Creative Rhetoric's COP

Lecture 8 – 6/12/2012

Creative Rhetoric’s talking about creativity

Janine Sykes

Aim:

To gain knowledge of the historicism and complexity of creativity, in order to better understand and articulate your creative practice

Objectives: it’s good to talk

Clarify how creativity is talked about

Enable us to talk with precision about creativity

Develop practice: techniques/definition

Potentially expand discipline

Threads

Introduction – the blank sheet project

Genealogy – a history of the term creativity

Aesthetics – philosophy of creativity

Education – facilitating creativity

Contemporary global – discourses and practices

“Different artists often have quite divergent conceptions of what they are doing” Harrison – Barbet, 1990

Evidence classification of GK Art

Striving to imitate nature better:

Archaic

Classical

Hellenistic

Classicism

Academics talk about creativity

Complex and dynamic concept

Subjects of history of art and aesthetics

Evidenced in Banaji et al (2006) Nine ‘rhetoric’s of creativity’ contemporary review of the literature

Theoretical framework of lecture

Banaji et all (2006) Nine ‘rhetoric’s of creativity’

1.     creative genius

2.     democratic and political creativity

3.     ubiquitous creativity

4.     creativity for social good

5.     creativity as economic imperative

6.     play and creativity

7.     creativity and cognition

8.     the creative affordances of technology

9.     the creative classroom

(1) Romantic Genius

Involves looking at judgments about art and creativity are made

Romanticism

Kant wrote about artistic movements

Transformed

Movement changed ideas and language about art and creativity

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 – nor imitator

Artist should stand aside from rules

The artist is rule breaker and definer

Creativity

Through creating, artists create new rules

Own aster and owner of the discipline

Romantic model of the artist empowers the artist and creativity

Through creativity the borders and boundaries of art itself are visualized and transcended

Expanding the discipline

Dynamic

The creative classroom

The survival of creativity (2000)

Traces history of state funded art and design education

First academies of art in Italy in 14c

Classical rules perspective, order of architecture etc.

(2) Democratic and political creativity

Empowering properties – groups

Creative advertising and online collaborative creativity

Future everything 2012

Abundance research new media profound chance on creative and citizens

EStudio

Online extension studio

Mimics the professional studio in its online form and creative collaborations

Abstract

Art and copy teams (collaborative) concurrent practice-based orthodox UK art schools 50;s

For some, new media prompting changes at the heart of discipline; models of creativity – evidence teams are expanding in volume and online

primary sources

49 completed/valid questionnaires

32 learners and 1 tutor – ascertain impact

16 professionals – 7 top ten UK agencies

(3) Ubiquitous creativity

Communities of practice

Little c Creativity Banaji (2006)

Creativity as a basic skill to find solutions to problems in 21^st life, being resourceful, flexible – contribution to society

VCOPlife-cycle/creative cycle

1.     Potential

2.     Coalescing

3.     Active

4.     Dispersed

5.     Memorable

Successful VCOP

1.     Experts

2.      Stimulus

3.     Provide

4.     Presence

5.     Level of engagement

SHOW studio – a way of being creative

Founder – Nick Knight (photographer)

(4) Creativity for social good

Only the brave foundation

(2008) ‘Mission to fight social inequality and to contribute to the sustainable development of less advantages areas and people throughout the world’

Corporate Social Responsibility

‘Involving cooperative activity and as socially and personally empowering’

D&AD Student Awards: Unilever open brief link campaign of brand to a social or environment issue

(5) Creativity as economic imperative

Facilitating creative skills particularly important to economy

Today’s most innovative companies… succeed by designing their organizations to maximize collaboration

Good improve involves deep listening skills – working as one, idea goes places wouldn’t as an individual

(6) Play and creativity

Brainstorming

100- mile-an-hour thinking

creativity as a type of thinking

(7) Creativity and cognition

Psycho-cultural perspective of creativity

Enjoyment changes perception of time

Occurs when challenges and skills are high

Most common place flow experienced is when one is in conversation

Creativity is (and always has been) collaborative

“…a principle that I adhere to when directing is that I make goo duse of everything my staff creates… animation is a fundamentally develmental process for Miyazaki, it is also, no less crucially, an eminently collaborative effort” Cavallaro, 2006)

(8) The creative affordances of technology

influenced creative curriculum (9) Creative classroom

Flattening social hierarchies, empowering and connecting creative

New initiative launched next summer ‘connect’ D&AD community ‘richer deeper engagement education and industry’

New and exciting opportunities for creative

Beattie (BMB) ECD

Internet is the biggest idea since the wheel

Enables lots of small ideas to circulatedigital media enabled convergence on a scale not seen before opens up opportunities for creative

Visualizing Creativity

Creative affordances/possibilities technology

Capturing creativity in real time SHOW studio

Talking about creativity

What is the source of a creative idea?

How do you talk about your creativity?

You are not a gadget

Creative practicing does not necessarily entail replacing a focus on the creative sovereignty of the individual