Creativity in Digital Fine Art

Merleau-Ponty and the Nature of Philosophy

Reviewed by: The Translated Jew: German Jewish Culture outside the Margins by Leslie Morris Todd Samuel Presner Leslie Morris. The Translated Jew: German Jewish Culture outside the Margins. Evanston, IL: Northwestern University Press, 2018. 248 pp. doi:10.1017/S0364009419001090 Bridging the fields of cultural studies, transnational literary and visual studies, translation studies, and urbanism, The Translated Jew is a theoretically rich and strikingly original contribution to Jewish studies. Situated outside the contours of conventional national literary and ethnic studies, Morris argues that "the Jewish" is always already translated in multiple cultural and historical contexts, which give rise to new mappings for the study of Jewish culture and identity. Placing translation at the center of her analysis, Morris undertakes a reassessment of German Jewish textuality by focusing on what she calls the "trans-Jewish." More than merely the act of "moving" from one language to another, the trans-Jewish is [End Page 218] about the continual accrual and dispersion of meaning that exceeds the referents "German" and "Jewish." In this sense, "trans" refers to translation, transnationality, and transformation—all processes that productively deterritorialize the object of study (the text, the work of art, the cultural artifact) as well as the very notion of Jewishness. As such, Morris problematizes the linkage between place and language—a connection that has been productively undone, she notes, by other scholars such as Werner Sollors and Marc Shell—to imagine modes of analysis that are unbound from assumptions that govern the study of national literatures. The theoretical framework of Morris's book is formed by a complex dialogue with a number of thinkers, including Hélène Cixous, Walter Benjamin, Jacques Derrida, Yosef Yerushalmi, Roland Barthes, and many others. Her aim is to open up new conceptual and imaginative spaces of inquiry between Jewish studies and German studies by exploring zones of contact, intertextuality, transnationality, and translation. "Jewishness," like "Germanness," is hardly a given or authentic object of inquiry, Morris argues, but is instead something that is formed through various acts of translation, transmission, and movement. Rather than simply arguing this idea, she performs it through the original interweaving and staging that make up the structure of the book's chapters. Much more than an astute bricolage, the book coheres around a remarkably rich and highly nuanced set of cultural analyses of German and Jewish textuality, in its broadest possible sense, during the postwar period. To wit, she not only analyzes works of literature and poetry (such as that of W. G. Sebald, Paul Celan, and Rose Ausländer) but also delves into the interplay between urban spaces (Berlin's Sculpture Park) and public art practices, digital art, memory politics, and multidirectional translation (such as the works of Alfred Kazin and Daniel Blaufuks). As a whole, the book reconceives of the status of the "Jewish" literary, visual, and urban text (itself an unstable signifier and object of analysis) in ways that are provocative for literary studies writ large. Placing the Jewish text outside of the predefined and predetermined strictures of national literature, Morris focuses on the "klezmerical" dimensions of the object, unbounded and translated into the broadest possible range of cultural contexts. As she demonstrates so cogently in her chapter on Berlin's Sculpture Park, for instance, the indeterminate translation and movement of cultural objects and signifiers give rise to generative paradigms of entanglement between "Jewish" and "German" and, thus, new ways of thinking about cultural memory, public art, digital media, and urban spaces. This is also the approach she pursues in her "tangential" analyses of literary and visual texts that variously confront the representation of the Holocaust, such as the works of W. G. Sebald, Raymond Federman, Kazin, and Blaufuks. As such, she opens up and dismantles the hyphen between "German-Jewish" in ways that interrogate the basic categories of author and identity in the post-Holocaust world. As Morris argues, that which is "German" is already "Jewish," and that which is "Jewish" is already "German." By showing that the overdetermined space between the very words and concepts "German" and "Jewish" represents a kind of third space of encounter, Morris looks to the ways that fields and objects of study are intimately interwoven, and...

