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= '''Creative Evolution: Natural Selection and the Urge to Remix'''  =
[[Image:EvolutionarypsychCover1.jpg|right|318x450px]]
Natural Selection and the Urge to Remix


= edited by Mark Amerika  =
[http://www.livingbooksaboutlife.org/books/ISBN_Numbers ISBN: 978-1-60785-263-6]


Mark Amerika<br>Introduction: What is Creativity?<br>
''edited by'' [http://www.livingbooksaboutlife.org/books/Creative_Evolution/bio Mark Amerika]
 
__TOC__
<br>  
== [http://www.livingbooksaboutlife.org/books/Creative_Evolution/Introduction '''Introduction: What Is Creativity?'''] ==
 
<br> What is Creativity? <br><br> In his ''Process and Reality''<br>Alfred North Whitehead writes that  
What is Creativity?  
 
<br>  
 
In his ''Process and Reality''<br>Alfred North Whitehead writes that  
<blockquote><br> Creativity is the principle of novelty. </blockquote>  
<blockquote><br> Creativity is the principle of novelty. </blockquote>  
<br>  
<br> The concept of novelty or more specifically<br>novelty generation as the modus operandi of<br>all living creatures mutating in the remix pool<br>relates to current trends in networked art<br>where the artist-as-medium postproduces<br>the Source Material Everywhere<br>as part of a larger co-poietic unfolding<br>inside the networked space of flows ([http://www.livingbooksaboutlife.org/books/Evolutionary_psychology/natural_selection/Introduction more]...)
 
The concept of novelty or more specifically<br>novelty generation as the modus operandi of<br>all living creatures mutating in the remix pool<br>relates to current trends in networked art<br>where the artist-as-medium postproduces<br>the Source Material Everywhere<br>as part of a larger co-poietic unfolding<br>inside the networked space of flows<br>
<blockquote></blockquote>
<br> This ongoing remix practice<br>procured by all living creatures<br>feels like an innate biological imperative<br>one that indicates an aesthetically charged culture of <br>intersubjective jamming where <br>the cut-and-paste as-you-go <br>open source lifestyle practice of<br>the artist-as-live-medium stimulates<br>the creative environment to the point of excess
 
<br>
 
In an interview titled 'The Creative Urge'<br>Elizabeth Grosz is quoted as saying:<br>
<blockquote><br>That’s right, there’s something about art that is an abundance of excess. Art is the revelry in the excess of nature, but also a revelry in the excess of the energy in our bodies. So we’re not the first artists and we’re perhaps not even the greatest artists, we humans; we take our cue from the animal world. So what is it that appeals to us? It’s the striking beauty of flowers, it’s the amazing colour of birds, it’s the songs of birds. In a way, it’s that excess which, I think, is linked to sexuality rather than to creation or production directly. </blockquote>
<br>
 
Which then gets me thinking about<br>the formation of an uncanny sense of measure<br>(an intuitively generated aesthetic fitness)<br>artists unconsciously manifest / ''em''-body<br>while navigating the networked space of flows
 
<br> ''Aesthetic fitness as an outcome of overflowing sexual urgency?''
 
<br>
 
Randomly Google-searching the phrase 'aesthetic fitness'<br>my click-happy networked persona comes up on this:<br>
<blockquote><br>If art is an adaptation, what possible function could it have served? From the viewpoint of current animal communication research, art is a signalling system. There is a signaller (the maker of the art), and a set of receivers (who perceive the work of art). The prototypical functions for animal signals include long-range sexual attraction, short-range sexual courtship, sexual rivalry, territorial conflict, begging by offspring to solicit parental investment, warning signals to deter predators, and alarm signals to alert relatives of danger. </blockquote>
<br>
 
And a bit further:<br>
<blockquote><br>What sort of evidence could support this sexual selection theory of art? One clue would be an example of convergent evolution: the independent evolution of art-like abilities in another species through sexual selection. Bower-birds offer strong evidence along this line. </blockquote>
<br>
 
