著者
横地 早和子 岡田 猛
出版者
日本認知科学会
雑誌
認知科学 (ISSN:13417924)
巻号頁・発行日
vol.14, no.3, pp.437-454, 2007 (Released:2009-04-24)
参考文献数
40
被引用文献数
8 5

This study investigated the creative expertise of artists who had been making art for many years. In an initial study, we interviewed four artists at different stages of their careers about their previous artworks to investigate how they made them and how they changed in the course of their making. We asked, for instance, about their concept of each artwork, when and how a new series of artworks emerged, and so on. It was revealed that experienced artists formed their artistic vision (i.e., their long-term intention or main theme related to making art) after changing series of artwork several times, and then created artworks based on it. On the other hand, younger artists did not recognize their artistic vision yet, making artworks based on their temporary interests. In a second study, nine professional artists with more than 10 years of experience were interviewed about their whole body of artworks to identify how they became creative experts and how their artistic vision was formed. As a result, it appeared that there are three periods in creative expertise: the first is “being constrained to external criteria”; the second is “forming their own internal criteria”; and the third is “generating harmonious creations with the artistic vision.” In sum, when the artists were young, they made artworks based on external criteria. Later on, they recognized the limitations of this approach, and started to focus on internal criteria. Finally, on average about 13 years after beginning their artistic careers and creating several series of artworks, artists formed a personal artistic vision. At that point they were confidently able to make original artworks.
著者
髙木 紀久子 河瀬 彰宏 横地 早和子 岡田 猛
出版者
日本認知科学会
雑誌
認知科学 (ISSN:13417924)
巻号頁・発行日
vol.22, no.2, pp.235-253, 2015-06-01 (Released:2015-12-01)
参考文献数
28

The process of formation by an artist of an art concept for the production of a new series of artwork has not yet been empirically elucidated. The goal of this study is to describe the process of art concept formation by a contemporary artist through metrical analyses of a text corpus based on interviews with the artist. From an analysis of the frequency of occurrence of items of vocabulary in the interview data and the TF-IDF (term frequency-inverse document frequency), we find that the second of three phases in the artist’s creative process was the most critical for the formation of the art concept,as shown in our previous qualitative study. Additionally, it is demonstrated that the art concept, White Noise, was inspired by a motif generated by the artist, and its contents were continuously modified and developed over time. Further, based on an analysis of co-occurrence frequencies of words, the structure of the art concept was deduced from the importance of co-occurring vocabulary. By means of visualizing the network of co-occurrence analysis, it is clarified that the feature words Large Glass functioned in the first phase as an intermedium for dividing the structure of the concept into two parts. In the second phase, these two parts of the structure of the concept became integrated into one. In the last phase, the structure of the concept was elaborated with the revived feature words, White Noise and Duchamp.
著者
岡田 猛 横地 早和子 難波 久美子 石橋 健太郎 植田 一博
出版者
日本認知科学会
雑誌
認知科学
巻号頁・発行日
vol.14, no.3, pp.303-321, 2007

The goal of this case study was to describe creation processes of contemporary artists from the perspective of Cognitive Science. We focused on the interaction among activities that affect long term processes of expertise and those that affect shorter term processes as the artist creates a series of work. We conducted retrospective interviews with two contemporary artists in their 40's using the portfolios of their past works so that they could recall their creation processes in detail. We found that the artists used an analogical modification process to produce a new series of artwork. Analogical modification is a cognitive process similar to analogical mapping, but modifies major features of the source structure while mapping it to the target. Artistic vision, which is formed through many years of creative activities and consists of main themes and goals for creation, plays an important role in guiding the usage of analogical modification. Analogical modification correspondingly appeared to deepen artistic vision.
著者
岡田 猛 横地 早和子 難波 久美子 石橋 健太郎 植田 一博
出版者
日本認知科学会
雑誌
認知科学 (ISSN:13417924)
巻号頁・発行日
vol.14, no.3, pp.303-321, 2007 (Released:2009-04-24)
参考文献数
46
被引用文献数
8

The goal of this case study was to describe creation processes of contemporary artists from the perspective of Cognitive Science. We focused on the interaction among activities that affect long term processes of expertise and those that affect shorter term processes as the artist creates a series of work. We conducted retrospective interviews with two contemporary artists in their 40's using the portfolios of their past works so that they could recall their creation processes in detail. We found that the artists used an analogical modification process to produce a new series of artwork. Analogical modification is a cognitive process similar to analogical mapping, but modifies major features of the source structure while mapping it to the target. Artistic vision, which is formed through many years of creative activities and consists of main themes and goals for creation, plays an important role in guiding the usage of analogical modification. Analogical modification correspondingly appeared to deepen artistic vision.
著者
横地 早和子 岡田 猛
出版者
日本認知科学会
雑誌
認知科学 = Cognitive studies : bulletin of the Japanese Cognitive Science Society (ISSN:13417924)
巻号頁・発行日
vol.14, no.3, pp.437-454, 2007-09-01
被引用文献数
8

This study investigated the creative expertise of artists who had been making art for many years. In an initial study, we interviewed four artists at different stages of their careers about their previous artworks to investigate how they made them and how they changed in the course of their making. We asked, for instance, about their concept of each artwork, when and how a new series of artworks emerged, and so on. It was revealed that experienced artists formed their artistic vision (i.e., their long-term intention or main theme related to making art) after changing series of artwork several times, and then created artworks based on it. On the other hand, younger artists did not recognize their artistic vision yet, making artworks based on their temporary interests. In a second study, nine professional artists with more than 10 years of experience were interviewed about their whole body of artworks to identify how they became creative experts and how their artistic vision was formed. As a result, it appeared that there are three periods in creative expertise: the first is “being constrained to external criteria”; the second is “forming their own internal criteria”; and the third is “generating harmonious creations with the artistic vision.” In sum, when the artists were young, they made artworks based on external criteria. Later on, they recognized the limitations of this approach, and started to focus on internal criteria. Finally, on average about 13 years after beginning their artistic careers and creating several series of artworks, artists formed a personal artistic vision. At that point they were confidently able to make original artworks.
著者
横地 早和子 八桁 健 小澤 基弘 岡田 猛
出版者
大学美術教育学会
雑誌
美術教育学研究 (ISSN:24332038)
巻号頁・発行日
vol.48, no.1, pp.409-416, 2016

本研究は,美術科系の教師を目指す学生の絵画教育の授業において学生が制作したドローイングを他者が評定を行い,授業効果を検討することを目的とした。子どもの表現力や創造力の伸長を支援する能力を獲得するためには,学生自身が積極的に自己表現の探索を行うことが必要である。こうした観点に基づき,自己発見を促すと考えられるドローイングを毎日制作し,それを毎週教員らに説明するという省察的な授業を行った。本研究では,制作されたドローイングを初期,中期,後期に分け,表現主題の自覚と技能を他者が評定し,その変化を検討した。結果,主題と技能に変化は認められなかったものの,100枚以上ドローイングを制作した学生とそうでない学生とでは,100枚以上制作した学生の主題の自覚性が高いことが分かった。こうした違いについて両者の授業中の発話についても比較検討し,考察を行った。