Reviewed by: Tracing Expression in Merleau-Ponty: Aesthetics, Philosophy of Biology, and Ontology by Véronique Fóti Jessica Wiskus Véronique Fóti. Tracing Expression in Merleau-Ponty: Aesthetics, Philosophy of Biology, and Ontology. Northwestern Studies in Phenomenology and Existential Philosophy. Series Editor, Anthony J. Steinbock. Evanston: Northwestern University Press, 2013. Pp. xiv + 299. Paper, $34.95. “The body expresses existence at every moment,” writes Merleau-Ponty in Phenomenology of Perception. And while scholars of Merleau-Ponty from many fields are familiar with his notion of embodiment, the theme of expression, according to Fóti, has not received due attention. Motivated by “a growing sense that expression was not only a theme that meaningfully interlinked such disparate facets of Merleau-Ponty’s thought as aesthetics, the philosophy of biology (especially zoology), and ontology, but also that it constituted for him a central problematic in its own right” (5), Fóti proposes a study of expression that would take into account a broad range of Merleau-Ponty’s writings. Focusing mainly on essays and course notes from the mid to late-1950s (with a significant nod to the unfinished manuscript, The Visible and the Invisible), Fóti’s Tracing Expression in Merleau-Ponty: Aesthetics, Philosophy of Biology, and Ontology, as the title indicates, is organized into three parts. The first part, “Expression in Merleau-Ponty’s Aesthetics,” dedicates a chapter to each of Merleau-Ponty’s seminal essays on artistic expression, “Cézanne’s Doubt,” “Indirect Language and the Voices of Silence,” and “Eye and Mind.” Part 2, “Expression in Animal Life,” investigates the expressivity of animal behavior and animal appearance by drawing upon Merleau-Ponty’s course notes collected in Nature: Course Notes from the Collège de France. Part 3, “Expression in Merleau-Ponty’s Ontology,” is the briefest of the three sections, only 27 pages in length; however compact, it is this section that offers the most original reading of Merleau-Ponty’s work. In chapter 6, “The Role of Expression in Merleau-Ponty’s Dialogue with the Rationalists,” Fóti places Merleau-Ponty’s thought in relation to not only Descartes (Merleau-Ponty’s well-known interlocutor) but also Spinoza and Leibniz. In chapter 7, “The Irreducibility of Expression: Merleau-Ponty’s Ontology and Its Wider Implications,” Fóti collects various artistic and biological threads from previous chapters in order to take an account of the role of expression within Merleau-Ponty’s ontology of the flesh. It is perhaps appropriate that, in terms of length, the first part nearly outstrips parts 2 and 3 combined. It is appropriate because Fóti is herself an artist, a painter who regularly exhibits her work. She brings to her reading of Merleau-Ponty’s essays in painting, therefore, not only a unique artistic sensibility (which plays itself out productively, as well, in her reading of animal appearance in chapter 5) but also her extensive knowledge of works of art. It is this knowledge that supports Fóti as she assesses Merleau-Ponty’s notion of expression in relation to examples of late twentieth-century and contemporary works of art. It is also this knowledge that leads Fóti to read Merleau-Ponty’s essays as if they were essays concerned with the work of art as an autonomous object; she critiques Merleau-Ponty for failing to sufficiently address actual artworks. Yet one could argue that to substitute the work of art (as expressive object) for the work-ing of art (as expressive movement) is to miss the temporal structure of expression; what is at issue here is the centrality of institution (Stiftung) in Merleau-Ponty’s notion of expression. Indeed, it is institution that promises to tie together also the threads of biological maturation and behavior that Fóti explores in chapters 4 and 5. Fóti offers us tantalizing hints of the way that institution and expression are intertwined when she touches upon Merleau-Ponty’s course notes of 1954–55, Institution and Passivity, but of great help here would be the course notes of 1958–59 (“La philosophie aujourd’hui”) and 1960–61 (“L’ontologie cartésienne et l’ontologie d’aujourd’hui”), collected together under...

This article describes the advances in the genealogy of digital media art in Indonesia. The evolution of digital art or works of digital art is inseparable from the growth of the art itself. This article chronologically describes the development of art in Indonesia, from the starting point of the advancement of art in the Dutch colonial era to digital art. The method used in this study is a digital meta-analysis with an exploratory qualitative approach-data collection technology by observing digital metadata to develop media and participatory art in the Indonesian art community. The result is technology-based art (digital art). This article is the essential concept and idea of today's digital artists, with works of art not just produced in the platform or digital format. Creating a work of art using the concept of digital thinking as a form of artistic appreciation is the basis for making a digital work of art. Digital media art is the foundation of thinking, thinking, and interaction. This modern society is shifting toward society 5.0. In conclusion, the development of the Indonesian digital art community resulted in an extraordinary digital revolution in Indonesia. By placing 'digital' and 'revolution' into a critical perspective. The digital artist community continues to produce technology-based artworks to communicate their work to the public by holding art exhibitions for Indonesian artists as a collective social movement with digital platforms.

