series and variations
In printmaking, I think it would be perfectly reasonable never to destroy the images on the plates and stones, and always to have them available for use in new works, new combinations.
-Jasper Johns, 1978.
introduction
Creation requires influence: ideas are developed based on our own skills, experience and references……The most dramatic results happen when different ideas are combined.……..what does being original mean?
We need copying to build the foundation of knowledge and understanding. We can’t introduce something new until we are fluid in the language of our domain………..After dominating the fundamentals through copying, it’s possible to create something new through transformation, taking an idea and creating variations.
We all are building with the same materials: multiple discoveries exists. The same idea can emerge in different places without connection between them. is Innovation unavoidable?
The new ideas evolve from the old ones. There are no original ideas. There are tipping points in a continuous line of innovation by many different people.
variations on a theme
fragments in sculpture
improvisation in jazz
script and divergence in performance art
sets in art
translations / blends / interpretations
shape grammars
maison jaoul, typology and design
variations on a theme : fragments in sculpture
Rodin’s innovativeness resided in the fact that casting versions became a systematic part of his creative process…..…..Rodin also took advantage of the opportunities that multiplication afforded within a work, using the same figure in different positions: the inspiration for Three Faunesses (before 1896) was thus drawn from a figure Rodin employed four times on The Gates of Hell. Likewise, the male figures in The Three Shades (before 1886) were borrowed from Adam (1880-81, itself inspired by the pose of Michelangelo’s Slaves)……………In the late 1880s, in the period of intense activity revolving around The Gates of Hell, Rodin built up a large stock of models of complete figures and fragments, which he could delve into whenever he wanted to experiment with assemblages and transformations. In the early 1890s, Rodin continued his investigations into partial figures (commenced with the Torso of the Walking Man in 1878). He dismantled and reassembled existing sculptures in endless combinations. By casting different parts of figures separately, he could rework the overall composition of a piece, without having to rework everything. Rodin joined his sculptural studies, or bozzetti (c.1890-1900), onto other figures through a process he called marcottage, generally leaving the joins visible in the finished sculpture, thus reviving the idea of non finito borrowed from Michelangelo……….While Rodin drew his inspiration from ancient statuary and Michelangelo’s works, especially fragmentary figures, his own works should be discussed more in terms of partial figures. A fragmentary figure is initially executed as a whole figure, which is subsequently damaged. In a partial figure, only the elements that are visible were actually executed, as was true of Rodin’s works, even if most of his partial figures made after 1890 were casts and enlargements of earlier works. By enlarging fragments of figures, instead of whole figures, Rodin abandoned the practice of representing the body in its entirety, thereby freeing himself from Phidias and Michelangelo’s artistic canons and problematic issues of anatomical proportions. Flawless in form, the fragment thus earned its independence, broke away from the figure to which it had originally belonged, and became a work of art in its own right. When reproached for only showing “simple parts of the human body”, Rodin defended the expressive force of the partial figure: “Those people,” he said, “didn’t they understand anything about sculpture? About study? Don’t they think that an artist has to apply himself to giving as much expression to a hand or a torso as to a face? …. Expression and proportion are the goals. Modelling is the means: it’s through modelling that flesh lives, vibrates, struggles and suffers…”
http://www.musee-rodin.fr/en/resources/educational-files/multiples-fragments-assemblages
https://music.apple.com/us/music-video/untitled-original-11383-visualizer/1393967778
https://www.faena.com/aleph/articles/john-coltranes-drawing-of-the-mathematical-soul-of-music/
variations on a theme : improvisation in jazz
………….Most jazz music is structured on a basic pattern of theme and variations………..In music, variation is a formal technique where material is repeated in an altered form. The changes may involve melody, rhythm, harmony, counterpoint, timbre, orchestration or any combination of these…………..Jazz arrangers frequently develop variations on themes by other composers. For example, Gil Evans’ 1959 arrangement of George Gershwin’s song “Summertime” from the opera Porgy and Bess is an example of variation through changing orchestral timbre. At the outset, Evans presents a single variation that repeats five times in subtly differing instrumental combinations. These create a compelling background, a constantly changing sonic tapestry over which trumpeter Miles Davis freely improvises his own set of variations. Wilfrid Mellers (1964) wrote that "It called for an improviser of Davis's kind and quality to explore, through Gil Evans' arrangement, the tender frailty inherent in the 'Summer-time' tune... Between them, solo line and harmonic colour create a music that is at once innocent and tense with apprehension".