# Plan **[[Creative Aspection]] and AI** --- ## Introduction - [[Allen Carlson]] introduces [[the concept]] of "acts of aspection" %% put the quote from the person Carlson is quoting%% to describe the specific perceptual and attentive activities we perform when appreciating art or nature, informed by our knowledge about [[the object]]'s nature, boundaries, and aesthetically significant features. - Acts of aspection are tailored methods of perceiving and engaging with an object or environment, determined by [[our understanding]] of its type, context, and the appropriate appreciative approach. - In this paper we argue that the actions that a gardener makes to grow her garden can be seen as **creative acts of aspection**, where engagement with a medium is actively shaped by knowledge and results in the creation of something new. - %%say something this idea being able to shed light on how we can appreciate ai art%% - In the [[second half]] of the paper we point out a dissimilarity: that gardening and AI prompting differ from the acts of aspection Carlson mentions for [[nature appreciation]], which are more about perception than creation. - %%make this less pompous and more straightforward%% The analysis aims to clarify how different types of understanding shape our interaction with and appreciation of various mediums, comparing the roles of knowledge in creating and appreciating art, gardens, and generative AI art. --- - [[Acts of Aspection in Environmental Appreciation OLD VERSION]] 12 Nov 2024 at 09:53:20 **Here's the markdown version of the text:** ## 1. Acts of Aspection in Environmental Appreciation ### 1.1 Acts of Aspection [[Allen Carlson]] introduces [[the concept]] of _acts of aspection_ to describe the specific perceptual and attentive activities we engage in when appreciating art or nature. These are deliberate actions informed by [[our understanding]] of [[the object]] or environment, enabling appropriate [[aesthetic appreciation]]. Carlson explains that in art appreciation, we possess knowledge about the artwork's type, boundaries, and aesthetically significant features. He states: > "We [[know what]] to appreciate in that, first, we can distinguish a work and its parts from that which is not it nor a part of it. And, second, we can distinguish its aesthetically relevant aspects from its aspects without such relevance" (Chapter 4, p. 41). These acts of aspection are fundamentally actions—they involve active engagement rather than passive observation. Carlson emphasises: > "We know how to appreciate in that we [[know what]] 'acts of aspection' to perform concerning different works" (Chapter 4, p. 41). To illustrate the variety of acts of aspection, Carlson cites Paul Ziff: > "To contemplate a painting is to perform one act of aspection; to scan it is to perform another; to study, observe, survey, inspect, examine, scrutinise, etc., are still other acts of aspection... Different actions are involved. Do you drink brandy in the way you drink beer?" (Chapter 4, p. 41). This analogy underscores that different objects or styles necessitate different actions for proper appreciation, guided by our knowledge of the work's type and context. Our understanding of artistic traditions and styles informs the specific acts of aspection we perform. Carlson notes: > "In knowing the type we know what and how to appreciate... Generally speaking, a different act of aspection is performed in connection with works belonging to different schools of art, which is why the classification of style is of the essence" (Chapter 4, p. 42). For example: - **Venetian vs. Florentine Schools:** Venetian paintings, with their emphasis on colour and balanced masses, require us to survey the artwork, stepping back to appreciate the overall composition. In contrast, Florentine paintings focus on contours and lines, prompting us to scrutinise the linear details closely (Chapter 4, p. 42). - **Artists like Claude, Bonnard, and Signorelli:** We are advised to "look for light in a Claude, for colour in a Bonnard, for contoured volume in a Signorelli" (Chapter 4, p. 42). Each artist's style dictates different acts of aspection because they emphasise different aesthetic qualities. These examples demonstrate that our knowledge of art informs both what we appreciate and how we appreciate it, determining the appropriate actions to engage with the artwork meaningfully. When it comes to nature, Carlson acknowledges that the natural environment is not our creation and lacks predefined boundaries or foci of aesthetic significance: > "The natural environment is not a work of art. As such it has no boundaries or foci of aesthetic significance that are given as a result of our creation nor of which we have knowledge because of our involvement in such creation" (Chapter 4, p. 49). Therefore, our appreciation of nature must be guided by different types of knowledge to determine appropriate acts of aspection. ### 1.2 The Role of Knowledge in Acts of Aspection Carlson argues that our acts of aspection in nature are informed by two primary types of knowledge: - **Common-sense knowledge:** Everyday