The pataphysics of creativity: developing a tool for creative search

Hugill, Andrew; Yang, Hongji; Raczinski, Fania; Sawle, James

doi:10.1080/14626268.2013.813377

Cited by 12 publications

(8 citation statements)

References 10 publications

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“…Following Shattuck and Taylor (1965) and Hugill (2012, p. 4) commentary on the work of Alfred Jarry, players’ writings about the end of AdVenture Capitalist can be summarized through the principles of 'pataphysics. Their solutions are subjective and privilege the particular over the general, as they find personal ways of finishing the game, and strategies to consider themselves satisfied with it.…”

Section: Resultsmentioning

confidence: 99%

“…Daumal (1929) argues that 'pataphysics is “knowledge of the specific and irreducible.” Jarry observes that 'pataphysics challenges modern science as it questions the principle of induction, which attributes to the majority of cases the status of universal law, thus eliminating from view the exceptions and unexplainable phenomena. Thinking of the universe as comprised of exceptions, instead, “implies an equivalence between imaginary solutions” (Hugill, 2012, p. 9). Jean Baudrillard was notoriously inspired by 'pataphysics and saw in it an alternative to the imaginaries to late capitalism.…”

Section: Capatalism: Imaginary Solutions To Capitalism Realismmentioning

confidence: 99%

“…Ultimately, I welcome Giddings’s (2007) call for a “surrealist ethnography (or hyperrealist ethology) of simulacral culture” in game studies (p. 402). Following Giddings’s invitation to play with the intellectual tradition of Jean Baudrillard’s thought on simulacra and simulations, the article concludes that players’ responses to the game are pataphysical : They are subjective, privileging the particular over the general, the imaginary over the real, the exceptional over the ordinary, and the contradictory over the axiomatic (Hugill, 2012, p. 4). In so doing, while retaining a belief in “capitalist realism” and the impossibility of alternative political economies (Fisher, 2009), players of AdVenture Capitalist produce simulacra of other (im)possible times in which capitalism and its simulation(s) come to an end.…”

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confidence: 99%

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The End of Capitalism: Disengaging From the Economic Imaginary of Incremental Games

Ruffino

2019

Games and Culture

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The article investigates how players of the incremental game AdVenture Capitalist write about the end of the game and the end of capitalism with it. The game visually and mechanically represents the economic imaginary of frictionless capitalism, characterized by endless and self-sufficient growth. AdVenture Capitalist has no end and does not require the player’s interaction. The analysis shows that players’ responses to their marginalization from an endless simulation are pataphysical: They privilege the particular over the general, the imaginary over the real, the exceptional over the ordinary, and the contradictory over the axiomatic. In so doing, players occasionally raise imaginary solutions to the end of capitalism. Examining the written traces of players’ disengagement from the simulation, the article intervenes in broader debates regarding the effects of games. It concludes that exceptional cases of overinterpretation reveal a complex transformative approach toward video games and the political and economic ideology represented therein.

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Section: Resultsmentioning

confidence: 99%

Section: Capatalism: Imaginary Solutions To Capitalism Realismmentioning

confidence: 99%

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confidence: 99%

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The End of Capitalism: Disengaging From the Economic Imaginary of Incremental Games

Ruffino

2019

Games and Culture

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“…Pataphysics, a kind of philosophy, has received much attention within the realm of creative computing. It is deemed as the science of imaginary solutions and laws governing exceptions, and it was proposed by French writer Alfred Jarry [44]. Based on his writing experiences, various kinds of operations were summarised for stimulating people's creative thinking, including Clinamen.…”

Section: Creative Computing Productmentioning

confidence: 99%

Synergy Between Human Creativity and Computing Technologies

Zhang¹,

Yang²,

Zhang³

2019

IJPE

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The study of human creativity has never been stopped. Nowadays, although various kinds of computing technologies, such as online courses, research tools, virtualising applications, and professional applications, have been widely used to serve human creativity, the contradiction between the subjectivity of human creativity and the objectivity of computing technologies still cannot be reconciled very well. As the relationships between human creativity and computing technologies are being pushed forward, more possibilities have been explored, such as digital creativity and computational creativity. Within digital creativity, artists can have deeper cooperation with technologists. Some artists even could work with technology by themselves. By creating from the perspective of technology, more creative ideas may be discovered. Computational creativity is devoted to facilitating human creativity by imitating human creativity. Based on the great computing power, it aims to generate new ideas that we humans may not be able to come up with. However, due to the deep utilisation in creativity fields, computing technologies have been influenced dramatically by the elements of creativity. People have started to consider what else computing technologies could do for human creativity. Therefore, the concept of creative computing that requires computing itself to be creative has been proposed to serve human creativity better. Within this paper, various synergy possibilities between human creativity and computing technologies are discussed thoroughly for the improvement of human creativity.

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“…Intuitively the former is about doing computations in a creative way, while the latter is about achieving creativity through computation. You can think of the latter falling into the artificial intelligence category (using formal computational methods to mimic creativity as a human trait) (Colburn and Shute, 2007) and the former being a more poetic endeavour of how the computing itself is done, no matter what the actual purpose of the programme might be (Hugill et al, 2013).…”

Section: Creative Computingmentioning

confidence: 99%

The creative turn: new challenges for computing

Hugill

Yang

2013

IJCRC

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This is a call to action. The time is ripe for a creative turn in computing. This article sets out a vision of what Creative Computing is and what it might become. It distinguishes between Creative Computing and computational creativity, and then lays out a theoretical framework. It proposes that Creative Computing is mainly happening in software. It compares the process of software development with the process of artistic creation and looks at ways in which the two might productively overlap or merge. It considers the levels of abstraction required in both and interrogates both their semantics and underlying principles from a philosophical and practical point of view. Finally, it sets three types of new challenges for Creative Computing in terms of software.

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The pataphysics of creativity: developing a tool for creative search

Cited by 12 publications

References 10 publications

The End of Capitalism: Disengaging From the Economic Imaginary of Incremental Games

The End of Capitalism: Disengaging From the Economic Imaginary of Incremental Games

Synergy Between Human Creativity and Computing Technologies

The creative turn: new challenges for computing

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