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Introduction The blank sheet project
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Genealogy a history of the term creativity
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Aesthetics philosophy of creativity
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Education facilitating creativity
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Contemporary global discourses and practices
‘Different artists often have quite divergent conceptions of what they are doing’ - Harrison-Barbet, 1990, p287
Illustrated; The Blank Sheet Project-
Rutger Hauer
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Sir John Hegarty
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Renzo Rosso
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Neville Brody
- Kati Howe 28/11/12
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Rutger Hauer
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Creative flow:Renzo Rosso's Creative RhetoricD&AD : The blank sheet project, Renzo Rosso: Diesel creator, made first pair of jeans when 15. 'The best must be the next.' response when someone asks him what his favourite design is. History of Diesel advertising, is it a pure reflection of diesel itself or has the advertising helped diesel to evolve?Beginning talked about school of fashion, talking about facilitating creativity. He talks about his best ideas always being the next one, notion that creativity itself is dynamic in some way. Creativity is always moving. Notion of being stupid, using the head not the heart. Possibly a 'romantic genius'
- Practice-based beginning (School of Fashion) studio- pedagogy (supports creativity) Arts & Crafts/Bauhaus
- Best idea – always next creativity 'dynamic' George Dickie (1971) art is beyond definition constantly changing (history of aesthetics)
- Be Stupid – using heart not head expressionist theory – linked to Romanticism idea that creativity is a knowledge-obtaining activity opposition to rational sciences
- Rosso Romantic Genius?
- Work in teams – creative process Diesel – collaborative
Mimesis- Plato’s (427 BC - 346 BC ) problem with creativity
- Republic – ideal society (critique of democracy)
- Metaphysics – forms
- Physical world mimics the real
- Art imitates an imitation
- Art mimics the sensory world
- Creativity merely a technical skill - techne (GK)
- Denied creativity's knowledge-producing capability
- Dichotomy physical not mental activity
- BLACK ATHENA
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Gombrich (1950) The
popular view is that
Western civilization
begins Ancient Greeks
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Bernal (1991) argues
Classical civilization has
deep roots in Afroasiatic
cultures - history
suppressed since 18c.
-
Classical Greeks, did not
see their philosophy, as
original, but derived from
the East and Egypt.
- Whats left of ancient Greek art?
- Striving to imitate nature better:
- Archaic
- Classical
- Hellenistic
CLASSICISM:
Roman Art (315 AD)
Constantine
•Republic period realism
(after Gks) Imperial period
stylized
•Art followed spirit of Greeks
•Suggesting Greeks reached some sort of apex.
•Sentiment found in histories of art Gombrich
•Art followed spirit of Greeks
•Suggesting Greeks reached some sort of apex.
•Sentiment found in histories of art Gombrich
Academics talk about Creativity as...
• Complex and dynamic concept
• Subjects of history of art and aesthetics
• Evidenced in Banaji et al (2006) Nine
‘rhetorics of creativity' contemporary
review of the literature
• Theoretical framework of lecture
Banaji et al (2006)
Nine ‘rhetorics of creativity’
Creative genius
Democratic & political creativity
Ubiquitous creativity
Creativity for social good
Creativity as economic imperative
The creative
classroomDemocratic & political creativity
Ubiquitous creativity
Creativity for social good
Creativity as economic imperative
Play and creativity
Creativity and cognition
The creative affordances of technology
Creativity and cognition
The creative affordances of technology
ROMANTIC GENIUS
Found in aesthetics
•Area of philosophy
•Term originates in mid 18c
•Derived from the aesthesis (perception)
•Involves looking at how judgements about art and creativity are made.
•Term originates in mid 18c
•Derived from the aesthesis (perception)
•Involves looking at how judgements about art and creativity are made.
•Immanuel Kant
•Critique of Judgement
(1790) is still hailed as
the most influential
writings on aesthetics.
ROMANTICISM:
•Kant wrote about artistic movement
•18c literary and visual
•Redefined the role of the artist
•Creative genius
TRANSFORMED:
• 16c French Academy & Atelier
ABSTRACT
Evidence that teams are expanding online, working online and collaboratively, also evidence that it can empower the worker.
