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Invoking the Muse: Dada's Chaos

机译:缪斯女神:达达的混沌

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摘要

Dada, a self-proclaimed (anti)art (non)movement, took shape in 1916 among a group of writers and artists who rejected the traditions of a stagnating bourgeoisie. Instead, they adopted means of creative expression that embraced chaos, stoked instability and undermined logic, an outburst that overturned centuries of classical and Romantic aesthetics. Paradoxically, this insistence on disorder foreshadowed a new order in understanding creativity. Nearly one hundred years later, Nonlinear Dynamical Systems theory (NDS) gives renewed currency to Dada's visionary perspective on chance, chaos and creative cognition. This paper explores commonalities between NDS-theory and this early precursor of the nonlinear paradigm, suggesting that their conceptual synergy illuminates what it means to "be creative" beyond the disciplinary boundaries of either. Key features are discussed within a 5P model of creativity based on Rhodes' 4P framework (Person, Process, Press, Product), to which 1 add Participant- Viewer for the interactivity of observer-observed. Grounded in my own art practice, several techniques are then put forward as non-methodical methods that invoke creative border zones, those regions where Dada's chance and design are wedded in a dialectical tension of opposites.
机译:达达(Dada)是一个自称为(非)艺术(非运动)的运动,它于1916年在一群拒绝资产阶级停滞传统的作家和艺术家中崭露头角。取而代之的是,他们采用了充满混乱,加剧不稳定和破坏逻辑的创造性表达方式,这种爆发方式颠覆了数百年来的古典和浪漫主义美学。矛盾的是,这种对无序的坚持预示着理解创造力的新秩序。大约一百年后,非线性动力系统理论(NDS)为达达关于机会,混乱和创造性认知的远见卓识提供了新的思路。本文探讨了NDS理论与非线性范式的这种早期先驱之间的共通性,表明它们的概念协同作用阐明了“创新”超越任何一个学科领域的意义。在基于Rhodes的4P框架(人员,过程,出版社,产品)的5P创造力模型中讨论了关键功能,在该模型中1添加了Participant-Viewer,用于观察者观察的交互性。在我自己的艺术实践基础上,然后提出了几种技术,作为调用创造性边界区域的非方法方法,即达达的机会和设计被对立的辩证关系所束缚的那些区域。

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