MFA candidate, Lindsay Grace contributes a chapter in The Handbook on Research on Computational Arts and Creative Informatics for publication release May 15, 2009. The Handbook on Research on Computational Arts and Creative Informatics investigates new uses of technology and creative insights into the concepts of art and expression. It is a comprehensive resource focusing on topics related to the interaction of the sciences and the arts. The publication is edited by: James Braman, Towson University, USA; Giovanni Vincenti, Towson University, USA; Goran Trajkovski, Towson University, USA.

A glimpse of Grace’s perspective

The Philosophies of Software
Software is philosophical. Software is designed by people who have been influenced by a specific understanding of the way objects, people and systems work. These concepts are then transferred to the user, who manipulates that software within the parameters set by the software designer. The use of these rules by the designer reinforces an understanding of the world that is supported by the software they use. The designer then produces works that mimic these same philosophies instead of departing from them. The three axes of these philosophies are analogy, reductivism, and transferred agency. The effects on computer-based artistic expression, the training in digital art production, and the critique of art are evaluated in this chapter. Tensions between the dominant scientific approaches and the dominant artistic approaches are also defined as destructive and constructive practice respectively. The conclusion is a new critical perspective through which one may evaluate computer integrated creative practice and inspire fresh creative composition.

The Challenge of Encultruation in the Arts
Enculturation is the act of passing cultural ideologies from one person to the other. It is what breeds innovation instead of new creation. It is the disease of derivation, instead of the birth of creativity. This chapter assumes the practical perspective of critical anthropological distance to understand the culture of art. Such critical evaluation should illuminate the distinct characteristics that encourage patterns. In the tradition of anthropological and sociological study of existing culture, this chapter seeks to il luminate the distinguishing characteristics of contemporary art production and offer perspective on the critical creative process. It takes new media art as its case study because it serves as a cross-cultural intersection of scientific invention and artistic innovation.

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