Interactively Exploring Picasso's Multi-dimensional Creative Process in Producing Guernica
Inhaltsverzeichnis
Reference
Steve DiPaola, Smith A.: Interactively Exploring Picasso's Multi-dimensional Creative Process in Producing Guernica. In: Proc: Electronic Visualisation and the Arts, pp. 25-31. British Computer Society, London, 2013.
DOI
Abstract
Picasso’s masterpiece Guernica and his creative process that gave fruition to it, has been the subject of major debate on how the creative mind works by many art historians and more recently cognitive scientists. One reason Guernica has become the rubric for discussing the ‘creative process’ is Picasso, in untypical fashion, deeply documented his short, motivated and unrelenting creative process from the day he heard about the Guernica bombing to the final large canvas with approximately seventy dated images in forty five days, leaving us with significant data to pontificate the understanding the creative mind. However, the family of Guernica sketches are not easily diagnosed, containing many themes, experimental deviations, historical references, epochs of different creative directions and much more. Many researchers have underestimated the complexity involved in Picasso’s creative tour de force. Our research creates a multi-dimensional interactive and syntax of the work, from all its intertwined thematic, milestone, experimental and creative levels with the goal of creating an interactive system that allows lay viewers and experts alike to explore the complex archive of evidence.
Extended Abstract
Bibtex
Used References
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Gabora, L. (2007) COMMENTARIES: Why the Creative Process Is Not Darwinian: Comment on "The Creative Process in Picasso's Guernica Sketches: Monotonic Improvements versus Nonmonotonic Variants", Creativity Research Journal, Vol. 19, pp. 361-365.
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Links
Full Text
http://ivizlab.sfu.ca/papers/eva2013a.pdf
