A history of western civilization as reflected in creation myths from the past two millennia also evaluates the debate about whether God created man or vice versa as it has been expressed by artists in a variety of disciplines, in a lavishly illustrated chronicle that traces a range of tales from Genesis to Ovid.

Drawing upon a range of insights from Plato and Aristotle to Gadamer and Ingarden, this phenomenological study examines the nature of artistic creation. Mitscherling and Fairfield also draw heavily upon many artists’ statements regarding their own creative process.

This book is a collection of pragmatist inquiries into the epistemology of artistic creation and evaluation of artworks. It offers a new concept of aesthetics and beauty of artworks. Aesthetics is the mode of artistic representation of reality, and artworks are beautiful when proven aesthetic true representations of reality.

The meaning of the noun 'creation', and the verb 'to create', range from the traditional theological idea of God creating ex nihilo to a more recent sense of the process of artistic conception. This collection of thirteen essays, written by scholars of music, literature, the visual arts, and theology, explores the complicated relationship between medieval rituals and theology, and the development of an idea of human artistic creation, which came to the fore in the sixteenth century. The volume (...) concentrates on the period from the Carolingians to the Counter-Reformation but also includes some twentieth-century musicians. Each essay is dedicated to a particular topic concerned with ritual or artistic beginnings, inventions, harmony and disharmony, as well as representations or celebrations of creation. Central themes include the interplay of the ideas of God as creator, of God acting and recreating in medieval liturgy, of God as artist - the deus artifex of the Pythagorean cosmology, which was occasionally referred to as recently as the early nineteenth century -and, finally, of the homo creator, a concept in which man reflected (and eventually replaced) God in his artistic creativity. This book therefore features new, significant, individual contributions from a range of scholarly disciplines, but, taken as a whole, it also constitutes a complex interdisciplinary study, with large-scale historical constructions. (shrink)

This book explores the phenomenon of creativity and creation from a psychoanalytic point of view, focusing on understanding the psycho-emotional dynamics underlying the artistic creative activities, such as theatre, literature, and painting. Throughout, Delgado considers these works of art through a Bionian, Kleinian and Freudian lens. He uses three major psychoanalytic models of the creative process, two of them classic: the first, Freudian, based on the theory of conflict between impulse and defense, the result of the effort to manage (...) an excessive drive activity, and in which the concept of sublimation is central; the second, Kleinian, based on the attachment theory, in which creative effort corresponds to an attempt to repair the damage done to the object or to the self; and the third, more recent, affiliated with the more expanded attachment relationship theory, based on W. Bion's theory of thinking, and emphasising the continent's capacity for psyche and the oscillation between schizo-paranoid and depressive positions. With illustrations throughout, this book will be vital reading for anyone interested in the intersection of creativity, the Arts, and psychoanalysis. (shrink)

Returning to the Greek understanding of art to rethink its capacities, Creation and the Function of Art focuses on the relationship between techné and phusis (nature). Moving away from the theoretical Platonism which dominates contemporary understandings of art, this book instead reinvigorates Aristotelian causation. Beginning with the Greek topos and turning to insights from philosophy, pure mathematics, psychoanalysis and biology, Jason Tuckwell re-problematises techné in functional terms. This book examines the deviations at play within logical forms, the subject, and (...) upon phusis to better situate the role of the function in poiesis (art). In so doing, Tuckwell argues that art concerns a genuinely creative labour that cannot be resolved via an ontological or epistemological problem, but which instead constitutes an encounter with the problematic. As such, techné is shown to be a property of the living, of intelligence coupled to action, that not only enacts poiesis or art, but indicates a broader role for creative deviation in nature. (shrink)

Although creativity, from Plato onwards, has been recognized as a topic in philosophy, it has been overshadowed by investigations of the meanings and values of works of art. In this collection of essays a distinguished roster of philosophers of art redress this trend. The subjects discussed include the nature of creativity and the process of artistic creation; the role that creative making should play in our understanding and evaluation of art; relations between concepts of creation and creativity; and (...) ideas of tradition, metaphor, genius, imagination and genre. This is an important collection that will be eagerly sought by philosophers of art as well as theorists in art history, cinema studies and literary criticism. (shrink)

The conditions of creation -- Actual creatures, virtual creatings -- Creatural confinement -- Creative subtraction -- Creation mediated : art and literature -- Creation unmediated : philosophy.

