{"id":3842,"date":"2018-04-23T10:58:40","date_gmt":"2018-04-23T14:58:40","guid":{"rendered":"https:\/\/umaine.edu\/mhc\/?post_type=tribe_events&p=3842"},"modified":"2019-04-19T08:19:26","modified_gmt":"2019-04-19T12:19:26","slug":"creativity-art-change-survival","status":"publish","type":"tribe_events","link":"https:\/\/umaine.edu\/mhc\/event\/creativity-art-change-survival\/","title":{"rendered":"Creativity in Art, Change and Survival*"},"content":{"rendered":"

With Don Foresta and Edwige Armand\u00a0<\/strong><\/h2>\n

Tuesday 24 April 3:30PM<\/em><\/a>\u00a0Soderberg Lecture Hall, 116 Jenness Hall<\/em><\/p>\n

Abstract:<\/strong><\/em> Why art is linked to the survival of humans in general. We start from an ancestral point of view and end with a look at the world\u00a0today. The roots of art are to be found very far in the past of our species, hundreds of thousands of years, long before homo sapiens. We develop the idea that art is a product of instinct in the sense proposed by Bergson, that it is linked to the creation of perceptions essential for the evolution of our representations. Art in its earliest expression is linked to the premise of symbolic thought and the found object. Creativity comes from a crisis in perception, in the sudden incomprehension of the outside world and is a temporary solution to resolve these crises. Instinct is then mobilized to find an explanation, bringing in new information and thereby causing a shift in perception. In the beginning of life, cognition, perception, imagination, sensations are of the order of the unlimited incomplete. However, culture shapes intuition before actualization is arrived at.\u00a0 Creativity thereafter serves as a safeguard against the perceptual, cognitive normalization of the human being, creating disorder in the secure perceptual certainty that science and technology contribute to by inserting tools between us and the outside world to understand it. Technology, itself an expression of creativity, is our invented interface with the exterior, allowing us to better control it which, in turn, influences our perception of this exterior. By giving that technology a symbolic meaning, we make it an integral part of our culture and close the circle, only to start again. Much experimentation and artistic production of the 20th century was an exploration of interactivity. The notion of connection was and is a leitmotiv in current artistic creation that brings us to a kind of neo-animism, making it a new paradigm for the 21st century. The rhizomic idea – the network paradigm – better defines the relationship between human beings than the separate and replaceable parts of the mechanical era of the first renaissance.<\/p>\n

91¸£Àû the Presenters:<\/strong><\/em><\/p>\n

Don Foresta<\/strong> is a research artist and theoretician in art using new technologies as creative tools and a retired\u00a0professor of art and technology and art and science in France and the UK. He is a specialist in art and science. He is\u00a0currently the international coordinator of the MARCEL network <www.mmmarcel.org>, a permanent, high bandwidth\u00a0network for artistic, educational and cultural experimentation. Foresta began building the MARCEL network while\u00a0artist\/professor at the National Studio of Contemporary Art, Le Fresnoy, Lille France and inaugurated MARCEL during\u00a0a fellowship at the Wimbledon College of Art in London in 2001. Foresta is a graduate of the University of Buffalo, the\u00a0Johns Hopkins School of Advanced International Studies and the Sorbonne. Having both US and French nationalities,\u00a0Foresta was named \u201cChevalier\u201d of the Order of Arts and Letters by the French Ministry of Culture for having created\u00a0the first department of video art in Europe.<\/p>\n

Edwige Armand<\/strong> is Attach\u00e9 Temporaire d\u2019Enseignement et de Recherche in the department of Plastic Arts and\u00a0Design at the Universit\u00e9 Toulouse, after recently completing her doctorate in plastic arts at Toulouse. Her research\u00a0focuses on how both body and world serve as cultural and artistic scenes of writing and as sites of interactivity,\u00a0especially in relation to the transversality of artificial life, genetics and digital arts. Since 2009, Armand\u2019s artwork\u00a0has been exhibited throughout France and in NYC.<\/p>\n

Free and Open to the Public. For more information, contact\u00a0mscott@maine.edu<\/a>.<\/em><\/p>\n

Support by the\u00a0<\/strong>McGillicuddy Humanities Center, UM Franco-American Program, the 91¸£Àû Honors College, and ASAP Media Service.\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

With Don Foresta and Edwige Armand\u00a0 Tuesday 24 April 3:30PM\u00a0Soderberg Lecture Hall, 116 Jenness Hall Abstract: Why art is linked to the survival of humans in general. 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