Abstraction for All

Age curves, which relate age to creativity or exceptional achievements, seem to take two forms: some artists bloom early (Picasso), others later in life (Cezanne). We argue that this objective fact is not related to their mode of creation according to which some artists proceed by drawings made prior to the painting's execution, while others are more likely to imitate and achieve this through color and the process of painting itself.

Artistic Aesthetics Significance of Piano Improvising Accompaniment

Sidonie Smith and Julia Watson, in their field defining work Reading Autobiography, offer an etymological cue that summarises the prevailing use and perception of autobiographical work: "in Greek, autos denotes 'self,' bios 'life,' and graphe 'writing.' Taken together in this order, the words self life writing offer a brief definition of the autobiography" (1). If "autobiography" has denoted a way to write the self from the location of the self, automediality points to the range of media forms and technologies through which people engage in digital, visual, filmic, performative, textual, and transmediated forms of documenting, constructing and presenting the self.

In the context of the new era, the application of CG painting extends to almost all visual art creation fields, such as film and television, games, animation, graphic design, etc. The emergence of CG painting has transformed the thinking mode and technological process of artistic creation. Aiming at the linear thinking method of traditional art based on the characteristics of materials, and the problem of CG art creation in advancing the completion of the picture, this article analyzes and discusses how the modular system is applied to the CG drawing process. “Modular system” is a thinking model, a solution, and a tool to help practitioner complete commercial art projects.

Graphic anthropology, broadly construed, approaches drawing as a mode of anthropological inquiry. Most commonly, drawing and sketching have been employed by cultural anthropologists as visual research methods during fieldwork. This practice, which can include sketching fieldnotes and inviting research interlocutors to create or respond to drawings, has developed as a way to document the process of coming-to-know during research and to visually explore the different perspectives at play in an ethnographic encounter. In archaeology, technical drawings, field drawings, and the analysis of drawings from the archaeological record have been central to the research process. In recent years, anthropologists across the sub-disciplines have begun to more actively explore the conceptual and critical potentials of drawing as a process (to draw) and product (a drawing) that is open-ended, multidimensional, and attuned to bodily practice. The creation and analysis of graphic arts in anthropology has fostered cross-disciplinary affinities and overlaps with medical and digital humanities, public health, visual culture studies, and the visual and literary arts. Of particular interest to many cultural and medical anthropologists is the genre of comics, as its unique blend of text and image arranged in sequence allows for the layering of different times, spaces, bodies, and perspectives within a single page in non-linear and non-hierarchical ways. While comics have long been a tool in public health campaigns, the early 2000s saw the growth of the field of “graphic medicine,” which explores how comics about illness and healing can provide unique insights into the cultural, personal, embodied, and epistemological contexts of medicine. Similarly, the fields of anthropology, literature, and visual studies have recently witnessed renewed interest in the social and aesthetic dimensions of drawings and there has been an upsurge in the creation of comics, zines, and graphic novels as major research outputs across academic disciplines and anthropological sub-disciplines. Graphic anthropology can also be situated in relation to the subfield of multimodal anthropology, which expands the domain of visual anthropology beyond its historical focus on film and photography to include engagement across multiple media technologies, platforms, producers, and publics. While graphic anthropology is connected to visual anthropology, the strong interdisciplinary articulations of drawing as a mode of research, practice, and creation combined with a focus on comics as site of cultural production mark the “graphic” as a rich domain of anthropological inquiry in its own right.

Knowledge flows are widely believed to be a phenomenon of clusters, and inducing them is one of the chief objectives in establishing and promoting cluster initiatives (CI). However, not many studies discuss how these flows and their effects may differ depending on the mode of CI creation and on the role of public authorities in this process. The main aim of this article is to compare mechanisms of knowledge flows in bottom-up and top-down cluster initiatives. The results of an empirical research involving two case studies in western Poland, obtained through the use of Social Network Analysis (SNA), allowed stating that in bottom-up cluster initiatives firms which were innovation leaders played a prime role in disseminating technological and business knowledge, while in the top-down initiatives the most important were representatives of universities and research centres as well as formal coordinators of cooperation. Policy implications stemming from these results were identified.

