinct/intellect produce composites (experience, meaning, and intuition- respectively) that affect the sensation of interplay. The translocal event is itself a diagram - an interstice between the forces of the local and the global, between the tendencies of the individual and the collective. The translocal is a point of reference for exploring the distribution of affect, parameters of control and emergent aesthetics. Translocal interplay, enabled by digital technologies and network protocols, is ontogenetic and autopoietic; diagrammatic and synaesthetic; intuitive and transductive. KeyWorx is a software application developed for realtime, distributed, multimodal media processing. As a technological tool created by artists, KeyWorx supports this intuitive type of creative experience: a real-time, translocal “jamming” that transduces the lived experience of a “biogram,” a synaesthetic hinge-dimension. The emerging aesthetics are processual – intuitive, diagrammatic and transversal

Autopoiesis: A theoretical framework for a design management model for the textile print business

My research will provide a design management framework for the textile print business in their efforts to rationalise the move forward to embrace direct digital textile printing. Autopoiesis, as defined by Maturana and Varela (1987) is a ‘self-generating, self-bounding and a self-renewing’ process. Luhmann (1995) and Coleman Jr. (2000) researched its validity as a model for the social sciences and in turn the management sector; Luhmann’s theory being refuted by Viskovatoff (1999, 481-516) and Hernes and Bakken (2003, 1511-1535). Creativity is considered an essential element in the pursuit of design. (Florida, 2002) The space that creativity demands is necessary to integrate into an appropriate design management model for effective application in a business situation. In business, change is driven by the consumer, technology and economics. To qualify my investigation it is worthy to consider current economic theories that have a resonance with this type of management theory. These are important consideration in the search for a model for design management that is closely aligned to the current situation within the textile print industry. A self organising management system offers benefits for the businesses and organisations involved. I aim to extend/augment a model based on ‘autopoiesis’ applicable for the design management of digital textile print. I will conduct this research by use of a literature review outlining current arguments as to the value of autopoiesis in design management theory. The outcomes from development of this framework will provide the researcher with a valid basis from which to can question a number of case study sites for further validation

Resonances of the Unknown

Purpose – The purpose of this paper is to discuss the relevance of second-order cybernetics for a theory of architectural design and related discourse. Design/methodology/approach – First, the relation of architectural design to the concept of “poiesis” is clarified. Subsequently, selected findings of Gotthard Günther are revisited and related to an architectural poetics. The last part of the paper consists of revisiting ideas mentioned previously, however, on the level of a discourse that has incorporated the ideas and offers a poetic way of understanding them

Proceedings of the ECCS 2005 satellite workshop: embracing complexity in design - Paris 17 November 2005

Embracing complexity in design is one of the critical issues and challenges of the 21st century. As the realization grows that design activities and artefacts display properties associated with complex adaptive systems, so grows the need to use complexity concepts and methods to understand these properties and inform the design of better artifacts. It is a great challenge because complexity science represents an epistemological and methodological swift that promises a holistic approach in the understanding and operational support of design. But design is also a major contributor in complexity research. Design science is concerned with problems that are fundamental in the sciences in general and complexity sciences in particular. For instance, design has been perceived and studied as a ubiquitous activity inherent in every human activity, as the art of generating hypotheses, as a type of experiment, or as a creative co-evolutionary process. Design science and its established approaches and practices can be a great source for advancement and innovation in complexity science. These proceedings are the result of a workshop organized as part of the activities of a UK government AHRB/EPSRC funded research cluster called Embracing Complexity in Design (www.complexityanddesign.net) and the European Conference in Complex Systems (complexsystems.lri.fr). Embracing complexity in design is one of the critical issues and challenges of the 21st century. As the realization grows that design activities and artefacts display properties associated with complex adaptive systems, so grows the need to use complexity concepts and methods to understand these properties and inform the design of better artifacts. It is a great challenge because complexity science represents an epistemological and methodological swift that promises a holistic approach in the understanding and operational support of design. But design is also a major contributor in complexity research. Design science is concerned with problems that are fundamental in the sciences in general and complexity sciences in particular. For instance, design has been perceived and studied as a ubiquitous activity inherent in every human activity, as the art of generating hypotheses, as a type of experiment, or as a creative co-evolutionary process. Design science and its established approaches and practices can be a great source for advancement and innovation in complexity science. These proceedings are the result of a workshop organized as part of the activities of a UK government AHRB/EPSRC funded research cluster called Embracing Complexity in Design (www.complexityanddesign.net) and the European Conference in Complex Systems (complexsystems.lri.fr)

Acquisition of Autonomy in Biotechnology and Artificial Intelligence

This presentation discusses a notion encountered across disciplines, and in different facets of human activity: autonomous activity. We engage it in an interdisciplinary way. We start by considering the reactions and behaviors of biological entities to biotechnological intervention. An attempt is made to characterize the degree of freedom of embryos & clones, which show openness to different outcomes when the epigenetic developmental landscape is factored in. We then consider the claim made in programming and artificial intelligence that automata could show self-directed behavior as to the determination of their step-wise decisions on courses of action. This question remains largely open and calls for some important qualifications. We try to make sense of the presence of claims of freedom in agency, first in common sense, then by ascribing developmental plasticity in biology and biotechnology, and in the mapping of programmed systems in the presence of environmental cues and self-referenced circuits as well as environmental coupling. This is the occasion to recall attempts at working out a logical and methodological approach to the openness of concepts that are still to be found, and assess whether they can operate the structuring intelligibility of a yet undeveloped or underdeveloped field of study, where a “bisociation" and a unification of knowledge might be possible

On the Concept of Creal: The Politico-Ethical Horizon of a Creative Absolute

Process philosophies tend to emphasise the value of continuous creation as the core of their discourse. For Bergson, Whitehead, Deleuze, and others the real is ultimately a creative becoming. Critics have argued that there is an irreducible element of (almost religious) belief in this re-evaluation of immanent creation. While I don’t think belief is necessarily a sign of philosophical and existential weakness, in this paper I will examine the possibility for the concept of universal creation to be a political and ethical axiom, the result of a global social contract rather than of a new spirituality. I argue here that a coherent way to fight against potentially totalitarian absolutes is to replace them with a virtual absolute that cannot territorialise without deterritorialising at the same time: the Creal principle