The book of young Lewis Mumford (1895–1990) entitled Sticks and Stones: A Study of American Architecture and Civilization (first published in 1924) is a condensed version of his philosophy of city and a research program completed in his rich oeuvre. The title is telling: the starting point of Mumford is the idea that the architecture of a city is an objectified presentation of the value-system of the given civilisation. Stick and stones are not only sticks and stones: the material infrastructure is an embodiment of the values of civilisation, which are the basic motivating factors behind human actions. In other words: city is a mirror of civilisation; if the observer decodes the message encoded in sticks and stones, he/she gets the value-structure of the civilisation having produced the city. However, there is a mutual interdependence: human beings living in the city are not only passive possessors of a heritage determining one-sidedly their actions but they modify and restructure urban spaces: sticks and stones form our values, at the same time our values influence the concrete arrangement of sticks and stones. Creative city-planning is vital important. It gives possibility for the redirection of a civilisation’s future historical way. At the same time, creativity, in Mumford’s interpretation, does not mean the profit-generating capacity of the city; it has to serve the well-being of all citizens.
{"title":"THE CULTURAL CRITICISM OF LEWIS MUMFORD AND THE CREATIVE CITY PLANNING AS AN ANSWER TO THE ECOLOGICAL CRISIS OF MODERN CIVILISATION","authors":"Gábor Kovács","doi":"10.3846/cs.2023.15593","DOIUrl":"https://doi.org/10.3846/cs.2023.15593","url":null,"abstract":"The book of young Lewis Mumford (1895–1990) entitled Sticks and Stones: A Study of American Architecture and Civilization (first published in 1924) is a condensed version of his philosophy of city and a research program completed in his rich oeuvre. The title is telling: the starting point of Mumford is the idea that the architecture of a city is an objectified presentation of the value-system of the given civilisation. Stick and stones are not only sticks and stones: the material infrastructure is an embodiment of the values of civilisation, which are the basic motivating factors behind human actions. In other words: city is a mirror of civilisation; if the observer decodes the message encoded in sticks and stones, he/she gets the value-structure of the civilisation having produced the city. However, there is a mutual interdependence: human beings living in the city are not only passive possessors of a heritage determining one-sidedly their actions but they modify and restructure urban spaces: sticks and stones form our values, at the same time our values influence the concrete arrangement of sticks and stones. Creative city-planning is vital important. It gives possibility for the redirection of a civilisation’s future historical way. At the same time, creativity, in Mumford’s interpretation, does not mean the profit-generating capacity of the city; it has to serve the well-being of all citizens.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48818912","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focuses on the work Seven Private Skies (initiated in 2009) by the Israeli artist, Tsipy Amos Goldstein. This is a series of large panels on which the artist has been painting and embroidering for fourteen years as her main occupation. The aim of the study was to establish the meanings inherent in the work, which is a kind of multi-layered cryptograph, while characterizing it in terms of creativity. The research method combined visual-interpretive analysis with both a narrative-feminist paradigm and with theories from the field of creativity studies. The findings showed that the series “tells” through artistic means the artist’s personal story in a way that matches two definitions: creativity as an experience and creativity as a complexity. The article will discuss the characteristics of the artist and artwork as an experience and then will present the paradoxes distinguishing the work as complex: 1. Order versus chaos; 2. Love and home in the face of disintegration; 3. Cuts versus connections and male versus female; 4. Understandable communication in the face of conflicting messages; 5. Star of David versus the Jewish yellow badge.