experiences and familiar sensory cues that help us navigate and interpret our surroundings. - **Scientific knowledge:** Understanding gained through the study of ecology, biology, geology, and other sciences that inform us about natural processes, species interactions, and environmental systems. This knowledge helps us establish boundaries for appreciation and identify significant features within an environment. Carlson states: > "This knowledge gives us the appropriate foci of aesthetic significance and the appropriate boundaries of the setting so that our experience becomes one of aesthetic appreciation" (Chapter 4, p. 49). By applying our knowledge, we transform raw sensory experience into meaningful aesthetic appreciation. Without it, our experience might be a "blooming, buzzing confusion" of sensations (James, as cited in Chapter 4, p. 49), lacking structure and significance. Examples: Our scientific knowledge of grassland ecosystems and common-sense understanding of open spaces guide us in appreciating a prairie. We perform acts of aspection such as: - Surveying the Landscape: Engaging in broad visual scanning to take in the expansive horizon. - Feeling the Wind: Using tactile senses to appreciate the movement of air across the plains. - Observing Subtle Contours: Noticing gentle variations in the land's elevation. These actions are informed by our understanding of the prairie’s expansive qualities and the ecological processes at play. Carlson describes: "We must survey a prairie environment, looking at the subtle contours of the land, feeling the wind blowing across the open space, and smelling the mix of prairie grasses and flowers" (Chapter 4, p. 50). Dense Forest Environment In a dense forest, different knowledge informs our acts of aspection. Scientific understanding of forest ecology and common-sense experiences of woodland areas guide us to: Examine Details Closely: Inspecting leaves, bark textures, and ground cover. Listen Attentively: Focusing on the sounds of birds, insects, and rustling leaves. Engage Multiple Senses: Smelling the rich scents of spruce and pine, feeling the humidity and temperature changes. Carlson notes: "Here we must examine and scrutinise, inspecting the detail of the forest floor, listening carefully for the sounds of birds, and smelling carefully for the scent of spruce and pine" (Chapter 4, p. 50). Our knowledge determines the appropriate acts of aspection for different environments, allowing us to engage meaningfully with nature and enhance our aesthetic experience. Carlson emphasises: "Different natural environments require different acts of aspection; and as in the case of what to appreciate, our knowledge of the environment in question indicates how to appreciate—that is, indicates the appropriate act of aspection" (Chapter 4, p. 50). ### 1.3 Gardening as an Act of Aspection We propose that the actions performed in gardening are acts of aspection as defined by Carlson. To support this claim, we analyse the nature of acts of aspection and demonstrate how gardening aligns with this concept. Gardening Involves Knowledge-Guided Engagement Actions in Gardening Gardening involves specific physical actions such as digging, planting, pruning, weeding, and watering. It also includes perceptual activities like observing plant growth, detecting signs of stress or disease, and appreciating aesthetic arrangements. Knowledge in Gardening These actions are guided by both scientific and common-sense knowledge: Scientific knowledge: Botany: Understanding plant biology, growth habits, and reproductive cycles. Soil Science: Knowledge about soil composition, pH levels, and nutrient requirements. Ecology: Awareness of ecological interactions, such as pollination, pest control, and symbiotic relationships. Common-sense knowledge: Recognising when a plant needs water or sunlight. Understanding local climate patterns and seasonal changes. Responding to observable signs like wilting leaves or pest damage. Alignment with Carlson's Acts of Aspection Knowledge-Informed Actions Carlson emphasises that acts of aspection are knowledge-informed actions tailored to the object or environment. In gardening, the gardener's knowledge directs both their perceptual focus and their physical actions, aligning with this concept. Perception and Action Gardening combines perceptual activities with physical interventions. The gardener observes the garden's state and responds with actions informed by their understanding. This interplay exemplifies the dynamic engagement described by Carlson. Example A gardener notices that a plant's leaves are yellowing. Using scientific knowledge, they understand this may indicate a nutrient deficiency. They perform the act of aspection by closely examining the plant and soil, then take action to amend the soil appropriately. Gardening Extends the Concept of Acts of Aspection Active Participation While acts of aspection in nature appreciation often focus on perception, gardening involves both appreciating the garden and actively shaping it. The gardener's actions contribute to the garden's aesthetic