Peeling Away Constraints: Horst Rittel's Method of Systematic Doubt and Its Application to Collective Creativity

2017 ◽  
Author(s):  
Jeffrey V. Nickerson
Keyword(s):  
Collective Creativity

Reclaiming the City as Commons. Learning from Latin American Housing Movements

2020 ◽  
Vol 46 (1) ◽  
pp. 139-153
Author(s):  
Stavros Stavrides
Keyword(s):  
Latin American ◽  
Housing Conditions ◽  
Urban Living ◽  
City Life ◽  
Urban Condition ◽  
Collective Creativity ◽  
Urban Movements ◽  
The City

This paper explores a renewed problematization of contemporary metropolises' dynamics in the light of speci fic efforts to reclaim the city as commons. Building on Lefebvre's theorizations of the city's virtuality and comparing it to contemporary approaches to the urban condition that emphasize the potentialities of contemporary city-life, it suggests that urban commoning is unleashing the power of collective creativity and collaboration. Struggles to appropriate the city as a crucial milieu for sharing transforms parts of city and produces new patterns of urban living. Examples from Latin American urban movements focused on establishing emancipatory housing conditions are used to illustrate the transformative capabilities of urban commoning.

Introduction

2018 ◽  
Author(s):  
Tina K. Ramnarine
Keyword(s):  
Case Studies ◽  
Fundamental Question ◽  
Social Agency ◽  
Comparative Approach ◽  
Global Perspectives ◽  
Collective Creativity ◽  
Ensemble Performance ◽  
The World

This Introduction outlines various examples of ensemble performance to highlight diverse practices in the world of orchestras. It poses a fundamental question: What is an orchestra? It raises issues around collective creativity and social agency, which provide thematic foci in relation to a diversity of orchestral practices. Discussion on the conceptual aspects of adopting global perspectives on orchestras highlights comparison as a mode of theorization. The relevance of a comparative approach lies in its capacity to draw together diverse ethnographic case-studies. The Introduction thus provides a framework for reading this volume and it points out some of the conceptual connections between its chapters.

Punk as Folk: Continuities and Tensions in the UK and Beyond

2020 ◽  
Author(s):  
Pete Dale
Keyword(s):  
Folk Music ◽  
Music Making ◽  
Collective Creativity ◽  
Living Tradition ◽  
Wide Range ◽  
The Us ◽  
The Common ◽  
The Individual ◽  
The Uk

Numerous claims have been made by a wide range of commentators that punk is somehow “a folk music” of some kind. Doubtless there are several continuities. Indeed, both tend to encourage amateur music-making, both often have affiliations with the Left, and both emerge at least partly from a collective/anti-competitive approach to music-making. However, there are also significant tensions between punk and folk as ideas/ideals and as applied in practice. Most obviously, punk makes claims to a “year zero” creativity (despite inevitably offering re-presentation of at least some existing elements in every instance), whereas folk music is supposed to carry forward a tradition (which, thankfully, is more recognized in recent decades as a subject-to-change “living tradition” than was the case in folk’s more purist periods). Politically, meanwhile, postwar folk has tended more toward a socialist and/or Marxist orientation, both in the US and UK, whereas punk has at least rhetorically claimed to be in favor of “anarchy” (in the UK, in particular). Collective creativity and competitive tendencies also differ between the two (perceived) genre areas. Although the folk scene’s “floor singer” tradition offers a dispersal of expressive opportunity comparable in some ways to the “anyone can do it” idea that gets associated with punk, the creative expectation of the individual within the group differs between the two. Punk has some similarities to folk, then, but there are tensions, too, and these are well worth examining if one is serious about testing out the common claim, in both folk and punk, that “anyone can do it.”

Design as Democracy: Techniques for Collective Creativity

2018 ◽  
Vol 37 (2) ◽  
pp. 123-124
Author(s):  
Jayoung Koo
Keyword(s):  
Collective Creativity

Creativity from perspective of axiology

2021 ◽  
Vol 92 (2) ◽  
pp. 10-20
Author(s):  
A. V Kiriakova ◽  
◽  
V.V. Moroz ◽  
Keyword(s):  
Evolutionary Process ◽  
Value Orientations ◽  
Point Of View ◽  
Modern World ◽  
Collective Creativity ◽  
The Social ◽  
Wide Range ◽  
Interdisciplinary Knowledge ◽  
Main Components ◽  
The Individual

Interest in creativity as a subject of research has been growing exponentially since the second half of the 20th century in all areas of human history. A wide range of both domestic and foreign studies allows authors to assert that creativity is a personality trait, inherent to one degree or another. Whereas the development of such trait becomes an urgent necessity in the new reality. The entire evolutionary process of the social development illustrates its dependence on personal and collective creativity. The aim of this research is to study the phenomenon of creativity through the perspective of axiology, i.e. the science of values. Axiology allows us to consider the realities of the modern world from the perspective of not only external factors, circumstances and situations, but also of deep value foundations. Creativity has been studied quite deeply from the point of view of psychology: the special characteristics of a creative person, stages of the creative process, the relationship between creative and critical thinking, creativity and intelligence. Some psychologists emphasize motivation, creative skills, interdisciplinary knowledge, and the creative environment as the main components that contribute to the development of creativity. The authors of the article argue that values and value orientations towards cognition, creativity, self-realization and self-expression are the drivers of creativity. In a broad sense, values as a matrix of culture determine the attitude of society to creativity, to the development of creativity of the individual and the creative class, and to how economically successful a given society will be. Since innovation and entrepreneurship are embodied creativity. Thus, the study of creativity from the perspective of axiology combines the need for a deep study of this phenomenon and the subjective significance of creativity in the context of new realities

scholarly journals Følelser og sociale bånd i Akademia

2006 ◽  
Vol 13 (4) ◽  
pp. 43-60
Author(s):  
Charlotte Bloch
Keyword(s):  
Social Relations ◽  
Social Bonds ◽  
Interview Study ◽  
Academic Life ◽  
Social Bond ◽  
Emotional Culture ◽  
Collective Creativity ◽  
The Social ◽  
Emotional Dimensions

Charlotte Bloch: Emotions and Social Bonds in Academia The purpose of this article is to expand our understanding of social relations in academia by examining the role that the emotional dimensions of these social relations play in academic life. It is based on the results of an interview study of emotions and emotional culture among people in various scholarly positions in academia. The article makes analytical distinctions between the structural conditions of emotions, the emotional culture of academia, lived or felt emotions and the management of emotions. And it identifies different ways of managing the emotions of uncertainty, shame, anger, pride and laughter. These feelings emerge from the structural conditions of the social relations in academic life, and the tacit rules of feeling in academic life define how these feelings are managed. Life in academia presupposes a certain amount of feeling labour and management of feelings. Thomas Scheff’s theory about emotions and social bonds is employed to identify what this management of feelings means for social relations in academia. Bonds in academia are stable and fluctuate between solidarity, isolation and engulfment, but primarily the last two. Loneliness, group conformity, absence of real cooperation, and weakening of individual and collective creativity are some of the consequences of this kind of social bond.

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