•18c literary and visual
•Redefined the role of the artist
•Creative genius
TRANSFORMED:
•Movement changed ideas and language
about art & creativity
•Rejecting Platonic theory, Nietzsche and Schopenhauer (German philosophers) posited art as the most important knowledge-generating discipline.
THE CREATIVE:
• First Academies of Art in Italy 14cabout art & creativity
•Rejecting Platonic theory, Nietzsche and Schopenhauer (German philosophers) posited art as the most important knowledge-generating discipline.
THE CREATIVE:
•Romanticism redefined the status of the
artist
•Valued the originality of work, in terms of reflecting a subjective vision of artist
•Artist a creator – not imitator
•Artist should stand aside from rules
•The artist is rule breaker & definer
•Valued the originality of work, in terms of reflecting a subjective vision of artist
•Artist a creator – not imitator
•Artist should stand aside from rules
•The artist is rule breaker & definer
Through creating, artists create new rules
Own master & owner of the discipline
Romantic model of the artist empowers the artist and creativity
Through creativity the borders and boundaries of art itself are visualised and transcended
Expanding the discipline
Dynamic
Own master & owner of the discipline
Romantic model of the artist empowers the artist and creativity
Through creativity the borders and boundaries of art itself are visualised and transcended
Expanding the discipline
Dynamic
THE CREATIVE CLASS ROOM:
The Survival of Creativity (2000)
• Traces history of state-funded Art & Design
Education.
• Classical rules perspective, orders of architecture etc.
• Scholarly activity ‘fine’
• 19c British Art Schools, Arts & Craft: LCA
ART AND DESIGN EDUCATION CHANGED:
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Brown (2012) digital
technology, event horizon
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Epistemological shift.
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Global community created
the cloud single body of
knowledge.
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Ownership of content has
changed implications A &
D Education
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One- to –many outmoded
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Inverted many-to-one
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eStudio
ABSTRACT
Evidence that teams are expanding online, working online and collaboratively, also evidence that it can empower the worker.
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Art & copy teams (collaborative) concurrent practice-based
orthodox UK Art Schools 50s.
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For some, new media prompting changes at the heart of the
discipline; models of creativity -evidence teams are
expanding in volume & online
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Facilitating students working online and collaboratively
facilitates a type of creativity of value to industry Bennett
(2003)
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Empowers learner online flattening/equalising effect
traditional f2f roles tutor/learner Master/apprentice.
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Study explores such claims
primary sources:
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49 completed/valid questionnaires
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32 learners and 1 tutor – ascertain impact
- 16 Professionals - 7 top ten UK agencies
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49 completed/valid questionnaires
Findings -
LITTLE C CREATIVITY BANAJI:
OCC new model of creativity(industry)
Influenced creative curriculum (9) Creative classroom
Flattening social hierarchies, empowering and connecting creatives.
Communities of practice across disciplines & geography asynchronously or synchronously
New initiative launched next summer ‘connect’ D&AD community ‘richer deeper engagement education and industry’
New and exciting opportunities for creatives
CHI expands global network with Bates Asia joint venture (2012)
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75% (P) agreed that that new media has given
rise to a new type of collaborative creativity.
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81% (P) agreed that discussion forums and chat
rooms are supportive to idea generation.
LITTLE C CREATIVITY BANAJI:
Creativity as a basic skill to find solutions to problems in
21st life, being resourceful, flexible – contributing to society.
Society (crowd) made up of online Communities of Practice VCOP Group(s) of people, which have an interest in the same topic and are engaged in an activity of sharing their opinions on this topic (creating the cloud).
Website Wiki Blogs Social Networks Micro-blogging
SUCCESSFUL VCOPSociety (crowd) made up of online Communities of Practice VCOP Group(s) of people, which have an interest in the same topic and are engaged in an activity of sharing their opinions on this topic (creating the cloud).