…………. 'Theme and variation' forms are however based specifically on melodic variation, in which the fundamental musical idea, or theme, is repeated in altered form or accompanied in a different manner. 'Theme and variation' structure generally begins with a theme (which is itself sometimes preceded by an introduction), typically between eight and thirty-two bars in length; each variation, particularly in music of the eighteenth century and earlier, will be of the same length and structure as the theme.…………..Variation forms can be written as 'free-standing' pieces for solo instruments or ensembles, or can constitute a movement of a larger piece……………Improvisation of elaborate variations on a popular theme is one of the core genres of jazz……………Skilled musicians can often improvise variations on a theme. This was commonplace in the Baroque era, when the da capo aria, particularly when in slow tempo, required the singer to be able to improvise a variation during the return of the main material. During this period, according to Nicholas Cook, it was often the case that "responsibility for the most highly elaborated stage in the compositional process fell not upon the composer but upon the executant. In their instrumental sonatas composers like Corelli, Geminiani, and Handel sometimes supplied the performer with only the skeleton of the music that was to be played; the ornamentation, which contributes crucially to the music’s effect, had to be provided by the performer."…………………..
variations on a theme : script, adaptation and divergence in performance art
……………While the mechanisms of the cultural practice we now call ‘adaptation’ have been associated with theatricality for longer than written historical evidence can account for, they are certainly not limited to the theatre. In After Babel, George Steiner proposed that ‘invariance within transformation’ is at the basis of what we call ‘culture’. For Steiner, ‘a culture is a sequence of translations and transformations of constants’ relying upon mechanisms such as ‘paraphrase, pastiche, imitation, thematic variation, parody, citation in a supporting or undermining context, false attribution (accidental or deliberate), plagiarism, collage and many more’. The production of community, therefore, is rooted in the repetition of cultural units of meaning through the rituals of sociality and belonging, otherwise known as ‘tradition’. But what role does theatre play in the perpetuation of traditional practices? How does theatre contribute to the formation, deformation, and hybridization of ‘cultures’?…………the term ‘adaptation’ is applied to a wide variety of theatrical operations, uses, and contexts, in which a transformation of sorts takes place. It not only refers to the dramaturgical practice of turning, for instance, a novel into a play script, a domain traditionally covered by playwrights. It also covers 1- the work of directors and their mise en scène, that of actors in performance and rehearsals, that of translators in transferring a text from one language to another, and that of audiences in co-authoring and responding to a piece……………..2- the processes of adaptation, that is, on the modalities in which theatre makers adapt existing cultural material of varying form into performance…and stage practitioners make theatre by constantly returning to, rewriting and repeating their methodologies, histories and inherited narratives………………………[Theatre and Adaptation: Return, Rewrite, Repeat]
variations on a theme : sets in art
works of art (simple, uniform, interchangeable elements assembled in a regular, easily apprehended arrangement) that are conceived in series or as part of a larger group; often the individual work is regarded as incomplete in itself, needing to be seen within the context of the whole.
joseph albers, White Line Squares, Series I
https://www.moma.org/collection/works/60417
In 1950, at the age of 62, Albers began what would become his signature series, the Homage to the Square. Over the next 26 years, until his death in 1976, he produced hundreds of variations on the basic compositional scheme of three or four squares set inside each other, with the squares slightly gravitating towards the bottom edge. What may at first appear to be a very narrow conceptual framework reveals itself as one of extraordinary perceptual complexity. In 1965, he wrote of the series: ‘They all are of different palettes, and, therefore, so to speak, of different climates. Choice of the colours used, as well as their order, is aimed at an interaction - influencing and changing each other forth and back. Thus, character and feeling alter from painting to painting without any additional ‘hand writing’ or, so-called, texture. Though the underlying symmetrical and quasi-concentric order of squares remains the same in all paintings – in proportion and placement – these same squares group or single themselves, connect and separate in many different ways.’