This book is a guide to the process of artistic self-discovery.

"LiteraCity is a literary and cultural mapping project of Kuala Lumpur. This book contains essays, interviews and photo essays that shed light of contemporary perspectives and discussions that go beyond existing discourse in regards to urban literature specifically in Kuala Lumpur"--.

The artist's house is a prism through which to view not only the artistic practice of its inhabitant, but also to apprehend broader developments in sculpture and contemporary art in relation to domestic architecture and interior space. Based on a series of interviews and site visits with living artists about the role of their home in relation to their work, Kirsty Bell looks at the house as receptacle, vehicle, model, theater, or dream space. In-depth analyses of these contemporary examples—including Jorge (...) Pardo, Mirosław Bałka, Danh Vo, Gregor Schneider, Frances Stark, Marc Camille Chaimowicz, Dominique Gonzalez-Foerster, Paweł Althamer, Mark Leckey, Monika Sosnowska, Gabriel Orozco, Rirkrit Tiravanija, and Andrea Zittel—are contextualized by key artists of the twentieth century such as Kurt Schwitters, Alice Neel, Edward Krasiński, Carlo Mollino, and Louise Bourgeois. A two-way flow from the domestic arena to the exhibition space becomes apparent, in which the everyday has a significant role to play in the merging of such developments as installation art, relational aesthetics, expanded collage, and performance art. (shrink)

From Chaos to Creativity is a book that teaches readers how to build a productivity system that works with their art and with their lifestyle. Author Jessie Kwak helps readers tame the chaos that often surrounds a creative career and further enhance readers' creative output.

Stoicism is coming back in a big way. Seen as a remedy for the craziness of the times we live in, it is experiencing a great surge in academic and cultural interest. Yet, can one live stoically and be a creative artist at the same time? Delving into its underlying tenets, obscure restrictions and limits of applicability, Stankiewicz critically explores Stoicism and its complex association with artistic creativity. Stoicism and artistic creativity are two great displays of the human spirit. Yet, (...) there are multiple reasons to suspect that they are at odds with each other. Popular culture encapsulates this problem in the figure of the rational, yet emotionally remote Stoic, who achieves serenity through withdrawal, and the contrasting figure of the “cursed poet,” “tormented artist,” or simply a rock star, who lives in a whirl of creative energy, yet falls short of quietude. Is this contrast valid? Other disciplines, including psychology, have explored this problem. But it has never been done philosophically. Pioneering in its philosophical approach, this book discusses how artistic creativity and its problems of identity, expression and self-creation serve as a great testing ground for Stoicism, as well as its theoretical challenges and practical limits. Stankiewicz presents a detailed investigation into the stereotypes of Stoic life that seeks to explain the cause of Stoicism’s modern revival. This book is an essential read for anyone captivated by Stoicism’s complex allure. (shrink)

What does imagination do for our perception of the world? Why should reality be broken off from our imagining of it? It was not always thus, and in these essays, Tim Ingold sets out to heal the break between reality and imagination at the heart of modern thought and science. Imagining for Real joins with a lifeworld ever in creation, attending to its formative processes, corresponding with the lives of its human and nonhuman inhabitants. Building on his two previous (...) essay collections, The Perception of the Environment and Being Alive, this book rounds off the extraordinary intellectual project of one of the world's most renowned anthropologists. Offering hope in troubled times, these essays speak to coming generations in a language that surpasses disciplinary divisions. They will be essential reading not only to for anthropologists but also for students in fields ranging from art, aesthetics, architecture and archaeology to philosophy, psychology, human geography, comparative literature and theology. (shrink)

Chapter INTRODUCTION Charles Sanders Peirce is quickly becoming the dominant figure in the history of American philosophy. The breadth and depth of his work ...

本书共分三篇。上篇,艺象与艺术创造之维;中篇,戏剧艺术的多维审视;下篇,影视艺术与审美之维。.

