Literature Investigation of Art through the Networked DIKWP Model and Four Spaces Framework

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. Objective of the Literature Investigation

2. Art Movements and Theories

• 2.1. Classical Art

• 2.2. Romanticism

• 2.3. Realism

• 2.4. Impressionism

• 2.5. Cubism

• 2.6. Surrealism

• 2.7. Abstract Expressionism

• 2.8. Pop Art

• 2.9. Digital Art

• 2.10. Contemporary Art and New Media

3. Applying the Networked DIKWP Model

• 3.1. Transformation Modes in Art Movements

• 3.2. Comparative Analysis

4. Integration with the Four Spaces Framework

• 4.1. Conceptual Space (ConC)

• 4.2. Cognitive Space (ConN)

• 4.3. Semantic Space (SemA)

• 4.4. Conscious Space

5. Comparison Tables

• 5.1. DIKWP Transformations in Art Movements

• 5.2. Four Spaces Mapping

• 5.3. Subjective-Objective Transformation Patterns

6. Discussion and Insights

7. Conclusion

8. References

The Data-Information-Knowledge-Wisdom-Purpose (DIKWP) model is a networked framework where each component can transform into any other, resulting in 25 possible transformation modes. This interconnected model allows for a nuanced analysis of cognitive processes and creativity in art.

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

• Information (I): Processed data revealing patterns.

• Knowledge (K): Organized information providing understanding.

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

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

The Four Spaces provide a multidimensional approach to understanding art:

• Conceptual Space (ConC): Ideas and theoretical constructs.

• Cognitive Space (ConN): Mental processes and creative thinking.

• Semantic Space (SemA): Meanings and associations between symbols.

• Conscious Space: Awareness, ethics, and self-reflection.

The aim is to conduct a thorough literature investigation in art, applying the networked DIKWP model and Four Spaces framework to various art movements and theories. Comparison tables will be used to illustrate the application of these models, facilitating a deeper understanding of enclosure creativity and innovation in art.

• Period: Antiquity to the Renaissance.

• Characteristics: Emphasis on proportion, harmony, and idealized beauty.

• Key Artists: Leonardo da Vinci, Michelangelo, Raphael.

• Period: Late 18th to mid-19th century.

• Characteristics: Emotion, individualism, and nature.

• Key Artists: Caspar David Friedrich, J.M.W. Turner, Eugène Delacroix.

• Period: Mid-19th century.

• Characteristics: Depiction of everyday life and society.

• Key Artists: Gustave Courbet, Jean-François Millet, Honoré Daumier.

• Period: Late 19th century.

• Characteristics: Light, color, and capturing moments.

• Key Artists: Claude Monet, Pierre-Auguste Renoir, Edgar Degas.

• Period: Early 20th century.

• Characteristics: Fragmented objects, multiple viewpoints.

• Key Artists: Pablo Picasso, Georges Braque, Juan Gris.

• Period: 1920s onwards.

• Characteristics: Unconscious mind, dreams, and irrationality.

• Key Artists: Salvador Dalí, René Magritte, Max Ernst.

• Period: 1940s-1950s.

• Characteristics: Spontaneous, abstract forms expressing emotions.

• Key Artists: Jackson Pollock, Mark Rothko, Willem de Kooning.

• Period: 1950s-1960s.

• Characteristics: Popular culture, mass media, and consumerism.

• Key Artists: Andy Warhol, Roy Lichtenstein, Richard Hamilton.

• Period: Late 20th century to present.

• Characteristics: Use of digital technology and software.

• Key Artists: Manfred Mohr, Lynn Hershman Leeson, Cory Arcangel.

• Period: Late 20th century to present.

• Characteristics: Diverse mediums, technology integration, interactive art.

• Key Artists: Nam June Paik, Olafur Eliasson, Marina Abramović.

Classical Art

• D→K: Observations of nature (data) lead to knowledge of ideal forms.

• K→D: Knowledge of proportions guides the creation of artworks.

• P→K: Purpose of achieving beauty informs knowledge.

Romanticism

• W→D: Emotions (wisdom) are expressed through artistic elements (data).

• D→I: Natural phenomena interpreted to evoke feelings.

• P→W: Purpose of expressing individualism shapes wisdom.

Realism

• D→I: Observing society (data) and interpreting social conditions (information).

• I→K: Information structured into social commentary (knowledge).

