The Resource The creative turn : toward a new aesthetic imaginary, Anne Harris
The creative turn : toward a new aesthetic imaginary, Anne Harris
Resource Information
The item The creative turn : toward a new aesthetic imaginary, Anne Harris represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in University of Missouri-St. Louis Libraries.This item is available to borrow from 1 library branch.
Resource Information
The item The creative turn : toward a new aesthetic imaginary, Anne Harris represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in University of Missouri-St. Louis Libraries.
This item is available to borrow from 1 library branch.
- Summary
- The conundrum of understanding, practising and teaching contemporary creativity is that it wants to be all things to all people. Almost all modern lists of creativity, creative thinking and how-to "becoming creative" books begin with one premise: the creative individual/artist is not special, rather each of us is creative in a special way and these skills can - and must - be nurtured. Increasingly, industry and education leaders are claiming that creativity is the core skill to take us into a prosperous future, signalling the democratisation of creativity as industry. Yet centuries of association between aesthetics, mastery and creativity are hard to dismantle. These days, it is increasingly difficult to discuss creativity without reference to business, industry and innovation. Why do we love to think of creativity in this way and no longer as that rare visitation of the muse or the elite gift of the few? This book looks at the possibility that creativity is taking a turn, what that turn might be, and how it relates to industry, education and, ultimately, cultural role of creativity and aesthetics for the 21st century. In proliferating discourses of the commodification of creativity, there is one thing all the experts agree on: creativity is undefinable, possibly unteachable, largely unassessable, and becoming the most valuable commodity in 21st-century markets
- Language
- eng
- Extent
- 1 online resource (x, 188 pages)
- Note
- Includes index
- Contents
-
- TABLE OF CONTENTS; ACKNOWLEDGEMENTS; NOTE FOR READERS; INTRODUCTION: BUILDING CREATIVE CAPITAL; DON'T I KNOW YOU ...?; THE IMAGINARY; Beauty Sticks Like Glue; THE ARTS AND CREATIVITY: A 20TH-CENTURY MARRIAGE?; Creativity and Aesthetics in the 21St Century; A NEW CREATIVE IMAGINARY; An Invitation; REFERENCES; CHAPTER 1: THE CREATIVE TURN IN EDUCATIONAL DISCOURSE: Reality or Rhetoric?; INTRODUCTION; The F Word (Failure); On Daydreaming; On Provoking; On Brainstorming; On Commemorating; The C Word (The 'Creative' Turn); 'THE AURA OF THE LIFE BANAL, THE ART OF COOL'
- Conclusion (The Fetishisation of Performance)REFERENCES; CHAPTER 2: YOUNG PLAYWRIGHTS' INK; INTRODUCTION; Early Days; PROFILE #1 -- MADELEINE GEORGE (SWEETBITTER BABY, 1993; THE MOST MASSIVE WOMAN WINS, 1994); PROFILE #2 -- ANNE HARRIS (IN THE GARDEN, 1984); PROFILE #4: TISH DURKIN (FIXED UP, 1984); Creative Pedagogies, Creative Possibilities; RECOMMENDATIONS, THEN AND NOW; NOTES; REFERENCES; CHAPTER 3: DEADUCATION: Why Schools Need to Change; INTRODUCTION; DEAD(LY) THEATRE AND THE FUNCTION OF CULTURAL PRODUCTION; Deadly Education and the Economic Imperative
- Productive Risk-Taking as Good BusinessProductive Risk-Taking as Good Education; SLOW EDUCATION; In Pursuit of Inertia and Creative Leaps in Learning; The State of Play in Schools; Resuscitate to Educate?; REFERENCES; CHAPTER 4: ETHICS 'VERSUS' AESTHETICS: Best Frenemies?; INTRODUCTION; Instrumentalising Ourselves Out af a Practice; Characteristics of the Rhizome; The Rhizome: Lines are Flight, Words are Weapons; Creativity as Becoming; The Ethics of Creativity as Innovation; An Ethics of Researcher as Subject; Ethics, Aesthetics, Or a Doctrine of Creativity; CONCLUSION; REFERENCES