Crowdsourcing describes a novel mode of value creation in which organizations broadcast tasks that have been previously performed in-house to a large magnitude of Internet users that perform these tasks. Although the concept has gained maturity and has proven to be an alternative way of problem-solving, an organizational cost-benefit perspective has largely been neglected by existing research. More specifically, it remains unclear when crowdsourcing is advantageous in comparison to alternative governance structures such as in-house production. Drawing on crowdsourcing literature and transaction action cost theory, we present two case studies from the domain of crowdsourced software testing. We systematically analyze two organizations that applied crowdtesting to test a mobile application. As both organizations tested the application via crowdtesting and their traditional in-house testing, we are able to relate the effectiveness of crowdtesting and the associated costs to the effectiveness and costs of in-house testing. We find that crowdtesting is comparable in terms of testing quality and costs, but provides large advantages in terms of speed, heterogeneity of testers and user feedback as added value. We contribute to the crowdsourcing literature by providing first empirical evidence about the instances in which crowdsourcing is an advantageous way of problem solving.

With the rapid development of science and technology, artificial intelligence generated content (AIGC) technology has gradually become a great help in the field of digital art creation. It not only changed the mode of traditional artistic creation, but also brought unprecedented multi-dimensional challenges and reflections to design practice, creative environment and artistic ecology. This paper will discuss these two aspects and discuss the opportunities and difficulties faced by digital art creation under the technical innovation of AIGC.

The article examines Jung's theories on art and literature as expressed in his principal works on this subject, four essays from volume 15 of the Collected Works. His distinction between what he calls a psychological and a visionary mode of artistic creation as well as the role of the visionary artist in society are discussed in detail. There is a further discussion of Jung's practical application of his theories on Picasso and above all on Joyce's Ulysses.

The regulation and boundaries of works of art have always been an important issue in Western aesthetic research. Heidegger, through the regulation of the physical properties of ordinary things, pondered and cross-examined the stipulation of works of art [1]. "The existence of works" is a multi-faceted and complex theme, which is related to the materiality, meaning, and concept of the work, as well as its place in history and society. Marcel Duchamp's Fountain is a controversial masterpiece in the history of 20th-century art, and it also provides a new opportunity for the survival mode of artistic creation. This paper takes "Fountain" as the research object, and explores its material form, conceptual form, social form and its role on the audience.

The embroidery reform in early twentieth-century China sought to transform the practice from a male-dominated collaborative craft into a women-centered mode of artistic creation. Pioneering embroiderers such as Shen Shou and Hua Qi innovatively adopted Western techniques to achieve three-dimensional visual effects and sophisticated color gradation, blending tradition with innovation. Newly founded embroidery schools and programs trained a generation of female embroiderers, who actively promoted themselves and their work through exhibitions and media coverage. However, the Chinese interpretation of Western taste and modernity generated an imagined market, and the intricate knowledge required to modernize embroidery resulted in only a small number of graduates achieving success. Embroidery schools and programs struggled with low enrolment and funding issues during the economic instability of the 1930s, facing significant challenges. Nonetheless, the embroidery movement (1900s–1930s) in China cultivated a new class of female professionals and illustrated the complex negotiation between local and global influences that characterized modernity in early twentieth-century China.

Homer’s creative works Iliad, Odyssey have undergone a history of thousands of years, but the Homeric issues have never ceased to be new to generations of researchers. There still remain unanswered questions: Was Homer a professional writer or a folk artist? Did his epical compositions belong to the written or oral literary genre? Were Homer's poems the works of a single poet or of many contributors? We refer to Homer as an artist, a collector and compiler of Greek epics in relation to the type of epic artists in Vietnam. A study of the artists chanting-narrating epic poems from various perspectives: society - profession (professional or amateur?), mode of artistic creation (folk or scholarly?), the relationship between performance and context (ritualistic or non-ritualistic?) ... will clarify the characteristics of the artists chanting - narrating epic poems and the nature of the artistic creation process, and probably put forward suggestions for the preservation of the epic repertoire of ethnic groups.