Bower-birds are natural collage artists <br>caught in their perpetual blue period <br>who create readymade nestworks<br>to attract attention to themselves<br>in hopes of finding their soul-mate <br>(or maybe just an on again off-again <br>affair with their love bird)
 
<br>
 
They are naturally inclined ''remixologists ''<br>(cut-and-paste as-you-go synthesizers<br>abstractly expressing their need to attract<br>sexual partners in search of beautiful experiences)
 
<br>
 
They do not need paint or canvas or verbal constructions <br>to make the point nor do they need a white cube <br>to exhibit their animal instincts ''in''
 
<br>
 
But we digitally connected humans treat <br>our remix / compostproduced / readymade art <br>in a quite different manner—no?
 
<br>
 
In contemporary networked and mobile media culture<br>Remixology presupposes the prophetic act of<br>''making things with and out of code''<br>whether it be a poet's direct presentation<br>a programmer's hacking aesthetic<br>a net artist's targeted action scripting<br>or a live A/V artist's patchwork performance
 
<br>
 
Whatever the mediumistic delivery mechanism<br>(and here artists can morph at will)<br>it still comes down to a root measure<br>a random association of selected thoughts<br>coming to the fore via intuitive memory trance<br>(an admixture of habit and novelty that informs<br>the remixological gestures of the artist-medium<br>as they perform the pseudo-autobiography of their<br>"always becoming" narrative-in-the-making)
 
<br>
 
Words rolling off the tongue<br>images conjured at the keyboard<br>sounds blasting through headphones<br>bodies bobbing off the balls of their feet<br>while ''qi ''electrical impulses structure<br>every pivotal move into makeshift<br>choreographed trance ritual space
 
<br>
 
In his lecture 'The Creative Act'<br>the artist Marcel Duchamp<br>refers to the artist as a medium:<br>
<blockquote><br> To all appearances, the artist acts like a mediumistic being who, from the labyrinth beyond time and space, seeks his way out to a clearing. </blockquote>
<br>
 
Duchamp expands on his notion of the creative act:<br>
 
<br>
<blockquote>In the creative act, the artist goes from intention to realization through a chain of totally subjective reactions. His struggle toward the realization is a series of efforts, pains, satisfaction, refusals, decisions, which also cannot and must not be fully self-conscious, at least on the esthetic plane. <br> <br> The result of this struggle is a difference between the intention and its realization, a difference which the artist is not aware of. </blockquote>
<br>
 
The artist-as-living-medium is not aware of<br>this difference between intention and realization<br>since they are performing their always-live remixes<br>via unconsciously triggered states of intuition
 
<br>
 
Duchamp writes that<br>
 
<br>
<blockquote>the artistic execution of the work rest[s[ with pure intuition and cannot be translated into a self-analysis, spoken or written, or even thought out.<br> </blockquote> <blockquote></blockquote><blockquote><br></blockquote>
Biologically speaking<br>what does it mean to intuitively<br>generate an aesthetic experience<br>and how would this creative act<br>get translated as the ultimate turn-on?<br>
 
<br>
 
Put differently: what is the unconscious<br>readiness potential that triggers<br>Creativity as the principle of ''novelty''?
 
<br>
 
Is it related to feeling a sexual urge?
 
<br>
 
When asked in an interview 'What is creativity?' <br>Russian dancer Rudolf Nureyev gave the following answer:<br>
<blockquote><br> It is something born from within you. It's as though you felt a need to do something, to say something, to utter, and you cannot live without uttering this sentence or writing this piece of music. It just begs to manifest itself. It is a need to express yourself first, and then to rationalize this expression. It is irrational first, rational after. I am sure Einstein had an inkling about something unknown and then came to his theory of light. And I am sure everybody has had this impulse, very much akin to sex, sexual drive, or sexual appetite, if you wish. </blockquote>
<br>
 
Intuitively acting on this impulse<br>the fidgeting digits of the digital nomad<br>transfigured in trance narrative space<br>execute their high performance keyboard gestures<br>while generating what the poet Allen Ginsberg terms <br>'prophetic illuminations' running parallel to <br>physiological currents subtly manipulating <br>psychosomatic flow
 
