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Measurements of Artistic Creativity: their history and possibilities

艺术创造力的测量：它们的历史和可能性

基本信息

批准号：
17520078
负责人：
AKIBA Fuminori
金额：
$ 1.6万
依托单位：
Nagoya University
依托单位国家：
日本
项目类别：
Grant-in-Aid for Scientific Research (C)
财政年份：
2005
资助国家：
日本
起止时间：
2005 至 2006
项目状态：
已结题

项目摘要

This research has two aims. The first is to make explicit the basic unit of measure, by which previous studies measure the degree of creativity in artworks, and make clear the reason why art historians think it as useful for the measurement of artistic creativity. The second is to find a new way of measurements in collaboration with information scientists and probe its effectiveness by applying it to the interpretation of artworks.In the first academic year (2005.4-2006.3) I concentrated on the first aim. I published papers entitled "Do Scientific Research on Artworks End Up With the Alteration of Authorial Intention? (2005. 6), " and "Measurements in Art History (2006.3)." In the first paper, I contrasted the current technical investigations of artworks, which actually measure them by using information technologies, and the traditional art history. After that I pointed out the discrepancy between them. In the second paper I made clear that art historians implicitly use a matrix--I cal … More l it the "matrix of resemblance"--when they measure the creativity of artworks.In the second academic year (2006.4-2007.3) I focused on the second aim. At first I made a presentation on the Effectiveness of the Concept of Resemblance (2006.6, Bigaku-kai). In this presentation I treated the historical transformation of the concept of creativity and probed the possibilities of the concept of resemblance from the point of analytic aesthetics and philosophy of science. Finally I proposed that we must transform the concept of creativity itself in order to collaborate with science. Then I started a study about the possibilities of making the artistic lineage on the basis of resemblance and of measuring artistic creativity as competence of being replicated in collaboration with Prof. Yasuhiro Suzuki (computer science) and Ms. Hiroko Kida. In my presentation at Nihon-Eizo-Gakkai-Chubu-branch I mentioned the results of this study (2007.2).In addition, I made another presentation on Multi-Sensory Design, which uses the interaction between vision and touch, in collaboration with Prof. Motoyama (information design) and Prof. Yasuhiro Suzuki at Slovenia(2006.9). The paper on this presentation was accepted and will be published in 2007. Less

这项研究有两个目的。首先是明确以往研究用来衡量艺术品创造力程度的基本衡量单位，并明确为什么艺术史学家认为它有助于衡量艺术创造力。二是与信息科学家合作，寻找一种新的测量方法，并通过将其应用于艺术品的解释来探索其有效性。在第一学年（2005.4-2006.3），我专注于第一个目标。我发表了题为《艺术作品的科学研究是否以作者意图的改变而告终？》(2005。6)、《艺术史的测量》（2006.3）。在第一篇论文中，我对比了目前对艺术品的技术调查，实际上是通过使用信息技术来衡量它们，以及传统的艺术史。之后，我指出了他们之间的差异。在第二篇论文中，我明确指出，艺术史学家在衡量艺术品的创造力时隐含地使用了一个矩阵——我称之为“相似矩阵”。在第二学年（2006.4-2007.3），我专注于第二个目标。首先，我做了一个关于相似性概念的有效性的演讲（2006.6,Bigaku-kai）。在这次演讲中，我从分析美学和科学哲学的角度探讨了创造性概念的历史变迁，并探讨了相似性概念的可能性。最后，我提出我们必须转变创造力的概念，以便与科学合作。然后，我开始与铃木康弘（Yasuhiro Suzuki）教授（计算机科学）和木田博子（Hiroko Kida）女士合作，研究以相似性为基础建立艺术谱系的可能性，并将艺术创造力作为可复制的能力来衡量。在nihon - eizo - gakkai - chubu分部的演讲中，我提到了这项研究的结果（2007.2）。此外，我在斯洛文尼亚与Motoyama教授（信息设计）和Yasuhiro Suzuki教授（2006.9）合作，做了另一个关于多感官设计的报告，利用视觉和触觉之间的相互作用。该报告的论文已被接受，并将于2007年发表。少