Information Technology Reference
In-Depth Information
Fine art is an ideal example of a type of artifact that expresses social motives that
form culture. Although many people confuse them, culture as embedded cognition
of intangible social knowledge is different from common sense based on past
customs. The power of the former resonates as a deep part of the human mind,
namely, “deep emotion.” To clarify the embedded knowledge that enables design to
drive the creative process, this section discusses creative fine art by focusing on the
design process.
Fine art, especially painting, illustrates a long history of both concrete and
abstract image expression. Famous creative artist Pablo Picasso wanted to break
free from the traditional Western style of art. This pioneer of modern art is known
for his many dramatic comments, some of which are thought to have become
exaggerated as they spread through society. However, some of his remarks carry
a deep meaning in regard to the creativity involved in art: “It took 4 years to paint
like 'Raffaello' when I was a child. Moreover, to paint like a child needed more
years, maybe a whole lifetime.” While this comment is cited in early childhood
education literature, it suggests the limitations of common sense. Painting is an easy
task that anyone can engage in: most children draw pictures before they write
letters. The popularity of art forms the common sensual, societal notions of art:
people possess the basic knowledge required to identify whether paintings are
created by children, amateurs, or accomplished artists. This type of societal knowl-
edge about art sets unsaid, high standards for artists. To become an artist, most
painters study how to design paintings so that they meet social requirements. Basic
knowledge about painting in regard to techniques, history, materials, and presen-
tation can be obtained through education: however, the sense of culture (of art) must
develop through each person's experience. An inevitable challenge for the creative
artist is to break away from such common sense and go against social requirements.
Picasso's aforementioned remark noted this issue. To paint like a great artist in the
past is a silent requirement. However, the heart's voice is stronger in more “child-
like” expressions of art. A higher order of art is needed for originality. Poietics
(originally “la po¨´tique”), proposed by Passeron, is the study of creative behavior.
Poietics scholars maintain that creative activity is inherent to the motor nervous
system, while aesthetics lie outside knowledge. Passeron denotes the creative
activity of painting (for example) as an expression of specific sensitive phenomena.
Essentially, poietics is separate from aesthetics; it comprises an autonomous system
of internal knowledge, whereas the basis of conventional art design is the study of
aesthetics and art history. Other conventional art design is aimed at answering the
customers' or audiences' needs. This creative phenomenon reveals a structure that
is similar to the circular interactive process of “doing-knowing.” Figure 4.2 dem-
onstrates the basic framework of a self-organizing system of art creation in abstract
paintings that is similar to the interactive “doing-knowing” process demonstrated
in abstract art.
A self-organizing process in the autonomous system is obtained through a sense
of culture. In this section, we focus on the social motive of “openness,” which
occurs in the self-organic process of the autonomous system as a power separate
from the (often closed) cycle of the creative evolution of originality.
Search WWH ::




Custom Search