……………artists working sets of images represent a dramatic shift in artistic thinking and theory of the twentieth century. With the artistic embrace of multiplicity, the print medium became increasingly more accepted. The individual markings by the artist’s own hand lost its relevance, leading to relative demise of the original………….works do not present final aesthetic solutions, but rather they express a moment in the infinite multitude of possibilities…………………………….
Jasper Johns, Ale Cans, 1964
https://www.moma.org/collection/works/72254
……………jasper johns was inspired by Cage’s aesthetic theories of indeterminacy and chance, as well as Marcel Duchamp’s idea of the readymade……..he faced the dominant trend of Abstract Expressionism by including everyday images and materials in their works. Using a wax encaustic technique to create sensuous, tactile surfaces, Johns painted familiar signs such as targets, numerals, and the American flag—which he described as “things the mind already knows.”……………….
……………..To Be Exactly the Same Over and Over Again - Repetition in Art, repetition in art is quite possibly one of the most interesting methods that the artists implement to create a certain movement, stillness, design, confusion, to rebel against the notion of tradition, re-define the idea of the original and the copies, or to cast true focus on one part of the artwork that either makes the work more visible or purposely invisible. Seen as one of the most important techniques for reduction, repetition is used in an equal amount both in music and visual arts and is seen as both aesthetic and poetic device……….Why repeat? Do repetition artists use same motifs over and over again to achieve perfection or is there something more to repetition art?............. Few of the major concerns that arise when one speaks about repetition are for sure issues of originality, authenticity, and appropriation. This is a major concern for the Postmodernism philosophy and the Dada readymades are marked as important images that ridiculed the need of tradition to provide special meaning to the production and the choice of materials. Pop artists, minimalists, performance, and conceptual authors, adopted the concept of undermining the authenticity and value. Appropriation in art, based on the re-use and on the repeat of existing images, raises concerns of copyrights since many contemporary artists use accessible imagery with little or no alteration to the original. Such subtle changes raise questions of identity, and if the new pieces trivialize the original………………..
variations on a theme : translations / blends / interpretations
……………..Pierre Menard es el lector ideal, que quiere rescatar un texto volviéndolo a crear tal como fue concebido por su autor. Borges explica: "No quería componer otro Quijote -lo cual es fácil- sino el Quijote…….no se proponía copiarlo. Su admirable ambición era producir unas páginas que coincidieran -palabra por palabra y línea por línea- con las de Miguel de Cervantes". Que en última instancia la tarea sea imposible, que el texto reimaginado sea ahora (a pesar de la coincidencia formal entre los dos) obra de Menard y ya no de Cervantes, es la lección implacable que aguarda a cada lector. Nunca leemos un arquetípico original: leemos una traducción de ese original vertido al idioma de nuestra propia experiencia, de nuestra voz, de nuestro momento histórico y de nuestro lugar en el mundo. La terrible conclusión de Pierre Menard es ésta: El ingenioso hidalgo don Quijote de la Mancha de Miguel de Cervantes Saavedra no existe, y nada podrán contra este hecho irrefutable la amenaza de celebraciones, institutos cervantinos, cursos de literatura española, sesudos estudios críticos……………El Quijote original, si insistimos en creer en su existencia, desapareció con el lector Cervantes. Sólo quedaron (lo cual no es poco) los cientos de millones de Quijotes leídos desde que un primer Quijote entró en la imprenta de Juan de la Cuesta y salió despojado de una parte de los capítulos XXIII y XXX. Desde entonces, los colegas de Pierre Menard han invadido el mundo de las letras y nos han dado (y siguen dándonos) sus múltiples Quijotes: el torpe Quijote de Lope, el divino Quijote de Dostoievski, el filósofo Quijote de Unamuno, el brutal Quijote de Nabokov, el tedioso Quijote de Martin Amis, el desdoblado Quijote de Borges, el Quijote de cada uno de nosotros, sus desocupados lectores…………..(Los herederos de Pierre Menard, Babelia, edición impresa, viernes, 05 de noviembre de 2004)