{"title":"CREATIVITY AS AN EXPERIENCE AND AS A COMPLEXITY: VISUAL-NARRATIVE RESEARCH OF THE ARTWORKS OF TSIPY AMOS GOLDSTEIN","authors":"Shahar Marnin-Distelfeld","doi":"10.3846/cs.2023.15533","DOIUrl":"https://doi.org/10.3846/cs.2023.15533","url":null,"abstract":"This article focuses on the work Seven Private Skies (initiated in 2009) by the Israeli artist, Tsipy Amos Goldstein. This is a series of large panels on which the artist has been painting and embroidering for fourteen years as her main occupation. The aim of the study was to establish the meanings inherent in the work, which is a kind of multi-layered cryptograph, while characterizing it in terms of creativity. The research method combined visual-interpretive analysis with both a narrative-feminist paradigm and with theories from the field of creativity studies. The findings showed that the series “tells” through artistic means the artist’s personal story in a way that matches two definitions: creativity as an experience and creativity as a complexity. The article will discuss the characteristics of the artist and artwork as an experience and then will present the paradoxes distinguishing the work as complex: 1. Order versus chaos; 2. Love and home in the face of disintegration; 3. Cuts versus connections and male versus female; 4. Understandable communication in the face of conflicting messages; 5. Star of David versus the Jewish yellow badge.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45777623","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The spatiality of the Internet is a complex phenomenon presupposing a wide range of ideas: that there are different environments which can be characterized, that there are subjects moving within them, that these spaces are being employed for certain ends by their users, and much more. However, various spatial descriptions of the Internet most of the time observe it as a part of a larger spatial architecture, not as a spatial architecture itself. This paper employs radical concept creation machinery conceptualized by Gilles Deleuze and Félix Guattari in What Is Philosophy? (first published in 1991), principles of paralogistic thinking proposed by Jean-François Lyotard and divergent thinking methods, finally arriving at a new conceptualization of the Internet space as the meteorological pressure system. This is an invitation to see the Internet and movements occurring within it from a new perspective: where temperatures rise and drop, winds blow and dissipate, fogs come and go; where limits of spatial characteristics are forming different climates; where each part affects the whole, and can potentially bring out various chain reactions. Such a conceptual system opens up the possibility to see the Internet as a coherent spatial structure, filled with becomings and intricate relationships.
{"title":"CONCEPT CREATION IN ACTION: INTERNET SPACE AS A METEOROLOGICAL PRESSURE SYSTEM","authors":"Gytis Dovydaitis","doi":"10.3846/cs.2023.15161","DOIUrl":"https://doi.org/10.3846/cs.2023.15161","url":null,"abstract":"The spatiality of the Internet is a complex phenomenon presupposing a wide range of ideas: that there are different environments which can be characterized, that there are subjects moving within them, that these spaces are being employed for certain ends by their users, and much more. However, various spatial descriptions of the Internet most of the time observe it as a part of a larger spatial architecture, not as a spatial architecture itself. This paper employs radical concept creation machinery conceptualized by Gilles Deleuze and Félix Guattari in What Is Philosophy? (first published in 1991), principles of paralogistic thinking proposed by Jean-François Lyotard and divergent thinking methods, finally arriving at a new conceptualization of the Internet space as the meteorological pressure system. This is an invitation to see the Internet and movements occurring within it from a new perspective: where temperatures rise and drop, winds blow and dissipate, fogs come and go; where limits of spatial characteristics are forming different climates; where each part affects the whole, and can potentially bring out various chain reactions. Such a conceptual system opens up the possibility to see the Internet as a coherent spatial structure, filled with becomings and intricate relationships.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48113441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The development of the concept of creative industries is related to the contribution of culture and creativity to the economy. Creative industries are often associated with innovation.Scientific literature reveals that creative business is more innovative compared to other sectors of the economy. Some authors also note that when assessing the level of innovation, the companies that are closely related to creative industries tend to have higher innovation rates. The concept of creativity is closely related to the major purpose of innovation, i.e. problem solving, while synergy between creativity and economy formulates creative industries theory. Based on the literature, problem solution requires creativity, and some solutions can inspire the emergence of innovation. The major purpose of this article is to provide the theoretical presumptions of the creative industries innovation productivity performance. Applying the method of comparative literature analysis, this article presents a conceptual model that allows to evaluate and compare countries economies in terms of the productivity in the creative industries innovation performance.
