The intention and the guiding thought is to highlight the phenomenon of love because it unjustly became marginalised in the contemporary scientific discourse, including philosophy, especially from ...today’s perspective of the ultimate and complete commodification of human relations. The crucial part of the paper is the emphasis on the creative potential and revolutionary strength – and the emerging freedom as a vital moment – of the love as a permanent corrective and the possibility of changing and revolutionising existing relationships and individuals. The fundamental theses of the paper regarding the radicalism of love, the love that lasts and is not exhausted in one encounter, and the love that permanently triumphs before the challenges posed by space, time, and the world in which it finds itself ‘in a bind’, surrounded and endangered by the contemporary condition. That being said, the primary contribution of this paper is directed at defending love and restarting the philosophical debate regarding the essence of love. Exposing love to risk and adventure, and with it opposing the security and comfort of the prevailing culture of the commodification of everything becomes both its defence as an uncompromising philosophical task par excellence.
What role does playful behaviour and playful thought take in animal and human development? How does play relate to creativity and, in turn, to innovation? Unravelling the different meanings of ...'play', this book focuses on non-aggressive playful play. The authors emphasise its significance for development and evolution, before examining the importance of playfulness in creativity. This discussion sheds new light on the links between creativity and innovation, distinguishing between the generation of novel behaviour and ideas on the one hand, and the implementation of these novelties on the other. The authors then turn to the role of play in the development of the child and to parallels between play, humour and dreaming, along with the altered states of consciousness generated by some psychoactive drugs. A final chapter looks forward to future research and to what remains to be discovered in this fascinating and important field.
The aim of the study is to initiate the reflection on creating anthologies and its deeply individualized functions in the context of particular historical and literary cases from various national ...literatures. It seems that one of the areas of description and analysis that is most difficult to present is Polish wartime anthology, starting with "Pieśń niepodległa" (“The Independent Song”) as “an attempt of a poetic anthology” compiled by Czesław Miłosz in 1942. Miłosz’s commentaries to "Pieśń niepodległa" read in the light of the most significant 1939−1944 British anthologies and manifestos included within them ("New Apocalypse", "The White Horseman" or "Crown & Sickle") reveal a wide range of differences in understanding anthologising tasks and the anthological craftsmanship in Poland as well as Great Britain. One of the most crucial distinctions here is the anthology compiler’s aspiration to create programmes, which the leaders of New Apocalyptics group regarded as the starting point of their work. In case of Polish conspiratorial anthologies this was seen as a criterion that is unrealistic and unable to be fulfilled.
BACKGROUND: Creativity is essential to the work of occupational therapy practitioners. Nonetheless, little is known about the way it influences their work satisfaction. OBJECTIVE: This study explores ...several internal and external factors related to organizational, personal, and socio-relational sources of creativity. Our main hypothesis was that occupational therapy practitioners are more satisfied when creative. METHODS: A mixed-methods study included a qualitative (n = 22) and a quantitative (n = 250) phase. Data were gathered using focus group interviews and an online survey, where a novel assessment instrument –the Creativity in Occupational Therapy Questionnaire –was administered. RESULTS: The synthesis of the results revealed that factors connected with the client, the practitioner’s personal characteristics, the work environment, relationships with colleagues and relationships with superiors all influenced the creativity of occupational therapy practitioners, in negative or positive ways. Professional autonomy and a supportive work environment were found to be important for the creativity of occupational therapy practitioners. Creativity at work had a statistically significant influence on work satisfaction of occupational therapy practitioners (B = 0.575, t = 6.267, p < 0.01). CONCLUSIONS: The results demonstrate the importance of creativity for job satisfaction of occupational therapy practitioners and suggest a dynamic reciprocal relationship between different factors and circumstances that should be considered when fostering creativity at work.
The essential guide to exploring the nature of creativity with ideas and practical strategies for nurturing pupils' creative skills in primary and secondary schools.
The book is about creativity and relates to the field of creative cognition, divergent thinking, and innovation. The essays collected here highlight new and exciting explorations of ideas and ...theories of integrative approaches to the creative mind. This singularity allows a unique and fresh look at the concept of creativity. The primary markets for this book are universities and professional bodies in the field of psychology, humanities and social sciences, and it will also appeal to specialists in the fields of cognitive psychology, sociology, culturology, the arts studies, physiology, and other areas of the humanities.
Creative workers have been celebrated internationally for their flexibility in new labour markets centred on culture, creativity and, most recently, innovation. This book draws on research with ...novice and established workers in a range of specializations in order to explore the meanings, aspirations and practical difficulties associated with a creative identification. It investigates the difficulties and attractions of creative work as a personalized, affect-laden project of self-making, perpetually open and oriented to possibility, uncertain in its trajectory or rewards. Employing a cross-disciplinary methodology and analytic approach, the book investigates the new cultural meanings in play around a creative career. It shows how classic ideals of design and the creative arts, re-interpreted and promoted within contemporary art schools, validate the lived experience of precarious working in the global sectors of the creative and cultural industries, yet also contribute to its conflicts. 'Contemporary Identities of Creativity and Creative Work' presents a distinctive study and original findings which make it essential reading for social scientists, including social psychologists, with an interest in cultural and media studies, creativity, identity, work and contemporary careers.
Background.
Examining craft-based occupations is necessary to explicate the relationship between occupation and well-being.
Purpose.
This study aimed to understand the role of knitting in the lives ...of passionate knitters and their experience of how knitting contributes to health, well-being, and occupational identity.
Method.
Principles of phenomenology guided interviews with 21 knitting-guild members (with and without health conditions) and observations at seven guild meetings as well as guided the data analysis. Eight interviewees and 24 additional guild members confirmed key findings in writing.