……………………….[Con Borges desaparece el concepto de original para considerar cada texto un borrador enriquecido por la pluma de su autor. Y si no existe tal tipo de texto, no existe su traducción, sino la reescritura en otro idioma, que incluye la huella personal del que se encarga de tal tarea]……………….……
(Pierre Menard, autor del Quijote es un relato del escritor argentino Jorge Luis Borges publicado originalmente en mayo de 1939 en la revista Sur e incluido en su libro Ficciones, de 1944)
…………….’El otro’ es el primero de los cuentos que constituyen El libro de arena, que Jorge Luis Borges publicó en 1975. En él narra un acontecimiento que, según afirma, le tiene angustiado: estando él en Cambridge, en febrero de 1969, encontró sentado en un banco a un joven a quien reconoció como a él mismo, que aseguraba encontrarse en Ginebra, en 1918……………….Sobre estos dos personajes, el narrador —el Borges mayor— y “el otro” —el Borges joven—, construye la narración. Ambos se encuentran a orillas de un rio —que los une y los separa—: el Borges mayor está al lado del rio Charles, mientras que el joven está al lado del Ródano. El Borges mayor intenta convencer al joven de que ambos son la misma persona, aunque estén separados por medio siglo de vida. Para demostrárselo, le cuenta intimidades que sólo uno mismo puede saber y a continuación le explica lo que le acontecerá en su vida y en el mundo en los años venideros. El joven, por su parte, pretende convencerse de que este encuentro no es más que un sueño; expone sus ideas sobre la literatura y la sociedad, que corresponden a las que Borges tuvo en la juventud y de las que tanto se alejó……………………..los dos Borges intercambian opiniones sobre Fyodor Dostoievski —entre cuyos libros cita ‘El doble’, una de las principales referencias del cuento………………………….
……………Ard Gelinck has been posting his celebrity “Then & Now” series on Instagram since early 2017………………
………………………What is Genre Blending? Genres act as general guideposts to what might be within a book. However, each book offers a unique reading experience and some do not fit within traditional genre labels. When a book has characteristics of two or more genres, we call that genre blending. Genre blending is not about breaking a genre or ignoring what makes it great – writers who blend must have a solid knowledge of and respect for a genre before they can use it. In other words, one has to know where the borders are to deliberately cross them……………………
………….."You Can't Always Get What You Want" is a song by the Rolling Stones on their 1969 album Let It Bleed. Written by Mick Jagger and Keith Richards, it was named as the 100th greatest song of all time by Rolling Stone magazine in its 2004 list of the "500 Greatest Songs of All Time" before dropping a place the following year………………….Jagger commented on the song's beginnings: "You Can't Always Get What You Want" was something I just played on the acoustic guitar—one of those bedroom songs. It proved to be quite difficult to record because Charlie couldn't play the groove and so Jimmy Miller had to play the drums. I'd also had this idea of having a choir, probably a gospel choir, on the track, but there wasn't one around at that point. Jack Nitzsche, or somebody, said that we could get the London Bach Choir and we said, "That will be a laugh."……………………In his review of the song, Richie Unterberger of AllMusic said: "If you buy John Lennon's observation that the Rolling Stones were apt to copy the Beatles' innovations within a few months or so, 'You Can't Always Get What You Want' is the Rolling Stones' counterpart to 'Hey Jude'……………..Jagger said in 1969, "I liked the way the Beatles did that with 'Hey Jude'. The orchestra was not just to cover everything up—it was something extra. We may do something like that on the next album"………………….
……………………The track comes courtesy of Ituana, a bossa nova group based in Los Angeles, that boasts a sizable discography on iTunes. Their music is mostly comprised of coffee house ballads in line with bossa nova's jazz-inflected style, which, for those unfamiliar, is a popular Brazilian genre…………………………..But they've also built up a collection of old-school covers, including David Bowie's "Life On Mars," John Lennon's "Imagine," Nirvana's "Smells Like Teen Spirit," and The Doors' "Light My Fire," among others………………………..