Creativity is fundamental to human experience. In On Creativity David Bohm, the world-renowned scientist, investigates the phenomenon from all sides. This is a remarkable and life-affirming book by one of the most far-sighted thinkers of modern.

“Every practice is a mode of thought, already in the act. To dance: a thinking in movement. To paint: a thinking through color. To perceive in the everyday: a thinking of the world’s varied ways of affording itself.” —from _Thought in the Act _Combining philosophy and aesthetics, _Thought in the Act_ is a unique exploration of creative practice as a form of thinking. Challenging the common opposition between the conceptual and the aesthetic, Erin Manning and Brian Massumi “think through” a (...) wide range of creative practices in the process of their making, revealing how thinking and artfulness are intimately, creatively, and inseparably intertwined. They rediscover this intertwining at the heart of everyday perception and investigate its potential for new forms of activism at the crossroads of politics and art. Emerging from active collaborations, the book analyzes the experiential work of the architects and conceptual artists Arakawa and Gins, the improvisational choreographic techniques of William Forsythe, the recent painting practice of Bracha Ettinger, as well as autistic writers’ self-descriptions of their perceptual world and the experimental event making of the SenseLab collective. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. _Thought in the Act_ enacts a collaborative mode of thinking in the act at the intersection of art, philosophy, and politics. (shrink)

'Io poi ho sempre pensato--scrive Henri Matisse nel 1935--che gran parte della bellezza di un quadro derivi dalla lotta impegnata dall'artista con i limiti del suo mezzo espressivo.'" Le sue parole riassumono bene il tema di questo libro, la lotta dell'artista con la materia dell'arte, dunque il ruolo fondamentale della costruzione concreta dell'arte rispetto all'idea. L'opera d'arte--una composizione, un romanzo, un dipinto, una scultura, un film--è il risultato di un atto intellettuale consapevole--dunque di un'idea--dove tuttavia entra in gioco l'azione concreta, (...) materiale del fare artistico, che inevitabilmente pervade e condiziona l'opera fin dal momento in cui essa inizia a prendere forma sul pentagramma, sulle righe, sulla tela, sulla pellicola. L'immagine iniziale o idea può mantenere inalterata la sua forza oppure trasformarsi nel corso del lavoro, ma il più delle volte serve soprattutto da stimolo, perché a poco a poco--come scrive Italo Calvino--la materia resta padrona del campo e offre il suo prezioso, indispensabile alimento all'immaginazione. È solo mentre si scrive o dipinge che la fantasia dona i suoi frutti, in astratto la materia è ancora troppo lontana per suggerire combinazioni, accostamenti, soluzioni, scoperte. Le testimonianze dei maggiori protagonisti delle arti del '900, qui ampiamente riportate, confermano nella sostanza la tesi del libro: anche il pittore più desideroso di trasmettere un messaggio e di contribuire attraverso la sua arte alla crescita civile della società, quando riflette sul proprio lavoro difficilmente può negare che l'opera sia il risultato talvolta inatteso di un percorso accidentato nel quale l'azione concreta, materiale del fare artistico entra in gioco giungendo in alcuni casi a modificare in modo radicale le intenzioni originali. L'arte--scrivono Fellini, Mirò, Calvino, Stravinsky e tanti altri--si fa facendola. Sul piano interpretativo ciò comporta un radicale ridimensionamento del ruolo messianico dell'artista, il quale spesso non ha alcuna intenzione o pretesa di comunicare qualcosa di fondamentale, è perso in questo mondo esattamente come tutti noi. 'Giornalisti curiosi e amatori di pittura'--scrive Picasso--vengono a vederci per trarre da noi verità dogmatiche o definizioni che potrebbero spiegare loro la nostra arte, mettendo in rilievo il suo valore pedagogico, valore che io nego categoricamente. Noi facciamo della pittura. Vorrebbero forse che, per aggiunta, noi fossimo fabbricanti di verità e di massime?'"--Back cover. (shrink)