<br>
 
Artists caught in the heat of ecstatic release<br>can relate to this ongoing creative process <br>triggering the continuous launch of <br>neuro-aesthetic forms of expression <br>finding their way in and out of the body <br>as it shape-shifts ''while playing''
 
<br>
 
Vilém Flusser has a different take on<br>this Duchampian 'creative act'<br>referring to it as ''The Gesture of Writing''<br>but for Ginsberg this ecstatic expression<br>catalyzes into spontaneous transmissions<br>emitting from a body experiencing 'physiological spasms'<br>in a heightened state of emerging-agency
 
<br>
 
The State of Emerging-Agency is not very different<br>from an endless State of Creative Emergency<br>(Emergency being a heightened state of emerging-agency<br>where the 'always live' artist-medium gives itself<br>extensive powers to develop an integrated<br>open source lifestyle practice that customizes responses to<br>these hyperimprovisational projections from the creative unconscious<br>that seemingly come out of nowhere and require<br>ones immediate remixological attention)
 
<br>
 
If you are practicing spontaneous transmission<br>(Ginsberg lectures all wannabe bards)<br>and by this he means to say<br>'transmission of your thought'<br>'how do you choose then what thoughts<br>you need to put down' while in trance?
 
<br>
 
The answer (he says—playing Guru)<br>'is that you don't get a chance to choose<br>because everything's going so fast.'
 
<br>
 
'It's like driving on a road<br>you just have to follow the road;<br>And take turns, "eyeball it"<br>as a carpenter would say.<br>You don't have any scientific<br>measuring rod, except your own mind.
 
<br>
 
I don't know of any scientific measuring rod<br>that's usable. So you have to chance<br>whatever you can and pick whatever you can.<br>So there's also a process of automatic selection.<br>Whatever you can draw in your net is it,<br>is what you got.'
 
<br>
 
Remixology forms as a process of<br>natural selection
 
<br>
 
intuitive netting of the source material
 
<br>
 
which then can be mutated into<br>the physiological form of ecstasy<br>during your ongoing postproduction sets
 
<br>
 
(a beautiful experience?
 
<br>
 
autoerotic musing?
 
<br>
 
this interiorized postproduction process<br>turns the pure mobility of ones durée<br>into the ongoing satisfaction of becoming<br>more source material / experiential data<br>and during a heightened state of emerging-agency<br>can lead to what Alfred North Whitehead<br>refers to as ''Higher Phases of Experience'')
 
<br>
 
Creativity as a form of novel advance<br>becomes an 'always live' performance art movement<br>especially when embodied by the postproduction medium<br>whose spontaneous transmission<br>is transcribed into ''more source material''
 
<br>
 
more hard code
 
<br>
 
that then gets mashed up further<br>into a remixological composition style<br>that transfigures the measuring rod<br>into a conceptual DJ tool<br>whose job it is to '''intervene'''
 
<br>
 
(William Carlos Williams:<br>'The measure intervenes,<br>to measure is all we know.')
 
<br>
 
This measuring rod is the instrument<br>used in the principle of natural selection<br>'so you have to be a little athletic about that'<br>says Ginsberg
 
<br>
 
(If the species ''remixologist''<br>is about anything at all<br>it's about aesthetic fitness<br>i.e. the ability to transmit<br>an embodied sense of measure<br>as an intense [beautiful?] experience<br>so as to attract those whom might appreciate<br>such transmissions as indicative of<br>an energy-medium seeking sexual satisfaction)
 
<br>
 
The measuring rod vibrates<br>as a ''sense of measure''<br>physiologically rooted<br>in the digital gesture transcribed<br>while writing (playing-performing-remixing)<br>and inhabits a transliminal space<br>where everything is biochemically<br>bleeding into everything else it connects with<br>and is subject to electro or alchemical<br>manipulation during its state of emerging-agency
 
<br>
 
This biochemically charged state of emerging-agency<br>can now be felt in the networked space of social flows<br>or what pre-Internet Ginsberg referred to as a 'mind bank network' <br>in whose neurosis we tell the story of Remixology<br>where the act of transmitting ones Creativity<br>takes place via continuous improvisation and revision
 
<br>
 
As Robert Creeley wrote in relation to Whitman<br>'[his] constant habit of revisions and additions<br>would concur, I think, with this notion of<br>his process, in that there is not 'one thing'<br>to be said and, that done, then "another."<br>Rather the process permits the material<br>('myself' in the world) to extend until<br>literal death intercedes.'
 