Website Wiki Blogs Social Networks Micro-blogging
1.Experts / facilitation plays important role
2.Stimulus when discussions cooling off
2.Stimulus when discussions cooling off
3.Provide meaningful dialogue to sum up
debate
4.Presence of experts doesn’t = success
5.Level of engagement e.g. story telling
important aspect (enjoyable, entertaining)
way of sharing knowledge
SHOWstudio
...a way of being creative
Est: 2000
Inspired by the ... verb 'to show‘...opens up the studio of designers and artists, allowing everyone to not only witness the creative process, but to respond and contribute creatively’ SHOWstudio blog (2012)
Est: 2000
Inspired by the ... verb 'to show‘...opens up the studio of designers and artists, allowing everyone to not only witness the creative process, but to respond and contribute creatively’ SHOWstudio blog (2012)
1.Interdisciplinary
2.Need to update the blog list of collaborators
3.John Galliano, Kate Moss, Rick Owens, Comme des Garçons and Alexander McQueen... SHOWstudio has also worked with pop culture icons and creatives from the world of art, music and film including Tracey Emin, Björk, Brad Pitt and Lady Gaga.
2.Need to update the blog list of collaborators
3.John Galliano, Kate Moss, Rick Owens, Comme des Garçons and Alexander McQueen... SHOWstudio has also worked with pop culture icons and creatives from the world of art, music and film including Tracey Emin, Björk, Brad Pitt and Lady Gaga.
SHOWstudio FINDER
Nick Knight (Fashion
photographer) has worked with
the world’s most sought-after
filmmakers, writers and
cultural figures to create
visionary online content,
exploring every facet of
fashion through moving
image, illustration,
photography and the written
word.
word.
Creativity for social good
Only The Brave Foundation
Brave Actions For A Better World (2008)
‘mission to fight social inequality and to contribute to the sustainable development of less advantaged areas and people throughout the world.'
‘mission to fight social inequality and to contribute to the sustainable development of less advantaged areas and people throughout the world.'
Corporate Social Responsibilities:
-Only The Brave Foundation can be seen as CSR
-David Jones CEO Havas(2012) Brands today find creative ways to be socially responsible
-In this sense CSR fits with the Rhetoric of creativity as a social good;
‘involvingco-operative activity and as socially and personally empowering’ (Banaji et al, 2006 p25)
-Why? What society wants and demands.
-D&AD Student Awards:Uni lever open brief link campaign of brand to a social or environmental issue
-David Jones CEO Havas(2012) Brands today find creative ways to be socially responsible
-In this sense CSR fits with the Rhetoric of creativity as a social good;
‘involvingco-operative activity and as socially and personally empowering’ (Banaji et al, 2006 p25)
-Why? What society wants and demands.
-D&AD Student Awards:Uni lever open brief link campaign of brand to a social or environmental issue
CREATIVITY AS ECONOMIC IMPERATIVE:
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Digital Britain (2009) Report
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Creative skills particularly important to UK economy
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Facilitating creative skills particularly important to
economy
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Today’s most innovative companies... succeed by
designing their organisations to maximize collaboration’
(Sawyer, 2008 xiii)
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Google & Ideo(dominant creative models)
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Creative teams practice improvisation (on & offline)
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Good improv involves deep listening skills–working as
one, idea goes places wouldn’t as an individual
CREATIVITY AND COGNITION:
Csikzentmihayli(1990)Flow
• Psycho-cultural perspective of creativity:
• Refers to psychological condition of being creative.
• Enjoyment changes perception of time ‘loose-one’s-self’
• Occurs when challenges & skills are high
• Sawyer(2008)posits flow essential ingredient to creativity
• Most common place flow experienced is when one is in conversation.
• Creativity is (and always has been) collaborative
Flow illustrated by working methods Studio Ghibli:
Director Hayao Miyazaki talking about how narrative award winning film Spirited Away (2001) collaboratively & incrementally
Director Hayao Miyazaki talking about how narrative award winning film Spirited Away (2001) collaboratively & incrementally
"a principle that I adhere to when
directing is that I make good use of
everything my staff creates...
animation is a fundamentally
developmental process for Miyazaki, it
is also, no less crucially, an eminently collaborative effort"
(Cavallaro, 2006, p134)
THE CREATIVE AFFORDANCES OF TECHNOLOGY:
CoveredOCC new model of creativity(industry)
Influenced creative curriculum (9) Creative classroom
Flattening social hierarchies, empowering and connecting creatives.