La creatività è una capacità orientata: non solo una dote innata, ma qualcosa che va coltivato, sviluppato e fatto crescere sfruttando tutte le opportunità (e tutte le casualità) offerte dall'intorno. La creatività nasce dall'integrazione di pensiero logico e pensiero analogico. Il primo procede per sequenze lineari: cause ed effetti, premesse e conseguenze. Coinvolge essenzialmente l'emisfero cerebrale sinistro, dove si trovano i centri del linguaggio. Il secondo procede in modo non sequenziale ma per somiglianze - analogie, appunto - e differenze, simmetrie (...) e asimmetrie. Coinvolge in prevalenza l'emisfero cerebrale destro, dove si trovano i centri della visione. Ma il pensiero creativo consiste, prima di tutto, nel farsi domande e nell'affrontare problemi o quesiti a partire da solide conoscenze, adottando però nuove prospettive, con l'obiettivo di trovare soluzioni innovative ed efficaci. Questo stile di pensiero si esprime in un processo che ha andamenti non sempre lineari, e consiste nel raccogliere, selezionare e riconfigurare le informazioni utili tra tutte quelle disponibili, individuando connessioni atte a generare conclusioni nuove"--Back cover. (shrink)

The book offers the first systematic reading of Gilles Deleuze's mature philosophy through the lens of creative practice. Six authors - two fine artists, a dancer, a creative writer, a designer and a philosopher - open multiple dialogues between contemporary creative practices and the generative philosophy of Deleuze. These conversations are focused around key aspects of production: forming, framing, experiencing, encountering and practising."-- Back cover.

How is a philosophical tradition created? What role does literary biography play in the formation of intellectual reception history? Through a detailed analysis of the lives and works of post-Avicennan philosophers, this monograph traces the intellectual history and development of the Avicennan tradition from the fifth/eleventh to the eighth/fourteenth century. Section 1 investigates the genres of Arabo-Islamic biobibliographical and prosopographical writings as a source for the history of Arabic philosophy, delineating their literary topoi, the construction of philosophical authority, and the (...) relationship of Sunnī and Twelver-Šīī Islam to Aristotelian logic and philosophy. Section 2 presents fourteen discrete biobibliographical studies with a critical inventory of the works, including those written in the neglected exegetical genres of commentary, supercommentary, gloss, and supergloss, of Avicenna's immediate disciples and the following generations of philosophers who created the Avicennan philosophical heritage in the Islamicate world.--Provided by Publisher. (shrink)

Here is, we think, the point. It doesn't matter for what reason the writer or painter or lover destroys the creation: the real point is that destruction itself, like a gigantic statement. It is, in fact, something of an excitation, a stimulation to further thought: what is this ACTION about?' What do Stéphane Mallarmé, Antonin Artaud, Meret Oppenheim, Asger Jorn, Yoko Ono, Tom Phillips and Martin Arnold have in common? Whereas a wealth of critics have diagnosed contemporary art's preoccupations (...) with madness, depression and self-abuse as well as its tendency to cultivate an (anti- )aesthetics of the negative, the excremental and the abject (say, from the Vienna Action Group to Serrano, McCarthy or Delvoye), much less attention has been paid to how modern and contemporary artists and public have thrived on the destruction, disfiguration and obliteration of work by the artists and/or by that of others. From Artaud's 'terminal' notebooks to the recent upsurge in 'erasure poetics', the history of 'undoing' art deserves to be recounted in a positive mode and rescued from popular narratives of the decline and death of the avant-garde. (shrink)

Maurice Blanchot, the eminent literary and cultural critic, has had a vast influence on contemporary French writers—among them Jean Paul Sartre and Jacques Derrida. From the 1930s through the present day, his writings have been shaping the international literary consciousness. The Space of Literature , first published in France in 1955, is central to the development of Blanchot's thought. In it he reflects on literature and the unique demand it makes upon our attention. Thus he explores the process of reading (...) as well as the nature of artistic creativity, all the while considering the relation of the literary work to time, to history, and to death. This book consists not so much in the application of a critical method or the demonstration of a theory of literature as in a patiently deliberate meditation upon the literary experience, informed most notably by studies of Mallarme;, Kafka, Rilke, and Hölderlin. Blanchot's discussions of those writers are among the finest in any language. (shrink)

When art meets craft -- Glass -- Metal -- Stone -- Textiles -- Other materials -- Interviews.