<br>
 
<strike></strike>
 
<strike>Remixology challenges yet merges with the life sciences<br>by performing a creative misappropriation of<br>impenetrable scientific discourses loaded with hegemonic ideology<br>resituating the aesthetics-junky as an 'always becoming'<br>biopolitical animal instinctively looking for its next systemic hack</strike>
 
<strike></strike>
 
<br>
<blockquote>'Do I contradict myself?<br>Very well, then I contradict myself.<br>I am large, I contain multitudes'<br> </blockquote>
<br> <br>In this regard<br>as we watch our(so-called)selves <br>randomly morph into any number of<br>remixiogically reconfigured conceptual personae<br>we cannot help but ask
 
<br>
 
'What does it mean to become an artistic energy / living medium?'
 
<br>
 
or:
 
<br>
 
'What do we do with the surplus energy <br>that fills our bodies as they crave more aesthetic<br> sexual / 'connectual' satisfaction?'
 
<br>
 
In its many iterations of ''becoming philosophy''<br>Remixology envisions the artist as a postproduction medium<br>who becomes instrument while performing<br>radical experiments in unconsciously projected Creativity
 
<br>
 
Performing in a shared headspace of<br>hyperimprovisational co-creation or co-production<br>one that feels like it takes place <br>in asynchronous realtime
 
<br>
 
opens up the creative process to external influence<br>but an external influence that is being parallel processed <br>internally by all of the other players <br>intersubjectively jamming in the co-poietic mix
 
<br>
 
Think of it as simultaneous and continuous experiential tagging<br>in a massively modular remixological network
 
<br>
 
Or how about 'call-and-response' ''metamediumystic''<br>performance art networking that happens so fast<br>you end up in a parallel universe that looks and feels<br>like this world you know all too well but that also<br>now reveals an unconsciously generated underworld<br>full of prophetic bioluminescence?
 
<br>
 
The dancing pulsations of literary bodies<br>socializing the network while mirroring neurons?
 
<br>
 
Imagine transforming individual talent<br>into an ongoing remixological potential where<br>the artist as postproduction-medium triggers<br>socially constructed forms of novel togetherness<br>by mirroring neurons while aesthetically manipulating<br>the environmental data our conceptual personae perform in
 
<br>
 
Immersed in the depths of this remix underworld <br>co-poietically unfolding in the 'mind bank network'<br>the living remix creature would become <br>more networked source material<br>that can be sampled from at will<br>suggesting that for artist-mediums<br>who intentionally build mosaics of meaning<br>out of renewable forms of energy [source material]<br>there is no longer an inspirational source<br>to turn to for enlightened expression<br>rather it’s more of a co-conspiratorial practice<br>fed by a reservoir of living datum<br>that one ''hacks into'' and ''samples from''<br>to create novel forms of aesthetic intensity<br>that may lead to . . . sexual experiences?
 
<br>
 
To perform this interventionist measure ''on'' measure<br>remixological hackers must attune their bodies <br>to the neural resonance of their relationships <br>with other creatures in their social network<br>as well as the accompanying neural resonance<br>they may have with all of the artworks they encounter<br>when engaging with activist reality hackers <br>whose aesthetic agenda includes designing <br>the distribution channels that these tactically administered<br>artworks continuously pass through
 
<br>
 
What would an applied remixologist<br>intersubjectively jamming with their ludic crew<br>distributed in the networked space of flows<br>have to contribute to the collective unconscious<br>especially in the name of deep research<br>into the forever-remixed ('living') creative act?
 
