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SM Definition

Page history last edited by PBworks 17 years, 1 month ago

Sarah Mae - Definition

 

"Thus, we see the close relations between assessment of pathos and of audience. Pathos is also the category by which we can understand the psychological aspects of rhetoric." Silva Rhetoricae

 

1: "... a conflict between the artistic freedoms on the part of fashion photographers and editors and the deleterious impact such images have on the self-image of women." - Caitlin

 

2: "Stigmergy: This principle of playing with already existing order is known as stigmergy, and can be a useful principle for collectively composing with wikis, ..." - Trey

 

3. "...It is amazing because this constant self-renewal gives credence to the saying that Beirut never dies." - Hend

Freedom!

Please note: all images have been removed from this page for reformatting due to technical difficulties...

 

Artistic freedom is a vital part of the creative process. Without it creativity becomes stifled and ineffective. The existing order that helps to define that freedom is outdated and archaic in the digital, multimedia world we find ourselves entrenched in. It is time for a renewed sense of the unabashed joy of creation hat some of the world’s greatest artists have benefited from. Writers, scientists, visual artists and musicians alike have sampled each others work for centuries. According to Voltaire, "Originality is nothing but judicious imitation. The most original writers borrowed one from another. The instruction we find in books is like fire. We fetch it from our neighbor’s, kindle it at home, communicate it to others, and it becomes the property of all." Shakespeare's work was known to "involve the study of politics and social history as well as the psychology of individuals" (Bartleby) and we are reminded by Arthur Koestler that "true creativity often starts where language ends." With this in mind, it is interesting to note that many artistic communities are spending huge amounts of money to protect their work from being sampled or shared.

 

Unfortunately they are choosing to do so during a time when the world is experiencing the ability to collaborate without the limits of geography, language or politics. In the past, society lacked the ability to create freely without these limits. For example, "Before 1000 B.C. invasions of Dorians and other barbarian tribes from the north laid waste the earlier Aegean cultures" (Bartleby). Instead of celebrating the opportunity, many artists seem to be erecting barriers to prevent it and they are missing a history-making juncture out of their misguided sense of ownership. There are, of course, understandable concerns that arise during any paradigm shift, but it seems counterproductive to fear what could be one of the most innovative centuries humankind has ever experienced. As a result of the technology that has been produced people from all over the world can work together.

 

 

Collaboration is the pinnacle of the creative process. Without it, scientists, writers and artists would never have achieved as much as they have. It is as a result of their ability to share their work freely with other people that they were able to accomplish the things that they did. In science, for example, as we learned from our review of “Synch” discoveries are often not only based on the work of others, but inspired by it as well. Stogatz himself used the work of other scientists as muse for the ground-breaking discoveries that he made. In art, styles have been adopted and adapted for centuries. For instance, Toulouse-Lautrec, "was influenced by the work of Degas" (Bartleby). In music, it is not unusual as a result for an old melody to be used with new lyrics. A perfect example of this is that the Lutheran Hymnal still contains songs written by Johann Sebastian Bach using the familiar tunes from the pub songs of his day.

 

 

The protection of artistic freedom includes the uninhibited sharing of the creative process and its results. But, we are reminded by C.C. Colton that "imitation is the sincerest form of flattery" and to that end, many artists believe the adage that there is nothing truly original, just old things revisited in new ways. Throughout history and across the world, the freedom to create based on the work of others has been an integral part of the artistic process. For instance, "in addition to classical elements . . . Romanesque architecture incorporates components of Byzantine and Eastern origin" (Bartleby). Unfortunately, the litigious nature of society today is threatening that dynamic as more and more battles are waged in the courtroom about how art and information are shared. It is true that reproducing someone else’s work for profit should continue to be prohibited, but the means for sampling and sharing creative or scientific works needs to be revisited. As Loris Malaguzzi indicates, "creativity seems to emerge from multiple experiences, coupled with a well-supported development of personal resources, including a sense of freedom to venture beyond the known." Without a renewal of our ability to build on the past the world will cease to experience the depth and breadth of the works that artistic and intellectual freedom can produce.

 

There are a few points I would like to have you clarify, and because it is so intimately related to my essay, I'd like to review/revise/comment on yours. If I may... - Cory

 

Cory, I'm wondering if there's another form of address that you can find, here? To my mind, your request requires some tuning up. To enjoin Sarah Mae's attention on the connections between your respective definitions, perhaps go with the simple ethic we've been experimenting with on our wiki. Link relevant text to a new page on the wiki, and see what sort of writing happens there. Render explicate the implicate and intimate connections for us, so that we can see your sequence. Create some more surface area, where we can dance, create new ideas. Remember the goal! -ShareRiff

 

Let me know what you would like me to clarify for you and feel free to review mine...if you revise it - please drop in on another page so I can track the differences. Also, check out the links within the statement - they might help with clarification. - Sarah Mae

...will do. Let me convince myself that this is not a break first; then I'll knock it out. Also, I read your edit (subsequently removed) and would simply note that my proposed Definition II had zero to do with anything you've said at any time...ever. I've no doubt you've made a statement along the lines of "everything's been done before," but as you point out (and, I suppose, aptly yet ironically), "you ain't the first." It's a claim that's always bugged me, not because I believe it to be necessarily mistaken, but only because I think it is often misused and misunderstood when used in a way I believe proper. - Cory

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