Contributed articles on the artistic and literary creation.

Creativity is fundamental to human experience. In _On Creativity_ David Bohm, the world-renowned scientist, investigates the phenomenon from all sides: not only the creativity of invention and of imagination but also that of perception and of discovery. This is a remarkable and life-affirming book by one of the most far-sighted thinkers of modern times.

The third Earl of Shaftesbury had generally been known as the forerunner of the Moral Sense school of philosophers in the eighteenth century. Surprisingly little attention had been paid to his importance for literature and yet undoubtedly this had been very great. Originally published in 1951, this study gives an account of Shaftesbury's aesthetic and literary theory; his discussion of the imagination, ridicule, the aesthetic judgment and the sublime; and his anticipation of later writers such as Burke, Coleridge and Kant. (...) It also considers Shaftesbury's thought as part of the background of ideas in the Augustan period and his influence in such fields as literature, architecture and landscape gardening. In addition, the author assesses in more general terms Shaftesbury's attempt to maintain a Platonic viewpoint that would be more congenial to poetry than Locke's "new way of ideas". (shrink)

Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organized in four parts: · Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything as a commodity. · (...) Defining creativity, creating definitions traces the changing meaning of "create" from religious ideas of divine creation from nothing to advertising notions of concept creation. It also examines the complex history and extraordinary versatility of terms such as imagination, invention, inspiration and originality. · Creation as myth, story, metaphor begins with modern re-telling of early African, American and Australian creation myths and -picking up Biblical and evolutionary accounts along the way - works round to scientific visions of the Big Bang, bubble universes and cosmic soup. · Creative practices, cultural processes is a critical anthology of materials, chosen to promote fresh thinking about everything from changing constructions of "literature" and "design" to artificial intelligence and genetic engineering. Rob Pope takes significant steps forward in the process of rethinking a vexed yet vital concept, all the while encouraging and equipping readers to continue the process in their own creative or "re-creative" ways. Creativity: Theory, History, Practice is invaluable for anyone with a live interest in exploring what creativity has been, is currently, and yet may be. (shrink)

Critical Concepts for the Creative Humanities is the first book to outline and define the specific and evolving field of the creative humanities and provides the field's nascent bibliography.

The third Earl of Shaftesbury had generally been known as the forerunner of the Moral Sense school of philosophers in the eighteenth century. Surprisingly little attention had been paid to his importance for literature and yet undoubtedly this had been very great. Originally published in 1951, this study gives an account of Shaftesbury's aesthetic and literary theory; his discussion of the imagination, ridicule, the aesthetic judgment and the sublime; and his anticipation of later writers such as Burke, Coleridge and Kant. (...) It also considers Shaftesbury's thought as part of the background of ideas in the Augustan period and his influence in such fields as literature, architecture and landscape gardening. In addition, the author assesses in more general terms Shaftesbury's attempt to maintain a Platonic viewpoint that would be more congenial to poetry than Locke's "new way of ideas". (shrink)

Phenomenology and the Creative Process explpores the subject of creativity from a vast range of perspectives. While the emphasis is placed on fundamental ideas taken from phenomenological philosophy and its precursors, the book also engages with related issues from the fields of psychology, physics, narrative studies, art, literature, cognitive science and neuroscience. Author Steven L. Bindeman's objective is to employ an analysis of creativity from the dual perspectives of "identity" and "difference," in order to develop a pluralistic and open-ended understanding (...) of the creative process. His central position is that while creativity can and should be studied as a physical, measurable phenomenon, we need to integrate quantitative studies with a phenomenological perspective that enables us to appreciate the distinctive experiential features of creative activities in order to fully appreciate the complex nature of the creative process. Bindeman's approach is important in that it recognizes the value of phenomenological studies without being afraid to draw insights from other fields of inquiry. This book thus offers unique analysis of creative individuals and works, applying insights from phenomenological philosophers to enrich our understanding of the creative processes of great artists, philosophers, and scientists. (shrink)