PurposeOwing to keen challenges in an evolving market, new product development (NPD) is critical for an enterprise to prosper. To increase the likelihood of having a few successful products, NPD mix is usually selected in practice. Since, a firm has difficulty surviving independently in a high technology industry, flexible strategies to collaborate or to compete with firms within a technology innovation network (TIN) are essential. Therefore, finding an appropriate mix which can lead to a more satisfactory performance for an enterprise inside a TIN is an important issue, which this paper aims to discuss.Design/methodology/approachA modified‐analytic hierarchy process (AHP) model is proposed to evaluate the NPD mixes. Since, integrated product development is positively associated with efficiency and negatively with innovation, a suitable NPD operation with a mode of knowledge creation needs to be adopted by evaluating the result of the NPD mix.FindingsThe proposed model leads to a more satisfactory performance for the firm.Originality/valueThe result from the practical case study is in accord with the theoretical model, since this model keeps a firm operating simultaneously efficiently and innovatively, rather than trade‐off and balanced.

Curation on Campus: An Exhibition Curatorial Experiment for Creative Industries Students

Among the countries in Africa, Nigeria took a prominent position when it comes to cultural heritage and creative arts which are manifested in her diverse crafts. The products from these indigenous crafts have sufficiently served the economic needs of the people in the local communities. Since the pre-colonial era, various members of distinct ethnic groups engage in a lot of traditional craft practices in addition to the agrarian occupational engagements. The diversities in the creation of these arts and crafts were used to create strong force that drives the socio-cultural life and economy of the people. These unique artistic traditions thrived within families and guilds of skilled craftsmen in various communities as practiced in the areas of wood carving at Awka, Nupe, Benin; Blacksmithing at Biron, Akwa; Pottery at Dikwa, Abuja, Ilorin, Ipetumodu, Afikpo, IsanEkiti, Erusu Akoko and Zaria; Brass smithing and Beadworks at Bida; Bronze casting and sculpture at Ife and Benin; Leather works at Oyo and Kano; Cloth weaving at Ilorin, Iseyin, Okene, Ibadan, Ondo; Cloth dyeing at Oshogbo, Abeokuta, Oyo, Ibadan, Ede, Sokoto, Zaria, Bida and Kano; Mat weaving at Ogotun-Ekiti, Ipetu-Ijesa, Ipoti-Ekiti, Ikeji-Ile, Erin-Ijesa, Efon-Alaye, Ikorodu and Aramoko-Ekiti to mention but few. Retrospectively, the Yoruba began creating magnificent sculptures in terra cotta between 12th and 14th century. Bronze figures were also made during the 14th and 15th century. The scientific mode of creation started with reproductions in the cire perdue loss wax method of bronze casting. The pottery apart from serving as object of storage and cooking was also made in honour of Yoruba deity. Leather works and bead making in Yoruba land are used to decorate crowns won by kings, and other articles such as hats and bags while leathers are pierced together to form designs such as royal leather cushions. The blacksmiths are responsible for the fabrication of tools like hoes, axes, knives, chains and hammers for professional and domestic usage. Calabash are carved and used for storage of foods, drinks and musical rattles. Textile weaving and dyeing with embellishment of colourful patterns and motifs satisfied the local clothing needs. These art works across cultures inculcated a lot of iconographic and mythological delineations that expressed their cultural identity, social values, history and beliefs. The origin of arts and craft is a story within the traditional society and was in response to social change which draws its strength from artists’ thoughts, inspirations, speculations, observations, experiences, visions, dreams, culture, environment, myths, fantasies, imaginations and nature (Ahuwan, 1993; Sheba, 1993). The exemplary