creativity creativity part 2 strategies. shift paradigms creativity strategies communication model...
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shift paradigms
creativity
strategies
communication model
machine model
mapping model
catalyst model
diagnostic model
force/field model
pointing model
shift paradigms
creativity
strategies
communication model
what does the artwork say?what do I want to say?
standard model
meaning meaning
artist
viewer
artwork
encode decode transmissi
onmedium
shift paradigms
creativity
strategies
communication model
what does the artwork say?what do I want to say?
corrected communication model
meaningmeaningmeaningmeaning
artist
viewer
artwork
encode decode transmissi
onmedium “noise”
shift paradigms
creativity
strategies
communication model
what does the artwork say?what do I want to say?
deconstruction/feminist communication model
meaningmeaningmeaningmeaning
artist
viewer
artwork
transmissi
onmedium “noise” “noise” “noise”
shift paradigms
creativity
strategies
machine model
what does the artwork do?what do I want it to do?
In this model artworks do not create meaning, they create effects
artist
viewer
artwork
machine inventor effects
consumer
shift paradigms
creativity
strategies
machine model
what does the artwork do?what do I want it to do?
applied arts such as advertising, interior & product design most often use a machine model– the machine is a “tool” used to alter the viewer
artist
viewer
artwork
“tool”
shift paradigms
creativity
strategies
mapping model
What relationships does the artwork show?what do I want to show?
artist
viewer
artwork
representation
filter
scaleimportant features
level of detailstyle
territor
y &terrain
mode ofInvesti-gation
key
shift paradigms
creativity
strategies
mapping model
What is the territory?How do I know what to look for?
What are the landmarks?How are they related?
artist
viewer
artwork
representation
filter
scaleimportant features
level of detailstyle
territor
y &terrain
mode ofInvesti-gation
key
shift paradigms
creativity
strategies
mapping model
What style of representation is appropriate?At what level of detail (resolution)?
Have I provided a key?
artist
viewer
artwork
representation
filter
scaleimportant features
level of detailstyle
territor
y &terrain
mode ofInvesti-gation
key
shift paradigms
creativity
strategies
catalyst model
What reactions does the artwork create?What reactions do I want?
artist
viewer
viewer
viewer
viewer
artwork
effect
shift paradigms
creativity
strategies
catalyst model
focus on creating social change or interactionrather than communicating meaning
artist
viewer
viewer
viewer
viewer
artwork
effect
shift paradigms
creativity
strategies
catalyst model
The artwork can be an object or design but often it is performative or an event
artist
viewer
viewer
viewer
viewer
artwork
effect
shift paradigms
creativity
strategies
force/field model
What forces & fields are displayed?Upon what influences, powers & spheres should I draw?
What agencies, authorities & domains are in play?
viewer
artwork
“flow chart”
filter
scopeimportant featureslevel of complexity
style
perceptionanalysis
domain
forces
shift paradigms
creativity
strategies
force/field model
In the “weak” force/field model the artist perceives,processes and encodes domains for display to the viewer
viewer
artwork
“flow chart”
filter
scopeimportant featureslevel of complexity
style
perceptionanalysis
domain
forces
shift paradigms
creativity
strategies
force/field model
In the “strong” force/field model the artist is not an observer, The artwork is an effect of forces at work on the artist. The reception of the artwork is an effect of the forces at work on the viewers.
domain
forces
forces
forces forces
forces
forces
forces artwork
shift paradigms
creativity
strategies
diagnostic model
What is the artwork a symptom of?What does the artwork indicate or reveal?
intendedmeaning
unintended meanings
symptoms
decodesymptoms
artwork
viewer
artist
meanings
shift paradigms
creativity
strategies
diagnostic model
intendedmeaning
unintended meanings
symptoms
decodesymptoms
artwork
viewer
artist
meanings
in this model the artist’s intended meanings are the primaryfocus during creation, but are only of secondary importance
In the reception
shift paradigms
creativity
strategies
diagnostic model
intendedmeaning
unintended meanings
symptoms
decodesymptoms
artwork
viewer
artist
meanings
artworks are” read” for clues or evidence of of underlyingforces or conditions at work in the the artist or in society
shift paradigms
creativity
strategies
pointing model
artist
viewer
artwork
what discovery, experience or concept does the artwork share?
how do I present my interest so that the viewer shares my experience?
