Creativity in Digital Fine Art

Abstract

The chapter draws on the writings of Merleau-Ponty constituting an Embodiment Theory of Art, which he uses to support his embodiment theory of perception (Haworth JT, The embodiment theory of pre-reflexive thought and creativity. In: Gilhooly KJ, Keane MTG, Logie RH, Erdos G (eds) Lines of thinking, vol 2. Wiley, Chichester, 1990, Leonardo 30(2):137–145, 1997). This views the artwork as “enriched being” in its own right, as distinct from an analogue for an external truth or essence, as traditional aesthetic theory claims. It proposes that this enriched being is not produced primarily by intentional acts, the traditional view, but by the reciprocal influence of consciousness, the body, techniques and materials. It “gives visible existence to what profane vision believes to be invisible” (Merleau-Ponty M, Eye and mind. In: Eddie JM (ed) The primacy of perception. North Western University Press, Evanston, p 166, 1964a). Merleau-Ponty (Eye and mind. In: Eddie JM (ed) The primacy of perception. North Western University Press, Evanston, 1964a) drew on the writings of modern artists and concluded that the painter’s vision is not a view on the outside, but a concentration or coming to itself of the visible (p. 181). He considered that works of art contain matrices of ideas that have their origins in embodiment (Merleau-Pony M, Indirect language and the voices of silence. In Wild J (ed) Signs. North Western University Press, Evanston, p 77, 1964b). He also claimed “that modes of thought correspond to technical methods, and that to use Goethe’s phrase ‘what is inside is also outside’” (Sense and Nonsense 1964c, p 59). As Merleau-Ponty indicates, we do not see the world, but see with the world. In artistic terms different media with which we interact have different voices which play a part in the creation of enriched being, perception and consciousness. The chapter will present conclusions from research conversations undertaken by Haworth (Leonardo 30(2):137–145, 1997) using the perspectives of Merleau-Ponty, held with internationally famous artists in order to gain further insights into the creative process. The chapter will summarise and discuss findings from practice led research by the author, funded by the Arts and Humanities Research Board in the UK, into Creativity and Embodied Mind in Digital Fine Art; and Freedom and Constraints in the Creative Process (Haworth JT, Explorations in creativity, technology and embodied mind. In: Freire T (ed) Understanding positive life: research and practice on positive psychology. Escolar Editora, Lisboa, pp 429–444, 2010a). Several examples of recent work in digital fine art by the author will be presented and discussed, focusing on the creative process. Comments will be noted from an international study of digital artists (Thompson P, Born digital-new materialities. Robert Gordon University, Gray’s School of Art, Aberdeen, 2011). The chapter will summarise and discuss an innovative photoethnographic project by the author into ‘The Way We Are Now’, and ‘A day in the life of----’. The possibilities of interpretation of this visual methodology are considered to be “an artistic object for contemplation; as individual visual profiles for comparative research; or as analysis of themes across a group of individuals, and between groups” (Haworth JT, Explorations in creativity, technology and embodied mind. In: Freire T (ed) Understanding positive life: research and practice on positive psychology. Escolar Editora, Lisboa, pp 429–444, 2010a). The ESM method with photos can also stimulate reflection and change in perceptions. The method can break the mould of looking/ perceiving. It can open up opportunities/possibilities for new ways of seeing things, and introduce a new train of imagination. The method could be used to create a global mirror of consciousness. The chapter will conclude by discussing future directions for research and practice.