- CHAPTER 5: AESTHETIC POLITICS AND CREATIVE PATHWAYSINTRODUCTION; Aesthetics and Creative Research; CASE STUDY #1; 'Sailing Into Uni!' and the Intersection of Health Promotion, Education and Creative Arts; Self; Context; Behaviours; Some Voices from the Community; CASE STUDY #2; Culture Shack and the Politics of Aesthetics; Real Power of Creative Pedagogies?; What Way Forward?; NOTES; REFERENCES; CHAPTER 6: AESTHETICS AND INNOVATION; INTRODUCTION; The Performativity of Aesthetics; Creativity and Innovation in Education: Useful or Just Assessable?; CONCLUSION; REFERENCES
- CHAPTER 7: ANIMATING CULTURE OR: Where has all the Magic Gone?INTRODUCTION; Queer Works of Art in a New Age; Cult Value Versus Exhibition Value: Everyone's 15 Minutes of Fame?; The Commodification of Difference; WHAT'S IN A NAME? A CASE STUDY; The QPOCalypse; CASE STUDY OVERVIEW; Is it Possible to 'Teach' Diversities?; Themes; Recommendations; Top 10 Arts Projects Recommended By the Participants; ON THE IMPOSSIBILITY OF POLITICAL ART AND RITUAL PRACTICE; Earlier Turns; REFERENCES; CHAPTER 8: CREATIVE INDUSTRIES OR CREATIVE IMAGINARIES?; INTRODUCTION
- Isbn
- 9789462095519
- Label
- The creative turn : toward a new aesthetic imaginary
- Title
- The creative turn
- Title remainder
- toward a new aesthetic imaginary
- Statement of responsibility
- Anne Harris
- Language
- eng
- Summary
- The conundrum of understanding, practising and teaching contemporary creativity is that it wants to be all things to all people. Almost all modern lists of creativity, creative thinking and how-to "becoming creative" books begin with one premise: the creative individual/artist is not special, rather each of us is creative in a special way and these skills can - and must - be nurtured. Increasingly, industry and education leaders are claiming that creativity is the core skill to take us into a prosperous future, signalling the democratisation of creativity as industry. Yet centuries of association between aesthetics, mastery and creativity are hard to dismantle. These days, it is increasingly difficult to discuss creativity without reference to business, industry and innovation. Why do we love to think of creativity in this way and no longer as that rare visitation of the muse or the elite gift of the few? This book looks at the possibility that creativity is taking a turn, what that turn might be, and how it relates to industry, education and, ultimately, cultural role of creativity and aesthetics for the 21st century. In proliferating discourses of the commodification of creativity, there is one thing all the experts agree on: creativity is undefinable, possibly unteachable, largely unassessable, and becoming the most valuable commodity in 21st-century markets
- Cataloging source
- GW5XE
- http://library.link/vocab/creatorName
- Harris, Anne
- Dewey number
- 371.1
- Index
- index present
- LC call number
- LB1025.3
- Literary form
- non fiction
- Nature of contents
-
- dictionaries
- bibliography
- Series statement
- Advances in creativity and giftedness
- Series volume
- volume 6
- http://library.link/vocab/subjectName
-
- Creative teaching
- Creative ability
- EDUCATION
- EDUCATION
- Droit
- Sciences sociales
- Sciences humaines
- Creative ability
- Creative teaching
- Label
- The creative turn : toward a new aesthetic imaginary, Anne Harris
- Note
- Includes index
- Antecedent source
- unknown
- Bibliography note
- Includes bibliographical references at the end of each chapters and index
- Carrier category
- online resource
- Carrier category code
-
- cr
- Carrier MARC source
- rdacarrier
- Color
- multicolored
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
-
