Time and the Creative Act

In this essay, I analyse how it is possible that aesthetic forms can survive through history and genres. In the debate about the historicity of the aesthetic experience, the two main approaches differ on a fundamental point. On one hand, the symbolic theory, based on the cultural tradition (see from Gadamer to Danto), points at the recognition of the proper conceptual contents of the aesthetic properties in order to explain the possibility of the experience of an artwork. On the other hand, there is the post-structuralist theory, for which in the perception both the senses and their means (see C. A. Jones) intervene. This theory asserts that the medium, previously any conceptual mediation, is responsible for the most significant effects in the aesthetic experience. I will argue why both theories are unsatisfying. The idea I want to defend, and which I will ground with a cognitive model based on biological and neurophysiological investigations, is that there are aesthetic mechanisms that can significantly affect our perception to make it focus upon some specific sensitive properties of the object. These properties are neither merely formal nor are sings for symbols, but are perceptively meaningful and, as such, can orientate the aesthetic experience to concrete symbols or meanings. In doing so, it will be possible to understand why some signs or properties (aesthetic forms) are used along art history in relation to some meanings or topics (like Gombrich suggested). (...)

The differentiation between 'large' and 'small' urbanism proposed here has only been up for debate since urbanism was established as a discipline, i.e. in the 20th century. These thoughts originate in the fact of the development of standardizing processes which were a response to chaotic conditions in the 19th and 20th centuries (Bogdanović, 1958, p.9.).

The Cambridge Journal of Anthropology, 2005

Creativity and temporality were the linked themes that informed the articles assembled here; themes that were proposed by the ASA 2005 Creativity and Cultural Improvisation conference organisers (Elizabeth Hallam and Tim Ingold). After hearing the original papers in Aberdeen and that of the two discussants (see Afterword) we were struck by the question: is creativity a Euro-American interpretation of time that Euro- Americans render into an assessment of their societies and the kind of agency they value? Hence the title of this issue: 'Creativity or Temporality?' Author(s): ERIC HIRSCH and SHARON MACDONALD Source: The Cambridge Journal of Anthropology , 2005, Vol. 25, No. 2, CREATIVITY OR TEMPORALITY? (2005), pp. 1-4 Published by: Berghahn Books Stable URL: http://www.jstor.com/stable/23820744

This contribution analyzes the uses of time linked to materials in contemporary art practices. In the first part of the argument I consider the significance of the contemporary turning away from the normative idea that time should be external or non-intrinsic to fine or visual artworks. The change in mentality concerning the value of time in these works of art has been especially transforming among artists and opened up new opportunities for their creative work. I am particularly interested in the possibilities of an aesthetic translation of the human experience of time into the so-called spatial artworks through the intervention of changeable, non-permanent or non-lasting materials. When time ceases to be seen as a destructive element whose intervention should be avoided, or as a simple subject that the picture tries to depict, it can then be regarded as any other artistic material or as working inside the artistic materials as an active element that can attain a high impact on the final solution of the artistic process. Consequently, artists, viewers, art conservation institutions and so on ought to acknowledge that the temporal nodes should always count as a significant aesthetic component and that the performative temporal dimension is intimately linked to the amplification of the material possibilities in the creative process. In connection with this, I discuss the blurring of the di erence between the real and the representational in art practices and how that affects the very presence of temporal dimensions. The paper concludes with the proposal of a new temporal level in works of art that modifies (our temporal understanding of) the identity of the work.

International Journal of Culture and History (EJournal), 2017

The proposed paper for the Conference is the insight into Latvian artist Jekabs Bine (1895-1955) life and creative work during 20th century first half. Jekabs Bine was one of the artists of the interwar period who focused on idealized depicting of the Latvian image and search for Latvian identity in the legacy of the past. All my research aim is regional identity, going through politics, history and art. How changes of political powers during the first half of the 20th century affected an artist who strongly believed in Latvia's identity. I am deeply interested in researching what was an artist's contribution and role in the making of the Latvian identity? Bine's life and work phenomenon is based on the fact, that the artist dedicated all his life and creative work to find and study the Latvian national identity, in spite of regular political regime shifts in the first half of 20th century. Being politically and socially active about sharing his national beliefs, Bine's personal character traits and success made it possible not only to escape from the Soviet repression, but also to receive international awards and recognition, as well create significant art works in Latvian history of art in the first half of 20th century. The aim of the paper is to reveal the circumstances and qualities of this artist's language in cultural, political and historical context. The research includes the artist's creative experience and the working conditions in the first period of Latvian independence (1918-1940), then followed by the first Soviet occupation (1940-1941), then the German occupation time (1941-1944) and the Latvian inclusion into the Soviet Union (1944). This situation raised the issues of the importance about how artist's creative activities make an impact on the environment and how the environment affects the artist's ability to create and express

Midwest Studies in Philosophy, 1991

2002

ABSRACT: Although time has been frequently used as a variable or as an implied dimension in creativity research, very few systematic attempts to date have been undertaken to integrate diverse findings and knowledge about the relation of time with creativity. This article proposes a theoretical framework for understanding the various associations between time and creativity in terms of 3 temporal modes: cyclicity, linearity, and timelessness.

Open Cultural Studies, 2018

Inspired by Marx’ view of “untimely temporalities,” I connect my own conception of the need for anachronism in art history with some contemporary artworks focusing on the political importance of art in the present. The analyses of work by three contemporary artists who each bring their own aesthetic of slowness, interruption, and activism to their art leads to a conception of political art as activating rather than directly activist. In addition to Marx, especially his view of temporality, and to Henri Bergson as a major philosopher of time, the article also establishes connections with the ideas of contemporary cultural analyst Kaja Silverman. These three thinkers, each in their own way, undermine the binary oppositions on which so much of thought is based.

Addressed to students of the image–both art historians and students of visual studies–this book investigates the history and nature of time in a variety of different environments and media as well as the temporal potential of objects. Essays will analyze such topics as the disparities of power that privilege certain forms of temporality above others, the nature of temporal duration in different cultures,

2006

A university thesis paper discussing time perception within space through its manifestations, mainly movement/change. A further attempt is made to utilise narrative/semiotic tools (mainly through Greima's narrative semiotics and the semiotic square) to represent the notion of time in contemporary art, with applied examples and proposed artworks.