Sorry, ich vergaß, dass rohrpost keine Attachments verschickt - hier
also nochmal mit dem ausführlichen CFP am Ende der Mail:
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Dear Colleagues,
we are writing to remind you that the 5th STS Italia Conference will
take place at Politecnico di Milano from 12-14 June 2014. Within the
frame of the conference - "A Matter of Design. Making Society through
Science and Technology" - 24 individual conference tracks will be held.
Keynote Speakers include Kjetil Fallan, Sheila Jasanoff, Elisabeth Shove
and Charis Thompson.
Abstract submission for our track on Design for Creativity -
Investigating the mutual relations of "creative" and "ordinary
technical" practices in the design of creative tools (Track 9) is open
till 15 February 2014. Please find the track proposal attached to this
mail. We would be very happy to include your contributions into our panel.
Should you be interested in submitting a paper please visit
http://www.stsitalia.org/?p=1434&lang=en
where you will be guided through the submission process. Abstracts
should not exceed 500 words.
Unfortunately, the submission process does not seem to work on all
Firefox Browsers. Should you encounter any difficulties please try
another browser (Google Chrome seems to work, for example). Should you
have any further questions, please don't hesitate to get in touch.
We are looking forward to receiving your proposals and hope to see you
in Milan in June.
Kindest regards,
Claudia Mareis, Carolin Wagner, Johannes Bruder
*Track 9: Design for Creativity – Investigating the mutual relations of
›creative‹ and ›ordinary technical‹ practices in the design of creative
tools*
Convenors: Claudia Mareis (Academy for Art and Design, Basel,
claudia.mar...@fhnw.ch);
Johannes Bruder (Academy for Art and Design, Base,
johannes.bru...@kcl.ac.uk); Carolin
Wagner (Academy for Art and Design,Basel, carolin.wag...@fhnw.ch).
Language(s) of submissions: ENG
At a recently held openFramworks developer conference, Kenichi Yoneda
aka Kynd presented an algorithm that simulates painting with a
paintbrush and watercolours. He identified the technological
implementation of the painter’s creative intuition as the most
challenging aspect. While programming the behavior of watercolours would
primarily represent a problem of thorough coding, he admits that the
intuitive movements of a painter are barely translatable into code.
Such transformations, Yoneda argues, require an artistic exploration of
the frontiers between humans and computers. In his case, both an
investigating of the painters’ movements as well as the viewing
practices of the beholder were necessary in order to replace the artist
and simulate her work. As Yoneda himself states, the creative intuition
he implemented technologically has been a very corporeal one.
Conceptualising creative intuition in such corporeal, analogue terms,
however, unnecessarily narrows creativity down to a very untechnical
practice. In contrast, recent studies of the history of the creativity
concept suggest a different understanding of creativity, which has been
transformed from the exclusive capacity of the artist into a ubiquitous
affordance in present day capitalism. (Boltanski, Chiapello 1999;
Reckwitz 2012) It originates in psychological discourses of the mid-20th
century and is closely linked to strict and rule-based procedures that
enable the entrepreneurial individual to make use of her creative
capacities.
Not least against the backdrop of shifts in the meaning of creativity in
present day capitalism, the strict differentiation of ›ordinary
technical‹ and ›creative‹ practices needs to be thoroughly scrutinized.
Especially in the design of tools for creativity – whether software
packages for designers, synthesizers for music production, etc. – or
media art, creative and technical practice coalesce. Like in the case of
Yoneda, creative intuition needs to be technically implemented or
technical solutions configure the creative practice of users.
We invite contributions that scrutinize the distinction of ›creative,
intuitive‹ and ›ordinary technical‹ practices with regard to the design
of tools for creativity and media art. If programmers speak of
›beautiful code‹ and mathematicians point to playful processes of
simulation practice, does this point to a technical core of creativity?
Conversely, is ›aesthetic design‹ within the strict bounds of design
history and software environments rather a routine practice than a
creative accomplishment.
References:
Luc Boltanski, Eve Chiapello, Le Nouvel Ésprit du Capitalisme, Paris 1999.
Andreas Reckwitz, Die Erfindung der Kreativität. Zum Prozess
gesellschaftlicher Ästhetisierung, Frankfurt 2012.
Claudia Mareis is a designer and cultural scientist. She is Professor
for Design Theory and Design Research and Director of the Institute for
Research in Art and Design at the Academy for Art and Design Basel,
Switzerland.
Johannes Bruder is sociologist and research associate of the Institute
for Research in Art and Design at the Academy for Art and Design Basel.
Carolin Wagner is sociologist and junior researcher within the Institute
for Research in Art and Design at the Academy for Art and Design Basel.
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