- TABLE OF CONTENTS; ACKNOWLEDGEMENTS; NOTE FOR READERS; INTRODUCTION: BUILDING CREATIVE CAPITAL; DON'T I KNOW YOU ...?; THE IMAGINARY; Beauty Sticks Like Glue; THE ARTS AND CREATIVITY: A 20TH-CENTURY MARRIAGE?; Creativity and Aesthetics in the 21St Century; A NEW CREATIVE IMAGINARY; An Invitation; REFERENCES; CHAPTER 1: THE CREATIVE TURN IN EDUCATIONAL DISCOURSE: Reality or Rhetoric?; INTRODUCTION; The F Word (Failure); On Daydreaming; On Provoking; On Brainstorming; On Commemorating; The C Word (The 'Creative' Turn); 'THE AURA OF THE LIFE BANAL, THE ART OF COOL'
- Conclusion (The Fetishisation of Performance)REFERENCES; CHAPTER 2: YOUNG PLAYWRIGHTS' INK; INTRODUCTION; Early Days; PROFILE #1 -- MADELEINE GEORGE (SWEETBITTER BABY, 1993; THE MOST MASSIVE WOMAN WINS, 1994); PROFILE #2 -- ANNE HARRIS (IN THE GARDEN, 1984); PROFILE #4: TISH DURKIN (FIXED UP, 1984); Creative Pedagogies, Creative Possibilities; RECOMMENDATIONS, THEN AND NOW; NOTES; REFERENCES; CHAPTER 3: DEADUCATION: Why Schools Need to Change; INTRODUCTION; DEAD(LY) THEATRE AND THE FUNCTION OF CULTURAL PRODUCTION; Deadly Education and the Economic Imperative
- Productive Risk-Taking as Good BusinessProductive Risk-Taking as Good Education; SLOW EDUCATION; In Pursuit of Inertia and Creative Leaps in Learning; The State of Play in Schools; Resuscitate to Educate?; REFERENCES; CHAPTER 4: ETHICS 'VERSUS' AESTHETICS: Best Frenemies?; INTRODUCTION; Instrumentalising Ourselves Out af a Practice; Characteristics of the Rhizome; The Rhizome: Lines are Flight, Words are Weapons; Creativity as Becoming; The Ethics of Creativity as Innovation; An Ethics of Researcher as Subject; Ethics, Aesthetics, Or a Doctrine of Creativity; CONCLUSION; REFERENCES
- CHAPTER 5: AESTHETIC POLITICS AND CREATIVE PATHWAYSINTRODUCTION; Aesthetics and Creative Research; CASE STUDY #1; 'Sailing Into Uni!' and the Intersection of Health Promotion, Education and Creative Arts; Self; Context; Behaviours; Some Voices from the Community; CASE STUDY #2; Culture Shack and the Politics of Aesthetics; Real Power of Creative Pedagogies?; What Way Forward?; NOTES; REFERENCES; CHAPTER 6: AESTHETICS AND INNOVATION; INTRODUCTION; The Performativity of Aesthetics; Creativity and Innovation in Education: Useful or Just Assessable?; CONCLUSION; REFERENCES
- CHAPTER 7: ANIMATING CULTURE OR: Where has all the Magic Gone?INTRODUCTION; Queer Works of Art in a New Age; Cult Value Versus Exhibition Value: Everyone's 15 Minutes of Fame?; The Commodification of Difference; WHAT'S IN A NAME? A CASE STUDY; The QPOCalypse; CASE STUDY OVERVIEW; Is it Possible to 'Teach' Diversities?; Themes; Recommendations; Top 10 Arts Projects Recommended By the Participants; ON THE IMPOSSIBILITY OF POLITICAL ART AND RITUAL PRACTICE; Earlier Turns; REFERENCES; CHAPTER 8: CREATIVE INDUSTRIES OR CREATIVE IMAGINARIES?; INTRODUCTION
- Control code
- 878051906
- Dimensions
- unknown
- Extent
- 1 online resource (x, 188 pages)
- File format
- unknown
- Form of item
- online
- Isbn
- 9789462095519
- Level of compression
- unknown
- Media category
- computer
- Media MARC source
- rdamedia
- Media type code
-
- c
- Other control number
- 10.1007/978-94-6209-551-9
- Quality assurance targets
- not applicable
- Reformatting quality
- unknown
- Sound
- unknown sound
- Specific material designation
- remote
- System control number
- (OCoLC)878051906
- Label
- The creative turn : toward a new aesthetic imaginary, Anne Harris
- Note
- Includes index
- Antecedent source
- unknown
- Bibliography note
- Includes bibliographical references at the end of each chapters and index
- Carrier category
- online resource
- Carrier category code
-
- cr
- Carrier MARC source
- rdacarrier
- Color
- multicolored
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
-
- TABLE OF CONTENTS; ACKNOWLEDGEMENTS; NOTE FOR READERS; INTRODUCTION: BUILDING CREATIVE CAPITAL; DON'T I KNOW YOU ...?; THE IMAGINARY; Beauty Sticks Like Glue; THE ARTS AND CREATIVITY: A 20TH-CENTURY MARRIAGE?; Creativity and Aesthetics in the 21St Century; A NEW CREATIVE IMAGINARY; An Invitation; REFERENCES; CHAPTER 1: THE CREATIVE TURN IN EDUCATIONAL DISCOURSE: Reality or Rhetoric?; INTRODUCTION; The F Word (Failure); On Daydreaming; On Provoking; On Brainstorming; On Commemorating; The C Word (The 'Creative' Turn); 'THE AURA OF THE LIFE BANAL, THE ART OF COOL'