……………………..Colin Rowe's celebrated essay first revealed what Le Corbusier had concealed about the mathematics of the neo-Palladian structural grid of Villa de Monzie/Stein at Garches (1927)--namely, the ratios of the structural intervals that define the organization of the villa from front to back. The importance of this discovery, reported in Rowe's "The Mathematics of the Ideal Villa: Palladio and Le Corbusier compared" (1947), has been underappreciated in subsequent scholarship, which has focused instead on Rowe's discovery of the accord between Garches and Palladio's Villa Malcontenta (c. 1550-1560)…………………..
variations on a theme : shape grammars———A shape grammar is a set of shape rules that apply in a step-by-step way to generate a set, or language, of designs. Shape grammars are both descriptive and generative. The rules of a shape grammar generate or compute designs, and the rules themselves are descriptions of the forms of the generated designs.
variations on a theme : typology and design——————-1 - the word 'type' represents not so much the image of a thing to be copied or perfectly imitated as the idea of an element that must itself serve as a rule for the model————————2 - type, on the contrary, is an object according to which one can conceive works that do not resemble one another at all
…………………………..jaoul…………….…..It was the end of modernism and the coming of postmodernism, no doubt, that initiated the new interest in the practice of creating multiple images, the very existence of which seems so antithetical to modernist values of originality and authenticity…...a motivation behind an artist's repetitions created during the artistic process would be the artistic process itself, in which one rendition does not necessarily exhaust the potential of the motif. While true as far as it goes, this explanation preserves modernism's fixation on the purity of the artistic process……….Según Julia Kristeva, creadora del término «intertextualidad» en 1967, todo texto surge como un mosaico de citas. Aquello señala una relación de reciprocidad y dependencia entre diferentes textos/autores, de modo que varios textos sirven de base para uno nuevo y así sucesivamente.……………..the search for invention and absolute novelty continued to generate tensions within design processes, because the frontier that separated preexisting from new was fragile and shifting. Le Corbusier's well-known use of the objets à réaction poétique as a design stimulus, composed of natural elements - snails, branches worn by water, pebbles - diverts the attention from the architect's relation with its historicity in a suspicious stratagem for inventing the new…………………..beyond his adherence to nineteenth-century engineering, these objets trouvés do not speak of architecture but of new and unforeseen, unplaced sources. This 'surreal' dimension of Le Corbusier confirms that modern design strategies focused on the new, as well as a creative equation - derived from architectural preexistence - consisting of consciously accumulating images,……………………..including what has happened or what is extremely dear…………………..
conclusion, program vs paradigm? a search for singularity/similarity?
……………….the model, or exemplar, then, may be considered to play the role of an enabling fiction…………….designers need to explore notions of singularity, similarity, and exemplarity in its different forms as it mediates between the particular and the general and in relation to the capacity to educate the senses and to cultivate reason, and thereby to enable creation………………..
……………………the relationship between originating event and subsequent taxonomy forms a structure and process of ordering; it creates a space of transition, where the extraordinary and the ordered merge…………..
…………………….the relationship between the example and the exception reveals the illusory nature of coherence or stability of meaning in our construction of design narratives………………………..
……………………….The philosopher Thomas Kuhn suggested that a paradigm includes “the practices that define a scientific discipline at a certain point in time." Paradigms contain all the distinct, established patterns, theories, common methods and standards that allow us to recognize an experimental result as belonging to a field or not………………Science proceeds by accumulating support for hypotheses which in time become models and theories. But those models and theories themselves exist within a larger theoretical framework.………………….Colin Rowe, in this essay Program vs Paradigm, tryies to reveal the fundamental errors of modern architecture by investigating the relationship between program and paradigm, synonymously, between matter and mind, reality and speculation, fact and fantasy……..program can be defined as “a definite plan or scheme of any intended proceedings; an outline of abstract of something to be done”, while paradigms are, defined by Thomas Kuhn, “universally recognized scientific achievements that for a tome provide model problems and solutions to a community of practitioners”………………..The idea that the plan diagram itself could a subject of critical inquiry emerged from post-war architectural theory in Colin Rowe’s essay “Mathematics of the Ideal Villa” (1947). Rowe, a student of Wittkower at the Warburg Institute from 1945 to 1947, extends Wittkower’s analysis of the grid/bay by comparing