Originality
From The Art and Popular Culture Encyclopedia
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| "''[[Originality|Original]]s'' are, and ought to be, great Favourites, for they are great Benefactors; they extend the [[Republic of Letters]], and add a new province to its dominion: ''[[Imitation|Imitators]]'' only give us a sort of Duplicates of what we had, possibly much better, before." --''[[Conjectures on Original Composition]]'' (1759) by Edward Young | "''[[Originality|Original]]s'' are, and ought to be, great Favourites, for they are great Benefactors; they extend the [[Republic of Letters]], and add a new province to its dominion: ''[[Imitation|Imitators]]'' only give us a sort of Duplicates of what we had, possibly much better, before." --''[[Conjectures on Original Composition]]'' (1759) by Edward Young | ||
| <hr> | <hr> | ||
| - | "much art has been and is [[repetitive]]. The concept of absolute [[originality]] is a contemporary one, born with [[Romanticism]]; classical art was in vast measure serial, and the "modern" [[avant-garde]] (at the beginning of [[20th century|this century]]) challenged the Romantic idea of "[[creation from nothingness]]," with its techniques of collage, mustachios on the Mona Lisa, [[art about art]], and so on." ([[The Limits of Interpretation|Umberto Eco 1990]] [http://books.google.be/books?id=H4q8ZosSvB8C&pg=PA95&dq=%22The+concept+of+absolute+originality+is+a+contemporary+one,%22&hl=nl&sa=X&ei=vzsxU7nMFoOq7QbL5YGQBg&redir_esc=y#v=onepage&q=%22The%20concept%20of%20absolute%20originality%20is%20a%20contemporary%20one%2C%22&f=false]) | + | "much art has been and is [[repetition|repetitive]]. The concept of absolute [[originality]] is a contemporary one, born with [[Romanticism]]; classical art was in vast measure serial, and the "modern" [[avant-garde]] (at the beginning of [[20th century|this century]]) challenged the Romantic idea of "[[Ex nihilo|creation from nothingness]]," with its techniques of collage, mustachios on the Mona Lisa, [[art about art]], and so on." ([[The Limits of Interpretation|Umberto Eco 1990]] [http://books.google.be/books?id=H4q8ZosSvB8C&pg=PA95&dq=%22The+concept+of+absolute+originality+is+a+contemporary+one,%22&hl=nl&sa=X&ei=vzsxU7nMFoOq7QbL5YGQBg&redir_esc=y#v=onepage&q=%22The%20concept%20of%20absolute%20originality%20is%20a%20contemporary%20one%2C%22&f=false]) |
| |} | |} | ||
| - | [[Image:Mona Lisa Smoking a Pipe.jpg|thumb|right|200px|''[[Mona Lisa Smoking a Pipe]]'' (1883) by [[Eugène Bataille]]]] | + | [[Image:Mona Lisa Smoking a Pipe.jpg|thumb|right|200px|''[[Mona Lisa Smoking a Pipe]]'' by [[Eugène Bataille]]]] |
| [[Image:Reverse Side Of a Painting.jpg|thumb|right|200px|''[[Reverse Side of a Painting]]'' (1670) by [[Cornelis Norbertus Gysbrechts]], an example of ''[[metapainting]]'', postmodernism [[avant-la-lettre]].]] | [[Image:Reverse Side Of a Painting.jpg|thumb|right|200px|''[[Reverse Side of a Painting]]'' (1670) by [[Cornelis Norbertus Gysbrechts]], an example of ''[[metapainting]]'', postmodernism [[avant-la-lettre]].]] | ||
| [[Image:Véritable portrait de Monsieur Ubu, par Alfred Jarry (1896).png|thumb|right|200px| | [[Image:Véritable portrait de Monsieur Ubu, par Alfred Jarry (1896).png|thumb|right|200px| | ||
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| '''Originality''' is the aspect of [[creation|created]] or [[invention|invented]] works as being [[new]] or [[novelty|novel]], and thus can be distinguished from [[reproduction]]s, [[clone]]s, [[forgery|forgeries]], or [[derivative work]]s. An original work is one not received from others nor one copied based on the work of others. The term "originality" is often applied as a compliment to the [[creativity]] of [[artist]]s, [[writer]]s, and [[thinker]]s. | '''Originality''' is the aspect of [[creation|created]] or [[invention|invented]] works as being [[new]] or [[novelty|novel]], and thus can be distinguished from [[reproduction]]s, [[clone]]s, [[forgery|forgeries]], or [[derivative work]]s. An original work is one not received from others nor one copied based on the work of others. The term "originality" is often applied as a compliment to the [[creativity]] of [[artist]]s, [[writer]]s, and [[thinker]]s. | ||
