creativity

1. creativity creativity part 2 strategies

2. communication model machine model catalyst model diagnostic model shift paradigms strategies creativity mapping model force/field model pointing model

3. communication model shift paradigms strategies creativity what does the artwork say? what do I want to say? standard model artwork meaning meaning artist viewer encode transmission medium decode

4. communication model shift paradigms strategies creativity what does the artwork say? what do I want to say? corrected communication model artwork meaning meaning meaning artist viewer meaning encode transmission medium decode “noise”

5. communication model shift paradigms strategies creativity what does the artwork say? what do I want to say? deconstruction/feminist communication model artwork meaning meaning meaning artist viewer meaning transmission medium “noise” “noise” “noise”

6. shift paradigms strategies creativity machine model what does the artwork do? what do I want it to do? In this model artworks do not create meaning, they create effects artwork artist viewer machine consumer inventor effects

7. shift paradigms strategies creativity machine model what does the artwork do? what do I want it to do? applied arts such as advertising, interior & product design most often use a machine model– the machine is a “tool” used to alter the viewer artwork artist viewer “tool”

8. shift paradigms strategies creativity What relationships does the artwork show? what do I want to show? mapping model key artwork territory & terrain mode of Investi- gation filter artist viewer scale important features level of detail style representation

9. shift paradigms strategies creativity What is the territory? How do I know what to look for? What are the landmarks? How are they related? mapping model key artwork territory & terrain mode of Investi- gation filter artist viewer scale important features level of detail style representation

10. shift paradigms strategies creativity What style of representation is appropriate? At what level of detail (resolution)? Have I provided a key? mapping model key artwork territory & terrain mode of Investi- gation filter artist viewer scale important features level of detail style representation

11. shift paradigms strategies creativity catalyst model What reactions does the artwork create? What reactions do I want? viewer viewer artwork viewer viewer artist effect

12. shift paradigms strategies creativity catalyst model focus on creating social change or interaction rather than communicating meaning viewer viewer artwork viewer viewer artist effect

13. shift paradigms strategies creativity catalyst model The artwork can be an object or design but often it is performative or an event viewer viewer artwork viewer viewer artist effect

14. shift paradigms strategies creativity What forces & fields are displayed? Upon what influences, powers & spheres should I draw? What agencies, authorities & domains are in play? force/field model artwork forces filter perception analysis viewer domain scope important features level of complexity style “flow chart”

15. shift paradigms strategies creativity In the “weak” force/field model the artist perceives, processes and encodes domains for display to the viewer force/field model artwork forces filter perception analysis viewer domain scope important features level of complexity style “flow chart”

16. shift paradigms strategies creativity In the “strong” force/field model the artist is not an observer, The artwork is an effect of forces at work on the artist. The reception of the artwork is an effect of the forces at work on the viewers. forces force/field model artwork forces forces forces forces forces forces domain

17. shift paradigms strategies creativity diagnostic model What is the artwork a symptom of? Whatdoes the artwork indicate or reveal? artwork meanings intended meaning viewer artist decode symptoms unintended meanings symptoms

18. shift paradigms strategies creativity diagnostic model in this model the artist’s intended meanings are the primary focus during creation, but are only of secondary importance In the reception artwork meanings intended meaning viewer artist decode symptoms unintended meanings symptoms

19. shift paradigms strategies creativity diagnostic model artworks are” read” for clues or evidence of of underlying forces or conditions at work in the the artist or in society artwork meanings intended meaning viewer artist decode symptoms unintended meanings symptoms

20. shift paradigms strategies creativity pointing model what discovery, experience or concept does the artwork share? how do I present my interest so that the viewer shares my experience? artist viewer artwork

21. shift paradigms strategies creativity pointing model this model represents the fundamental function of all artworks: to redirect the attention of viewers. It is not so concerned with communication per say, rather it is an attempt toreplicate the artist’s experience, curiosity, or enthusiasm in the viewer artist viewer artwork

22. shift paradigms strategies creativity pointing model Although all artworks “point” in this way, by focusing on the pointing model artists make an important shift from making work that is “about” a concept or experience to work that participates in the concept or experience as much as possible artist viewer artwork

