Mimésis. Culture, Art, Societé (Mimesis: Culture, Art, Society)

Gebauer, Günter; Wulf, Christoph

doi:10.2139/ssrn.3734141

Cited by 3 publications

(4 citation statements)

References 109 publications

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“…The professional viewers’ focus on process when evaluating creative output may be explained by theories of embodied cognition (Chiel and Beer, 1997; Frich et al, 2019; Wilson, 2002), in which one’s perception is grounded in mimesis (Gebauer and Wulf, 1995; Zlatev, 2008). Previous neuroscientific studies have demonstrated that dancers will neurally “mimic” the dance when viewing the performance of other artists (Calvo-Merino et al, 2005).…”

Section: Discussionmentioning

confidence: 99%

In the eye of the beholder: A viewer-defined conception of online visual creativity

Herman

Hwang

2022

New Media & Society

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Despite substantial interest in developing theoretical models and technology for creativity enhancement, existing creativity research across various fields lacks a user-centered definition of creativity that can be operationalized in today’s digital spaces. To address this, we conducted a mixed-methods longitudinal research on a study website mirroring content from Bēhance, a popular online platform for creatives. Specifically, we examined how content creators and consumers explored and reflected on online creative content through textual, visual, quantitative, and behavioral data. Analyzing and triangulating these multiple data streams, we conceptualize creativity from the perspectives of its genuine “users,” the viewers. Collectively, we highlight (1) constructs of creativity that have not been emphasized in the existing literature, (2) the impact of users’ roles on content exploration and conception of creativity, and (3) the difference between machine and human users’ perception of creative content. We discuss theoretical and practical implications accordingly.

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Section: Discussionmentioning

confidence: 99%

In the eye of the beholder: A viewer-defined conception of online visual creativity

Herman

Hwang

2022

New Media & Society

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“…Through mimetic processes, both an individual and a collective imaginary are created. Without mimetic representations, learning remains inanimate and does not enrich children's imaginaries Gebauer/Wulf 1995). The students' mimetic learning relates to a foreign culture and to a teacher, whose method for examining, analyzing and interpreting foreign objects is imitated.…”

Section: Mimetic Learningmentioning

confidence: 99%

“…The fact that human beings differ from all other forms of life through their distinct mimetic abilities is something that was already recognized by Plato and Aristotle. This idea was further elaborated in an extensive anthropological study on the conception and history of mimesis (Gebauer/Wulf 1995) and on the significance of mimetic processes in the acquisition of culture (Gebauer/Wulf 1998. Recent studies in primate research have shown that infants of eight months already command mimetic competencies that are more advanced than those ever attained by primates (Tomasello 1999).…”

Section: Mimetic Learningmentioning

confidence: 99%

Human Development in a Globalized World. Education towards Peace, Cultural Diversity and Sustainable Development

Wulf

2023

Revista Española de Pedagogía

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“…Mimesis, according to Derrida, is not intended ultimately to copy an original, but to create a difference from the original. Through imitation, a world of illusion is created in which existing images are appropriated and can acquire new meanings (Gebauer and Wulf, 1995). Essential to this approach is the relationship between the copy and the 136 original.…”

Section: Mimesismentioning

confidence: 99%

Global entertainment and local celebration

Reijnders¹,

Rooijakkers²,

Zoonen

2006

European Journal of Cultural Studies

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The entertainment show Idols has been without doubt one of the most popular TV programmes internationally in recent years. In the wake of this talent quest, local 'Idols parties' were organized throughout the Netherlands in 2003 and 2004. At schools, cafes, camping sites and clubrooms, parties were staged with names such as 'Idols Night' or 'Gay Idols'. This article examines the meaning of these shows and what the phenomenon ultimately tells us about the relationship between television culture and popular culture. To this end, we attended eight Idols parties, conducting ethnographic fieldwork. We can conclude that the Idols parties are inspired to a great extent by the popular TV format, but at the same time the ritual character of the TV model is diluted to make room for a process of appropriation. The objective of each Idols party is to celebrate the group identity of their association, school or club.

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Mimésis. Culture, Art, Societé (Mimesis: Culture, Art, Society)

Cited by 3 publications

References 109 publications

In the eye of the beholder: A viewer-defined conception of online visual creativity

In the eye of the beholder: A viewer-defined conception of online visual creativity

Human Development in a Globalized World. Education towards Peace, Cultural Diversity and Sustainable Development

Global entertainment and local celebration

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