- Conclusion (The Fetishisation of Performance)REFERENCES; CHAPTER 2: YOUNG PLAYWRIGHTS' INK; INTRODUCTION; Early Days; PROFILE #1 -- MADELEINE GEORGE (SWEETBITTER BABY, 1993; THE MOST MASSIVE WOMAN WINS, 1994); PROFILE #2 -- ANNE HARRIS (IN THE GARDEN, 1984); PROFILE #4: TISH DURKIN (FIXED UP, 1984); Creative Pedagogies, Creative Possibilities; RECOMMENDATIONS, THEN AND NOW; NOTES; REFERENCES; CHAPTER 3: DEADUCATION: Why Schools Need to Change; INTRODUCTION; DEAD(LY) THEATRE AND THE FUNCTION OF CULTURAL PRODUCTION; Deadly Education and the Economic Imperative
- Productive Risk-Taking as Good BusinessProductive Risk-Taking as Good Education; SLOW EDUCATION; In Pursuit of Inertia and Creative Leaps in Learning; The State of Play in Schools; Resuscitate to Educate?; REFERENCES; CHAPTER 4: ETHICS 'VERSUS' AESTHETICS: Best Frenemies?; INTRODUCTION; Instrumentalising Ourselves Out af a Practice; Characteristics of the Rhizome; The Rhizome: Lines are Flight, Words are Weapons; Creativity as Becoming; The Ethics of Creativity as Innovation; An Ethics of Researcher as Subject; Ethics, Aesthetics, Or a Doctrine of Creativity; CONCLUSION; REFERENCES
- CHAPTER 5: AESTHETIC POLITICS AND CREATIVE PATHWAYSINTRODUCTION; Aesthetics and Creative Research; CASE STUDY #1; 'Sailing Into Uni!' and the Intersection of Health Promotion, Education and Creative Arts; Self; Context; Behaviours; Some Voices from the Community; CASE STUDY #2; Culture Shack and the Politics of Aesthetics; Real Power of Creative Pedagogies?; What Way Forward?; NOTES; REFERENCES; CHAPTER 6: AESTHETICS AND INNOVATION; INTRODUCTION; The Performativity of Aesthetics; Creativity and Innovation in Education: Useful or Just Assessable?; CONCLUSION; REFERENCES
- CHAPTER 7: ANIMATING CULTURE OR: Where has all the Magic Gone?INTRODUCTION; Queer Works of Art in a New Age; Cult Value Versus Exhibition Value: Everyone's 15 Minutes of Fame?; The Commodification of Difference; WHAT'S IN A NAME? A CASE STUDY; The QPOCalypse; CASE STUDY OVERVIEW; Is it Possible to 'Teach' Diversities?; Themes; Recommendations; Top 10 Arts Projects Recommended By the Participants; ON THE IMPOSSIBILITY OF POLITICAL ART AND RITUAL PRACTICE; Earlier Turns; REFERENCES; CHAPTER 8: CREATIVE INDUSTRIES OR CREATIVE IMAGINARIES?; INTRODUCTION
- Control code
- 878051906
- Dimensions
- unknown
- Extent
- 1 online resource (x, 188 pages)
- File format
- unknown
- Form of item
- online
- Isbn
- 9789462095519
- Level of compression
- unknown
- Media category
- computer
- Media MARC source
- rdamedia
- Media type code
-
- c
- Other control number
- 10.1007/978-94-6209-551-9
- Quality assurance targets
- not applicable
- Reformatting quality
- unknown
- Sound
- unknown sound
- Specific material designation
- remote
- System control number
- (OCoLC)878051906
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<div class="citation" vocab="http://schema.org/"><i class="fa fa-external-link-square fa-fw"></i> Data from <span resource="http://link.umsl.edu/portal/The-creative-turn--toward-a-new-aesthetic/ZpC1v5sSKmk/" typeof="Book http://bibfra.me/vocab/lite/Item"><span property="name http://bibfra.me/vocab/lite/label"><a href="http://link.umsl.edu/portal/The-creative-turn--toward-a-new-aesthetic/ZpC1v5sSKmk/">The creative turn : toward a new aesthetic imaginary, Anne Harris</a></span> - <span property="potentialAction" typeOf="OrganizeAction"><span property="agent" typeof="LibrarySystem http://library.link/vocab/LibrarySystem" resource="http://link.umsl.edu/"><span property="name http://bibfra.me/vocab/lite/label"><a property="url" href="http://link.umsl.edu/">University of Missouri-St. Louis Libraries</a></span></span></span></span></div>
