The Creativity Hoax

Morgan, George A.; Nelligan, Pariece

doi:10.2307/j.ctt1z27hwj

Cited by 66 publications

(17 citation statements)

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“…In their pursuit of individual projects and their acceptance of individual responsibility, creative workers are said to have abandoned the more collective culture of old‐style work, relinquishing hard‐won employment protections as they accept, and sacrifice themselves to, the competitive market‐driven ideology of enterprise culture and neoliberalism (Gill & Pratt, 2008). Some critics have even referred to a refer to a “creativity hoax’, suggesting that mundane occupations are talked up as ‘creative’, with the ultimate effect that young people are forced to do bad work to serve the interests of the neoliberal economy (Morgan & Nelligan, 2018).…”

Section: A New Celebration Of Creativitymentioning

confidence: 99%

Creativity: Celebrations and tensions

Taylor

2023

Social & Personality Psych

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In 1950, the President of the American Psychological Association emphasised the economic and political importance of creativity for US society. His account of creativity exhibits a number of tensions that can be identified in other psychologists' theories and conceptualisations of creativity. This paper considers the tensions from the perspective of critical discursive psychology. In the terms of that approach, the tensions derive from multiple non‐academic discourses around creativity, including popular discourses of creativity and art. The paper argues that conceptualisations of creativity from academic psychology have in turn entered wider discourses, invoked, for example, in recent celebrations of the global sector of the creative and cultural industries (CCI). The tensions within psychology's conceptualisations are significant, however, because they raise questions about the extent to which the psychology of creativity has a common reference and coheres around the study of a single phenomenon.

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Section: A New Celebration Of Creativitymentioning

confidence: 99%

Creativity: Celebrations and tensions

Taylor

2023

Social & Personality Psych

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“…Precariousness for those employed within creative and cultural work sectors, and specifically within the film festival ecosystem, is nothing new. Creative and cultural workers, particularly in the Australian context (but as is the trend globally), since long before the arrival of COVID-19 have had to juggle multiple forms of work outside of their primary artistic occupation in order to make ends meet (de Peuter, 2011;Morgan and Nelligan, 2018;Pacella et al, 2021). However, this kind of "peculiar" employment pattern (OECD, 2020) has been misunderstood by policymakers and governments, particularly within Australia.…”

Section: Australian Background and Context To Cultural And Creative S...mentioning

confidence: 99%

“We need to keep making stuff, regardless of what the situation is”: creativity and the film festival sector during COVID-19

Richards

Pacella

2022

AAM

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PurposeIn-person film festival experiences have faced uncertain futures since the spread of COVID-19. Snap-lockdowns, unclear and rapidly changing rules to public density allowances in theatres, distribution and challenges of “working-from-home” have become prominent issues to creative and cultural workers employed within the film festival ecosystem. The purpose of this paper, drawing from a series of interviews with film festival directors, organisers and workers within Australia, offers insight into the working lives of those employed within the film festival sector during 2020.Design/methodology/approachUsing the research team's existing professional networks and a targeted approach of participant recruitment, this paper draws upon interview data from 5 semi-structured interviews with participants located in various Australian capital cities, who were working in the film festival sector during 2020. Participants were all mid-career, having at least 5 years of employment experience within the film festival ecosystem (directors, programmers and content creators) as well as having experience in other adjacent cultural and creative work.FindingsThe results in this study highlight common concerns of the legacy precarity has on professional and creative practice for those engaged in creative and cultural work, but also of unusual and unexpected opportunities for creativity and new film festival delivery beyond the dominant mode of in-theatre only experience pre-COVID-19.Originality/valueThe originality of this study lies in its qualitative exploration of the various employment experiences of Australian film festival workers during COVID-19.

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“…Boltanski and Chiapello (2005) have argued more broadly that the 'artistic critique' of capitalism has been so folded back into its very logic that it is part of the new spirit of capitalism (see also Lazzarato, 2005). 'Creativity' has become one of the weasel words of neo-liberalised management (Leary, 2018;Morgan and Nelligan, 2018;Mould, 2018) and a dispositif that aligns the creative economy with the market demands of precarious work and flexibility (McRobbie, 2016). In the following article I consider how aspects of DIY and alternate cultures can be enrolled in these processes through the symbolic and affective co-optation of youthfulness and through the exploitation of young people's bodies.…”

Section: Introductionmentioning

confidence: 99%

Youthful culture: Immaterial labour, co-optation and the space between IRL young people and their conceptual doppelgangers

Threadgold

2023

DIY, Alternative Cultures & Society

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DIY and alternate cultures are important social spaces to study because they are where young people can find themselves when they feel like they do not fit in and where they can find like-minded peers with whom to work, make and play. DIY and alternative cultures are also key objects of co-optation and value creation, where resistive and creative practices are denuded of their artistry, politics and emotional authenticity, repurposed through immaterial labour, and resold as aesthetics and affects. Beginning by situating the analysis in wider conceptualisations about late capitalism's business ontology, this article contributes to unpacking these processes firstly by making a theoretical/methodological distinction between ‘youth’ and ‘young people’. I then develop the affects of ‘youthful culture’ not only to conceptually rethink how youth cultures still play a role in the lives of young people in terms of identity formation and everyday forms of escape and creativity, but also to highlight processes of co-optation, commercial culture and how figurative distortions of youth create value in late capitalism. As ‘youth’ is conceptually cut loose from age brackets, it becomes an affect operationalised for an array of vested interests. Importantly, what is often left out of considering co-optation are the actual physical bodies and everyday emotions of living, breathing young people from whom these affects are extracted. This article will discuss these aspects using empirical examples from research on punk and hospitality showing how the immaterial labour that ‘youth’ enacts in these spaces is exploited from backs of the physical and creative labour performed by young people themselves, aspects of which they are sometimes reflexively aware and are attempting to negotiate.

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The Creativity Hoax

Cited by 66 publications

References 0 publications

Creativity: Celebrations and tensions

Creativity: Celebrations and tensions

“We need to keep making stuff, regardless of what the situation is”: creativity and the film festival sector during COVID-19

Youthful culture: Immaterial labour, co-optation and the space between IRL young people and their conceptual doppelgangers

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