A Framework for Creativity Enhancement of Painterly Rendering

東京電機大学201

An Investigation of Computer Application to Painting in Nigeria

This study historically, overviews the subject and development of painting from the primordial time, to the postmodern period, bringing into focus the computer as a new medium for artistic inquiry. The background similarly overviews the influence of the machine on various artistic forms like textile design, graphic design and even painting especially in Western climes, without Nigerian examples of paintings with the computer. The problem of the study therefore, is the seeming apathy by Nigerian painters to apply computer to painting. Objectives were set as follows; i. to record the historical developments of the computer in Nigeria. ii. Investigate the dimensions of computer application to painting in Nigeria. iii. Analyze computer paintings by Nigerian painters. iv. Make a comparative analysis of conventional and computer paintings by Nigerian artists. v. Curate an exhibition of computer paintings in Nigeria. Review of literature was tripartite structured on; i. Historical overview of persons, products and ideas that have influenced painting. ii. The computer and its influence and, iii. Computer influenced paintings. Methodology was based on art historical paradigms of inquiry which are essentially qualitative, however, quantitative values in the objectives made it pertinent to mix appended quantitative statistical results. Population was 41 computer paintings by Nigerian painters and 14 Nigerian computer painters based on purposive/judgmental sampling. Data was variously collected through the following instruments; questionnaire, interview schedules, observation, photography, and internet. Books, exhibition catalogues and social media like the face book provided secondary sources of data gathering. Field work benefitted from a pilot study with validated questionnaires and interview schedules. A total of 139 questionnaires were turned in and 14 artists with computer paintings were interviewed and analyzed respectively based on prescriptions by Eyo (1977) and Stokstad (2005). Major findings were that; the computer had made inroads into Nigeria since 1963 at the University of Ibadan and 1967 at the Ahmadu Bello University, Zaria with developments leading to the application of computer to painting around the early 1990s. It was also found that Nigerian painters have applied the computer to panting in various dimensions like; image manipulation, enhancement, illustration, painting with software like Photoshop, CorelDraw among other software and hardware. Another finding was that few Nigerian painters were actually interested and have created paintings with the computer. Furthermore, because the paintings share certain commonalities, they could be grouped and analyzed like the conventional ones. However, differences, advantages and disadvantages exist. The major challenge being posed by electricity cut in Nigeria and lack of acceptance like the conventional ones. The research theoretically finds support from Friedberg (2006) theoretical polemics that asserts the metaphor of the windows as a frame that encloses a painting. The researcher therefore, suggested that computer painting be included in the painting curriculum to give desired clout to enhance painting and complement the examples analyzed and discussed in this research

The Machine as Art/ The Machine as Artist

The articles collected in this volume from the two companion Arts Special Issues, “The Machine as Art (in the 20th Century)” and “The Machine as Artist (in the 21st Century)”, represent a unique scholarly resource: analyses by artists, scientists, and engineers, as well as art historians, covering not only the current (and astounding) rapprochement between art and technology but also the vital post-World War II period that has led up to it; this collection is also distinguished by several of the contributors being prominent individuals within their own fields, or as artists who have actually participated in the still unfolding events with which it is concerne

A study of the modes of imagination

Though this study had its origins in the consideration of children's writing and their responses to reading it explores in a wider context the nature of imagination and its relation to the discursive. Within imagination there seem to be three modes that are frequently conflated - fantasy, identification and the imagination itself. Each, however, has distinctive epistemological implications and significance for identity. In normal discourse imagination is often conflated with fantasy. Whereas fantasy seeks to exercise power in attempting to transform the world into its own terms and imagination shares this capacity for refiguration, the one is associated with obfuscation and the other with insight. In reading, the distinction is crucial. Generally, children are empowered by the fantasy that texts exploit or stimulate. Yet the absence of significant cognitive control constitutes a kind of blindness. Identification differs from fantasy in that the reader is drawn, say, into the world of the book - this supposes a differentiation, an escape, from the self that is merely placated in fantasy. Yet, here too, is blindness, particularly with regard to the constitutive aspects of the writing. On the other hand to teach texts through exerting cognitive control may shift the text too quickly into the discursive with the danger that students are expected to respond to experiences that they have not had. The distinctions between identification and imagination are manifest in some of the fictions of Chaucer and Kafka where differentiation is achieved through irony. Imagination is what facilitates the s

A ‘Rupture Backwards’: The Re-emergence of Shamanic Sensibilities Amongst the Russian Avant-Garde from 1900-1933.

