How is artistic creativity dependent on the exploration of cognitive artifacts?

How is artistic creativity dependent on the exploration of cognitive artifacts? According to our approaches, artists rely on cognitive extensions, and different kinds of semiotic resources are cognitive artifacts that distribute cognitive activity.

(John Cage > Merce Cunningham) I Ching works
as a protocomputing cognitive artifact to create and explore new problems in dance.

As emphasized in the literature on intermedial relations, a number of creative artists (Gertrude Stein, Eisenstein, Klee, Oswald de Andrade, Welles, Cage, Cunningham, Augusto de Campos, etc) rely on explicit cross-influence between different semiotic systems, in cases variously described as adaptation, ekphrasis, transmediation, or intersemiotic translation. We defended the idea that intersemiotic translation is a cognitive artifact that scaffolds creativity in arts in different time scales.

This implies that an artifact is not necessarily a physical thing or object. Procedures, methods, and techniques are also seen as artifacts: they are also constructed, adjusted, and perfected, and they also shape cognitive activities. Furthermore, following the premises of embodied-situated cognition, procedures, methods, and techniques are dependent and derived from situated manipulation of material things.

See more > Queiroz, J.; Atã, P. 2019. Intersemiotic Translation, Cognitive Artefact, and Creativity. Adaptation (Oxford) 12, Issue 3, December 2019, Pages 298–314. (link) (PDF)

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João Queiroz & Pedro Atã

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