By Vlad Petre Glăveanu, Lene Tanggaard Pedersen, Charlotte Wegener
This e-book covers issues no longer regularly linked to creativity that provide us perception into inventive motion as a social, fabric, and cultural procedure. a variety of experts in the humanities and social sciences will locate this attention-grabbing, in addition to practitioners who're trying to find novel methods of wondering and doing artistic work.
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Extra resources for Creativity — A New Vocabulary
Isn’t this a rather romantic vision of crafts and of craftsmen? Aren’t they limited by a need to preserve rather than create? Opposed to change? Working to sell their products and make a living? In some cases yes, but I am not making a one-to-one parallel between craft and creativity here. I am simply noticing deep similarities and highlighting the theoretical and practical signiﬁcance of relating the two. For Richard Sennett, ‘craftsmanship names an enduring, basic human impulse, the desire to do a job well for its own sake’ (Sennett, 2008, p.
Creativity and cultural improvisation (pp. 55–78). Oxford: Berg. , & Purser, R. (1995). Deconstructing the lone genius myth: Toward a contextual view of creativity. Journal of Humanistic Psychology, 35(3), 69–112. Pye, D. (1968). The nature and art of workmanship. London: Herbert Press. Rogoff, B. (1995). Observing sociocultural activity on three planes: Participatory appropriation, guided participation, and apprenticeship. In J. V. Wertsch, P. del Rio, & A. ), Sociocultural studies of mind (pp.
2, those in which there is no perfect alignment between what we would, could and should do. e. the intention to make use of the object in that particular way was absent; a common problem for designers, see Norman, 2004). ‘Discovering’, in a moment of creative insight, that chairs can be glued to the wall in an art installation, or that bricks can become photo frames if carved 16 Affordance properly, uses existing affordances in non-canonical ways. Of course, in both these cases other things are needed to achieve the new use (such as glue, a chisel and a hammer, and so on), which comes to show that exploiting new affordances often requires transforming the material support in more or less radical ways.