Dans les années 2000, Paul Ardenne avec l'art contextuel et Nicolas Bourriaud avec le concept d'esthétique relationnelle, donnaient forme à un nouvel ensemble de pratiques artistiques participatives. Qu'en est-il aujourd'hui de cette activité qui ne vise pas tant à produire des objets que des relations humaines? En donnant la parole à des artistes, des designers, des chercheurs de disciplines associées pour évoquer les questionnements qui sont les leurs, dans le cadre de la plate-forme de recherche Artem (ARt, TEchnologie, Management), ce (...) livre montre comment ces pratiques débordent désormais le champ de l'art et développent une nouvelle conception de la créativité où être créatif n'est pas seulement renouveler un ensemble de produits ou de gestes, mais aussi repenser les milieux auxquels ces produits sont destinés et au sein desquels ils sont conçus, posant les bases d'une nouvelle individuation individuelle et sociale. (shrink)

There is no prepared script for social and cultural life. People work it out as they go along. Creativity and Cultural Improvisation casts fresh, anthropological eyes on the cultural sites of creativity that form part of our social matrix. The book explores the ways creative agency is attributed in the graphic and performing arts and in intellectual property law. It shows how the sources of creativity are embedded in social, political and religious institutions, examines the relation between creativity and the (...) perception and passage of time, and reviews the creativity and improvisational quality of anthropological scholarship itself. Individual essays examine how the concept of creativity has changed in the history of modern social theory, and question its applicability as a term of cross-cultural analysis. The contributors highlight the collaborative and political dimensions of creativity and thus challenge the idea that creativity arises only from individual talent and expression. (shrink)

Alain Lévêque, né en 1942 à Paris, est l'auteur notamment de Bonnard, la main légère (Deyrolle Editeur/L'Arbre voyageur, 1994 ; Verdier, 2006), et le préfacier des Observations sur la peinture de Pierre Bonnard, parues aux éditions L'Atelier contemporain en 2015. Il faut miser pour voir. Savoir jouer, ruser, cacher, mais aussi dévoiler son jeu, s'attendre à perdre, à gagner, réfléchir, avoir des coups de tête, de la chance, se recueillir, tout dépenser. Ne pas retenir quelques mots bien au chaud pour (...) l'hiver, dans son bas de laine pour les temps de disette. Tout dépenser. Il faut à chaque fois écrire toutes voiles dehors, au risque de se trouver fort dépourvu quand la bise n'est pas venue. Je ne connais rien de plus difficile que ces commandes d'un " petit texte " pour une exposition de peinture, le travail d'un sculpteur. Car jamais de moi-même je n'irais me fourrer dans pareil pétrin (encore qu'il est tentant de mettre ses mains dans la pâte qui finira par s'échauffer et lever, mais c'est une autre histoire). Il s'agit qu'on m'invite à jouer, et si le jeu est engageant, je ne peux m'empêcher de dire chiche et de jouer à perdre haleine, me fiant à l'excitation, à l'emportement, et croisant les doigts pour qu'à la fin je puisse enlever le bandeau que j'ai sur les yeux et reconnaître ce que j'ai cru toucher. Ecrire pour voir. Est-ce écrire en regard du tableau? On peut bien écrire quelques mots dans un carnet devant le tableau, il ne s'agit jamais d'un tête-à-tête. Le tableau a une et même plusieurs longueurs d'avance. Qu'il soit peint comme de toute éternité et ne demande rien à personne crève les yeux. Le tableau est immobile, cela crève aussi les yeux, on ne peut pourtant pas le fixer. Ecrire dans son carnet oblige à baisser les yeux. Lorsqu'on les relève, le tableau a détalé. On envoie des mots en éclaireur. L'ensemble des textes écrits par Maryline Desbiolles (parus pour la plupart dans des catalogues ou revues, ou inédits) sur l'art, autour de l'art, à partir de l'art est ici réuni : une première partie rassemble les approches les plus réflexives sur la création ; dans le second chapitre les textes s'articulent autour de deux thématiques chères à l'auteur : l'Italie, la cuisine ; le troisième chapitre réunit les essais et poèmes consacrés aux sculptures de Bernard Pagès ; sont ensuite regroupés les essais consacrés à des artistes ou des oeuvres ; le volume se clôt enfin sur des oeuvres de fiction dont l'élément déclencheur de l'écriture fut la fréquentation d'oeuvres plastiques. L'ensemble des textes a été revu en prévision de cet ouvrage, tout autant essai sur l'art qu'oeuvre littéraire. (shrink)

