A look back at the story behind the creation of Vino Sospeso. This observation of economic globalisation was the starting point for Vino Sospeso, drawing on the idea of engaging in a unique project, reflecting on and running counter to the standardisation of objects. This is the core philosophy of the CIAV in Meisenthal where, since , craftsmen have been working to carve out a place for the glass-blowing tradition in this day and age by drawing on the expertise handed down and enriched by generations of glass-blowers, and to explore the questionings of contemporary designers.
Besides the forms she creates, her work is mainly characterised by the way she approaches design as a human science, placing the players of the field in which she is working at the heart of the process. The idea came naturally to offer a ritual for coming together, tasting and paying tribute to those wine-growers who take risks.
Creation and the Other | The Singularity of Literature | Taylor & Francis Group
Finally, in the arts and in ritual, the two matrices are held in juxtaposition to one another. Observing art is a process of experiencing this juxtaposition, with both matrices sustained. According to Koestler, many bisociative creative breakthroughs occur after a period of intense conscious effort directed at the creative goal or problem, in a period of relaxation when rational thought is abandoned, like during dreams and trances.
The second book of The Act of Creation aims to develop a biological and psychological foundation for the theory of creation proposed in book one. Koestler found the psychology of his day behaviorism , cognitivism portraying man merely as an automaton, disregarded the creative abilities of the mind.
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Koestler draws on theories of play, imprinting , motivation, perception, Gestalt psychology , and others to lay a theoretical foundation for his theory of creativity. From Wikipedia, the free encyclopedia.
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The Act of Creation , p Penguin Books, New York. When two frames of reference have both become integrated into one it becomes difficult to imagine that previously they existed separately. The synthesis looks deceptively self-evident, and does not betray the imaginative effort needed to put its component parts together. In this respect the artist gets a better deal than the scientist.
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The changes of style in the representative arts, the discoveries which altered our frames of perception, stand out as great landmarks for all to see. The true creativity of the innovator in the arts is more dramatically evident and more easily distinguished from the routine of the mere practitioner than in the sciences, because art and humor operate primarily through the transitory juxtaposition of matrices, whereas science achieves their permanent integration into a a cumulative and hierarchic order.
There is, however, another important criterion that distinguishes true creativity, a sort of unconscious processing similar to what T.
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Eliot famously observed. Koestler writes:. In problem-solving pre- and extra-conscious guidance makes itself increasingly felt as the difficulty increases; but in the truly creative act both in science and art, underground levels of the hierarchy which are normally inhibited in the waking state play a decisive part. The re-structuring of mental organization effected by the new discovery implies that the creative act has a revolutionary or destructive side.
The path of history is strewn with its victims: the discarded isms of art, the epicycles and phlogistons of science.
Koestler admonishes against over-reliance on habit, which, even though William James may have framed it as the key to happiness , is the tool of association rather than bisociation and thus the enemy of the creative act:. The Act Of Creation is absolutely fantastic — necessary, even — in its entirety. It will change the way you think about everything, including thinking itself.
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