IIACI
Janeann Dill, Ph.D., MFA, MA
Founder and CCO
Janeann Dill, Ph.D., MFA, MA
Founder and CCO
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The artist is a creative intellectual,
not an inspired idiot. 1956 Brown Report, Harvard University
not an inspired idiot. 1956 Brown Report, Harvard University
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Interdisciplinary Art Institute for
and
Creative Intelligence™
A virtual think tank, arts studio, colloquium, and global concept, IIACI commits acts of thought as art making, art writing, and art teaching. Calling a global community of creative thinkers to reach across the disciplines towards an innovative, twenty-first century vision of the artist, the scientist and the technologist, IIACI understands that each, individually and collectively, is intrinsically a part of the whole of our future.
Place cursor over image to play stop-motion experimental animation.
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MAH: MOVING AROUND HEIDEGGERCollaboration project in-progress by
Janeann Dill, Artist and Hank Lazer, Poet
TOP: Courtney Marr, Choreographer, and Laura Godorecci, Director's Assistant
BOTTOM: Courtney Marr, Choreographer & Dancer, Caitlin McGee, Noel Pollard
©JaneannDill
Philosophically, IIACI is interested in experimental thinking as the art of all disciplines. Especially, but not only, focused on the in-between spaces that traverse disciplinary boundaries, the Institute for Interdisciplinary Art and Creative Intelligence is a site to encourage innovative thinking, creativity, and authorship at all levels of finesse in the fields of experimental animation, installation art, the performance arts, the literary arts, electronic arts, drawing, painting and cinema.
IIACI (pronounced ee-ah'chee) fosters research strategies that lead to a sustainable Ecology of Creative Intelligence across the disciplines. You are invited to participate in this conversation to prosper a world-wide community of art-makers, authors, performing artists, scholars, and thinker-philosophers. You may opt to become involved with IIACI at the global e-list level, client program level, and/or seminar level.
©JaneannDill
IIACI's core curriculum is built upon foundational seminars in creativity. This curriculum is designed as a sequence of study to move thinking beyond the limitations of a personal comfort zone into a space that generates a more expansive creative and critical practice.Designed as seminar-based lectures at the foundational level of focus for the creative process, per se, opportunities are available to participate in secondary levels of seminar that mentor and cultivate creativity in concept development, production, and research. The "Seminar In Creativity I: What is a concept and how do you have one?" and the "Seminar In Creativity II: Concept Development and Research Strategies" are highly successful international lectures and seminars. (Dr. Dill's Curriculum Vitae)
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Art in time is a breathe-of-life interest for IIACI.
You are invited to join in its realization.
You are invited to join in its realization.
Excerpts from 2008 Lecture© by Janeann Dill
What is a concept
and how do you have one?
Creative Intelligence
generates questions in the hands of thinking.
and how do you have one?
Creative Intelligence
generates questions in the hands of thinking.
The role of interdisciplinarity in art is instrumental: not merely comparative, contemplative, or exploratory.
Creative practice is an event of creative intelligence. What does that mean? How does that framing foster a creative practice inside a critical practice that does not create art an artifice of the thinking? In turn, foster a critical practice that does not create thinking an artifice of the art? My work, then, declines the scope of a single perspective.
Thinking, speaking, and gesturing the hand is language.
©JaneannDill
Janeann Dill, Institute Director, animating photographs under Oxberry Animation Camera for her experimental animation film, PARIS IS A WOMANWhile an Artist-In-Resident at the
American Center In Paris ...
American Center In Paris ...
“I was walking from the Pompidou Center to Les Halles and feeling a great sense of personal loss because of the recent death of my mother. I will never forget that moment. Peter Greenaway dubbed this my “Road to Damascus” experience. On the plaza of the Fountain des Innocents (a monument to mothers and children killed in the French revolution), I imagined what only can be called a 'vision' for my paintings. My research had consistently wrapped itself in spatial atmosphere and the geometry of timing, but in that moment, I realized an imperative to link my interdisciplinary paintings to a time-based art. My interest in provoking narrative had expanded into a revelatory experience and brought along with it an abiding desire to move two-dimensional concepts through fourth-dimensional time.
In my mind's eye, I saw my paintings move in time and imagined what I saw was called ‘film’ … or is that ‘animation’ calling?"
In my mind's eye, I saw my paintings move in time and imagined what I saw was called ‘film’ … or is that ‘animation’ calling?"
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