Digital artists with motor impairments in their upper limbs face considerable barriers to accessibility when using drawing tools. Our work aims to investigate the complex relationship between digital artists’ creative processes and their accessibility challenges. We conducted 15 interviews with artists who use input devices to make digital art, analyzing their accessibility challenges for producing digital artwork. We reviewed how effective the solutions are in diminishing the impact on their creative processes and identifying design opportunities for the research community. Using thematic analysis, we look at the challenges participants reported in their artistic production, including managing pain, discomfort, and injuries alongside workarounds. Secondly, the artists reported the complexities of managing internal and external perceptions. Lastly, the ways creative processes are impacted by the accessibility challenges and solutions related to their upper limb motor impairments. We discuss research directions which can better address the impact of accessibility challenges on creative processes, the balance of creative agency over tools, and design insights for more accessible artistic technologies.

Reviewed by: The Translated Jew: German Jewish Culture outside the Margins by Leslie Morris Todd Samuel Presner Leslie Morris. The Translated Jew: German Jewish Culture outside the Margins. Evanston, IL: Northwestern University Press, 2018. 248 pp. doi:10.1017/S0364009419001090 Bridging the fields of cultural studies, transnational literary and visual studies, translation studies, and urbanism, The Translated Jew is a theoretically rich and strikingly original contribution to Jewish studies. Situated outside the contours of conventional national literary and ethnic studies, Morris argues that "the Jewish" is always already translated in multiple cultural and historical contexts, which give rise to new mappings for the study of Jewish culture and identity. Placing translation at the center of her analysis, Morris undertakes a reassessment of German Jewish textuality by focusing on what she calls the "trans-Jewish." More than merely the act of "moving" from one language to another, the trans-Jewish is [End Page 218] about the continual accrual and dispersion of meaning that exceeds the referents "German" and "Jewish." In this sense, "trans" refers to translation, transnationality, and transformation—all processes that productively deterritorialize the object of study (the text, the work of art, the cultural artifact) as well as the very notion of Jewishness. As such, Morris problematizes the linkage between place and language—a connection that has been productively undone, she notes, by other scholars such as Werner Sollors and Marc Shell—to imagine modes of analysis that are unbound from assumptions that govern the study of national literatures. The theoretical framework of Morris's book is formed by a complex dialogue with a number of thinkers, including Hélène Cixous, Walter Benjamin, Jacques Derrida, Yosef Yerushalmi, Roland Barthes, and many others. Her aim is to open up new conceptual and imaginative spaces of inquiry between Jewish studies and German studies by exploring zones of contact, intertextuality, transnationality, and translation. "Jewishness," like "Germanness," is hardly a given or authentic object of inquiry, Morris argues, but is instead something that is formed through various acts of translation, transmission, and movement. Rather than simply arguing this idea, she performs it through the original interweaving and staging that make up the structure of the book's chapters. Much more than an astute bricolage, the book coheres around a remarkably rich and highly nuanced set of cultural analyses of German and Jewish textuality, in its broadest possible sense, during the postwar period. To wit, she not only analyzes works of literature and poetry (such as that of W. G. Sebald, Paul Celan, and Rose Ausländer) but also delves into the interplay between urban spaces (Berlin's Sculpture Park) and public art practices, digital art, memory politics, and multidirectional translation (such as the works of Alfred Kazin and Daniel Blaufuks). As a whole, the book reconceives of the status of the "Jewish" literary, visual, and urban text (itself an unstable signifier and object of analysis) in ways that are provocative for literary studies writ large. Placing the Jewish text outside of the predefined and predetermined strictures of national literature, Morris focuses on the "klezmerical" dimensions of the object, unbounded and translated into the broadest possible range of cultural contexts. As she demonstrates so cogently in her chapter on Berlin's Sculpture Park, for instance, the indeterminate translation and movement of cultural objects and signifiers give rise to generative paradigms of entanglement between "Jewish" and "German" and, thus, new ways of thinking about cultural memory, public art, digital media, and urban spaces. This is also the approach she pursues in her "tangential" analyses of literary and visual texts that variously confront the representation of the Holocaust, such as the works of W. G. Sebald, Raymond Federman, Kazin, and Blaufuks. As such, she opens up and dismantles the hyphen between "German-Jewish" in ways that interrogate the basic categories of author and identity in the post-Holocaust world. As Morris argues, that which is "German" is already "Jewish," and that which is "Jewish" is already "German." By showing that the overdetermined space between the very words and concepts "German" and "Jewish" represents a kind of third space of encounter, Morris looks to the ways that fields and objects of study are intimately interwoven, and...