qualities. Creation and Appreciation Gardening is a creative process where the gardener's knowledge informs both their perception of the garden and the actions they take to cultivate it. This creative aspect enriches Carlson's concept by demonstrating how knowledge-guided actions contribute to aesthetic appreciation. Dynamic Interaction The gardener engages in a continuous feedback loop of observation and action. This dynamic interaction reflects Carlson's idea that "our knowledge of the nature of the particular environments yields the appropriate boundaries of appreciation, the particular foci of aesthetic significance, and the relevant act or acts of aspection for that type of environment" (Chapter 4, p. 50). Gardening as an Exemplification of Acts of Aspection Tailored Engagement Just as different environments require specific acts of aspection, different gardens necessitate tailored actions based on the gardener's knowledge. For example, a formal English garden demands precise pruning and symmetry, while a wildflower meadow requires an understanding of native species and natural growth patterns. Knowledge Enhances Aesthetic Experience The gardener's informed actions lead to a richer aesthetic experience. By understanding plant behaviours and environmental factors, the gardener can create harmonious compositions and thriving ecosystems. ## 2. Prompting Generative AI as a Creative Act of Aspection %%All of this section should much more closely follow the analysis and ideas in the text that has preceded it. Here, the general idea is ok, but it it presented very broadly, without analytic rigour. You need to rethink this section entirely.%% ### 2.1 Drawing Parallels Between Gardening and AI Prompting - Prompting generative AI, such as Midjourney, Udio, ChatGPT etc. can similarly be seen as similar to gardening %%explain how%% - Users engage with the AI system by crafting prompts informed by their knowledge of language, art styles, and the AI's capabilities. - This process involves specific perceptual and conceptual activities guided by understanding, much like the acts of aspection in gardening. - Just as gardeners use their knowledge to direct their engagement with the garden, prompters use their understanding to shape the AI's outputs. - **Both practices involve an active, creative engagement where knowledge informs both perception and creation, resulting in a dynamic interaction with the medium.** ### 2.2 Understanding the Act of Aspection in AI Prompting - In prompting generative AI, users perform acts of aspection by focusing their attention on how specific inputs influence the AI's outputs. - They observe the effects of different prompt phrasings, styles, and references, developing an understanding of the system's latent space. - **This engagement requires knowledge of artistic concepts, styles, and the AI's mechanisms, guiding the user's perceptual and conceptual focus—much like how knowledge informs acts of aspection in art appreciation.** - For example, a user familiar with Impressionism might craft prompts referencing Monet to elicit certain aesthetic qualities, understanding that the AI interprets such references based on its training data. - This specialized knowledge informs the user's acts of aspection, directing attention to how the AI interprets and represents artistic elements. ### 2.3 The Creative Aspect of AI Prompting - **Prompting generative AI is inherently creative, as users actively shape the outputs through their inputs, paralleling the creative acts of aspection in gardening and art creation.** - This contrasts with the more passive acts of aspection Carlson describes for nature appreciation, where the observer does not alter the environment. - In AI prompting, users engage in a dialogue with the system, influencing its generative process through their knowledge and choices. - **The act of crafting prompts becomes a method of exploring and appreciating the medium, guided by specialized knowledge similar to that used in art creation and appreciation.** - This creative engagement deepens the user's perception of the AI's potential for creative expression, enriching their aesthetic experience. - By interacting with the AI, users participate in a dynamic process that requires active, informed engagement—an act of aspection that combines creation and appreciation. ### 2.4 Building on Carlson's Framework - Applying Carlson's concept of acts of aspection to AI prompting extends his framework into the digital realm. - Just as Carlson argues that "in knowing the type we know what and how to appreciate" (Chapter 4, p. 42), users of generative AI must understand the nature of the AI system to engage appropriately. - The knowledge of art history and AI mechanics informs the acts of aspection, guiding the user's engagement. - This demonstrates that acts of aspection are not limited to natural environments but can apply to interactive technological mediums where knowledge shapes perception and creation. --- ### 3. Comparing Acts of Aspection in Art, Gardening, and Generative AI %%as with the previous section, this section lacks rigour, presents arguments too broadly, doesn't relate these ideas back to they they have been previously presented in any detail. There are far too many subsections, suggestive of a broad, rather than deep analysis. If you need more information before restructuring/rewriting then just ask.