23. synaesthesia strategies creativity medically: involuntary linking of 2 or more senses artistically: translation of one sense into another

24. synaesthesia strategies creativity smell There are the “traditional” 5 senses, but also other bodily sensations such as balance, tension, arousal, hunger, etc. becoming consciously aware of our physical responses & tapping into sense memories provide important resources for generating creative solutions to visual problems that are less prone to be based on cliché symbols... hearing taste balance tension touch arousal

25. Symbolic approaches to depict “death” synaesthesia teach: strategies creativity black coffin skeleton grim reaper blood ghost black rose cliché

26. synaesthetic approaches to depict “death” synaesthesia strategies creativity acrid, sweet stench of moldering flesh; the smooth, or serene aroma of lilies. what does death smell like? does death have the tension of rigor mortis or the repose of release? what does death feel like? is death as solid and weighty as packed earth, as open and airy as a picked carcass, or as ephemeral as a cold breath on your cheek? What is the tactile quality of death? does it sound like a hushed and empty silence or have the stretched, rounded sonority of a funeral dirge? What does death sound like?

27. creativity tactics

28. tactics creativity • externalize your thinking: keep a journal

29. tactics creativity • research: the easiest way to get out of your own • head is to get into somebody else’s

30. tactics creativity • game 1: always assume that you are wrong… • this will test your thinking and push you on to alternative solutions, conceptions & perceptions.

31. tactics creativity • game 2: habitually play “could be…what if…” • look at things not just as they are, but what they could be • airplane • Mccroskey (showing map): what do you make out of this? • Eugene: This? I can make a hat, or a broach, or a teradactyl!
mccroskey: gimme that!

32. tactics creativity • develop x-ray vision • x-ray vision is the awareness of seeing into or trough something. it is different from transparency in that we are aware of the surface and the depth simultaneously. • for example, usually a windshield is transparent- we see beyond it w/o seeing the glass. however if the glass is dirty or it is raining we can see the glass AND beyond it simultaneously. in an x-ray we typically see traces of exterior structures simultaneously with the internal structures.

33. tactics creativity • develop x-ray vision • for the purposes of creativity x-ray vision has two uses, one metaphoric and the other literal • well… • i believe it is literal, but if it helps, you can think of it as metaphoric also…

34. tactics creativity • develop x-ray vision • as a metaphor x-ray vision refers to the ability to hold two frames of reference simultaneously and thereby reveal new aspects and relationships that were previously “hidden below the • surface” frame 1 (surface): 1950’s stock photo image of girls gossiping or sharing a secret.

35. tactics creativity • develop x-ray vision • as metaphor frame 1 (surface):: 1950’s stock photo image of girls gossiping or sharing a secret. frame 2 (depth): “encountering the double” (doppelganger; evil twin; ka; subconscious; id/ego; inner voice, inspiration)

36. tactics creativity • develop x-ray vision • as metaphor the key concept is to hold two frames of reference simultaneously

37. tactics creativity • develop x-ray vision • literally imagination & expectation play a big role in regular vision. the mundane fact that we seem to see things when we can physically only see light hints at how much imagination is already involved in “normal” seeing. X-ray vision takes many of the projective activities in which our preconscious brain already engages and attempts to put them under conscious control.

38. tactics creativity • develop x-ray vision • literally a common example of x-ray vision occurs in figure drawing classes. typically students learn anatomy, especially bones, major muscle groups and insertions (where and how muscles connect to the bones). students use surface clues on the model such as boney landmarks to trigger projections of the internal anatomy which help them to draw the figure more accurately

39. tactics creativity • develop x-ray vision • literally other common examples of projective vision (what we are calling x-ray vision) include rorschach tests, kuleshov effects in film, constellations and, of course, “undressing with the eyes”

40. tactics creativity • develop x-ray vision • literally many will argue that x-ray vision is as described here is not literal–that it’s not “real”. it is a point well taken, but real or not x-ray vision is a useful creativity tactic. a final thought for doubters: are your dreams real? the vision that you experience in dreams IS real (in the sense that it really happens & can be verified with eeg and pet scans) even though it only simulates external events & is not caused by them.

41. summery creativity mental habits behaviors techniques strategies tactics