This chapter draws on the scholarship of Maurice Merleau-Ponty (The primacy of perception: and other chapters on phenomenological psychology, the philosophy of art, history, and politics. Northwestern University Press, 1964) and Charles Taylor (Recovering the sacred. Inquiry 54:113–125, 2011) to promote the concept of ‘engaged agency’ as a new pathway for business and sustainability research; and to help organisations embed a culture of responsibility and sustainability. ‘Engaged agency’ is a concept that promotes basic interactions between humanity and the natural environment. This chapter draws on the scholarship of Maurice Merleau-Ponty and Charles Taylor to promote the concept of ‘engaged agency’ as a new pathway for business and sustainability research; and to help organisations embed a culture of responsibility and sustainability.

In a broad sense, digital art is contemporary art using mass production or digital media methods. Data can be operated in various ways and stored in the database, and applied in various environments and various disciplines. Long distance information transmission technology has changed the way people participate in artistic activities. Art works begin to have not only interactive and non-material characteristics, but also break the limitations of time and space. The most prominent feature of digital interactive art is digital and interactive. Digital art works must fully or partially use digital technology in the implementation process. Digital art can be purely computer-generated, or draw images through mouse markers and drawing boards by scanning photos or using vector graphics software. This article is based on 3D digital interactive technology, using comparative analysis, document analysis and other methods to study the creative painting automatic design system, with a view to perfecting the structure of the creative painting automatic design system, improving the level of artistic design, and designing more creative and meaningful designs. Digital painting works. The thesis first sorts out the application status of 3D digital interactive technology in the field of contemporary art, then compares the similarities and differences between traditional art works and 3D digital interactive technology artworks, emphasizes the multi-dimensional interactive logic of 3D digital interactive technology art works, and then analyzes 3D digital The main morphological characteristics of interactive art make a reasonable argument for the realization of complementary advantages after the automatic design system of creative painting is integrated into 3D digital interactive art.

International audience

The ‘new digital art’ genre has emerged to describe various works of art that have evolved with the development of digital technologies. In its broadest sense, digital art encompasses everything from high-end machine learning applications to the use of interactive elements in traditional media. There is also an increase in the interaction between information technologies and art. Science, art and technology has been increasing and becoming widespread since the 60s, when scientists, artists and inventors began collaborating and using electronic devices to create art. The experience that results from consuming art and culture is multifaceted in nature. It can be individual or collective, physical or virtual, active or passive, public or private, on-site or in private places, open-air or indoor. With the spread of digital art, there is a remarkable increase in the commodification of art. This article, in this context, analyzed and discussed digital art, its positive and negative aspects, and the commodification of this art type on the basis of literature.

The purpose of this writing is to describe the visualization process which includes: concepts, themes, techniques and forms of painting works with the title Self-Adjustment and Interpersonal Communication for Newcomers as Ideas for Creating Digital Painting Art. The methods used in creating digital painting works of art are exploration, experimentation and execution. Exploration in creating digital works of art includes research, theme exploration and model exploration, namely combining themes and concepts and determining the poses of female figures by means of observation. The experimental method was carried out to discover new things such as the use of effects in the Adobe Photoshop application and to apply ideas and notions to the creation of digital works of art by applying filters to the photo images that will be used, then continuing with experiments on combining the drawn figures. with photo images that have been edited in the Adobe Photoshop application. The execution stage is carried out by moving the sketch to a new layer. After the discussion and creative process, it can be concluded: 1.) The concept in creating digital painting works of art is to express thoughts and feelings into digital works of art by using female figures as the main objects as symbols of feelings that have meaning regarding each event that occurs. experienced by the author related to the phenomenon of adapting to a new environment and visualized with a surrealistic approach. 2.) The concept in creating digital painting works of art is to express experiences or phenomena related to interpersonal communication and self-adjustment experienced by artists in their lives. 3.) The manufacturing technique uses the Adobe Photoshop application and the IbisPaint digital drawing application and later combines photo images and figure drawings drawn manually. 4.) The form in the painting visualization displays a self-portrait painting with a surrealistic style and is inspired by the Art Nouveau art style which depicts female figures and other objects as symbols arranged by adjusting the composition so that it looks harmonious.

