Creativity as Struggle...

Pope 2008 offers an wide ranging discussion of creativity in the context of Capitalism, he quotes Williams 1977  who in Marxism and Literature : refers to creativity as "a struggle of self-creation  with internalized contradictions, it can be a long and difficult struggle of an inherited (determined) practical consciousness.. a struggle at the roots of the mind...not casting off an ideology... but  confronting a hegemony in the fibres of the self and in  the hard practical substance of effective and continuing relationship"(1977:212) 

This gets close... 

Pope (2005) provides an extensive  discussion of the field of creativity from a similar perspective . He addresses the issue of the concept of  "creativity"  being " appropriated by information technology, communications and advertising (p6 2005)  and hence being limited to particular limited forms acceptable to capitalism, the other 'less acceptable' forms being: Philosophy Deleuze (1991), Art, and "Self-Creation" in an existensial sense (Heidigger)  marginalized (ref) , although perhaps the  term "abnormalized" is more descriptive (at least they are considered the super structure of artistic whim to the structure of capital responsibility). Pope refers to the relation between Production (and Reproduction) and Creativity as  binary opposition that can be deconstructed,  pointing to the privileging of production/reproduction over creativity. (Add Benjamin W) 

Creativity - Working Defn

Creativity:   " to question our patterned assignment of boundaries and values"?*

*"Bringing these autonomous? patterns of distinction/thought into concious awareness (listening) (expressing them in language?) and rationally questioning them,  discussing them  (social aspect) and experimentally trying alternatives "


ie Absolute boundaries  and  polarised rhetoric in the context of the flat plane of post structuralist thought?(Hicks) and performative values (Eshelman) (also pragmatism)


(this relates to Deleuze's defn of philosophy as the "creation of concepts" )


eg searching for emergent univocity (cooperative/mutual aspect) as a possibility via appreciating random expressive flow...

Aim: to explore the possibility of realising an increase in experienced mutual (Sustainable) value / quality of life / (happiness)


Explore possible benefits of mutual causality   (Buddhist) (Macy)


holistic aspect

It is not a self-existent entity, but a fluid and changing pattern, a process interlinked and co-arising with the entire universe. (p. 216)

eg  intonation… speaking as transmitting info, c.f speaking as vibrational exercise in unfolding sound
Vocal - could be in poetic context / improv re poeisis game

In a hierarchical view of reality, and in the linear, one way view of causality to which it leads, both value and power are attributed to absolute entity or essence, unaffected by the play of phenomena...habits of thought bred by this one-way view persist in the assumption that power works from the top down. This notion is particularly dangerous in a time of increasing planetary disruptions and scarcities. It tempts people to assume that freedom is inimical to collective survival, and that order must be imposed from above. Indeed the political fanaticisms and religious fundamentalisms of our time give voice to the belief that common will and coordinated action require subservience to a particular leader or deity...both Systems Theory and Buddhism make clear, order is not imposed from above, by mind exerting its will on dumb material forces; it is intrinsic to the self- organizing nature of the phenomenal world itself. When we recognize our participation in its co-arising patterns, we can claim our power to act. We can then, through our choices give expression and efficacy to the coordination at play in all life forms. (p. xiii)

dependent co- arising means that everything arises through mutual conditioning in reciprocal interaction.  not as substance or essence but orderly process itself—the way things work. (p. xi)

here we have a rational aspect and an affective aspect  needs to be shared value between these

Appreciative space for "Emergent Univocity" ? - how is this Framed?

The concept of "Appreciative space for Emergent Univocity"  seems appropriate ...

Univocity acknowledges the possibility of a wholistic aspect c.f the post structural "flat plane' relativity
It acknowledges the potential value of the  inclusive

+ Universal Narratives 

Re "the bridge" as offering a space  to explore express and discuss this...

in the context of 'systems of thought that naturalise certain forms of domination" Layder on Foucault and Ideology

c.f my previous terms "Random Expressive Flow" "Inherent Creative Potential"

it points to the potential for harmony to emerge ... and the need to allow space for this process

Can be Internal & External


Obstacles:

Fear
Expert interests imposing "correct" forms before exploring emergence fully
Ideology & Naturalisation of 'Bounded Self'
Private Ownership of Public Space.
Security Threats (Potential for exploitation/abuse) Ethical Practice
Security Threats being exaggerated by those with interests in reducing access to emergent univocity