%% **3.1 Refining the Conceptual Focus: From 'System' to 'Medium'** - In discussing appreciation in art, gardening, and AI prompting, the term 'medium' better captures the essence of what is engaged with, as it encompasses the materials, tools, and processes involved. - Carlson emphasizes appreciating nature "as nature," focusing on its inherent qualities and processes (Chapter 1, p. 12). - Similarly, in AI prompting and gardening, the 'medium' includes the materials and processes through which creative expression is realized. **3.2 Acts of Aspection in Art Creation and Material Engagement** - A painter performs acts of aspection through a deep engagement with their medium—paints, brushes, canvas—and the physical properties of these materials. - The painter gains understanding of how materials behave, how colours blend, and how brushstrokes affect the canvas, akin to a gardener learning how plants respond to different conditions. - **This experiential knowledge guides the painter's creative process, allowing them to anticipate outcomes and adjust techniques accordingly.** - Like the gardener, the painter's acts of aspection involve both perception and creation, informed by practical, hands-on experience. - **However, the painter may not be appreciating an external 'medium' in the same way the gardener or AI prompter does, as the materials are tools for expressing an internal vision rather than elements of an independent environment.** **3.3 Gardening and the Appreciation of a Dynamic Medium** - Gardeners engage with a living medium—the garden ecosystem—that responds autonomously to their actions. - **Their creative acts of aspection involve understanding and appreciating the garden's natural processes, such as growth, adaptation, and ecological interactions.** - The gardener learns from the garden's responses, gaining practical knowledge that guides future actions. - **This reciprocal relationship allows the gardener to appreciate the medium itself as an active participant in the creative process.** **3.4 AI Prompting and Interaction with a Responsive Medium** - AI prompters interact with a digital medium that generates outputs based on their inputs, displaying emergent behaviours not entirely predictable. - **Their acts of aspection involve understanding how the AI processes prompts and appreciating the medium's capabilities and limitations.** - Like the gardener, the prompter learns from the AI's responses, refining their prompts to achieve desired results. - **The AI serves as a medium that both influences and is influenced by the user's creative acts, enabling appreciation of its generative processes.** **3.5 Overlaps and Distinctions Among the Three Domains** - **Similarities:** - All three involve creative acts of aspection that blend perception and creation. - Practitioners gain practical knowledge through direct interaction with their medium. - The creative process is informed by understanding how the medium responds to their actions. - **Differences:** - **Art Creation (Painting):** - The painter's medium (paints, canvas) is inert and fully controlled by the artist. - Knowledge is largely practical and skill-based, developed through hands-on experience. - Appreciation is focused on the artwork as an expression of the artist's internal vision. - **Gardening:** - The medium is a living, dynamic environment with autonomous processes. - Knowledge includes practical experience and an understanding of natural processes. - Appreciation extends to the garden's intrinsic qualities and its responses to cultivation. - **AI Prompting:** - The medium is a responsive digital system with complex, emergent behaviours. - Knowledge combines practical interaction with specialised understanding of art history and AI mechanics. - Appreciation involves both the outputs and the generative processes of the AI. **3.6 Types of Knowledge in Each Domain** - **Practical Knowledge:** - **Painting and Gardening:** Developed through hands-on experience and skill refinement. - **AI Prompting:** Acquired through iterative experimentation with the AI system. - **Theoretical Knowledge:** - **Painting:** May include art theory but is less central to the act of creation. - **Gardening:** Can involve scientific understanding of botany and ecology, though practical experience often suffices. - **AI Prompting:** Requires specialised knowledge of art history, styles, and AI functionalities to effectively guide the system. - **Common-Sense Knowledge:** - Utilised across all domains to navigate basic interactions with the medium. - **Scientific and Art Historical Knowledge:** - **Gardening:** Scientific knowledge enhances understanding of natural processes but is not always necessary. - **AI Prompting:** Art historical knowledge is crucial to inform prompts and achieve desired artistic