Reviewed by: The Director’s Prism: E. T. A. Hoffmann and the Russian Theatrical Avant-Garde by Dassia N. Posner Colleen McQuillen THE DIRECTOR’S PRISM: E. T. A. HOFFMANN AND THE RUSSIAN THEATRICAL AVANT-GARDE. By Dassia N. Posner. Evanston, IL: Northwestern University Press, 2016; pp. 344. After Tsar Alexander III abolished the state’s monopoly on staging theatrical productions in 1882, private Russian theatres and “laboratory” environments quickly embraced the spirit of experimentation that was sweeping across Europe. In the decades preceding the emergence of Russia’s theatrical avant-garde during the 1910s and ’20s, the innovations of Richard Wagner, Friedrich Nietzsche, Georg Fuchs, Adolph Appia, Edward Gordon Craig, and Max Reinhardt influenced Russia’s theoreticians and practitioners of theatre. Into this well-worn narrative of Russian theatre history, Dassia Posner’s trenchant study introduces another, unexpected progenitor of the Russian theatrical avant-garde: German romantic prose writer and playwright E. T. A. Hoffmann. In The Director’s Prism, Posner argues that Hoffmannian plots, themes, and form helped shape the theatrical experiments undertaken by Russian directors Vsevolod Meyerhold, Alexander Tairov, and Sergei Eisenstein. She devotes a chapter to each of the three directors, invoking their pseudonyms borrowed from Hoffmannian characters as chapter titles: Meyerhold-Dapertutto (Hoffmann’s “Tale of the Lost Reflection”); Tairov-Celionati (Hoffmann’s Princess Brambilla); and Peregrinus Tyss Meets Pipifax (Peregrinus Tyss being Eisenstein’s pseudonym taken from Hoffmann’s Master Flea). The chapters are organized according to a consistent formula: a short “Prologue/Polemic,” an “Interlude,” and “Epilogue.” The prologues/polemics present each director’s work within the context of surrounding debates, and the interludes help “the reader locate the book’s central case studies and . . . link the book’s structure with its thematic content” (30). Posner uses the metaphor of the prism to articulate her understanding of an artist’s engagement with extant material and ideas. This approach derives from the fact that the three directors used either “prism” or “refraction” in reference to their creative processes (26), which allows Posner to use a hermeneutic that has an organic link to the objects of her analysis. Fastidiously avoiding the word influence, she instead proposes that we think of the three avant-garde theatre directors as prisms that refract (that is, creatively transform) Hoffmann’s body of work, as well as their own perceptions of life. Her optical metaphor aptly focuses our attention on the visual, which might otherwise be under-appreciated if she instead used the vague language of influence to characterize the directorial innovations in creating theatre as spectacle. Posner carefully scrutinizes the directors’ stagecraft from the viewer’s perspective, in particular such practices as framing characters and playing with multiple points of view. She also highlights the legacy of the capriccio, an Italian term born in the seventeenth century for a work that capriciously ignores or reworks existing rules of art. As a kind of idiosyncratic methodology used by playwrights and visual artists, the capriccio (which Hoffmann inherited from playwright Carlo Gozzi and illustrator Jacques Callot) represents a zigzagging of creative thought. For Posner, each directorial prismatic refraction is a manifestation of the capriccio’s idiosyncratic spirit as it comprises a deviation in form or content from the original source. Just as a prism bends light, so the artist (or director) reshapes a preceding work of art according to his caprice. Thus Hoffmann’s Princess Brambilla: A Capriccio after Jacques Callot refracts Callot’s drawings comprising the series Balli di Sfessania, which includes grotesque renderings of the commedia dell’arte figures. Hoffmann’s capriccio later gets refracted by Tairov in his production Princess Brambilla: A Kamerny Theatre Capriccio after Hoffmann. Further, the avant-garde’s reworkings of the Italian commedia dell’arte tradition offer another series of prismatic refractions: Meyerhold’s Columbine’s Veil gets refracted in Tairov’s Pierrette’s Veil and in Eisenstein’s collaboration with Sergei Yutkevich, Columbine’s Garter. Posner thus foregrounds the formal device of the capriccio as a model for creative appropriation and distortion: Hoffmann refracted the capriccio of Gozzi and Callot, and her trio of avant-garde directors refracted the capriccio of Hoffmann. In addition to their creative appropriations of Hoffmannian plots and themes...