shift paradigms
creativity
strategies
pointing model
artist
viewer
artwork
this model represents the fundamental function of all artworks: to redirect the attention of viewers. It is not so concerned with communication per say, rather it is an attempt toreplicate the artist’s experience, curiosity, or
enthusiasm in the viewer
shift paradigms
creativity
strategies
pointing model
artist
viewer
artwork
Although all artworks “point” in this way, by focusing on the pointing model artists make an important shift
from making work that is “about” a concept or experience to work that participates in the concept or
experience as much as possible
synaesthesia
creativity
strategies
medically: involuntary linking of 2 or more sensesartistically: translation of one sense into another
synaesthesia
creativity
strategies
hearing
arous
al
taste
balance
tensiontouch
smell There are the “traditional”5 senses, but also otherbodily sensations such asbalance, tension, arousal,hunger, etc.
becoming consciously aware of our physical responses & tapping into sense memoriesprovide important resourcesfor generating creative solutions to visual problemsthat are less prone to bebased on cliché symbols...
synaesthesia
creativity teach:
strategies
Symbolic approaches to depict “death”
black
coffin
skeleton
grim reaper
blood
ghost
black rose
clich
é
synaesthesia
creativity
strategies
synaesthetic approaches to depict “death”
acrid, sweet stench of moldering flesh; the smooth, or serene aroma of lilies. what does death smell like?
does death have the tension of rigor mortis or the repose of release? what does death feel like? is death as solid and weighty as packed earth, as open and airy as a picked carcass, or as ephemeral as a cold breath on your cheek? What is the tactile quality of death? does it sound like a hushed and empty silence or have the stretched, rounded sonority of a funeral dirge? What does death sound like?
creativity
tactics• research: the easiest way to get out of your
own head is to get into somebody
else’s
creativity
tactics• game 1: always assume that you are
wrong…
this will test your thinking and push you on to alternative solutions, conceptions & perceptions.
creativity
tactics• game 2: habitually play “could be…what if…”
look at things not just as they are, but what they could be
airplaneMccroskey (showing map): what do you make out of this? Eugene: This? I can make a hat, or a broach, or a teradactyl!mccroskey: gimme that!
creativity
tactics• develop x-ray
vision
x-ray vision is the awareness of seeing into or trough something. it is different from transparency in that we are aware of the surface and the depth simultaneously. for example, usually a windshield is transparent- we see beyond it w/o seeing the glass. however if the glass is dirty or it is raining we can see the glass AND beyond it simultaneously. in an x-ray we typically see traces of exterior structures simultaneously with the internal structures.
creativity
tactics• develop x-ray
vision
for the purposes of creativity x-ray vision has two uses, one metaphoric and the other literal
well…
i believe it is literal, but if it helps, you can think of it as metaphoric also…
creativity
tactics• develop x-ray
vision
as a metaphor x-ray vision refers to the ability to hold two frames of reference simultaneously and thereby reveal new aspects and relationships that were previously “hidden below thesurface”
frame 1 (surface): 1950’s stock photo image of girls gossiping or sharing a secret.
creativity
tactics• develop x-ray
vision as metaphor
frame 1 (surface):: 1950’s stock photo image of girls gossiping or sharing a secret.
frame 2 (depth): “encountering the double” (doppelganger; evil twin; ka; subconscious; id/ego;
inner voice, inspiration)
creativity
tactics
the key concept is to hold two frames of reference simultaneously
• develop x-ray vision
as metaphor
creativity
tactics
imagination & expectation play a big role in regular vision. the mundane fact that we seem to see things when we can physically only see light hints at how much imagination is already involved in “normal” seeing. X-ray vision takes many of the projective activities in which our preconscious brain already engages and attempts to put them under conscious control.
• develop x-ray vision
literally
creativity
tactics
a common example of x-ray vision occurs in figure drawing classes. typically students learn anatomy, especially bones, major muscle groups and insertions (where and how muscles connect to the bones). students use surface clues on the model such as boney landmarks to trigger projections of the internal anatomy which help them to draw the figure more accurately
• develop x-ray vision
literally
creativity
tactics
other common examples of projective vision (what we are calling x-ray vision) include rorschach tests, kuleshov effects in film, constellations and, of course, “undressing with the eyes”
• develop x-ray vision
literally
creativity
tacticsmany will argue that x-ray vision is as described here is not literal–that it’s not “real”. it is a point well taken, but real or not x-ray vision is a useful creativity tactic.
a final thought for doubters: are your dreams real? the vision that you experience in dreams IS real (in the sense that it really happens & can be verified with eeg and pet scans) even though it only simulates external events & is not caused by them.
• develop x-ray vision
literally