outputs. - **Painting:** Art historical knowledge may influence stylistic choices but is secondary to practical skill. **3.7 Cohesive Structure of Overlaps and Differences** - **Engagement with Medium:** - **Painter:** Engages with physical materials to realise an internal vision. - **Gardener:** Collaborates with a living environment, balancing control and autonomy. - **AI Prompter:** Interacts with a digital system that interprets inputs to generate outputs. - **Appreciation Through Creation:** - **Painter:** Appreciates the emerging artwork as it aligns with their vision. - **Gardener:** Appreciates the garden's development and the natural processes at play. - **AI Prompter:** Appreciates both the creative possibilities and the AI's generative process. - **Role of the Medium:** - **Painter's Medium:** Tool for expression, fully manipulated by the artist. - **Gardener's Medium:** Autonomous environment that responds to cultivation. - **AI Prompter's Medium:** Responsive system that co-creates based on user input. **3.8 Implications for Aesthetic Engagement and Knowledge** - **Understanding the Medium Enhances Aesthetic Experience:** - Deeper knowledge of the medium's properties and behaviours allows for more effective acts of aspection. - **Different Domains Require Different Knowledge Types:** - Practical skills are crucial in painting and gardening. - Specialised theoretical knowledge is more significant in AI prompting. - **Appreciation of Processes:** - **Gardening and AI Prompting:** Involve appreciating the processes and behaviours of a responsive medium. - **Painting:** Focuses on the creation of a final product rather than the appreciation of material processes. - **Creative Acts as a Means of Exploration:** - Practitioners in all domains use creative acts to explore and understand their mediums, enriching their aesthetic appreciation. --- **Conclusion** - **Gardening and prompting generative AI both function as creative acts of aspection involving informed, purposeful engagement with a responsive medium, paralleling but also differing from processes in art creation and appreciation.** - These practices extend Carlson's concept of acts of aspection by incorporating creation alongside perception and by appreciating the medium itself through creative engagement. - The comparison highlights the central role of different types of knowledge—practical skills for painters and gardeners, specialised theoretical knowledge for AI prompters—in shaping acts of aspection across different domains. - Recognising these distinctions emphasises the importance of understanding the medium in performing appropriate acts of aspection and suggests that creative engagement with a responsive medium enhances aesthetic appreciation. - **Further exploration of these parallels could illuminate how knowledge, creativity, and medium appreciation interplay to shape aesthetic experiences across diverse contexts.** # Creative Aspection ## Introduction Aesthetic appreciation traditionally centres on two primary modes: the appreciation of **objects** and the appreciation of **processes**. The former involves engaging with art forms such as paintings or sculptures as distinct entities, focusing on their perceptual features. The latter encompasses the aesthetic appreciation of one's own actions or experiences, such as dancing or playing a musical instrument, where the aesthetic experience arises from the activity itself. This paper proposes a third mode of aesthetic appreciation—**creative aspection**—which differs from these established categories. In creative aspection, individuals appreciate a system by engaging creatively within it. This concept can be exemplified through activities such as gardening, where one aesthetically appreciates the environment by cultivating it, or constructing with Lego, where one appreciates the Lego system through creative building. ## Object-Based Aesthetic Appreciation Object-based appreciation has long been a focal point within aesthetics, involving the perception and valuation of tangible art forms. When observing a painting, for instance, the viewer engages with its visual elements—the colours, forms, and composition—that constitute the artwork. The aesthetic experience arises from this perceptual engagement with the object itself. Allen Carlson introduces the concept of **acts of aspection**, referring to the particular ways individuals engage with and perceive objects or environments based on their inherent characteristics. He emphasises that our aesthetic appreciation is guided by these acts, informed by the nature of the object and our understanding of it. Carlson states that appreciation involves activities that are "responsive to the object but incorporating knowledge of it as an essential component" (Carlson, 1979, p. 19). Understanding the type of artwork directs our attention to specific features relevant to that style. To illustrate this, Carlson contrasts Venetian and Florentine paintings: > "Venetian paintings lend themselves to an act of aspection involving attention to balanced masses; contours are of no