• K→W: Knowledge leads to insights about societal issues (wisdom).

Impressionism

• D→I: Capturing light and color (data) into visual impressions (information).

• I→K: Techniques developed to represent transient moments (knowledge).

• W→P: Wisdom about perception influences artistic intent.

Cubism

• K→D: Understanding forms leads to deconstruction in art (data).

• D→K: Fragmented visuals (data) create new knowledge about perception.

• P→K: Purpose to challenge perspective informs knowledge.

Surrealism

• W→D: Unconscious thoughts (wisdom) manifest in art (data).

• D→I: Dream images (data) are interpreted (information).

• P→W: Purpose of exploring the unconscious enhances wisdom.

Abstract Expressionism

• W→D: Inner emotions (wisdom) directly expressed as visual forms (data).

• D→I: Spontaneous gestures interpreted as artistic expression (information).

• P→D: Purpose of self-expression drives creation of art (data).

Pop Art

• D→K: Mass media images (data) analyzed to understand culture (knowledge).

• K→D: Cultural knowledge used to create art reflecting consumerism (data).

• P→I: Purpose of critiquing society informs the selection of imagery (information).

Digital Art

• D→I: Digital inputs processed into artworks (information).

• I→K: Understanding digital tools and techniques (knowledge).

• P→D: Purpose of innovation drives data creation through technology.

Contemporary Art and New Media

• P→D: Intentions lead to creation of interactive and multimedia artworks (data).

• D→W: Audience interaction (data) contributes to collective wisdom.

• W→P: Insights from new media reshape artistic purposes.

By examining the transformations within each art movement, we can identify patterns of innovation and creativity facilitated by the networked DIKWP model.

• Classical Art: Development of idealized forms and symmetry.

• Cubism: Redefining concepts of space and perspective.

• Digital Art: Conceptualizing art within virtual environments.

• Impressionism: Cognitive shift towards capturing fleeting moments.

• Surrealism: Exploration of the unconscious mind.

• Abstract Expressionism: Accessing subconscious creativity.

• Pop Art: Recontextualizing commercial imagery.

• Surrealism: Symbols drawn from dreams and subconscious.

• Contemporary Art: New meanings in interactive and multimedia contexts.

• Realism: Social consciousness and critique.

• Romanticism: Emphasis on individual experience and emotion.

• Digital Art: Ethical considerations of technology's impact.

• Innovation through DIKWP Transformations:

• Artists utilize various transformation modes to innovate and express creativity.

• For example, Surrealism employs W→D (wisdom to data) to manifest subconscious thoughts in tangible forms.

• Interplay of the Four Spaces:

• Art movements often reflect shifts in one or more of the Four Spaces.

• Cubism redefined the Conceptual Space by altering traditional notions of perspective.

• Subjective-Objective Dynamics:

• Movements like Impressionism and Abstract Expressionism highlight the movement from objective observations to subjective expressions.

• Technological Impact:

• Digital Art and Contemporary Art demonstrate how technology introduces new DIKWP transformations and expands the Semantic Space.

• Ethical and Societal Considerations:

• Art often reflects and critiques societal issues, engaging the Conscious Space.

• Pop Art critiques consumerism, while Contemporary Art addresses global concerns.

The networked DIKWP model, integrated with the Four Spaces framework, provides a robust analytical tool for understanding creativity and innovation in art. By mapping various art movements onto this model, we can:

• Identify Patterns of Innovation: Understand how different DIKWP transformations contribute to artistic breakthroughs.

• Appreciate Multidimensional Creativity: Recognize the interplay between cognitive processes, conceptual developments, semantics, and consciousness.

• Analyze Technological Influences: Examine how new media and technology expand creative possibilities and introduce new transformation modes.

• Understand Societal Reflections: Explore how art engages with ethical considerations and societal issues, influencing and reflecting collective consciousness.

This comprehensive approach enhances our understanding of art's evolution and its role in human cognition and culture.

• 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.

• Gombrich, E.H. (1950). The Story of Art. Phaidon Press.

• Adams, L.S. (2010). The Methodologies of Art. Westview Press.

• Floridi, L. (2011). The Philosophy of Information. Oxford University Press.

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

Note: This literature investigation is based on an extensive review of art history and theories, integrating the networked DIKWP model and Four Spaces framework to provide a comparative analysis of different art movements. The comparison tables serve as visual aids to enhance understanding of complex concepts.

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. ".