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The creation process in digital art

2009Book part Restricted access
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dc.contributor.authorMarcos, Adérito
dc.contributor.authorBranco, Pedro
dc.contributor.authorZagalo, Nelson
dc.date.accessioned2020-07-03T14:58:07Z
dc.date.available2020-07-03T14:58:07Z
dc.date.issued2009
dc.description.abstractThe process behind the act of the art creation or the creation process has been the subject of much debate and research during the last fifty years at least, even thinking art and beauty has been a subject of analysis already by the ancient Greeks such were Plato or Aristotle. Even though intuitively it is a simple phenomenon, creativity or the human ability to generate innovation (new ideas, concepts, etc.) is in fact quite complex. It has been studied from the perspectives of behavioral and social psychology, cognitive science, artificial intelligence, philosophy, history, design research, digital art, and computational aesthetics, among others. In spite of many years of discussion and research there is no single, authoritative perspective or definition of creativity, i.e., there is no standardized measurement technique. Regarding the development process that supports the intellectual act of creation it is usually described as a procedure where the artist experiments the medium, explores it with one or more techniques, changing shapes, forms, appearances, where beyond time and space, he/she seeks his/her way out to a clearing, i.e., envisages a path from intention to realization. Duchamp in his lecture “The Creative Act” states the artist is never alone with his/her artwork; there is always the spectator that later on will react critically to the work of art. If the artist succeeds in transmitting his/her intentions in terms of a message, emotion or feeling to the spectator then a form of aesthetic osmosis actually takes place through the inert matter (the medium) that enabled this communication or interaction phenomenon to occur. The role of the spectator may become gradually more active by interacting with the artwork itself possibly changing or becoming a part of it [2][4].pt_PT
dc.description.versioninfo:eu-repo/semantics/publishedVersionpt_PT
dc.identifier.citationAdérito Fernandes Marcos, Pedro Branco and Nelson Zagalo, “The Creation Process in Digital Art”, in Borko Furht (Ed.), Handbook of Multimedia for Digital Entertainment and Arts, Chapter XXVII, Springer, ISBN: 978-0-387-89023-4, pp.601-615pt_PT
dc.identifier.doi10.1007/978-0-387-89024-1_27pt_PT
dc.identifier.isbn978-0-387-89023-4
dc.identifier.urihttp://hdl.handle.net/10400.2/9821
dc.language.isoengpt_PT
dc.peerreviewedyespt_PT
dc.publisherSpringerpt_PT
dc.subjectCreation processpt_PT
dc.subjectDigital contentpt_PT
dc.subjectComputer mediumpt_PT
dc.subjectCreative designpt_PT
dc.subjectDigital artifactpt_PT
dc.titleThe creation process in digital artpt_PT
dc.typebook part
dspace.entity.typePublication
oaire.citation.endPage615pt_PT
oaire.citation.startPage601pt_PT
oaire.citation.titleHandbook of Multimedia for Digital Entertainment and Artspt_PT
person.familyNameMarcos
person.familyNameZagalo
person.givenNameAdérito
person.givenNameNelson
person.identifierR-000-03D
person.identifierC-9716-2009
person.identifier.ciencia-id0617-948A-BB8D
person.identifier.ciencia-idD419-A8C0-87C8
person.identifier.orcid0000-0002-9164-9686
person.identifier.orcid0000-0002-5478-0650
person.identifier.scopus-author-id22980054100
person.identifier.scopus-author-id8271087400
rcaap.rightsrestrictedAccesspt_PT
rcaap.typebookPartpt_PT
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relation.isAuthorOfPublication94097584-9e89-471c-9092-b1b0a538ac8c
relation.isAuthorOfPublication.latestForDiscoveryf734cd7c-b591-4398-833c-babb5f227a41

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