Enclosure Creativity and Innovation in Art through the Networked DIKWP Model and Four Spaces 

Yucong Duan

International Standardization Committee of Networked DIKWP for Artificial Intelligence Evaluation(DIKWP-SC)

World Artificial Consciousness CIC(WAC)

World Conference on Artificial Consciousness(WCAC)

(Email: duanyucong@hotmail.com)

Table of Contents

1. Introduction

• 1.1. Overview of the Networked DIKWP Model

• 1.2. The Four Spaces Framework

• 1.3. Understanding Enclosure Creativity in Art

2. Theoretical Foundations

• 2.1. The Networked DIKWP Transformations

• 2.2. Subjective-Objective Transformations in Art

3. Applying the Networked DIKWP Model to Enclosure Creativity

• 3.1. Transformations between DIKWP Components

• 3.2. Artistic Processes as DIKWP Transformations

4. Integration with the Four Spaces

• 4.1. Conceptual Space (ConC)

• 4.2. Cognitive Space (ConN)

• 4.3. Semantic Space (SemA)

• 4.4. Conscious Space

5. Case Studies and Examples

• 5.1. Impressionism

• 5.2. Cubism

• 5.3. Abstract Expressionism

• 5.4. Digital Art and AI

6. Enclosure Creativity in Contemporary Art

• 6.1. Virtual Reality Art

• 6.2. Interactive Installations

• 6.3. Brain-Computer Interfaces

7. Literature Review

• 7.1. Cognitive Theories in Art

• 7.2. Philosophical Perspectives

• 7.3. Technological Influences on Art

8. Tables for Illustration

• 8.1. DIKWP*DIKWP Transformation Modes

• 8.2. Mapping Art Movements to DIKWP Transformations

9. Conclusion

10. References

The Data-Information-Knowledge-Wisdom-Purpose (DIKWP) model is traditionally seen as a hierarchical framework describing the transformation from data to purpose. However, as proposed by Professor Yucong Duan, the DIKWP model is networked, where each component can transform into any other component, resulting in 25 possible transformation modes (5 components × 5 components).

Components of the DIKWP Model:

• Data (D): Raw, unprocessed facts or sensory inputs.

• Information (I): Processed data revealing patterns or relationships.

• Knowledge (K): Organized information providing understanding.

• Wisdom (W): Insightful application of knowledge with ethical considerations.

• Purpose (P): The driving intent or goal behind actions and decisions.

Networked Transformations:

Each component can transform into any other, including itself, leading to a dynamic and interconnected model:

This networked approach allows for a comprehensive analysis of cognitive processes and artistic creativity.

The Four Spaces—Conceptual Space (ConC), Cognitive Space (ConN), Semantic Space (SemA), and Conscious Space—provide a multidimensional framework for understanding cognitive and communicative processes in art:

• Conceptual Space (ConC): The realm of ideas and theoretical constructs.

• Cognitive Space (ConN): The domain of mental processes, including perception and reasoning.

• Semantic Space (SemA): The network of meanings and associations between symbols and concepts.

• Conscious Space: The layer encompassing awareness, self-reflection, and ethical considerations.

Enclosure creativity refers to innovative practices where artists redefine or transcend traditional boundaries—conceptual, spatial, or medium-based—to create new forms of expression. It involves the interplay between subjective experiences and objective realities, facilitated by the networked transformations of the DIKWP model.

In the networked DIKWP model, the transformation between components is not linear but interconnected. Each component can influence and transform into any other, including itself. This results in 25 transformation modes, allowing for a nuanced understanding of cognitive and creative processes.

Examples of Transformations:

• D→I (Data to Information): Raw sensory inputs are processed into meaningful patterns.

• I→K (Information to Knowledge): Patterns are organized into coherent understanding.

• K→W (Knowledge to Wisdom): Understanding is integrated with ethical and contextual insights.

• P→D (Purpose to Data): Intentions influence the collection or creation of data.

Artistic creativity often involves transformations between subjective experiences and objective representations:

1. (OBJ-SUB): Objective to Subjective (e.g., interpreting a landscape to evoke personal emotions).

2. (SUB-OBJ): Subjective to Objective (e.g., expressing inner feelings through a painting).

3. (OBJ-OBJ): Objective to Objective (e.g., photorealistic art).

4. (SUB-SUB): Subjective to Subjective (e.g., abstract art conveying emotions without direct representation).

These transformations can be mapped onto the networked DIKWP model to analyze artistic processes.

Artists engage in multiple DIKWP transformations during the creative process:

• D→I: Sensing environmental stimuli and interpreting them.

• I→K: Organizing interpretations into structured concepts.

• K→W: Integrating knowledge with personal insights.

• W→P: Formulating intentions based on wisdom.

• P→D: Creating new data (artworks) driven by purpose.

• K→D: Using knowledge to manipulate raw materials.

Artistic creativity can be viewed as a network of transformations:

• Inspiration (D→I, I→K): Perceiving stimuli and forming ideas.