Digital art as a new trend in contemporary art practice, digital art is changing the way art is created and presented through technologies such as computer graphics and virtual reality. This article examines various ways of displaying the digital art, aesthetic concepts of digital art and its key role in protecting the traditional culture, and pays special attention to the development of Chinese digital art in our time. An analysis of how Chinese artists use digital technologies for innovative artistic practices, and how these practices reflect and influence modern Chinese society and culture. The research includes an analysis of the main technologies and examples of combining art and technology, as well as an assessment of the role of digital tools in the creative process. Special attention was paid to digital art, its innovativeness, freedom of expression and new horizons of interactivity and accessibility. This confirms that digital art, as an evolving art form, not only enriches the content and expands the scope of art, but also opens up endless opportunities for the future development of art. This convergence not only revives traditional culture on digital platforms, but also contributes to the preservation of culture through innovative ways that allow works of art to interact with a wide audience in new forms.

From prehistoric cave paintings to contemporary digital creations, art has been integral to human expression throughout history. Digital art in modern art gradually includes various forms, such as Painting, sculpture and animation, using technology as its medium. Digital art includes any artistic work using digital technology, including Painting, 3D modelling, and interactive installations. It combines human creativity with computer technology, expanding the possibilities of creative expression. Studying digital artistry in India provides insights into cultural preservation, technological innovation, and social commentary. It promotes educational development and economic opportunities, contributing to the country's vibrant artistic scene. Technological advancements have democratized digital art creation in India, leading to diverse artistic expressions. Integrating digital art with emerging technologies like AR, VR, and NFTs opens up new possibilities for artistic exploration and dissemination. Digital art techniques include digital Painting, vector art, and 3D modelling, facilitated by hardware such as graphics tablets and software such as Adobe Creative Cloud. Brushes, textures and plugins enhance the creative process, while photo manipulation and 3D sculpting provide new avenues for artistic expression. Digital artistry in India offers insights into cultural dynamism, technological innovation and artistic development. This research paper delves into the evolving landscape of digital artistry in India, exploring various techniques, trends, and the socio-cultural impact of digital art in the country.

The objectives of the research are: (1) to study the images, events of fairy tales and legends, (2) to study creative design of artworks from fairy tales, (3) to present paintings for digital distribution and literacy. This study is a qualitative research. A qualitative study is conducted using multiple regions of Chinese fairy tales and legends as the research object. The research data are collected through relevant literature, related books and research papers. The research tools include survey method, observation method, interview method and focus group discussion to collect data and information. The population and sample of the study consisted of 40 people, and the data are analyzed using concepts and theories. The results of the research are presented through descriptive analysis. The results of the research are as follows: Firstly, to study the origin, background and development of Chinese fairy tales and legends; images and events. Secondly, to analyze the characteristics, styles, and techniques of expression of Medieval painting art; artists and works of Medieval painting art, applying them to the creative design of artworks. As well as analyzing and applying the concepts of Digital media art and Digital illustration design. Finally, combining the integration of Digital media technology and art, presenting fairy tales and legends through Digital art, and dissemination of innovative paintings on electronic media and literacy. In conclusion, the combination of Chinese fairy tales and legends and Medieval painting art can produce a unique visual language and visual effect in Digital art. This application makes Chinese fairy tales and legends easier to understand and appreciate, and expands the inheritance and dissemination of Chinese fairy tales and legends.