Findings.
Five main themes capture how knitting (a) “makes me happy,” (b) is “the mental challenge I need,” (c) is “a hobby that joins” through social connections and skill development, (d) sustains identity such that “I can’t imagine life without knitting,” and (e) is a creative outlet “reflecting my personality.”
Implications.
This in-depth description of how knitters experience their craft in daily life bolsters the philosophical assumption that favoured occupations have the power to promote health and well-being.
Spaces of Vernacular Creativity Edensor, Tim; Leslie, Deborah; Millington, Steve ...
2010, 20091029, 2009, 2009-10-29, 20100101, Volume:
30
eBook
Creativity has become part of the language of regeneration experts, urban planners and government policy makers attempting to revive the economic and cultural life of cities in the 21 st century. ...Concepts such as the creative class, the creative industries and bohemian cultural clusters have come to dominate thinking about how creativity can contribute to urban renewal. Spaces of Vernacular Creativity offers a critical perspective on the instrumental use of arts and creative practices for the purposes of urban regeneration or civic boosterism.
Several important contributions are brought into one volume to examine the geography of locally embedded forms of arts and creative practice. There has been an explosion of interest in both academic and policy circles in the notion of creativity, and its role in economic development and urban regeneration. This book argues for a rethinking of what constitutes creativity, foregrounding non-economic values and practices, and the often marginal and everyday spaces in which creativity takes shape. Drawing on a range of geographic contexts including the U.S., Europe, Canada and Australia, the book explores a diverse array of creative practices ranging from art, music, and design to community gardening and anticapitalist resistance. The book examines working class, ethnic and non-elite forms of creativity, and a variety of creative spaces, including rural areas, suburbs and abandoned areas of the city. The authors argue for a broader and more inclusive conception of what constitutes creative practice, advocating for an approach that foregrounds economies of generosity, conviviality and activism. The book also explores the complexities and nuances that connect the local and the global and finally, the book provides a space for valuing alternative, marginal and displaced knowledges.
Spaces of Vernacular Creativity provides an important contribution to the debates on the creative class and on the role of value of creative knowledge and skills. The book aims to contribute to contemporary academic debates regarding the development of post-industrial economies and the cognitive cultural economy. It will appeal to a wide range of disciplines including, geography, applied art, planning, cultural studies, sociology and urban studies, plus specialised programmes on creativity and cultural industries at Undergraduate and Postgraduate levels.
Tim Edensor teaches Cultural Geography at MMU. He is author of Tourists at the Taj (1998), National Identity, Popular Culture and Everyday Life (2002) and Industrial Ruins: Space, Aesthetics and Materiality (2005). He is currently researching landscapes of illumination, geographies of rhythm and urban materiality.
Deborah Leslie is an Associate Professor of Geography at the University of Toronto. She is interested in the role of cultural industries in urban economic development, and has done research on a range of industries including design, fashion, art, furniture, advertising and more recently the circus. She has related research interests in the creative city initiatives and urban governance, and in the geography of commodity chains. She is author of a number of publications relating to these topics.
Steve Millington is a Senior Lecturer in Human Geography at Manchester Metropolitan University. His research interests include landscapes of illumination, vernacular creativity and geographies of play. He is co-author of Cosmopolitan Urbanism (2006) and has recently published journal articles in Global Networks and Sociology .
Norma M. Rantisi is an Associate Professor in the Department of Geography, Planning & Environment at Concordia University (Canada). She is author and co-author of numerous articles on the themes of fashion design, the cultural economy and policies governing design in urban settings. She has co-edited two special journal issues: one for Environment and Planning A on the creative economy and one for The Journal of Economic Geography on relational economic geography.
1. Introduction: Rethinking Creativity: Critiquing the Creative Class Thesis (Tim Edensor, Deborah Leslie, Steve Millington and Norma M. Rantisi) Part 1: Governing and Practising Creativity 2. Creative Spaces and the Art of Urban Living (Graeme Evans) 3. Creativity by Design? The Role of Informal Spaces in Creative Production (Rantisi and Leslie) 4. Art goes AWOL (Malcolm Miles) Part 2: Decentering Creativity 5. Creative Suburbs: Cultural ‘Popcorn’ Pioneering in Multi-purpose Spaces (Alison Bain) 6. Beyond Bohemia: Geographies of Everyday Creativity for Musicians in Toronto (Brian J. Hracs) 7. Mapping Vernacular Creativity: the Extent and Diversity of Rural Festivals in Australia (Chris Gibson, Chris Brennan-Horley and Jim Walmsley) 8. Imagining the Spatialities of Music Production: The Co-constitution of Creative Clusters and Networks (Bas Van Heur) 9. Remediating Vernacular Creativity: Photography and Cultural Citizenship in the Flickr Photosharing Network (Jean Burgess) Part 3: Everyday Spaces of Creativity 10. Creativity, Space and Performance: Community Gardening (David Crouch) 11. Growing Places: Community Gardening, Ordinary Creativities and Place-based Regeneration in a Northern English City (Paul Milbourne) 12. Creative Destruction and Critical Creativity: Recent Episodes in the Social Life of Gnomes (Tracey J. Potts) 13. Christmas Lights Displays and the Creative Production of Spaces of Generosity (Edensor and Millington) Part 4: Alternative Creativities 14. Challenge, Change, and Space in Vernacular Cultural Practice (Ann Markusen) 15. The Politics of Creative Performance in Public Space: Towards a Critical Geography of Toronto Case Studies (Heather E. McLean) 16. Creativity Unbound: Cultivating the Generative Power of Non-economic Neighbourhood Spaces (Ava Bromberg)
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