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This book defends that the pursuit of originality constitutes one of the most important characteristics of creativity, but that originality refers, etymologically, to both origin and originary. Hence, the book is structured into two parts, dedicated, respectively, to the creative categories of origin and the creative categories of originary. Within the former are creation myths, games – the origin of all cultural activity, the dialectic chaos-order, axial civilizations – the germ of our time, and the struggle between generations – a factor of social transformation, and, within the second, creative capitalism, creative work in the context of the global economy of risk and uncertainty, and representative democracy. However, these two concepts are not isolated, but deeply interrelated, in a way that explains how creative originality builds a temporal narrative. It has been dislocated in late modernity and, with it, creativity has been broken.
As we play, we step away from stark reality to conjure up new possibilities for the present and our common future. Today, a new cohort of social activists are using it to create social change and reinvent democratic social relations. In contrast to work or routine, play must be free. To the extent that it is, it infuses a high-octane burst of innovation into any number of organizational practices and contexts, and invites social actors to participate in a low-threshold, highly democratic process of collaboration, based on pleasure and convivial social relations. Despite the contention that such activities are counterproductive, movements continue to put the right to party on the table as a part of a larger process of social change, as humor and pleasure disrupt monotony, while disarming systems of power. Through this book, Shepard explores notions of play as a social movement activity, considering some of the meanings, applications and history of the concept in relation to social movement groups ranging from Dada and Surrealism to Situationism, the Yippies to the Young Lords, ACT UP to the Global Justice, anti-gentrification, community and anti-war movements of recent years.
Creativity in organizations has become a key topic of organizational research. This work expands on existing research by exploring creativity in the dynamics of social networks. Collective creativity is introduced as a central part of organizational learning and seen as the expression of creativity on the collective level. The research is able to empirically assess creativity in the development of social structures. For the assessment of creativity this work applies a longitudinal study design by combining social network analysis with creativity studies. The approach enables to relate creativity indicators with social network measures. It is based on an empirical study of innovation projects in the automotive industry and thereby extends existing research and theories on creativity, social network dynamics and organizational learning.
In this provocative collection of essays, an interdisciplinary group of eminent thinkers and writers offer their thoughts on how embracing creativity - tapping into the originality of everyday life - can lead to improved physical and mental health, to new ways of thinking, of experiencing the world and ourselves. They show how creativity can refine our views of human nature at an individual and societal level and, ultimately, change our paradigms for survival - and for flourishing - in a world fraught with urgent challenges.
From ancient drawings to the genius of Leonardo and Einstein to the imagination that colors our everyday life: the drive to create, innovate and make something new is a big part of what makes us human. Explore this and more in this new special edition from TIME, The Science of Creativity.
Workers in cultural industries often say that the best part of their job is the opportunity for creativity. At the same time, profit-minded managers at both traditional firms and digital platforms exhort workers to “be creative.” Even as cultural fields hold out the prospect of meaningful employment, they are marked by heightened economic precarity. What does it mean to be creative under contemporary capitalism? And how does the ideology of creativity explain workers’ commitment to precarious jobs? Michael L. Siciliano draws on nearly two years of ethnographic research as a participant-observer in a Los Angeles music studio and a multichannel YouTube network to explore the contradictions of creative work. He details how such workplaces feature engaging, dynamic processes that enlist workers in organizational projects and secure their affective investment in ideas of creativity and innovation. Siciliano argues that performing creative labor entails a profound ambivalence: workers experience excitement and aesthetic engagement alongside precarity and alienation. Through close comparative analysis, he presents a theory of creative labor that accounts for the roles of embodiment, power, alienation, and technology in the contemporary workplace. Combining vivid ethnographic detail and keen sociological insight, Creative Control explains why “cool” jobs help us understand how workers can participate in their own exploitation.
This Handbook brings together an international cast of experts to explore the social nature and context of creativity studies, focusing on methodology as a key component in advancing the social study of creativity. Two decades on from the pioneering work of Alfonso Montuori and Ronald E. Purser, the authors present a timely appraisal of past and present work in social creativity studies, and look ahead to future developments within this field. The authors collectively offer a rigorous examination of the methodological and empirical issues and techniques involved in studying social creativity. They examine the phenomenon as a form of communication and interaction within collaborative relationships; contending that creativity happens not within a vacuum but instead from a nexus of personal, social and contextual influences. This comprehensive work is organized in three parts, focusing first on the various methodological approaches applicable to the social in creativity studies. It secondly turns to empirical findings and approaches relating to the social nature of creativity. In the book’s final part, the authors offer reflections on the state of social research into creativity, pinpointing areas requiring further methodological scrutiny and empirical verification, and areas that may inspire further theoretical or applied work. Combining classic ideas with cutting-edge, emerging methods, this work provides a vital methodological ‘toolbox’ for investigators within social creativity.
This groundbreaking book brings creative writing to social research. Its innovative format includes creatively written contributions by researchers from a range of disciplines, modelling the techniques outlined by the authors. The book is user-friendly and shows readers: • how to write creatively as a social researcher; • how creative writing can help researchers to work with participants and generate data; • how researchers can use creative writing to analyse data and communicate findings. Inviting beginners and more experienced researchers to explore new ways of writing, this book introduces readers to creatively written research in a variety of formats including plays and poems, videos and comics. It not only gives social researchers permission to write creatively but also shows them how to do so.
In Making is Connecting, David Gauntlett argues that, through making things, people engage with the world and create connections with each other. Both online and offline, we see that people want to make their mark on the world, and to make connections. During the previous century, the production of culture became dominated by professional elite producers. But today, a vast array of people are making and sharing their own ideas, videos and other creative material online, as well as engaging in real-world crafts, art projects and hands-on experiences. Gauntlett argues that we are seeing a shift from a ‘sit-back-and-be-told culture' to a ‘making-and-doing culture'. People are rejecting traditional teaching and television, and making their own learning and entertainment instead. Drawing on evidence from psychology, politics, philosophy and economics, he shows how this shift is necessary and essential for the happiness and survival of modern societies.
Creativity can be viewed as the first stage of the overall innovation process, an important dimension of the entrepreneurship and new venture creation processes, and as such, it is considered to be a cornerstone of organizational competitiveness in this global, knowledge-based economy. Research on creativity has increasingly become multilevel, with most work conducted at the individual or team level of analysis. At the same time, there is a large body of research being conducted at the organizational level of analysis on innovation, and there has been a significant amount of entrepreneurship research at the individual level, with an increasing focus on organizational entrepreneurship. However, these three research streams have developed independently, and there has been very little knowledge transfer between the three areas. Because entrepreneurship is often said to be a process that is required to convert innovation into business ventures that will deliver benefits to stakeholders, it is typically driven by an individual or small group of individuals. Creativity research, innovation research, and entrepreneurship research have the potential to inform each other, enriching our knowledge of each area, particularly with regard to the cognitive processes and behaviors that are most effective. This Handbook includes contributions from the leading scholars in these three research areas, who integrate contemporary research findings on organizational creativity, innovation, and entrepreneurship and provide fruitful new research directions."