By Rob Pope
Looking all through to bridge the space among the inventive and the severe, and to span disciplinary barriers, this booklet deals an important intervention within the conception of creativity and the perform of feedback.
Book conceal; name; Copyright; Contents; Acknowledgements; ... ahead of the start; half 1 Why creativity now?; half 2 De.ning creativity, developing de.nitions; half three construction as delusion, tale, metaphor; half four artistic practices, cultural approaches: A serious anthology; after the top . . .; extra examining by way of subject; Bibliography; Index.
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Extra info for Creativity : Theory, History and Practice.
It may therefore conveniently stand as an extreme representative of a host of remarkably persistent ideas as to what creativity nowadays not only is and is not, but should and should not be. Scruton, a professor of aesthetics, can write in more circumspect and scholarly modes, as in his books on Kant’s aesthetics, for instance, but the premises and aims of his scholarship are much the same as those of his (frequent) journalistic polemics and the latter have the advantage here of being unadorned and brief.
This expressly draws attention to the kinds of collaborative, serial or syndicated authorship opened up by contemporary media and communications technologies. Such a confidently, self-consciously ‘new’ creativity may be greeted in various ways. Certainly, by comparison with Scruton’s individualist, elitist and art-based view of ‘genius’, a conceptualising of creativity in terms of industries, performance and pedagogy amounts to a switch – not just a shift – in paradigm. What is especially urged, or assumed, is an engagement with contemporary modes of production and reproduction of a highly mediated and more or less collective or corporate kind.
232 and 96 respectively). ’ can be placed at the residually ‘traditional’ end of the contemporary aesthetic and political spectrum. At best, he reaffirms a model of creativity that is aesthetically neo-Classical and politically gradualist: a vision of the present firmly rooted in the past, and of originality thoroughly informed by knowledge. ) At worst, he flatly opposes modern ‘creative’ art as crassly unskilled and unschooled instances of self-expression, excuses for self-indulgent exhibitionism – and brazenly ‘female’ to boot.
Creativity : Theory, History and Practice. by Rob Pope