<br>
 
Ginsberg deliberate in his prose<br>tells us that we have to stretch things<br>as far as we can take them<br>'-- you go so far out you don’t know<br>what you’re doing, you lose touch<br>with what’s been done before by anyone,<br>you wind up creating a new poetry-universe.'
 
<br>
 
The bottom line is that
 
<br>
 
to remix Miles Davis who once said<br>
<blockquote><br>Sometimes you have to play a long time to be able to play like yourself </blockquote>
<br>
 
sometimes it takes a long time<br>to become a postproduction medium
 
<br>
 
a novel entity
 
<br>
 
a rhythm scientist
 
<br>
 
<br>
 
<br>'''ADDENDUM:'''
 
<br>
 
This introduction cannot end here. There is always more. There is always an excess.
 
<br>
 
{{#widget:SoundCloudfckLR|id=19775100}}
 
<br> <br> '''<br>Natural Rhythms, Embodied<br>(After Henri Lefebvre)'''
 
<br> A rhythm invests in places, but is itself not a place: it is not a thing, nor an aggregation of things, nor yet a simple flow. It embodies its own law, its own regularity, which it derives from space -- from its own space -- and from a relationship between space and time.
 
<br>
 
What we live are rhythms -- rhythms experienced intersubjectively.
 
<br>
 
Every rhythm expresses the body's inventiveness and when ported through an illuminative sense of measure can trigger higher phases of experience.
 
<br>
 
The body reveals these rhythms as varying forms of aesthetic fitness.
 
<br>
 
Rhythms in all their multiplicity interpenetrate one another compostproducing the 'nature' one is becoming while in auto-remix mode.
 
<br>
 
This auto-remix mode feels natural and the rhythms that layer and multiply the experience of ''feeling natural'' (while living) have to do with needs, with feelings, with urges, with tendencies toward some creative action that may be filtered into more metamediumsytic becomings.
 
<br>
 
These metamediumsytic becomings ('prophetic illuminations' sometimes experienced as 'physiological spams') are triggered by the unconscious readiness potential of the living remixologist who appropriates the rhythms of the body engaged in its ongoing spatial practice.
 
<br>
 
Fortunately for the forms of Creativity advancing into novel states of emerging-agency, the end is never the end, because Creativity simultaneously and continuously infects the all of the bodies that remix it, and in doing so, survives.
 
<br>
 
<br>


----
----


<br>
== Readings ==
 
; Cheryl A. Kerfeld : [http://www.plosbiology.org/article/info%3Adoi%2F10.1371%2Fjournal.pbio.1000100 When Art, Science, and Culture Commingle]
1. Cheryl A. Kerfeld <br> [http://www.plosbiology.org/article/info%3Adoi%2F10.1371%2Fjournal.pbio.1000100 When Art, Science, and Culture Commingle]<br>
; David P. Barash : [http://www.epjournal.net/filestore/ep02200219.pdf Biology Lurks Beneath: Bioliterary Explorations of the Individual versus Society]
 
; Liane Gabora : [http://cogprints.org/4768/1/beercan.htm The Beer Can Theory of Creativity]
http://www.plosbiology.org/article/info%3Adoi%2F10.1371%2Fjournal.pbio.1000100
; Elena Daprati, Marco Iosa, Patrick Haggard : [http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0005023 A Dance to the Music of Time: Aesthetically-Relevant Changes in Body Posture in Performing Art]
 
; Marco Iacoboni, Istvan Molnar-Szakacs, Vittorio Gallese, Giovanni Buccino, John C. Mazziotta, Giacomo Rizzolatti : [http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1044835/pdf/pbio.0030079.pdf Grasping the Intentions of Others with One’s Own Mirror Neuron System]
<br>
; Chrisantha Fernando, K.K. Karishma, Eors Szathmary : [http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0003775 Copying and Evolution of Neuronal Topology]
 
; Steven P. DiPaola and Liane Gabora : [http://cogprints.org/6767/ Incorporating Characteristics of Human Creativity into an Evolutionary Art Algorithm]
2. David P. Barash  
; Richard Samuels : [http://sas-space.sas.ac.uk/944/ Is the Mind Massively Modular?]
 