Related Paper :Creativity 2009

Random thinking, ordered doing: understanding group creative practice through repertory grid technique Full text Pdf (2.55 MB)  Source  Creativity and Cognition archive Proceeding of the seventh ACM conference on Creativity and cognition table of contents Berkeley, California, USA SESSION: Theory, metrics, methods & tools I table of contents Pages: 137-146   Year of Publication: 2009 ISBN:978-1-60558-865-0 Authors Shaun McWhinnie  University of Dundee, Dundee, United Kingdom Shaleph J. O'Neill  University of Dundee, Dundee, United Kingdom Louise Valentine  University of Dundee, Dundee, United Kingdom Sponsor SIGCHI: ACM Special Interest Group on Computer-Human Interaction

DOI Bookmark: Use this link to bookmark this Article: http://doi.acm.org/10.1145/1640233.1640256 What is a DOI? ABSTRACT The aim of our work is to better understand the impact of interactive technology on the creative process. An important part of beginning this research is to understand how creative practitioners make sense of their own creative practice. This paper introduces work carried out using a kit based Repertory Grid Technique (RGT), to examine the conceptual constructs of a small group of creative practitioners in a workshop format. The results, although preliminary, identify a number of shared constructs that help us describe aspects of creative processes from the practitioners' point of view. This leads us to hypothesize about potential models of creativity that we can use in future research. REFERENCES bold refs same as mine from MA -    1 Margaret A. Boden, Creative Mind: Myths and Mechanisms, Routledge, New York, NY, 2003   2 Jay David Bolter , Richard Grusin, Remediation: understanding new media, MIT Press, Cambridge, MA, 1998   3 Csiksentmihaly, M. Creativity: Flow, and the psychology of discovery and invention. New York, Harper Perennial, 1997.   4 Fransella, F., and Bannister, D. A Manual for Repertory Grid Technique. London, Academic Press, 1999.   5 Hassenzahl, M. and Wessler, R., Capturing design space from a user perspective: the repertory grid technique revisited. Int. J. of Human-Computer Interaction, 12:3, 441--459   6 Thomas T. Hewett, Informing the design of computer-based environments to support creativity, International Journal of Human-Computer Studies, v.63 n.4-5, p.383-409, October 2005  [doi>10.1016/j.ijhcs.2005.04.004]   7 Kelly, G. A., A Theory of Personality: the psychology of personal constructs. Norton, New York, 1963.   8 Todd Lubart, How can computers be partners in the creative process: classification and commentary on the special issue, International Journal of Human-Computer Studies, v.63 n.4-5, p.365-369, October 2005  [doi>10.1016/j.ijhcs.2005.04.002]   9 Malcolm McCullough, Abstracting Craft: The Practiced Digital Hand, MIT Press, Cambridge, MA, 1998   10 McWhinnie, S., O'Neill, S. J., Making sense of Creative Interactions Through Repertory Grid Technique. Proceedings of the Create 2009 Conference, BCS, 2009.   11 O'Neill S. J. (2006) Semiotics, Embodiment and Interactive Media, International Conference on Organizational Semiotics ICOS, University of Campinas, Brazil, 2006.   12 Shaw, M. L. G., and Gaines, B.R. (1989) Comparing Conceptual Structures: Consensus, Conflict, Correspondence, and Contrast. Available from: http://pages.cpsc.ucalgary.ca/~gaines/reports/   13 M. L. G. Shaw and B. R. Gaines, "Mapping creativity with knowledge support tools," in AAAI-91 Workshop on Creativity: Models, Methods and Tools. AAAI: Menlo Park, California. 1992   14 Shaw, M. L. G., and Gaines, B. R. (1995) Comparing constructions through the web. Available at http://pages.cpsc.ucalgary.ca/~gaines/reports/   15 Robert J. Sternberg, Creativity or creativities?, International Journal of Human-Computer Studies, v.63 n.4-5, p.370-382, October 2005 [doi>10.1016/j.ijhcs.2005.04.003]   16 Stevenson, F., (2005). Materiality: people, place and sustainable resource use in architecture. PHD theses, University of Dundee.   17 WebGrid, available from http://repgrid.com