{"title":"THEORETICAL PRESUMPTIONS OF THE CREATIVE INDUSTRIES INNOVATION PRODUCTIVITY PERFORMANCE","authors":"Deimantė Krisiukėnienė, V. Pilinkienė","doi":"10.3846/cs.2023.15958","DOIUrl":"https://doi.org/10.3846/cs.2023.15958","url":null,"abstract":"The development of the concept of creative industries is related to the contribution of culture and creativity to the economy. Creative industries are often associated with innovation.Scientific literature reveals that creative business is more innovative compared to other sectors of the economy. Some authors also note that when assessing the level of innovation, the companies that are closely related to creative industries tend to have higher innovation rates. The concept of creativity is closely related to the major purpose of innovation, i.e. problem solving, while synergy between creativity and economy formulates creative industries theory. Based on the literature, problem solution requires creativity, and some solutions can inspire the emergence of innovation. The major purpose of this article is to provide the theoretical presumptions of the creative industries innovation productivity performance. Applying the method of comparative literature analysis, this article presents a conceptual model that allows to evaluate and compare countries economies in terms of the productivity in the creative industries innovation performance.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42192734","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Christopher Nolan’s cinema and its immersive quality is appreciated by audiences and critics alike, and already analysed by researchers, often mentioning “claustrophobia” as a feeling encountered in his films. However, a number of extensive explorations of his work, and filmmaking in general, leave the creation of claustrophobia in cinema undiscussed. Thus, the article aims to fill the gap and investigate his 2017’s film Dunkirk, since this account of the historical event during the World War II has often been described as “claustrophobic”. Cinematic space and time, the way the medium can be used to create certain feelings, as well as the properties of Nolan’s work are examined. Space and time manipulation, the use of IMAX for immersion, interchanging aspect ratios, and the idea of contrasts are responsible for the claustrophobic atmosphere in the film. The study could be useful for filmmakers and creatives, as well as for audiences interested in what shapes their experience of the story they see on screen.
{"title":"CREATING CLAUSTROPHOBIA IN CHRISTOPHER NOLAN’S DUNKIRK","authors":"Viktorija Lankauskaitė","doi":"10.3846/cs.2023.15598","DOIUrl":"https://doi.org/10.3846/cs.2023.15598","url":null,"abstract":"Christopher Nolan’s cinema and its immersive quality is appreciated by audiences and critics alike, and already analysed by researchers, often mentioning “claustrophobia” as a feeling encountered in his films. However, a number of extensive explorations of his work, and filmmaking in general, leave the creation of claustrophobia in cinema undiscussed. Thus, the article aims to fill the gap and investigate his 2017’s film Dunkirk, since this account of the historical event during the World War II has often been described as “claustrophobic”. Cinematic space and time, the way the medium can be used to create certain feelings, as well as the properties of Nolan’s work are examined. Space and time manipulation, the use of IMAX for immersion, interchanging aspect ratios, and the idea of contrasts are responsible for the claustrophobic atmosphere in the film. The study could be useful for filmmakers and creatives, as well as for audiences interested in what shapes their experience of the story they see on screen.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-02-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46375248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study aims to identify the criteria for evaluating the innovativeness of an independent film production company in the European film market. Innovativeness of a company consists of inputs to innovation and outputs from innovation. It reveals a company’s potential to implement innovations, which are often sources of competitive advantage. The empirical study involved 29 experts from the European film industry and film production companies. Experts were asked to evaluate 60 criteria in total. The survey results suggest that a company’s innovativeness can currently be evaluated by 51 criteria, of which 15 are the most important. The criteria identified for evaluating a company’s innovativeness are ranked in order of importance for determining a company’s innovativeness. The results obtained allow us to evaluate the innovativeness of a company by comparing independent film production companies with one another in the European film market and thus to determine which company is more innovative. It also makes possible new hypotheses to be raised, analysed and tested. It should be noted that the article was written based on a dissertation in progress.
{"title":"CRITERIA FOR THE EVALUATION OF INNOVATIVENESS OF INDEPENDENT FILM PRODUCTION COMPANY IN THE PERSPECTIVE OF CREATIVITY","authors":"Ieva Vitkauskaitė","doi":"10.3846/cs.2023.15054","DOIUrl":"https://doi.org/10.3846/cs.2023.15054","url":null,"abstract":"This study aims to identify the criteria for evaluating the innovativeness of an independent film production company in the European film market. Innovativeness of a company consists of inputs to innovation and outputs from innovation. It reveals a company’s potential to implement innovations, which are often sources of competitive advantage. The empirical study involved 29 experts from the European film industry and film production companies. Experts were asked to evaluate 60 criteria in total. The survey results suggest that a company’s innovativeness can currently be evaluated by 51 criteria, of which 15 are the most important. The criteria identified for evaluating a company’s innovativeness are ranked in order of importance for determining a company’s innovativeness. The results obtained allow us to evaluate the innovativeness of a company by comparing independent film production companies with one another in the European film market and thus to determine which company is more innovative. It also makes possible new hypotheses to be raised, analysed and tested. It should be noted that the article was written based on a dissertation in progress.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43981199","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Today, adult animation is the fastest growing segment in the industry. However, adult animation is also the least researched topic in animation field. In this article, the author explores what key elements hinder the growth in this animation segment with a focus on self-censorship and how it affects modern adult animation creative output and overall production. Also, the author discusses the concept of censorship in animation and its historical development. In other words, the genesis, and then reform of formal censorship systems into the age rating systems. And, while technically, with the abolition of the formal censorship system, today animators can create content of any kind, adult animation in the Western world has only begun to grow relatively recently. This paper investigates the key reasons that motivate self-censorship in animation to exist today, even when all the data shows that never before in the history of this medium, has the adult animation segment had such good conditions to get funded and reach an audience. Additionally, the author examines the concept of mature themes from the perspective of Western censorship apparatus.
