By Rob Pope
Looking all through to bridge the distance among the inventive and the serious, and to span disciplinary limitations, this publication deals an important intervention within the concept of creativity and the perform of feedback.
Book hide; name; Copyright; Contents; Acknowledgements; ... earlier than the start; half 1 Why creativity now?; half 2 De.ning creativity, developing de.nitions; half three production as delusion, tale, metaphor; half four artistic practices, cultural tactics: A severe anthology; after the tip . . .; additional studying through subject; Bibliography; Index.
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Extra info for Creativity : Theory, History and Practice.
He points with foreboding as well as fascination to what he sees as ‘a crisis of identity for imagination . . most graphically expressed in the fact that one can no longer be sure who is actually making our images – a creative human subject or some anonymous system of reproduction’ (p. 7). Further, Kearney declares that ‘it is precisely in a cyber-culture where the image reigns supreme that the notion of a creative human imagination appears most imperilled’ (pp. 7–8). This may come across as eminently sensible or quaintly reactionary; it partly depends how far you equate imagination with a broadly humanist and specifically verbal culture.
Grasped in this way, Clark affirms, ‘Inspiration [. ] as the notion of composition as dictation by an other, is both the oldest and the most contemporary theory of the genesis of the poetic’ (Clark 1997: 283). We consider some of the continuities and differences between ancient and modern views of inspiration in relation to changing notions of influence, tradition and intertextuality in Chapter 4. Here I shall simply reaffirm Clark’s argument that there is in the present, post-Romantic moment, an acute ‘crisis of subjectivity’, and that our uncertainty about the nature of ‘inspiration’ is symptomatic of this.
Here he is speaking in the late 1940s, before Guilford’s address, in a paper initially presented to a small group of psychotherapists. Notice the similar social agenda for creativity but different emphasis (pp. 137–8): In education, we tend to turn out conformists, stereotypes, individuals whose education is ‘completed’, rather than freely creative and original thinkers. [. ] In the sciences, there is an ample supply of technicians, but the number who can creatively formulate fruitful hypotheses and theories is small indeed.