Palladio’s Villa Malcontenta with Le Corbusier’s Villa at Garches………….While ostensibly a historical analysis, Rowe’s essay reads in hindsight as a thinly veiled argument for an architectural agenda based on a negotiation between the ideal terms of the diagram and the messy circumstance of the program. The plan diagram was less a paradigm in the neo-classical tradition but rather a loose frame- work within which elaboration and invention was possible………….paradigms can be regarded as types, patterns, or exemplars of solutions and designs. A paradigm hence implies a pattern, structure and framework or system………………Though Kuhn focused on the sciences, his observations about paradigms apply to other disciplines. Foucault was famous for his dissection of discourse, which can be understood as the language and symbols used to cement a paradigm…………
13 Lincoln's Inn Fields, London, https://www.soane.org/
the Mnemosyne Atlas, https://warburg.library.cornell.edu/about
…………Sir John Soane's collections and the Mnemosyne Atlas by Aby Warburg, are accumulations closely related to creative processes……………the notion of collection was part of the Neoclassic academic system at the end of the eighteenth-century - the century of reason - founded on manuals and the invariant features of 'type,' but already showing in architecture the first signs of Romanticism - especially in its interest for ruins……………..The unfinished Mnemosyne Atlas, on the other hand, began once the twentieth-century avant-gardes were already installed in the artistic imagination and the Neo-Kantian iconography was established in art history: both cases occur at the culmination of the nineteenth-century and act as its prologue……………………………………...…Soane's accumulation or collection turned his house (ca 1808-1824) into a sort of studio, its walls lined with fragments of ruins, marbles, plaster and reproductions, creating a three-dimensional surface with a logic that responds to an apparent systematized thematic collection, but was really a formal composition: Far from contemporary expository theories, Soane orders this collection departing not from detail but from the beauty of the ensemble that must be admired in its sum, from formal aesthetics to the variety of sculpted pieces……………….while developing his projects surrounded by this abundant and varied set of images, the collection gained significance for design…………..this accumulation of fragments turn into a design-oriented universe of reference, archetypes that allow to assemble the general piece………………………warburg’s Mnemosyne Atlas (ca 1924-1929) consisted of a collection of 40 panels bearing un-ordered photographs of pictorial images, shot on a black background and placed on a table in a way that only Warburg comprehended……..With his Mnemosyne Atlas Aby Warburg set out to find a revisionist method for studying art that surpassed its understanding through language. But his goal set up a new challenge. How does one comprehend what Warburg called an “art history without text” when he offered no explanation for its use? ………This device - understood as a Foucauldian network - was organized according to a specific purpose and its order was a changing one, arranged as a machine of indices and stimuli that accompanied Warburg in his works on iconography……………..Warburg's photographs of paintings, people, and situations of all kinds, mounted on wood panels lined with black cloth, reference images build upon assorted photographs, displayed on panels without any apparent rule - seems to represent knowledge and experience……………
……………..both assemblages were foundational: soane’s as a collection, ended up being the first architectural museum; warburg’s, as a map of memories that revealed the mechanisms of random inspiration or free association that characterized modernity………..both express different views on academicism located at the end of the nineteenth-century: from Neoclassicism to Romanticism, from typified classical ideals ————academic tradition dictates that nothing comes from nothing—————to the unpredictable vital impulse of the modern and its anxiety for originality and its similarities with preexisting formal systems…………..……….and point to opposite yet converging strategies: while one actualizes the notion of type and the role played by accumulation in the emrgence of architectural creation, the latter suggests a free association strategy proper to the modern world………….to review the notions of 'type' and 'imaginary' on which they are based becomes essential to reconcile enlightened reason with the romantic outburst………….
………………..The dualities embedded in the concepts of program vs paradigm and soane’s collection vs warburg’s atlas are closely related to the Platonic and Aristotelian views of knowledge. Aristotle believed that knowledge could only be based upon what is already known, the basis of the scientific method. Plato believed that knowledge should be judged by what something could become, the end result, or final purpose. Plato's philosophy is more like the intuitive leaps that cause scientific revolution; Aristotle's the patient gathering of data…………………..
referencias
……..Sampling, appropriating, borrowing, stealing. Whatever you want to call it, artists have been copying since time immemorial….The following is a look into the history of the practice and theories of why it is done…….