; Johan De Smedt : [http://www.epjournal.net/filestore/EP08695719.pdf Toward an Integrative Approach of Cognitive Neuroscientific and Evolutionary Psychological Studies of Art]
[http://www.epjournal.net/filestore/ep02200219.pdf Biology Lurks Beneath: Bioliterary Explorations of the Individual versus Society]<br><br>[http://www.epjournal.net/filestore/ep02200219.pdf http://www.epjournal.net/filestore/ep02200219.pdf]  
; Mark Amerika : [http://www.culturemachine.net/index.php/cm/article/view/351/353 Source Material Everywhere]
 
; Mark Amerika : [http://www.vjtheory.net/web_texts/text_amerika.htm Ghost Tendencies]
<br>
; John Egenes : [http://www.doaj.org/doaj?func=abstract&id=614106&q1=remix&f1=all&b1=and&q2=&f2=all&recNo=2&uiLanguage=en Commentary: The Remix Culture; How the Folk Process Works in the 21st Century]
 
; Geoffrey F. Miller : [http://www.unm.edu/~psych/faculty/aesthetic_fitness.htm Aesthetic fitness: How Sexual Selection Shaped Artistic Virtuosity as a Fitness Indicator and Aesthetic Preferences as Mate Choice Criteria]  
3. Liane Gabora  
; Julie Copeland : [http://www.abc.net.au/rn/arts/sunmorn/stories/s1381964.htm The Creative Urge: Elizabeth Grosz ]
 
[http://cogprints.org/4768/1/beercan.htm The Beer Can Theory of Creativity]<br><br>http://cogprints.org/4768/1/beercan.htm
 
<br>
 
4. Elena Daprati, Marco Iosa, Patrick Haggard  
 
[http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0005023 A Dance to the Music of Time: Aesthetically-Relevant Changes in Body Posture in Performing Art]<br><br>[http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0005023 http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0005023]  
 
<br>
 
5. Marco Iacoboni, Istvan Molnar-Szakacs, Vittorio Gallese, Giovanni Buccino, John C. Mazziotta, Giacomo Rizzolatti  
 
[http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1044835/pdf/pbio.0030079.pdf Grasping the Intentions of Others with One’s Own Mirror Neuron System]<br><br>[http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1044835/pdf/pbio.0030079.pdf http://www.ncbi.nlm.nih.gov/pmc/articles/PMC1044835/pdf/pbio.0030079.pdf]  
 
<br>
 
6. Chrisantha Fernando, K.K. Karishma, Eors Szathmary  
 
[http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0003775 Copying and Evolution of Neuronal Topology]<br><br>http://www.plosone.org/article/info%3Adoi%2F10.1371%2Fjournal.pone.0003775
 
<br>
 
7. Steven P. DiPaola and Liane Gabora  
 
[http://cogprints.org/6767/ Incorporating Characteristics of Human Creativity into an Evolutionary Art Algorithm]<br><br>http://cogprints.org/6767/
 
<br>
 
8. Richard Samuels  
 
[http://sas-space.sas.ac.uk/944/ Is the Mind Massively Modular?]<br><br>http://sas-space.sas.ac.uk/944/
 
<br>
 
9. Johan De Smedt  
 
[http://www.epjournal.net/filestore/EP08695719.pdf Toward an Integrative Approach of Cognitive Neuroscientific and Evolutionary Psychological Studies of Art]<br><br>www.epjournal.net/filestore/EP08695719.pdf
 
<br>
 
10. Mark Amerika  
 
[http://www.culturemachine.net/index.php/cm/article/view/351/353 Source Material Everywhere]<br><br>http://www.culturemachine.net/index.php/cm/article/viewArticle/351
 
<br>
 
11. Mark Amerika  
 
[http://www.vjtheory.net/web_texts/text_amerika.htm Ghost Tendencies]<br><br>http://www.vjtheory.net/web_texts/text_amerika.htm
 
