This book is an interdisciplinary collection of essays that examine the subjective experiences of the moulding of creativity, for good or bad, by institutional values. It is essential reading for anyone who wishes to gain a glimpse into the circumstances that surround the creative individual in our current globalising world. With chapters ranging in scope from the function of the internet in building creative social spaces to an examination of the dreaming of their history by the Zápara Amazonian people, this book will introduce the reader to critical analyses of the many differing creative spaces we have made for ourselves across the world. In a radical break from the traditional academic practice of keeping specialists and disciplines separate, this collection brings international scholars and practitioners together from many disciplines all of whom have the shared intention of understanding creative self empowerment in the new conditions of what the sociologist Ulrich Beck calls Second Modernity. An innovative text that illuminates the contemporary global cultural space in which multiple histories and traditions are intersecting and slowly rupturing the certainties of the first modernity of colonialism, nationalism and industrialisation, this collection presents essays that had their origins as papers in the Subjectivity, Creativity, and the Institution Conference that was convened by the Chinese Australian Studies Research Centre at Sun Yat-sen University, Guangzhou, China and held at the John Curtin Gallery, in Perth, Australia. It includes the keynote presentation by the distinguished Australian sociologist Professor Raewyn Connell.
Music reflects subjectivity and identity: that idea is now deeply ingrained in both musicology and popular media commentary. The study of music across cultures and practices often addresses the enactment of subjectivity “in” music – how music expresses or represents “an” individual or “a” group. However, a sense of selfhood is also formed and continually reformed through musical practices, not least performance. How does this take place? How might the work of practitioners reveal aspects of this process? In what sense is subjectivity performed in and through musical practices? This book explores these questions in relation to a range of artistic research involving contemporary musical practices, drawing on perspectives from performance studies, phenomenology, embodied cognition, and theories of gendered and cultural identity.
Creativity is astir: reborn, re-conjured, re-branded, resurgent. The old myths of creation and creators the hallowed labors and privileged agencies of demiurges and prime movers, of Biblical world-makers and self-fashioning artist-geniuses are back underway, producing effects, circulating appeals. Much as the Catholic Church dresses the old creationism in the new gowns of intelligent design, the Creative Industries sound the clarion call to the Cultural Entrepreneurs. In the hype of the creative class and the high flights of the digital bohemians, the renaissance of the creatives is visibly enacted. The essays collected in this book analyze this complex resurgence of creation myths and formulate a contemporary critique of creativity.
The African continent is in the midst of a renaissance of monumental proportions... ...As a result, the dawn of the new millennium constitutes an exciting period of change and opportunity for all those interested in the future evolution of the African continent and its peoples (Schraeder, P.J. African Politics and Society (2000: 2) President Thabo Mbeki of South Africa, the current Chairman of the African Union, is being associated in a special way with the concept of African renaissance. Mbeki's notion of renaissance is fundamentally "African political renewal and economic regeneration" (Ajulu, R. 2001 in Review of African Political Economy Vol. 24 No. l 87, February: 27-42) The concept of African renaissance, which is in vogue in political and academic circles, encapsulates a vision of rebirth of Africa as the African peoples come to terms with the challenges of the 21st. century. It is a vision that eschews the dictatorships, economic mismanagement, suppression of the civil society and ascendancy of state monopoly of power that have hitherto characterized the operations of post-independence African governments. It is a vision that rejects, according to the Constitutive Act of the African Union, the policy of tolerating in its membership those African leaders who obtain power in their countries undemocratically, unlike the toleration of dictators that characterized the Organization of African Unity, the predecessor of the African Union. This book aims at being part of that vision, and that is why its title is Education for Renaissance in Africa. It aims at showing the centrality of education in the achievement of that vision. Indeed it is obvious to all that African renaissance is primarily a mental achievement or simply an educational achievement. If we are to contribute anything to the political or economic order for the development of Africa we must have acquired certain kinds of knowledge and attitudes that involve commitment to our goals as prerequisites for any action that can change society. However, it is the contention of this book that education for the renaissance of Africa must not be haphazard. It must be conceptualized in a manner that lays foundations for its effective working in the practical order. The philosophy of education envisaged here has to be liberating, characterized by creativity and social commitment, which presupposes social consciousness. Here we define the notions of liberation, creativity and social consciousness, and strives to situate these concepts within a historical trajectory that not only includes Africa but other parts of the world as well. We have tried to show the suppression of African subjectivity during the colonial period with the result that liberation, creativity and social consciousness were inhibited in both the educational and other spheres of life. We argue that humans are radically free and that they need not succumb to this kind of socialization, which has tended to negate their subjectivity. We note in particular that Kenyan educational commissioners have been cognizant of the harm that was done to African subjectivity by the colonial and missionary experience. We also consider to what extent, if any, the philosophy of education as an academic discipline has prepared teachers for the challenging task of making education liberating, creative, and imbued with social consciousness. We suggest ways in which the training of teachers can best fulfill these worthy goals of education. We address the nature of social consciousness, which we consider to be central to the learner's involvement in development of his or her country. We have endeavored to discuss the minimal and heroic forms of consciousness as exemplified in such leaders as Martin Luther King, Mahatma Gandhi, and leaders of African liberation struggle. An attempt is made to come to terms with diversity in social consciousness and to seek ways of living on the basis of unity in diversity
This book critically investigates the declining status of creative workers in contemporary societies following changes associated with the neoliberal creativity discourse – from the distribution of resources around cultural production to consumption, and from the management of ‘labour time’ to ‘life time’. These changes have narrowed career pathways for creative workers, resulting in exploitative working conditions for both professionals and amateurs. The contemporary cultural industries accentuate entrepreneurialism, informed by ‘social network markets’ and a capacity to engage technologised consumer culture. This book suggests that a radically different view is needed to understand how creative workers justify their continued participation in the cultural industries. It pays particular attention to the identities of marginalised cultural workers (underpaid or under-rewarded) and argues that cultural work cannot be understood as a route into entrapment by self-exploitation (sacrificial labour) nor as an abstract form of creative autonomy. Creative workers must engage the ‘artist critique’ to re-claim the social values of making culture as ‘public labour’. Bringing together theory and practice via contemporary case studies, this book is a significant contribution to research on the cultural economy and will be of interest to researchers in this field and practitioners in the management of cultural work.