………….a documentary about how ideas and innovations are generated and the basic elements of creativity: copy, transform and combine…..The documentary analyses the topic from a historical and social perspective. It shows how inspiration and transformation of previous creations have been the foundations of music, films, technology, and art………
notas adicionales
………………….The Art of Adaptation: Is there any such thing as “original”? Where is the line between originality and “influenced by,” “based on” or “adapted from”? Maybe there aren’t lines at all, but rather a spectrum of expressions, varying degrees of invention in the creative process from original to plagiarized……………In recent years adaptation studies has established itself as a discipline in its own right, separate from translation studies. The bulk of its activity to date has been restricted to literature and film departments, focusing on questions of textual transfer and adaptation of text to film. It is however, much more interdisciplinary, and is not simply a case of transferring content from one medium to another. This collection furthers the research into exactly what the act of adaptation involves and whether it differs from other acts of textual rewriting………………..In addition, the 'cultural turn' in translation studies has prompted many scholars to consider adaptation as a form of inter-semiotic translation. But what does this mean, and how can we best theorize it? What are the semiotic systems that underlie translation and adaptation?…………………….
………………In copyright law, a derivative work is an expressive creation that includes major copyrightable elements of an original, previously created first work (the underlying work). The derivative work becomes a second, separate work independent in form from the first. The transformation, modification or adaptation of the work must be substantial and bear its author's personality sufficiently to be original and thus protected by copyright. Translations, cinematic adaptations and musical arrangements are common types of derivative works.Most countries' legal systems seek to protect both original and derivative works. They grant authors the right to impede or otherwise control their integrity and the author's commercial interests. Derivative works and their authors benefit in turn from the full protection of copyright without prejudicing the rights of the original work's author………………………
Déjà Vu? Revealing Repetition in French Masterpieces
The Walters Art Museum, Baltimore: 7 October 2007 – 1 January 2008
Phoenix Art Museum, Phoenix, Arizona: 20 January – 4 May 2008
[In Phoenix, the exhibition is titled Masterpiece Replayed: Monet, Matisse & More]
Exhibition catalogue:
Eik Kahng, ed. The Repeating Image: Multiples in French Painting from David to Matisse
http://www.19thc-artworldwide.org/spring08/40-spring08/spring08review/102-deja-vu-revealing-repetition-in-french-masterpieces
sobre la clasificacion del conocimiento…………………………..modernists tend to question the role that similarities play in design's creative processes…………. how the usage of referential images as instruments for the architectural project works is also still a mystery (although where they emerge can be suspected)………… preexistences not only refer to the normed and in a way cataloged 'type,' but also to the imaginary……………an interesting component in the creative equation emerging from preexistences is the accumulation of images that accompany knowledge, something like experience………….. This undetermined and unqualified accumulation constitutes a repository that awaits, often without use, constituting a true arsenal of experiences - named culture - that lacks operability (as well as historical knowledge). In this respect, one can only speak of accumulation and not of how it operates in the conscience of the one who employs it……………………
………………………Kubler writes in his landmark The Shape of Time: Remarks on the History of Things (1962) that the relevant traits that art objects manifest–are revealed as members of a “formal sequence,” which he defines as a “historical network of gradually altered repetitions.” The focus of Kubler’s formalism is on the appreciation of series–of objects that form a chain flowing through time, connected via their problem-solutions. Its historiographic ambition is to investigate the “continuum of connected effort” that comprises the history of art–the history of any art…………………What does Kublerian serial formalism emphasize, then? Not “wholes,” an interest Kelleter seems to attribute to all formalism. Serial formalism, rather, “centers upon minute portions of things rather than upon the whole mosaic of traits that constitutes any object,” on “mutant fraction” and “prime traits” alike…………..This approach to formalism seems especially well-suited to the study of seriality as Kelleter describes it. Kubler’s formal history posits that art-making is inherently social, the product of a world of makers that stretches back in time. All art is collaborative, produced in relationship to trends not of the artist’s making: “…the artist is not a free agent obeying only his own will. His situation is rigidly bound to a chain of prior events. The chain is invisible to him, and it limits his motion.…………..
https://dspace.mit.edu/handle/1721.1/16899
——————————Topology optimization is a mathematical method that optimizes material layout within a given design space, for a given set of loads, boundary conditions and constraints with the goal of maximizing the performance of the system———————————In the past, an engineer would make a part or product by developing a drawing………..The drawing would be the result of that engineer’s experience, imagination (creativity), and historical data (how similar parts have been made before)………………Generative design can use artificial intelligence software to generate options based on a number of criteria defined by the designer.—————————————