<br>
 
12. John Egenes  
 
[http://www.doaj.org/doaj?func=abstract&id=614106&q1=remix&f1=all&b1=and&q2=&f2=all&recNo=2&uiLanguage=en Commentary: The Remix Culture; How the Folk Process Works in the 21st Century]<br><br>http://www.doaj.org/doaj?func=abstract&amp;id=614106&amp;q1=remix&amp;f1=all&amp;b1=and&amp;q2=&amp;f2=all&amp;recNo=2&amp;uiLanguage=en
 
<br>
 
<br> '''See also these articles that are copyrighted but are still available to read for free on the Internet:'''
 
<br>
 
13. Geoffrey F. Miller  
 
[http://www.unm.edu/~psych/faculty/aesthetic_fitness.htm Aesthetic fitness: How Sexual Selection Shaped Artistic Virtuosity as a Fitness Indicator<br>and Aesthetic Preferences as Mate Choice Criteria]<br><br>http://www.unm.edu/~psych/faculty/aesthetic_fitness.htm<br>
 
<br>
 
14. Julie Copeland


[http://www.abc.net.au/rn/arts/sunmorn/stories/s1381964.htm The Creative Urge: Elizabeth Grosz ]<br>http://www.abc.net.au/rn/arts/sunmorn/stories/s1381964.htm
== [http://www.livingbooksaboutlife.org/books/Creative_Evolution/Attributions Attributions] ==


<br><br>
== A 'Frozen' PDF Version of this Living Book ==
; [http://livingbooksaboutlife.org/pdfs/bookarchive/CreativeEvolution.pdf Download a 'frozen' PDF version of this book as it appeared on 7th October 2011]

Latest revision as of 13:54, 19 January 2012

Natural Selection and the Urge to Remix

ISBN: 978-1-60785-263-6

edited by Mark Amerika

Introduction: What Is Creativity?


What is Creativity?

In his Process and Reality
Alfred North Whitehead writes that


Creativity is the principle of novelty.


The concept of novelty or more specifically
novelty generation as the modus operandi of
all living creatures mutating in the remix pool
relates to current trends in networked art
where the artist-as-medium postproduces
the Source Material Everywhere
as part of a larger co-poietic unfolding
inside the networked space of flows (more...)


Readings

Cheryl A. Kerfeld
When Art, Science, and Culture Commingle
David P. Barash
Biology Lurks Beneath: Bioliterary Explorations of the Individual versus Society
Liane Gabora
The Beer Can Theory of Creativity
Elena Daprati, Marco Iosa, Patrick Haggard
A Dance to the Music of Time: Aesthetically-Relevant Changes in Body Posture in Performing Art
Marco Iacoboni, Istvan Molnar-Szakacs, Vittorio Gallese, Giovanni Buccino, John C. Mazziotta, Giacomo Rizzolatti
Grasping the Intentions of Others with One’s Own Mirror Neuron System
Chrisantha Fernando, K.K. Karishma, Eors Szathmary
Copying and Evolution of Neuronal Topology
Steven P. DiPaola and Liane Gabora
Incorporating Characteristics of Human Creativity into an Evolutionary Art Algorithm
Richard Samuels
Is the Mind Massively Modular?
Johan De Smedt
Toward an Integrative Approach of Cognitive Neuroscientific and Evolutionary Psychological Studies of Art
Mark Amerika
Source Material Everywhere
Mark Amerika
Ghost Tendencies
John Egenes
Commentary: The Remix Culture; How the Folk Process Works in the 21st Century
Geoffrey F. Miller
Aesthetic fitness: How Sexual Selection Shaped Artistic Virtuosity as a Fitness Indicator and Aesthetic Preferences as Mate Choice Criteria
Julie Copeland
The Creative Urge: Elizabeth Grosz

Attributions

A 'Frozen' PDF Version of this Living Book

Download a 'frozen' PDF version of this book as it appeared on 7th October 2011