{"title":"ASPECTS OF CREATIVITY IN ADULT ANIMATION: AN OVERVIEW OF CENSORSHIP AND SELF-CENSORSHIP IN WESTERN COUNTRIES","authors":"Tomas Mitkus","doi":"10.3846/cs.2023.15446","DOIUrl":"https://doi.org/10.3846/cs.2023.15446","url":null,"abstract":"Today, adult animation is the fastest growing segment in the industry. However, adult animation is also the least researched topic in animation field. In this article, the author explores what key elements hinder the growth in this animation segment with a focus on self-censorship and how it affects modern adult animation creative output and overall production. Also, the author discusses the concept of censorship in animation and its historical development. In other words, the genesis, and then reform of formal censorship systems into the age rating systems. And, while technically, with the abolition of the formal censorship system, today animators can create content of any kind, adult animation in the Western world has only begun to grow relatively recently. This paper investigates the key reasons that motivate self-censorship in animation to exist today, even when all the data shows that never before in the history of this medium, has the adult animation segment had such good conditions to get funded and reach an audience. Additionally, the author examines the concept of mature themes from the perspective of Western censorship apparatus.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48008279","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The article deals with the questions of digital communication and theatre during the lockdown in 2020–2021. With the example of the National Kaunas Drama Theatre, Lithuania, it is revealed that COVID-19 pandemic forced the cultural sector to experiment and use digital products in new conceptual ways. National Kaunas Drama Theatre proposed their audience an online platform Theatre Onl1ne TV (originally in Lithuanian: Teatras Onl1ne TV), and developed performances which were adapted to the digital environment of the lockdown period: some of the performances were transmitted on Zoom Video Communications platform, especially those for children and adolescents, some of them, such as The Flickering, tested new ways of integrating audiences digitally into theatrical action. The latter performance was created for Facebook users, lasted for four evenings and invited them to become co-creators of the story. The analysis reveals that digital theatre communication attracted audiences of younger generations and can be a useful creative tool in developing a relationship with the new generation of theatre-goers.
{"title":"THEATRE AND CREATIVE COMMUNICATION DURING COVID-19 PANDEMIC: THE CASE OF NATIONAL KAUNAS DRAMA THEATRE, LITHUANIA","authors":"Ina Pukelytė","doi":"10.3846/cs.2023.15611","DOIUrl":"https://doi.org/10.3846/cs.2023.15611","url":null,"abstract":"The article deals with the questions of digital communication and theatre during the lockdown in 2020–2021. With the example of the National Kaunas Drama Theatre, Lithuania, it is revealed that COVID-19 pandemic forced the cultural sector to experiment and use digital products in new conceptual ways. National Kaunas Drama Theatre proposed their audience an online platform Theatre Onl1ne TV (originally in Lithuanian: Teatras Onl1ne TV), and developed performances which were adapted to the digital environment of the lockdown period: some of the performances were transmitted on Zoom Video Communications platform, especially those for children and adolescents, some of them, such as The Flickering, tested new ways of integrating audiences digitally into theatrical action. The latter performance was created for Facebook users, lasted for four evenings and invited them to become co-creators of the story. The analysis reveals that digital theatre communication attracted audiences of younger generations and can be a useful creative tool in developing a relationship with the new generation of theatre-goers.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42725027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The interdisciplinary research on the perception of creative identities like artists, creators,entrepreneurs, leaders, and managers brings substantial conclusions for understanding the way of thinking, internal features, and motivations of decisions of individuals with and without artistic factor. For this purpose, an international quantitative examination of 160 individuals was undertaken. The research exhibited that individuals with and without artistic identity perceive artists, creators, entrepreneurs, leaders, and managers statistically similar (chi-square test of independence used, p < 0.001). The negative verification of the hypotheses was astonishing and a novelty in the investigated area. The novelty should be seen as an artistic potential existing in each individual. The additional qualitative analysis of the 50 features constituting the investigated identities revealed that individuals with and without artistic identity see particular features of these identities slightly differently (the most important, the least important, and the most equally perceived features were described in detail). The outcomes were discussed with the literature on the subject, confirming most other researchers’ theses and revealing some contradictions and can be used to understand the qualities of artistic identity and the perception of investigated identities by individuals, groups, and societies dominated by persons with and without artistic factors. The applicability of the results is broad, mainly due to the role of artistry in today’s world as potential laying in every individual. Specific triggers should be catalyzed instead of looking for artist-born individuals. The education process of artists should focus on revealing artistic potential underlining the role of inspiration, and discovering the motifs of artistic activity.