Constructing a dialogue between the social theory of Alain Touraine and the philosophy of Paul Ricoeur, this work locates the wellsprings of the renewed intepretative powers of Touraine's recent sociology of the subject and critique of modernity in an implicit and unfinished, but unmistakable 'hermeneutical turn'.
This book grapples with questions at the core of philosophy and social theory – Who am I? Who are we? How are we to live? That is, questions of what humans are capable of, the ‘nature’ of our relationships to each other and to the world around us, and how we should live. They appear to be both prohibitive and seductive – that they are ultimately irresolvable makes it tempting to leave them alone, yet we cannot do that either. This interdisciplinary investigation proceeds primarily as a dialogue with Cornelius Castoriadis and Charles Taylor.
We have reached a point in our evolution where our collective priority must be on the preservation of the human genus, and we have two means of doing this: we can either work towards building and sustaining human existence within closed and determinist social systems; or, we can strive towards designing open and creative social systems that nurture the maximum creative potential of the human individual. The purpose of this book is to demonstrate why organizing humanity within open and creative social systems that nurture the conditions for individual humans to reach their greatest creative potential is not only necessary for establishing a framework for peace, it is essential for humanity to reach its omnipotent state of evolution. *** To learn more about TUHRN, please visit: https://www.TUHRN.com
This book examines Félix Guattari, the French psychoanalyst, philosopher, and radical activist, renowned for an energetic style of thought that cuts across conceptual, political, and institutional spheres. Increasingly recognised as a key figure in his own right, Guattari’s influence in contemporary social theory and the modern social sciences continues to grow. From the ecosophy of hurricanes to the micropolitics of cinema, the book draws together a series of Guattarian motifs which animate the complexity of one of the twentieth century’s greatest and most enigmatic thinkers. The book examines techniques and modes of thought that contribute to a liberation of thinking and subjectivity. Divided thematically into three parts – ‘cartographies’, ‘ecologies’, and ‘micropolitics’ – each chapter showcases the singular and pragmatic grounds by which Guattari’s signature concepts can be found to be both disruptive to traditional modes of thinking, and generative toward novel forms of ethics, politics and sociality. This interdisciplinary compendium on Guattari’s exciting, experimental, and enigmatic thought will appeal to academics and postgraduates within Social Theory, Human Geography, and Continental Philosophy. Chapter 1 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
This book provides a historically informed reconstruction of the social practices that have shaped the formation of the modern subject from the early modern period to the present. The formal legal protections accorded to subjects are, and always have been, latent in social practices, norms, and language before they are articulated in formal legal orders. Vesting argues that in Western societies legal personhood is closely tied to three ideal types of social personhood – what he calls the gentleman, the manager, and Homo digitalis. By examining these three ideal types and their emergence in society, we can see that Western formal law does not bring these ideal types into being but, on the contrary, they arise from the social and cultural conditions that they generate and reflect. Correspondingly, Western legal personhood, or “legal subjectivity,” arises from the history and culture of Western nations, not the other way around. Therefore, signature features of Western formal law, particularly its valorization of the rights of persons (whether natural or nonnatural), come from the particular sociohistorical cultural developments that had already generated the strong ideas of social personhood inherent in the ideal types of the gentleman, the manager, and Homo digitalis. Subjectivity Transformed is a major contribution to legal and social theory and, with its original analysis of the formation of modern subjectivity, it will be of interest to students and scholars throughout the social sciences and humanities.