| - | The notion of originality came to prominence in the late-17th century with the '[[Quarrel of the Ancients and the Moderns]];' it was of great importance in the 18th century when [[Romanticism]] glorified [[creativity]] to the point of a veritable 'cult of originality' (the 1759 essay "[[Conjectures on Original Composition]]" by Edward Young was the first text exclusively dedicated to the subject); and finally reached its peak in the 19th century and 20th century [[avant-garde]]s. | + | The notion of originality came to prominence in the late-17th century with the '[[Quarrel of the Ancients and the Moderns]];' it was of great importance in the 18th century when [[Romanticism]] glorified [[creativity]] to the point of a veritable 'cult of originality' (the 1759 essay "[[Conjectures on Original Composition]]" by Edward Young was the first text exclusively dedicated to the subject); and finally reached its peak in the 19th century and 20th century [[avant-garde]]s with exemplary works such as Marcel Duchamp's ''[[Fountain (Duchamp)|Fountain]]''. |
| - | Since [[postmodernism]] and during the 21st century, the role of originality has been downplayed to the point that some have [[Death of the avant-garde|proclaimed the avant-garde dead]]. | + | During [[postmodernism]], the role of originality has been downplayed, coinciding with the [[Death of the avant-garde|death of the avant-garde]]. |
| - | == Theory == | ||
| - | *''[[Conjectures on Original Composition]]'' (1759), Edward Young | ||
| - | *''[[Essay on Original Genius]]'' (1767) by William Duff | ||
| - | *''[[Four Romantic Words|Four Romantic Words: Romantic, Originality, Creative, Genius]]'' (1925) by Logan Pearsall Smith | ||
| - | *''[[The Anxiety of Influence]]'' (1973), Harold Bloom | ||
| - | *''[[The Originality of the Avant-Garde|The Originality of the Avant-Garde and Other Modernist Myths]]'' (1985), Rosalind E. Krauss | ||
| - | *''[[Original Copy: Plagiarism and Originality in Nineteenth-Century Literature]]'' (2007) by [[Robert Macfarlane]] | ||
| ==Quotes== | ==Quotes== | ||
| *[[The only way for us to become great lies in the imitation of the Greeks]], a dictum by German art historian Johann Joachim Winckelmann | *[[The only way for us to become great lies in the imitation of the Greeks]], a dictum by German art historian Johann Joachim Winckelmann | ||
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| *"[[There is no great work of art which does not convey a new message to humanity]] -- Arnold Schoenberg | *"[[There is no great work of art which does not convey a new message to humanity]] -- Arnold Schoenberg | ||
| ==Threshold of originality== | ==Threshold of originality== | ||
| - | :''[[Threshold of originality]], [[Sweat of the brow]]'' | + | :''[[threshold of originality]], [[sweat of the brow]]'' |
| The '''threshold of originality''' is a concept in [[copyright law]] that is used to assess whether a particular work can be [[copyright]]ed. It is used to distinguish works that are sufficiently [[originality|original]] to warrant copyright protection from those that are not. In this context, "originality" refers to "coming from someone as the originator/author" (insofar as it somehow reflects the author's personality), rather than "never having occurred or existed before" (which would amount to the protection of something new, as in patent protection). | The '''threshold of originality''' is a concept in [[copyright law]] that is used to assess whether a particular work can be [[copyright]]ed. It is used to distinguish works that are sufficiently [[originality|original]] to warrant copyright protection from those that are not. In this context, "originality" refers to "coming from someone as the originator/author" (insofar as it somehow reflects the author's personality), rather than "never having occurred or existed before" (which would amount to the protection of something new, as in patent protection). | ||
| + | == References == | ||
| + | *''[[Conjectures on Original Composition]]'' (1759), Edward Young | ||
| + | *''[[Essay on Original Genius]]'' (1767) by William Duff | ||
| + | *''[[Four Romantic Words|Four Romantic Words: Romantic, Originality, Creative, Genius]]'' (1925) by Logan Pearsall Smith | ||
| + | *''[[The Anxiety of Influence]]'' (1973), Harold Bloom | ||
| + | *''[[The Originality of the Avant-Garde|The Originality of the Avant-Garde and Other Modernist Myths]]'' (1985), Rosalind E. Krauss | ||
| + | *''[[Original Copy: Plagiarism and Originality in Nineteenth-Century Literature]]'' (2007) by Robert Macfarlane | ||
| ==See also== | ==See also== | ||
| <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"> | <div style="column-count:3;-moz-column-count:3;-webkit-column-count:3"> | ||
| - | *[[Appropriation]] | + | *[[Appropriation (art)]] |
| *[[Artistic inspiration]] | *[[Artistic inspiration]] | ||
| *[[Aura (Walter Benjamin)]] | *[[Aura (Walter Benjamin)]] | ||
| *[[Authorship]] | *[[Authorship]] | ||
| - | *[[Authenticity]] | + | *[[Authenticity in art]] |
| *[[Avant-garde]] | *[[Avant-garde]] | ||