Qu'est-ce que l'inconscient? À cette question, de nombreuses disciplines, de la psychanalyse aux neurosciences, ont proposé une réponse - toujours frustrante. Peut-être cet échec reposait-il sur le fait que l'inconscient a trop longtemps été considéré comme une chose à observer de loin, plutôt que comme un paysage à arpenter, à explorer. S'entourant d'une pléiade d'artistes, de cinéastes et d'écrivains, de Christopher Nolan à Mikhaïl Boulgakov, de Pierre Huygue à Stanley Kubrick, de Michel Houellebecq à Liv Strômquist, Sinziana Ravini propose ici (...) une traversée de l'inconscient en compagnie de ceux qui ont choisi de ne pas chercher à le circonscrire, mais d'en approfondir les chemins. À sa suite, on découvrira un monde où les dimensions les plus narcissiques de l'inconscient se confondent avec les plus collectives - un monde où la vie intime des individus se fait l'écho de celle de la réalité elle-même. Dans un va-et-vient méditatif, avec une approche nouvelle et sensible, Sinziana Ravini cherche moins à définir les règles de compréhension de notre vie psychique qu'à poser les questions susceptibles de nous aider à poursuivre le voyage - à devenir enfin, comme les artistes eux-mêmes, les psychonautes de notre présent."--Page 4 of cover. (shrink)

This book is an attempt to show how innovation in the "post-Google generation" is often catalyzed by those who cross a conventional line so firmly drawn between ...

Qu'il s'agisse de recherche ou d'enseignement, la création artistique interpelle autant les théoriciens que les praticiens. Abordée selon diverses approches, la démarche de création révèle des perspectives de recherche multiples. Grâce aux contributions de plusieurs chercheurs, enseignants, artistes et médiateurs d'institutions culturelles, cet ouvrage participe à un changement de paradigme, où les rapports entre créateurs-enseignants-étudiants-chercheurs tracent désormais de nouveaux réseaux et de nouvelles perspectives.

Are artists, designers and musicians inventors? Or does the invention originate from scientific discovery alone? Ecologies of Invention is the first collection of essays that brings together writers and scholars of international standing from the University of Sydney and beyond to examine assumptions underlying notions of inventiveness. The writers explain how inventiveness borne out of aesthetic ambitions is impacting on and changing our culture and society. Ecologies of Invention describes the articulation of inventive capacities across disciplines and across multiple scales, (...) from personal capacities to the social, spatial and network configurations that drive people to produce inventions. The book poses new questions for scholars, artists, architects, designers, historians, engineers, scientists, lawyers and economists about the nature, origins and processes of invention. 'This is a challenging book which confronts traditional thinking around creativity and inventiveness and raises issues that need serious debate'. Barry Jones AO. (shrink)

En quoi consiste l'acte de créer? Quelle est son incidence sur son auteur? Telles sont les questions qui constituent le coeur de cet ouvrage. Le lien qui unit un créateur à son oeuvre depuis l'émergence d'un simple projet jusqu'à sa concrétisation est ici abordé. L'idée directrice est que la création, en particulier dans les champs philosophique et artistique, travaille à une transformation, parfois discrète, du réel et permet à un sujet de se construire, et, parfois même, de s'épanouir. De nombreux (...) auteurs (philosophes, artistes, psychanalystes, sociologues...) ayant traité la relation entre existence et création sont convoqués. L'analyse de leurs textes trace un itinéraire dynamique où l'on saisit que l'acte créateur, quel que soit son domaine d'expression, constitue toujours une force de résistance à l'inertie du réel. (4e de couv.). (shrink)

Visions and derisions of utopia -- Ernst Bloch and utopian critical theory -- Homo aestheticus -- Case study: Navajo design, culture and theology -- Archetypes, the unconscious and psychoanalysis -- Roger Fry and the language of form -- From Genesis to Job -- Homo absconditus.