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| From: <netmail!@post.demon.co.uk:scockrill@sprill.demon.co.uk>
| Date: Friday, April 28, 1995 2:38PM
|
| Steven Cockrill (scockrill@sprill.demon.co.uk)
| X-MailViewer: Mail 1.15
| From: scockrill@sprill.demon.co.uk (Steven Cockrill)
| To: vworlds-list@netcom.com
| Subject: Re: Dali art and Terminology...
|
| In <m0s4knS-0007GNC@rbdc.rbdc.com> Brandon Van every wrote:
| >
| >
| > Confessions of a bit-head...
| > I am not as familiar with Dali as I'd like to be.
| >
| > The best way to change that, would be to go to your local library and
| > get a book of his work.
| >
| > I know this may be a bit painful to some of you art majors ;-), but how
| > would you describe Dali and his interpretation of things, if you were
| > going to build an algorythm for "Dali-izing" say, a Buick?
| ^^^^^^^^^^^^^^^^^^^^^^^^^^^
| >
| > Auto-sodomize it with a melting skull. Then fill it with cauliflower.
| > I am dead serious, this is what you'd do to "Dali-ize" it.
|
|
| Slightly off-topic and in a more general response to the notion of
| modelling creativity, Charles Tijus (1988) suggests the solution that,
|
| "Generally speaking, scientific expertise is based essentially on deductive
| inference, whereas the processes of artistic creation use inductive inference
| as well."
|
| Tijus sees invention as the root of creativity, concerning,
|
| "...a new combination of elements that could not have been discovered
earlier."
|
| His conclusions are based on research using the Critical Incidents Technique
| by J C Flanagan (1954) by which method data was collected on the creation
| processes of 31 artists.
|
| "This technique permits one to reconstitue retroactively the thoughts that
| led to the realization of an artwork judged as innovative by the artist."
|
| He describes a machine model of an "Association Discovery Model".
|
| "Long-term memory is represented frequently as associative chains in a
| semantic network which are symbolized by a tree graph with nodes and links,
| for example; "house" could be linked to "kitchen" and to "bedroom" as well
| as to "brick", with an argument for each link."
|
| The weight of each argument is updated by the network in the light of new
| information based on repetition and performance. The second level of the
| network uses "hypergraph" and "spaces" allowing the notion of "domains",
| the concepts are considered as belonging to a particular domain such as the
| "home's domain". The third level is concerned with the interpretation of
| texts or tasks.
|
| "More often than not, in the history of art, the artwork involves an
| association between things, between universes that originally did not belong
| together."
|
| Tijus proposes for example, that when Picasso painted "Les Demoiselles
| d'Avignon" he made an association between African art and contemporary
| painting and that for the Surrealists it was the union of dreams with
| contemporary representational painting; for Cesar the auotomobile with
| sculpture and with Moore the "hole with the full".
|
| "These associations are more or less strong (in the sense that they are more
| or less unusual) according to the semantic distance that separates the two
| universes bridged by the created product."
|
| He submits that there are five procedures that contribute to the production
| of new ideas in artistic practice.
|
|
| (1) Focused and Continuous Innovation
|
| (2) Focused and Sudden Innovation
|
| (3) Sought-After Innovation
|
| (4) Natural Innovation
|
| (5) Problem-Solving Innovation
|
|
| So the wider the semantic distance between the elements in a composition
| the more surreal it appears?
|
| > Then fill it with cauliflower.
|
| I like that a lot :)
|
| Regards,
|
| Steve
|
|
| COGNITIVE PROCESSES IN ARTISTIC CREATION:
| TOWARDS THE REALISATION OF A CREATIVE MACHINE
|
| Charles Albert Tijus
|
| "Leonardo", Vol 21, No 4, pp 445-452, 1988
|
|
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| scockrill@sprill.demon.co.uk Steven Cockrill - London
|
|