The Arts and Design: From Romantic Doxa to Rational Systems of Creative Practice

2016 ◽  
pp. 185-199 ◽  
Author(s):  
Phillip McIntyre ◽  
Sarah Coffee
Keyword(s):  
Creative Practice ◽  
The Arts ◽  
Rational Systems

scholarly journals Religion, Creative Practice and Aestheticisation in Nick Cave’s The Red Hand Files

Religions ◽  
2020 ◽  
Vol 11 (6) ◽  
pp. 304
Author(s):  
Sarah K. Balstrup
Keyword(s):  
Political Correctness ◽  
Creative Practice ◽  
The Arts ◽  
Practice Performance ◽  
Alternative Spirituality ◽  
Ongoing Dialogue ◽  
Personal Spirituality

In 2018, Nick Cave launched The Red Hand Files website, where fans ask personal questions and the artist responds. This ongoing dialogue presents a unique iteration of religious visibility at the nexus of religion and the arts. Here, Cave articulates his personal religiosity in the wake of his son’s death, detailing the role of creative practice, performance and communication. Cave’s personal spirituality engages processes of aestheticisation that awaken experiences of inspiration and mystery. The epistemological orientation of alternative spirituality that values encounters with the ineffable and seeks to be free from static beliefs had previously found its antithesis in organised religion, but more recently, the fervent dogmatism of political correctness has applied its own pressure. As an example of religious aestheticisation within the tradition of alternative spirituality, The Red Hand Files exhibits the continued salience of this worldview despite the countervailing influence of politically correct culture.

Inventing the Social

2018 ◽  
Author(s):  
Alex Wilkie
Keyword(s):  
Social Science ◽  
Digital Media ◽  
Social Life ◽  
Social Research ◽  
Ways Of Knowing ◽  
Creative Practice ◽  
The Arts ◽  
Starting Point ◽  
The Social

Inventing the Social, edited by Noortje Marres, Michael Guggenheim and Alex Wilkie, showcases recent efforts to develop new ways of knowing society that combine social research with creative practice. With contributions from leading figures in sociology, architecture, geography, design, anthropology, and digital media, the book provides practical and conceptual pointers on how to move beyond the customary distinctions between knowledge and art, and on how to connect the doing, researching and making of social life in potentially new ways. Presenting concrete projects with a creative approach to researching social life as well as reflections on the wider contexts from which these projects emerge, this collection shows how collaboration across social science, digital media and the arts opens up timely alternatives to narrow, instrumentalist proposals that seek to engineer behaviour and to design community from scratch. To invent the social is to recognise that social life is always already creative in itself and to take this as a starting point for developing different ways of combining representation and intervention in social life.

scholarly journals Transcending utility? The gendered conflicts of a contemporary creative identification

2019 ◽  
Vol 30 (1) ◽  
pp. 63-79 ◽  
Author(s):  
Stephanie Taylor ◽  
Marie Paludan
Keyword(s):  
Visual Arts ◽  
Well Being ◽  
Cultural Industries ◽  
Creative Processes ◽  
Practical Applications ◽  
Creative Practice ◽  
The Arts ◽  
Art For Art's Sake ◽  
Therapeutic Utility ◽  
Psychology Of Creativity

The late 20th and early 21st centuries have been described as an age of creativity in affluent Western societies because of the increased popularity of the visual arts and the expansion of the global sector of the creative and cultural industries (CCI). The psychology of creativity has contributed new conceptualisations of creativity and creative processes, challenging associations that derive from the elite arts. This article investigates the implications of these changes for the gendering of creativity and creative practice. It asks if contemporary reconceptualisations of creativity open new possibilities for women to identify as creative practitioners. The article presents a critical discursive study of interviews with UK women maker-artists. The analysis shows how the women emphasise the practical applications or utility of their creative practice. A claim of utility can function to justify the practice. In addition, a claim of therapeutic utility, for others and for the artist herself, potentially addresses the neoliberal priority that people take responsibility for their personal well-being. However, the justification of utility contrasts with the creative vocation associated with the masculine elite artist who pursues “art for art’s sake”. The justification can therefore be seen to undermine the women’s creative identifications, reinstating the conventionally masculine status of creativity and the arts.

Improvisation and new frontiers in creative practice

2020 ◽  
pp. 1-24
Author(s):  
Raymond A. R. MacDonald ◽  
Graeme B. Wilson
Keyword(s):  
Everyday Life ◽  
Cultural Change ◽  
Performing Arts ◽  
Music Industry ◽  
Digital Technologies ◽  
Spontaneous Generation ◽  
Creative Practice ◽  
The Arts ◽  
Improvised Music ◽  
The Media

This chapter draws together recent advances across musical fields to frame improvising as an innovative and vibrant way of doing creative practice at a professional level and in everyday life. It presents examples of cross-disciplinary improvised work and festivals at the cutting edge of the performing arts. Improvised music is discussed in relation to broader social and cultural change and transformations within the media and music industry. The possibilities of new digital technologies for expanding improvising are reviewed and help set the context for the proceeding chapters. It shows how group improvisation involves the spontaneous generation of novel music, dance, or art by two or more people. It describes the groundswell of interest across the arts in improvisation with artists, festivals, and venues dedicated to pushing this creative approach beyond genre boundaries.

scholarly journals Implementing a new doctor of creative arts program in the Chinese year of the fire monkey