| *[[Copy]] | *[[Copy]] | ||
| *[[Copyright]] | *[[Copyright]] | ||
| - | *[[Creativity]] | ||
| *[[Derivative]] | *[[Derivative]] | ||
| - | *[[Eccentric]] | + | *[[Eccentricity (behavior)]] |
| + | *[[Ex nihilo ]] | ||
| *[[Experimental]] | *[[Experimental]] | ||
| - | *[[Formula]] | + | *[[Formula fiction]] |
| - | *[[Genre]] | + | *[[Genre theory]] |
| + | *[[History of the concept of creativity]] | ||
| *[[Influence]] | *[[Influence]] | ||
| - | *[[Individual]] | ||
| *[[Genius]] | *[[Genius]] | ||
| - | *[[Greatness]] | + | *[[Genius (literature)]] |
| + | *[[Great Man theory]] | ||
| *[[Imitation]] | *[[Imitation]] | ||
| - | *[[plagiarism]] | + | *[[Mimesis]] |
| + | *[[Plagiarism]] | ||
| *[[Genius_%28literature%29#Romanticism_and_genius|Romanticism and genius]] | *[[Genius_%28literature%29#Romanticism_and_genius|Romanticism and genius]] | ||
| *[[Original sin]] | *[[Original sin]] | ||
Current revision
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"Originals are, and ought to be, great Favourites, for they are great Benefactors; they extend the Republic of Letters, and add a new province to its dominion: Imitators only give us a sort of Duplicates of what we had, possibly much better, before." --Conjectures on Original Composition (1759) by Edward Young "much art has been and is repetitive. The concept of absolute originality is a contemporary one, born with Romanticism; classical art was in vast measure serial, and the "modern" avant-garde (at the beginning of this century) challenged the Romantic idea of "creation from nothingness," with its techniques of collage, mustachios on the Mona Lisa, art about art, and so on." (Umberto Eco 1990 [1]) |
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Originality is the aspect of created or invented works as being new or novel, and thus can be distinguished from reproductions, clones, forgeries, or derivative works. An original work is one not received from others nor one copied based on the work of others. The term "originality" is often applied as a compliment to the creativity of artists, writers, and thinkers.
The notion of originality came to prominence in the late-17th century with the 'Quarrel of the Ancients and the Moderns;' it was of great importance in the 18th century when Romanticism glorified creativity to the point of a veritable 'cult of originality' (the 1759 essay "Conjectures on Original Composition" by Edward Young was the first text exclusively dedicated to the subject); and finally reached its peak in the 19th century and 20th century avant-gardes with exemplary works such as Marcel Duchamp's Fountain.
During postmodernism, the role of originality has been downplayed, coinciding with the death of the avant-garde.
Contents |
[edit]
Quotes
- The only way for us to become great lies in the imitation of the Greeks, a dictum by German art historian Johann Joachim Winckelmann
- "I'm devoted to the principle of originality." --John Cage
- "There is no great work of art which does not convey a new message to humanity -- Arnold Schoenberg
[edit]
Threshold of originality
The threshold of originality is a concept in copyright law that is used to assess whether a particular work can be copyrighted. It is used to distinguish works that are sufficiently original to warrant copyright protection from those that are not. In this context, "originality" refers to "coming from someone as the originator/author" (insofar as it somehow reflects the author's personality), rather than "never having occurred or existed before" (which would amount to the protection of something new, as in patent protection).
[edit]
References
- Conjectures on Original Composition (1759), Edward Young
- Essay on Original Genius (1767) by William Duff
- Four Romantic Words: Romantic, Originality, Creative, Genius (1925) by Logan Pearsall Smith
- The Anxiety of Influence (1973), Harold Bloom
- The Originality of the Avant-Garde and Other Modernist Myths (1985), Rosalind E. Krauss
- Original Copy: Plagiarism and Originality in Nineteenth-Century Literature (2007) by Robert Macfarlane
[edit]
See also
- Appropriation (art)
- Artistic inspiration
- Aura (Walter Benjamin)
- Authorship
- Authenticity in art
- Avant-garde
- Copy
- Copyright
- Derivative
- Eccentricity (behavior)
- Ex nihilo
- Experimental
- Formula fiction
- Genre theory
- History of the concept of creativity
- Influence
- Genius
- Genius (literature)
- Great Man theory
- Imitation
- Mimesis
- Plagiarism
- Romanticism and genius
- Original sin
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Originality" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