{"title":"PERCEPTION OF CREATIVE IDENTITIES BY ARTISTIC AND NON-ARTISTIC INDIVIDUALS: CONSEQUENCES FOR MANAGEMENT","authors":"M. Szostak","doi":"10.3846/cs.2023.15081","DOIUrl":"https://doi.org/10.3846/cs.2023.15081","url":null,"abstract":"The interdisciplinary research on the perception of creative identities like artists, creators,entrepreneurs, leaders, and managers brings substantial conclusions for understanding the way of thinking, internal features, and motivations of decisions of individuals with and without artistic factor. For this purpose, an international quantitative examination of 160 individuals was undertaken. The research exhibited that individuals with and without artistic identity perceive artists, creators, entrepreneurs, leaders, and managers statistically similar (chi-square test of independence used, p < 0.001). The negative verification of the hypotheses was astonishing and a novelty in the investigated area. The novelty should be seen as an artistic potential existing in each individual. The additional qualitative analysis of the 50 features constituting the investigated identities revealed that individuals with and without artistic identity see particular features of these identities slightly differently (the most important, the least important, and the most equally perceived features were described in detail). The outcomes were discussed with the literature on the subject, confirming most other researchers’ theses and revealing some contradictions and can be used to understand the qualities of artistic identity and the perception of investigated identities by individuals, groups, and societies dominated by persons with and without artistic factors. The applicability of the results is broad, mainly due to the role of artistry in today’s world as potential laying in every individual. Specific triggers should be catalyzed instead of looking for artist-born individuals. The education process of artists should focus on revealing artistic potential underlining the role of inspiration, and discovering the motifs of artistic activity.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47768855","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In contrast to behavioural approaches that attempt to explain creativity, social practice theories commonly emphasize aspects of the material world that shape and reproduce how people engage with them. How might social practice theory clarify how making affects millions of hobbyist creators – and what makes making matter to them? This article examines the theoretical work tying creativity to social practice. It then reports on a project in which small groups of everyday creators in the United Kingdom (n = 95) gathered in workshops to discuss their experiences and opinions regarding the materials, meanings, and competences of making. A model-making research method instigated peer discussion revealing both individual and shared accounts of practice. The data indicated that participants, regardless of practice, experienced creating as an ongoing performance providing many benefits that promote personal and societal transformation. With our graphic iteration of the elements of making, we assert that the meanings these makers attached to their various do-it-yourself practices were underscored by the materials they worked with and the competences they built in creating.
{"title":"THE ELEMENTS OF MAKING: A SOCIAL PRACTICE PERSPECTIVE FOR EVERYDAY CREATORS","authors":"Isabelle Risner, David Gauntlett, M. Culpepper","doi":"10.3846/cs.2022.14489","DOIUrl":"https://doi.org/10.3846/cs.2022.14489","url":null,"abstract":"In contrast to behavioural approaches that attempt to explain creativity, social practice theories commonly emphasize aspects of the material world that shape and reproduce how people engage with them. How might social practice theory clarify how making affects millions of hobbyist creators – and what makes making matter to them? This article examines the theoretical work tying creativity to social practice. It then reports on a project in which small groups of everyday creators in the United Kingdom (n = 95) gathered in workshops to discuss their experiences and opinions regarding the materials, meanings, and competences of making. A model-making research method instigated peer discussion revealing both individual and shared accounts of practice. The data indicated that participants, regardless of practice, experienced creating as an ongoing performance providing many benefits that promote personal and societal transformation. With our graphic iteration of the elements of making, we assert that the meanings these makers attached to their various do-it-yourself practices were underscored by the materials they worked with and the competences they built in creating.","PeriodicalId":38085,"journal":{"name":"Creativity Studies","volume":"93 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41267918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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