This PhD examines the re-emergence of shamanic sensibilities amongst the Russian avant-garde in the period 1900-1933, focusing on the artists Larionov, Goncharova, Malevich, Filonov and Kandinsky. It considers how these pioneering artists, having anticipated Jung’s crisis of psychic dislocation, were perhaps inspired by the ideology, iconography, ritualistic practice and mystical symbolism inherent in shamanism and other associated phenomena. Shamanism was chosen as the theme as it was Jung’s quintessential metaphor for the process towards psychic reunification. The thesis analyses how the artists utilised parallel conceptions in their work in order to attempt to bring about the reunification of the consciousness, both on a visual level in their pictorial imagery, and on a more subtle level through referencing psychological or philosophical principles which may lead to the manifestation of an experience arguably similar to those common in the practice of ‘primitive’ cultures. The thesis attempts to take the reader on a metaphorical shamanic journey, through focusing on four aspects which parallel those found in shamanic practice in the stages that they occur to the neophyte. Firstly, it considers the concept of dvoeverie, a painterly principle relying on the conflation of pagan and religious imagery, and how its artistic expression might equate to Jungian archetypal expression. Secondly, it discusses how the avant-garde re-defined the role of the artist so that the artistic figure might parallel Jung’s metaphorical shaman, and how they began assuming an archetypal role. Thirdly, it examines how these artists began to express a sense of escapism, in an attempt to express Jungian collective archetypes metaphorically expressed in the ‘soul-journey’, through referencing ecstatic and mystical practises frequently utilised to facilitate ritual, through creating a sense of transcendent voyage, and through visually attempting to express the experience of cosmic noumena. Finally, the journey culminates in the examination of how the avant-garde adopted the ultimate Jungian telos of cosmic psychic healing. Throughout this discussion, the thesis attempts to understand why these artists might have been inspired by shamanic and mystical philosophies, through interpreting their practise using a Jungian framework, arguing that it was the artists’ perception of Jung’s crisis of psychic dislocation that inspired the re-emergence of shamanic sensibilities to provide a visual metaphor for the expression of their overall social and ameliorative aims

Because I am Not Here, Selected Second Life-Based Art Case Studies. Subjectivity, Autoempathy and Virtual World Aesthetics

Second Life is a virtual world accessible through the Internet in which users create objects and spaces, and interact socially through 3D avatars. Certain artists use the platform as a medium for art creation, using the aesthetic, spatial, temporal and technological features of SL as raw material. Code and scripts applied to animate and manipulate objects, avatars and spaces are important in this sense. These artists, their avatars and artwork in SL are at the centre of my research questions: what does virtual existence mean and what is its purpose when stemming from aesthetic exchange in SL? Through a qualitative research method mixing distribute aesthetics, digital art and media theories, the goal is to examine aesthetic exchange in the virtual: subjectivity and identity and their possible shifting patterns as reflected in avatar-artists. A theoretical and methodological emphasis from a media studies perspective is applied to digital media and networks, contributing to the reshaping of our epistemologies of these media, in contrast to the traditional emphasis on communicational aspects. Four case studies, discourse and text analysis, as well as interviews in-world and via email, plus observation while immersed in SL, are used in the collection of data, experiences, objects and narratives from avatars Eva and Franco Mattes, Gazira Babeli, Bryn Oh and China Tracy. The findings confirm the role that aesthetic exchange in virtual worlds has in the rearrangement of ideas and epistemologies on the virtual and networked self. This is reflected by the fact that the artists examined—whether in SL or AL—create and embody avatars from a liminal (ambiguous) modality of identity, subjectivity and interaction. Mythopoeia (narrative creation) and experiencing oneself as ‘another’ through multiplied identity and subjectivity are the outcomes of code performance and machinima (films created in-world). They constitute a modus operandi (syntax) in which episteme, techne and embodiment work in symbiosis with those of the machine, affected by the synthetic nature of code and liminality in SL. The combined perspective from media studies and distribute aesthetics proves to be an effective method for studying these subjects, contributing to the discussion of contemporary virtual worlds and art theories

PROTOTYPING PLATEAU GEHRY_CONNECTIVES : Reading Frank Gehry’s experiments through Deleuze and Guattari

This thesis attempts to describe and interpret the design practice of an American architect, Frank O. Gehry through concepts developed by French philosopher Gilles Deleuze and his collaborator, French psychotherapist, philosopher and activist, Félix Guattari. At the same time, prototyping a website-based interactive project called PLATEAU GEHRY_CONNECTIVES, it explores an alternative form for the Doctoral thesis. In addition to connections with visual arts, such as painting and cinema, the experimental project PLATEAU GEHRY_CONNECTIVES includes references to concepts and phenomena from various areas of knowledge revealing distinctive, unusual qualities of Gehry’s creative approach in the production of design artefacts. The thesis documents and discusses means of representation in architectural design fused into the specific creative culture of Frank O. Gehry. It notices that the discourse in architectural theory and practice, often neglects what occurs on a particular molecular level of the architectural design process. It shows that elements of micro-level of design procedures render Gehry’s idiosyncratic design phenomena intelligible and perceptible in a new way. It claims that it has been possible because Deleuze and Guattari’s concepts become perceptibly operational in the interpretation of such phenomena, at the level of elementary units of Gehry’s design procedures. Moreover, through this close-up perspective, the thesis’ investigations identify certain similarities in the operational modes of the architect and the painter. It demonstrates how Gehry, who has anchored his interest in painting, and specifically in what he defined as ‘immediacy in painting,’ was able to transform the practice of architectural drawing from projective to a cognitive one. It also shows, how the architect re-defines the commonly applied projective geometries from passive, arbitrary role to an active agent, and how the architect links drawing practice with the construction process on a new, almost palpable level. While stressing its the manual character, the thesis demonstrates that Gehry’s explorative culture of challenging means of representation employed in architectural design production facilitates the re-disciplining of architecture culminating in the integration of the CATIA system in the design procedures. This study of Gehry’s design actions and strategies can help the reader to understand the significance of experimental and intuitive design practices. The thesis proposes the Deleuzian interpretation of Gehry’s experiments in the aesthetics of design thinking and acting. It renders perceptions of patterns, according to which, other design practices can operate