Communities of practice across disciplines & geography asynchronously or synchronously
New initiative launched next summer ‘connect’ D&AD community ‘richer deeper engagement education and industry’
New and exciting opportunities for creatives
CHI expands global network with Bates Asia joint venture (2012)
•Article about ad agency
merger, a new structure
•Links to Rhetoric (5) Creativity as economic imperative
•Johnny Hornby global executive chairman (CHI) ‘new model network with deep roots in Asia and world class creative credentials".
•Links to Rhetoric (5) Creativity as economic imperative
•Johnny Hornby global executive chairman (CHI) ‘new model network with deep roots in Asia and world class creative credentials".
Hornby also said "This new
model network will use our
big ideas process to put
together bespoke multi-
disciplined teams across
geographies. It will be a
nimbler, faster, more
modern alternative to the big
networks."
Beattie (BMB) ECD
•Internet is the biggest idea since the wheel
•Enables lots of small ideas to circulate
•‘that combination of a trillion little ideas is in itself
the biggest idea there is...I think we are at the
most interesting point of communications history
ever...’
•Digital media enabled convergence on a scale
not seen before opens up opportunities for
creatives.
•E.g Moon
Visualising Creativity
• Creative affordances / possibilities technology;
• Capturing creativity in real time SHOWstudio Carine Gilson's Flora LiveStudio (5th Dec, 2012)
• Creativity is now massive,open and online
• The Blank Sheet project–objectives to expose creativity
• D&AD new initiative Making Your Mark similar thinking
• VC topic commission at Liverpool Biennial 2012(largest contemporary arts event in UK) The Source Doug Aiken
•Installation help to summarise the threads of the lecture
• Creative affordances / possibilities technology;
• Capturing creativity in real time SHOWstudio Carine Gilson's Flora LiveStudio (5th Dec, 2012)
• Creativity is now massive,open and online
• The Blank Sheet project–objectives to expose creativity
• D&AD new initiative Making Your Mark similar thinking
• VC topic commission at Liverpool Biennial 2012(largest contemporary arts event in UK) The Source Doug Aiken
•Installation help to summarise the threads of the lecture
TALKING ABOUT CREATIVITY
•What is the source of a
creative idea?
•Installation collaboration with David Adjaye
•Visitors enter a pavilion with screens projecting artists; Jack White, Tilda Winton (actress) and others discussing the roots of their creativity with Doug Aiken.
•Installation collaboration with David Adjaye
•Visitors enter a pavilion with screens projecting artists; Jack White, Tilda Winton (actress) and others discussing the roots of their creativity with Doug Aiken.
HOW DO YOU TALK ABOUT YOUR CREATIVITY?
Residues of Mimesis may remain.
•Contemporary literature suggests creativity is spoken about by creatives as a thinking and knowledge- generating activity.
• OCC sits in opposition to the Creative Genius rhetoric, where creativity is an innate aptitude for individuals.
• This has led to a dualist perspective of real individual creativity against a communal other.
• Consequences; any form of collaborative creativity is considered of inferior value to independent practice
• Sawyer (2008) and others argue the opposite that collaborative creativity is a superior type that increases innovation and suits the contemporary networked economy.
•Contemporary literature suggests creativity is spoken about by creatives as a thinking and knowledge- generating activity.
• OCC sits in opposition to the Creative Genius rhetoric, where creativity is an innate aptitude for individuals.
• This has led to a dualist perspective of real individual creativity against a communal other.
• Consequences; any form of collaborative creativity is considered of inferior value to independent practice
• Sawyer (2008) and others argue the opposite that collaborative creativity is a superior type that increases innovation and suits the contemporary networked economy.
YOU ARE NOT A GADGET:
Practicing OCC could
potentially diffuse the
dualisms that have existed
in the rhetoric of creativity.
•Creative practicing does not necessarily entail replacing a focus on the creative sovereignty of the individual. As Lanier explains, ‘You have to be somebody before you can share yourself’ (Lanier, 2010, p.1).
•Creative practicing does not necessarily entail replacing a focus on the creative sovereignty of the individual. As Lanier explains, ‘You have to be somebody before you can share yourself’ (Lanier, 2010, p.1).
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