2017 ◽  
Vol 17 (3) ◽  
pp. 323-344 ◽  
Author(s):  
Martin Charles Kerby ◽  
Margaret Mary Baguley ◽  
Beata Agnieszka Batorowicz ◽  
Linda Nicole Clark
Keyword(s):  
Higher Education ◽  
Education Sector ◽  
Creative Arts ◽  
Creative Practice ◽  
Creative Leadership ◽  
The Arts ◽  
Regional University ◽  
Traditional Research ◽  
The University

This article explores the development and implementation of a new Doctor of Creative Arts program in a regional university. The experiences of key leadership staff and Doctor of Creative Arts candidates enrolled in the foundation year of the program are contextualised within the current landscape of practice-based arts research in the higher education sector. The process was shaped by the tension between financial imperatives and the possibilities, ambiguity and ambivalence inherent in the arts. The implementation of the Doctor of Creative Arts in 2016, the Chinese Year of the Fire Monkey with its emphasis on intelligent, flexible and creative leadership, was one that offered the most relevant metaphorical framework within which the challenges were best articulated and explored. The findings revealed significant institutional awareness of the new program’s potential to facilitate innovative, creative and traditional research outputs, the importance of communicating the value of creative practice-led research for artists and the university, and leadership and support throughout planning and implementation.

Art and New Technology in Mexico: The National Center for the Arts

Leonardo ◽  
2006 ◽  
Vol 39 (4) ◽  
pp. 371-372 ◽  
Author(s):  
Andrea Di Castro
Keyword(s):  
Cultural Heritage ◽  
Mexico City ◽  
New Technologies ◽  
New Technology ◽  
The Internet ◽  
Changing Environment ◽  
Creative Practice ◽  
The Arts ◽  
History Of ◽  
The Creation

The author chronicles the history of Mexico's Centro Nacional de las Artes (National Center for the Arts) in Mexico City, and in particular the Multimedia Center, a space dedicated to the creation and teaching of the arts and preservation of cultural heritage through the use of new technologies such as CD-ROMs, the Internet and teleconferencing, as well as exhibitions. After 10 years of operation, the Multimedia Center faces new types of challenges as the new technologies become successfully integrated into creative practice. In response to the changing environment, the center is moving toward collaborations with similar institutions internationally and toward new funding models.

scholarly journals Creativity through mindfulness: The Arts and Wellbeing in Education (AWE) professional learning programme

2020 ◽  
Vol 16 (3) ◽  
pp. 319-332 ◽  
Author(s):  
Alex Southern
Keyword(s):  
Professional Learning ◽  
Arts Education ◽  
Well Being ◽  
School Teachers ◽  
Creative Practice ◽  
Education Professional ◽  
The Arts ◽  
Key Concepts ◽  
Definition Of

This article uses findings from a case study of an arts/education professional learning programme in Wales to construct a definition of creativity that reflects on and contributes to debates around the concept, and its value within education. The programme Arts and Wellbeing in Education (AWE) focused on supporting school teachers’ well-being through creative practice. The research comprised a participatory methodology that sought to explore the circulating discourse around the key concepts of creativity and well-being in order to identify how the team leading the programme conceptualized the value of creativity, and how this was enacted. The findings point to a notion of creativity that is an inclusive, carnival experience that may improve well-being through mindful approaches to creative practice.

The Nature of (Arts) Entrepreneurial Action

2021 ◽  
pp. 96-116
Author(s):  
Linda Essig
Keyword(s):  
Higher Education ◽  
Training Programs ◽  
National Endowment ◽  
Degree Programs ◽  
Entrepreneurship Training ◽  
Entrepreneurship Research ◽  
Creative Practice ◽  
The Arts ◽  
Entrepreneurial Action ◽  
The Relationship

There seems little doubt that educators, policymakers, and artists themselves are paying attention to the relationship between creative practice and entrepreneurship. Over 150 US institutions of higher education provide hundreds of offerings related to arts entrepreneurship, ranging from courses to degree programs and guest speakers to robust venture incubation programs. State arts agencies have developed arts entrepreneurship training programs, and the National Endowment for the Arts has thus far initiated three national arts entrepreneurship research labs. Given this interest, this essay examines what it is that artists actually do – the actions they take — in the relationship between entrepreneurship and their creative practice.

Buying Up, Not Selling Out

2021 ◽  
pp. 162-182
Author(s):  
Linda Essig
Keyword(s):  
Decision Making ◽  
Cultural Production ◽  
Racial Equity ◽  
Property Ownership ◽  
Revenue Generation ◽  
Creative Practice ◽  
The Arts ◽  
Tangible Assets ◽  
Matters Of Concern

All too often, artists who are attentive to the 'business' of their creative practice are accused of 'selling out'. But for many working artists, that attention to business — to revenue generation, asset accrual, the arts economy — is what enables an artist to not just survive, but to thrive. When artists follow their mission, or organizations theirs, they don’t sell out, they spiral up by keeping mission at the forefront. Money and other tangible assets are not their end goal — they are instead the means toward the end of artistic and cultural production. As I talked with artists and arts infrastructure leaders about what makes their work sustainable, an unexpected theme emerged: property ownership. This essay looks at artists, organizations, and communities that own property to see the ways in which missions drive decision-making, assets are maximized, and 'success', however it is defined, can be sustained. When property ownership is part of that sustainability equation, history, agency, and racial equity also become matters of concern.

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