We sometimes wonder why the element of time plays a key role in creativity. The question of whether it is arguable to say without experience or emotive eng agent there cannot be profound creation or product with intrinsic value. In the older days we manufacture buildings and craft our ships taking as long as fifteen to twenty years to finish the work. Today’s technology provides for options to cut that time by half or less. Yet with more sophisticated building techniques and construction systems in place, we still face the reduced e pathetic qualities of the traditional more conventional way of putting together architecture. The element of time, it seems is a necessary precursor and foundation to enable deep engagement and understanding of creative process. In all the other realms as well, whether art or photography or writing, we see similar parallels. The invention of instant photography and printing techniques compromise many of the more eloquent beauty of hand made film photography and printing. Yet also we see how writing on the computer takes the story to a different level than if it was caught or captured through age old pen on paper way. Arguably different but the question is time. Does it really matter if it took half the resources and half the effort. Can there be real equity in work created through easier means, taking less time. Can a work be created without experience. Simple answer to that is no, probably. At best, not the same. And so while today’s creative professionals continue to work with technology and technology continues to invade our minds, and we continue to be more dependent upon them, we see a rapid erosion of experiential creativity procedures and processes, a condition that is both pitiful and yet worrying. Furthermore we also see how easily technology removes the emotional aspects of our work. Through various three d rendering programmes it is no longer practical to make physical models, as they take the much longer to represent designers ideas, and space is more easily perceived through computer models with walk throughs and animation programs, whereas a physical model shows space less easily than a complex sophisticated computer model.
A computer rendering removes also emotional content completely from the act of drawing or visualization traditionally and conventionally. Often a sketch fail to impress clients, whom are now more tempted to looking a video animations and such like presentations. The completed CAD model has all the views stored within it, ready to be extracted by the flick of a mouse or a simple click of a button, yet the views and renderings for each view would take the artist several days or weeks to capture by hand. Worse a work that is involved with sculpture or forms that would previously be mould and crafted by the artist, but today these forms are manipulated (and manufactured and created) very easily on a computer screen. In some cases, computers can also take the place of the sculptor or the artist in making or sculpting these so called three dimensional shapes.

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