importance, for they are scarcely to be found. The Florentine school demands attention to contours; the linear style predominates." (Carlson, 1979, p. 19) In appreciating a Venetian painting, one focuses on the interplay of colours and the harmonious distribution of forms, whereas a Florentine painting requires attention to precise lines and defined shapes. Ziff further elaborates: > "I survey a Tintoretto, while I scan an H. Bosch. Thus I step back to look at the Tintoretto, up to look at the Bosch. Different actions are involved." (Ziff, 1979, p. 19) These examples demonstrate how acts of aspection are tailored to the specific qualities of the artwork, guiding the observer's perceptual engagement. ### The Positive Role of Knowledge in Acts of Aspection Carlson emphasises the crucial role of knowledge in aesthetic appreciation, arguing that understanding enhances our engagement with an object or environment. He suggests that without knowledge, our experience would lack coherence, becoming merely "a meld of physical sensations" (Carlson, 1979, p. 21). Knowledge provides the necessary structure to our aesthetic experience, enabling us to discern relevant features and appreciate the object's true nature. He distinguishes between different types of knowledge that inform acts of aspection: - **Common-sense knowledge**: Everyday observations and practical understanding that allow us to make sense of our immediate experiences. - **Scientific knowledge**: Systematic insights that deepen our understanding of the underlying principles and processes of the object or environment. Carlson argues that both types of knowledge are essential for meaningful aesthetic appreciation. For example, understanding the historical context and techniques used in Impressionist painting guides us to focus on light, colour, and brushwork when viewing such artworks. This knowledge directs our attention to significant aspects, enriching our aesthetic experience. Moreover, Carlson asserts that knowledge does not detract from aesthetic appreciation but rather is necessary for it. He contends that even the perception of formal qualities in art depends on some level of understanding, as "the very identity of the formal elements of a work of art depends essentially upon the content of the work" (Carlson, 1979, p. 24). This interdependence suggests that knowledge and aesthetic appreciation are intrinsically linked. In the context of natural environments, Carlson's natural environmental model extends this concept, arguing that scientific knowledge enhances our appreciation of nature. Understanding ecological relationships, geological formations, or biological processes allows us to perceive the environment more richly and appreciate its complexities. ## Process-Based Aesthetic Appreciation Beyond the appreciation of objects, aesthetics also encompasses the appreciation of **processes**, particularly one's own actions. Engaging in activities such as games or dancing can be aesthetically appreciated from a first-person perspective. In these cases, the aesthetic experience is intimately tied to the performer's actions and experiences. When dancing, for example, the dancer may appreciate the fluidity of their movements, the rhythm, and the coordination required to perform. Similarly, in playing games, the player may find aesthetic value in the strategies employed, the challenge of problem-solving, or the elegance of gameplay mechanics. This mode of appreciation is internal and experiential, focusing on the process rather than an external object. C. Thi Nguyen, in his paper **"The Arts of Action"** (Nguyen, 2020), examines the concept of process aesthetics. He defines process aesthetics as "the aesthetics of activity from the perspective of the actor, including experiences of thinking, deciding, moving, and acting upon external objects" (Nguyen, 2020, p. 3). Nguyen argues that many activities we engage in have aesthetic qualities that are appreciated through our own actions. He notes that, while traditional aesthetic theory has focused on object-based appreciation, there is a domain of aesthetic experience in process-based activities. For instance, **rock climbing** involves aesthetic appreciation of one's own movements and problem-solving strategies as climbers navigate routes. The aesthetic qualities emerge from the climber's engagement with the activity, not merely from the physical environment. Nguyen points out that process arts involve artefacts or systems designed to engender agency and activity in participants for the sake of their aesthetic appreciation of that activity. Examples include games, dance forms like contact improvisation, and culinary practices that emphasise the experience of cooking or eating as an aesthetic process. While Carlson's acts of aspection focus on the perception of objects informed by knowledge, Nguyen's process aesthetics emphasises the aesthetic appreciation of one's own actions within an activity. Both approaches acknowledge the importance of knowledge but apply it differently—Carlson in perceiving external objects, Nguyen in engaging with processes.