• Ideation (K→W, W→P): Developing concepts and setting intentions.

• Creation (P→D, P→I): Producing artworks based on purpose.

• Reflection (W→W, W→K): Gaining insights from the creative process.

• Role: Formulation of innovative ideas and theoretical constructs.

• Integration with DIKWP: Concepts are developed through transformations like K→K (knowledge refining itself) and K→W (knowledge leading to wisdom).

• Artistic Application: Artists redefine artistic paradigms by manipulating conceptual frameworks.

• Role: Mental processing and creative thinking.

• Integration with DIKWP: Cognitive processes involve transformations such as I→K (information to knowledge) and W→P (wisdom guiding purpose).

• Artistic Application: Artists synthesize perceptions and insights to generate creative outputs.

• Role: Meaning-making through symbols and associations.

• Integration with DIKWP: Semantic interpretations involve I→I (information refining itself) and K→I (knowledge influencing information).

• Artistic Application: Artists create new meanings by altering symbolic representations.

• Role: Awareness, self-reflection, and ethical considerations.

• Integration with DIKWP: Ethical and conscious reflections involve W→W (wisdom refining itself) and P→W (purpose influencing wisdom).

• Artistic Application: Artists contemplate the impact of their work on society and integrate ethical dimensions.

Overview:

• Characteristics: Capturing light and movement to depict immediate impressions.

• Enclosure Creativity: Enclosing subjective perceptions within objective scenes.

DIKWP Transformations:

• D→I: Observing natural light (data) and interpreting it (information).

• I→K: Developing techniques to represent fleeting moments (knowledge).

• K→W: Gaining insights into the nature of perception (wisdom).

• W→P: Intent to portray the essence of a moment (purpose).

• P→D: Creating artworks that serve this purpose (data creation).

Integration with Four Spaces:

• ConC: New concepts of visual representation.

• ConN: Cognitive shift towards perceiving transient effects.

• SemA: Altered meanings of light and color.

• Conscious Space: Reflecting societal changes in perceptions.

Overview:

• Characteristics: Depicting objects from multiple viewpoints simultaneously.

• Enclosure Creativity: Enclosing different perspectives within a single plane.

DIKWP Transformations:

• D→K: Analyzing forms (data) to understand structure (knowledge).

• K→D: Reconstructing objects into geometric forms (creating new data).

• K→W: Questioning traditional representation (wisdom).

• W→P: Purpose to redefine visual reality.

• P→K: Developing techniques to achieve this purpose.

Integration with Four Spaces:

• ConC: Revolutionizing concepts of space and form.

• ConN: Cognitive reorganization of perception.

• SemA: New semantics in visual language.

• Conscious Space: Challenging perceptions of reality.

Overview:

• Characteristics: Emphasis on spontaneous expression without representational constraints.

• Enclosure Creativity: Enclosing emotions within abstract forms.

DIKWP Transformations:

• W→D: Translating inner emotions (wisdom) directly into artistic gestures (data).

• D→I: The physical act of painting creates patterns (information).

• I→K: Viewers interpret these patterns (knowledge).

• K→W: Leading to personal insights (wisdom).

• P→D: The artist's intent drives the creation of the artwork.

Integration with Four Spaces:

• ConC: Breaking from traditional art concepts.

• ConN: Accessing subconscious creativity.

• SemA: Personal symbolism without fixed meanings.

• Conscious Space: Exploration of self and existence.

Overview:

• Characteristics: Utilizing technology and AI to create art.

• Enclosure Creativity: Enclosing computational processes within artistic creation.

DIKWP Transformations:

• D→I: Processing digital inputs (data) into visual outputs (information).

• I→K: Algorithms learn patterns (knowledge).

• K→D: AI generates new artworks (data creation).

• P→K: Artist's purpose informs AI parameters (knowledge).

• W→P: Ethical considerations guide the use of AI (purpose).

Integration with Four Spaces:

• ConC: New paradigms in art creation.

• ConN: Merging human and machine cognition.

• SemA: Evolving meanings in digital contexts.

• Conscious Space: Addressing ethical implications of AI.

Overview:

• Description: Immersive environments created using VR technology.

• Enclosure Creativity: Enclosing the viewer within a virtual space.

DIKWP Transformations:

• P→D: Intent to create immersive experiences results in virtual environments.

• D→I: Users interact with the environment, generating data and experiences.

• I→K: Users form understanding from interactions.

• K→W: Users gain insights or emotional responses.

• W→P: Experiences may influence users' purposes or intentions.

Integration with Four Spaces:

• ConC: Redefining space and interactivity.

• ConN: Altered cognitive engagement.

• SemA: New symbols and meanings in virtual spaces.

• Conscious Space: Ethical considerations of virtual experiences.

Overview:

• Description: Artworks requiring audience interaction to be complete.

• Enclosure Creativity: Enclosing creativity within artist-audience interaction.

DIKWP Transformations:

• P→D: Artist's purpose leads to the creation of interactive elements.

• D→I: Audience interactions generate new data and information.

