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Fig. 4.2 Self-organizing system in creativity (Poietics)
Indeed, artisans who became absorbed in making artifacts seem happy with their
elaborate work; however, the development of style is very limited. This is because
the main purpose of the work is to repeat a traditional model. In other words, the
problems are rooted in a strong feeling of attachment that limits the freedom of
human creativity.
The radical artists of the last century, namely, the avant-garde, changed the
tendency of repetition. They presented challenging paintings that differed from
traditional styles. Kandinsky, Mondrian, Picasso, and Picabia are pioneers of
abstract painting who express the essential images of the concept. All their works
defy the traditional grammar of paintings; however, their paintings also represent
the sense of culture reflected in social change. Although, these paintings are not
traditional portraits of people, they still mirror peoples' motives in making an epoch
of new citizens. Those motives were a desire for liberation from systematized
society and were achieved by Stella, Judd, LeWitt, and so on. Moreover, the
movement of abstract painting set off a chain reaction in various parts of the
world. Both Pollock and Twombly presented unique paintings that integrated a
self-organic process similar to the “poietics” and avant-garde styles, which worked
against the common sense of fine art. Their works were deeply personal, but they
still resonated with many other people. This example allows us to understand the
essential function of the sense of culture that generates the next social motive.
As we mentioned in the previous section, people design their surroundings to
enhance their environment. Unfortunately, this enhancing of human environments
often comes into conflict with, and weakens, the earth's environment. Such prob-
lems, inherent in our society, must be examined from a design perspective. The
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