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All Journal Melintas An International Journal of Philosophy and Religion Asian Journal of Social and Humanities
Yasraf Amir Piliang
Faculty of Art and Design Institute Technology of Bandung
Religion Arts Humanities Decision Sciences, Operations Research & Management Earth & Planetary Sciences Environmental Science Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Social Sciences

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Creativity as the Conceptual and Pragmatic Framing of Mind Amir Piliang, Yasraf
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 2 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (158.029 KB) | DOI: 10.26593/mel.v27i2.301.127-146

Abstract

As a philosophical concept, creativity is generally understood as a mental capacity of generating something new that has never existed before: ideas, compositions, arrangements, concepts, systems, forms, styles or products. As a mental capacity, it is widely believed that the end product of creativity is ‘new idea’, as an absolute creation of ‘individual genius’. This general claim about ‘newness’ as a genuine product of creativity obscures the fact that an idea can only be generated based on previous ideas, through a mechanism of ‘repetition’. The disavowal of repetition as an integral part of the concept of creativity leads to certain form of framing, namely a ‘conceptual framing’, through which newness as a relevant concept is celebrated in discourse, while the concept of repetition is concealed as irrelevant. This framing distorts the true meaning of creativity. In addition, there is another form of framing, which is more pragmatic, namely an ‘economic framing’, through which  the profit motive of creativity is exposed, whereas social, cultural, educational, and spiritual motives are concealed. Both forms of concealment have fundamentally distorted the true functions, motives and aims of  creativity. Keywords:*art, *creativity, *newness, *difference, *repetition, *borrowing, *field, *framing , *mental capacity, *social product, *capital, *power, *total expression
Seni dalam Perspektif Keilmuan: Berbagai Cara Kerja dan Pengetahuan Seni Amir Piliang, Yasraf
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 1 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (520.253 KB) | DOI: 10.26593/mel.v27i1.313.77-88

Abstract

The advanced nature of art owes to the fact that it involves the complexity of 'human' in its process, with all the capacities: emotions, feelings, soul, mind, imagination, will, attitudes, perceptions, values and meanings. Science and technology, by contrast, does not deal directly with these human dimensions. While at the beginning of this article 'science' and 'art' are seen as two completely different disciplines, in today development, particularly in the development of ‘post-modern science,’ the boundaries between them appear to be dissolving. The methods of science now even 'fuse' with the ‘methods’ of art. Among the discoveries of science there have been used the 'paradigm of the art' or the 'artistic courses of action'. In contrast, the patterns in art itself now also rely on scientific and technological discoveries, such as imaging technology (imagology) or virtual reality. What is developing in the discourse of searching 'knowledge' in all areas is the so-called 'artistic paradigm'. 'Artistic paradigm' is a model of searching for knowledge (truth, wisdom, beauty), by allowing the mind to move dynamically in the disorder, the black box, and chaos, but then to find a dynamic equilibrium in the so-called the 'edge of chaos'.
Experimentation and The Vanishing Point of Photography In Contemporary Art Hendan Durahman, Deden; Amir Piliang, Yasraf; Damajanti, Irma; Z. R. Langi, Armein
Asian Journal of Social and Humanities Vol. 3 No. 4 (2025): Asian Journal of Social and Humanities
Publisher : Pelopor Publikasi Akademika

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.59888/ajosh.v3i4.486

Abstract

Photography has established itself as a dominant force in contemporary art, yet its boundaries are continuously challenged by experimental practices that merge traditional photographic principles with elements drawn from fine art traditions, such as painting. This presents a critical issue: how can photography evolve conceptually and aesthetically without losing its fundamental identity? This research aims to develop a framework for creating photographic artworks that explore the representational limits of the medium through bold experimentation while preserving its core principles. Employing G. Sullivan’s framework of interpretation, structure, and critical inquiry, the study examines how experimental practices transform photography into photographic imagery, pushing the medium to its conceptual and aesthetic vanishing points. The findings reveal that at these boundaries, photographic imagery transcends traditional representation and evolves into an ideological foundation, demonstrating the medium’s capacity for profound conceptual expression. Despite these transformations, the study concludes that experimentation does not compromise the essential nature of photography—its unique ability to evoke ostensibly truthful memories. By identifying and analyzing these dynamics, the research underscores the enduring relevance and adaptability of photography in contemporary art, highlighting its potential to navigate new creative frontiers while maintaining its intrinsic connection to reality.
Creativity as the Conceptual and Pragmatic Framing of Mind Amir Piliang, Yasraf
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 2 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/mel.v27i2.301.127-146

Abstract

As a philosophical concept, creativity is generally understood as a mental capacity of generating something new that has never existed before: ideas, compositions, arrangements, concepts, systems, forms, styles or products. As a mental capacity, it is widely believed that the end product of creativity is ‘new idea’, as an absolute creation of ‘individual genius’. This general claim about ‘newness’ as a genuine product of creativity obscures the fact that an idea can only be generated based on previous ideas, through a mechanism of ‘repetition’. The disavowal of repetition as an integral part of the concept of creativity leads to certain form of framing, namely a ‘conceptual framing’, through which newness as a relevant concept is celebrated in discourse, while the concept of repetition is concealed as irrelevant. This framing distorts the true meaning of creativity. In addition, there is another form of framing, which is more pragmatic, namely an ‘economic framing’, through which  the profit motive of creativity is exposed, whereas social, cultural, educational, and spiritual motives are concealed. Both forms of concealment have fundamentally distorted the true functions, motives and aims of  creativity. Keywords:*art, *creativity, *newness, *difference, *repetition, *borrowing, *field, *framing , *mental capacity, *social product, *capital, *power, *total expression
Seni dalam Perspektif Keilmuan: Berbagai Cara Kerja dan Pengetahuan Seni Amir Piliang, Yasraf
MELINTAS An International Journal of Philosophy and Religion (MIJPR) Vol. 27 No. 1 (2011)
Publisher : Faculty of Philosophy, Parahyangan Catholic University, Bandung

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26593/mel.v27i1.313.77-88

Abstract

The advanced nature of art owes to the fact that it involves the complexity of 'human' in its process, with all the capacities: emotions, feelings, soul, mind, imagination, will, attitudes, perceptions, values and meanings. Science and technology, by contrast, does not deal directly with these human dimensions. While at the beginning of this article 'science' and 'art' are seen as two completely different disciplines, in today development, particularly in the development of ‘post-modern science,’ the boundaries between them appear to be dissolving. The methods of science now even 'fuse' with the ‘methods’ of art. Among the discoveries of science there have been used the 'paradigm of the art' or the 'artistic courses of action'. In contrast, the patterns in art itself now also rely on scientific and technological discoveries, such as imaging technology (imagology) or virtual reality. What is developing in the discourse of searching 'knowledge' in all areas is the so-called 'artistic paradigm'. 'Artistic paradigm' is a model of searching for knowledge (truth, wisdom, beauty), by allowing the mind to move dynamically in the disorder, the black box, and chaos, but then to find a dynamic equilibrium in the so-called the 'edge of chaos'.
Co-Authors Hendan Durahman, Deden Irma Damajanti Z. R. Langi, Armein