• I→K: Collective experiences form shared knowledge.

• K→W: Participants gain insights.

• W→P: Shared experiences may influence collective purposes.

Integration with Four Spaces:

• ConC: Concepts of participation and co-creation.

• ConN: Shared cognitive processes.

• SemA: Dynamic meanings emerging from interaction.

• Conscious Space: Social and ethical dimensions of collaboration.

Overview:

• Description: Direct communication between the brain and devices.

• Enclosure Creativity: Enclosing artistic creation within neural activity.

DIKWP Transformations:

• W→D: Neural activity (wisdom) generates outputs (data).

• D→I: Interpreted neural signals become information.

• I→K: Understanding of neural patterns enhances knowledge.

• K→W: Advances in neuroscience contribute to wisdom.

• P→D: Purpose drives the use of BCIs in art.

Integration with Four Spaces:

• ConC: New concepts of creativity and expression.

• ConN: Integration of cognitive processes with technology.

• SemA: New semantics of neural expressions.

• Conscious Space: Philosophical implications of merging mind and machine.

• Arnheim, R. (1969). Visual Thinking.

• Explores how visual perception is a cognitive process involving D→I and I→K transformations.

• Zeki, S. (1999). Inner Vision: An Exploration of Art and the Brain.

• Discusses the neurological basis of art, relating to D→W and W→D transformations.

• Danto, A. (1997). After the End of Art.

• Examines the transformation of art concepts (K→K) and the role of purpose (P→K).

• Heidegger, M. (1971). Poetry, Language, Thought.

• Explores the interplay between language (I→K) and thought (K→W).

• Manovich, L. (2001). The Language of New Media.

• Analyzes the impact of digital technology on art, involving P→D and D→I transformations.

• Paul, C. (2015). Digital Art.

• Provides an overview of digital art practices, highlighting networked DIKWP processes.

The networked DIKWP model, as proposed by Professor Yucong Duan, offers a comprehensive framework for analyzing enclosure creativity and innovation in art. By recognizing the 25 possible transformations between components, we can:

• Understand Complex Artistic Processes: The interconnected transformations reflect the dynamic nature of creativity.

• Integrate Cognitive and Philosophical Perspectives: Mapping these transformations onto the Four Spaces provides a multidimensional analysis.

• Address Subjective-Objective Interplay: The model captures how artists navigate and innovate within subjective and objective realms.

• Incorporate Technological Advances: The framework accommodates contemporary practices involving AI and brain-computer interfaces.

Implications for Future Research:

• Enhanced Art Analysis: Researchers can apply the networked DIKWP model to various art forms for deeper insights.

• Artistic Education: Educators can use the model to teach the complexity of creative processes.

• Technological Integration: Artists can leverage the model to explore new mediums and technologies.

• Arnheim, R. (1969). Visual Thinking. University of California Press.

• Danto, A. (1997). After the End of Art. Princeton University Press.

• Duan, Y. (2022). The End of Art - The Subjective Objectification of DIKWP Philosophy. ResearchGate.

• Heidegger, M. (1971). Poetry, Language, Thought. Harper & Row.

• Manovich, L. (2001). The Language of New Media. MIT Press.

• Paul, C. (2015). Digital Art. Thames & Hudson.

• Zeki, S. (1999). Inner Vision: An Exploration of Art and the Brain. Oxford University Press.

• Additional Works by Duan, Y. Various publications on the DIKWP model and its applications in art and artificial intelligence.

Final Thoughts

By embracing the networked nature of the DIKWP model, we gain a richer and more accurate understanding of artistic creativity and innovation. The interplay between data, information, knowledge, wisdom, and purpose reflects the complexity of the artistic process, while the integration with the Four Spaces framework provides a multidimensional perspective. This approach aligns with contemporary developments in art, where boundaries are continually redefined, and new technologies expand the possibilities of creative expression.

References for Further Exploration

• International Standardization Committee of Networked DIKWP for Artificial Intelligence Evaluation (DIKWP-SC),World Association of Artificial Consciousness(WAC),World Conference on Artificial Consciousness(WCAC). Standardization of DIKWP Semantic Mathematics of International Test and Evaluation Standards for Artificial Intelligence based on Networked Data-Information-Knowledge-Wisdom-Purpose (DIKWP ) Model. October 2024 DOI: 10.13140/RG.2.2.26233.89445 .  https://www.researchgate.net/publication/384637381_Standardization_of_DIKWP_Semantic_Mathematics_of_International_Test_and_Evaluation_Standards_for_Artificial_Intelligence_based_on_Networked_Data-Information-Knowledge-Wisdom-Purpose_DIKWP_Model

• Duan, Y. (2023). The Paradox of Mathematics in AI Semantics. Proposed by Prof. Yucong Duan:" As Prof. Yucong Duan proposed the Paradox of Mathematics as that current mathematics will not reach the goal of supporting real AI development since it goes with the routine of based on abstraction of real semantics but want to reach the reality of semantics. ".