Theoretical Features of the Creative Society

Reimeris, Ramojus

doi:10.3846/23450479.2015.1088902

Cited by 18 publications

(14 citation statements)

References 13 publications

(9 reference statements)

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“…Beside this, there is the evolution of creativity understanding in the history of human thinking (Barevičiūtė, 2014;Černevičiūtė, 2014), as well the differences of understanding in different regions or even in the same but culturally diverse region (Klimczuk, 2014). Some scholars (Pečiulis, 2015;Reimeris, 2016) characterize the contemporary society as an essentially creative one.…”

Section: Issn 2071-789x Interdisciplinary Approach To Economics and Smentioning

confidence: 99%

Creativity Management: Towards Soft Control

Kačerauskas

2016

Economics &Amp; Sociology

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The paper deals with the management of creativity. Creative activity is peculiar since it covers specific (creative) worker, his (her) own working time, peculiar resources, implementation of a particular product. A creative worker resists to any forms of control and management including forced labour hours, work in an office, strong terms and contractual obligations. An office could be treated as a panopticon, i.e. as a prison, in which every labour operation of a worker-prisoner is observed. Transparent walls of an office are not a fashionable trend, but the requirement of control and management so that to see every motion of workers. Control over creative workers is an inevitable element of social order but it should be "soft" enough in order to avoid their frustration. There are two alternatives: control should be even harder in order to manage creative workers slipping from control as such, or it should be softer in order to catch at least the rest of the subjects to be controlled. Although creativity does not tolerate organizations with strong control and rigid hierarchy, if there is no (self-)control at all, most likely there would be no creative result either. A creative worker usually has no motives to create without any orders, both in a broader (social order) and in a narrow sense (economic order). Nevertheless, a "hard" structure of management with strong hierarchy is destructive for creativity. Creativity is usually mobilized by creative education and by stimulation of creative risks. There is a collision between the rules forced from outside and those created by a creative worker him/herself. Thus, collisions, contradictions and clashes are inseparable from creativity. The purpose of the paper is twofold: (1) to review different approaches to creativity management and (2) to show the specificity of creativity management.

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Section: Issn 2071-789x Interdisciplinary Approach To Economics and Smentioning

confidence: 99%

Creativity Management: Towards Soft Control

Kačerauskas

2016

Economics &Amp; Sociology

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“…A question arises whether it is the case of creative individuals and creative society (Adomaitytė et al 2018;Reimeris 2016). It seems that the priority of the society towards an individual is Platonic attitude that does not fit for a creative individual and creative society.…”

Section: Introductionmentioning

confidence: 99%

Creative and Social Capital: Concepts, Problems and Contradictions

Kačerauskas

2019

sociologia

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Creative and Social Capital: Concepts, Problems and Contradictions. The article deals with creative and social capital (SC) in the light of creative society. SC has both positive and negative aspects. The first are trust, economic development, ecological consciousness, etc. The latter are intolerance for certain individuals, stagnant relations, depression of the initiatives, etc. The negative aspects have been connected with the lack of creative aspirations within a social group. There is a dialectical relation between social and creative capital (CC). Although creative workers need certain support from their social environment, creativity does not only use social ties to spread creative results, but also ignores them by appealing to a new creative community. The comparison of SC and CC opens very different approaches towards society. In the case of SC, we still have the privileged classes who consolidate the whole society. Even in the case of the creative class we face the relics of (Post)Marxist economic approach if we correlate the activity of so called creative class with economic prosperity of a region. In the case of creative society, we have very different approach. If every person is more or less creative, we do not have the creative classes or parties as holders of CC any more. This (neo)liberal approach means also the dissemination of any form of capital, as well as elimination of attitude formed by economic priority in our societies.

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“…The latter stand of research includes discussions about creative products, creative industries, creativity institutions, creativity and art and so on. There is a focus on understanding the institutions of creativity, the creative economy and creativity industries (Florida, 2004;Hartley, 2005;Landry, 2000), the creativity of social action (Joas, 1990), creative society (Reimeris, 2016), creative city (Brzozowska, 2016), everyday creativity (Richards, 2010), art and creativity (Becker, 1984;O'Sullivan, 2006;Ingold, 2010;Juzefovič, 2016). Although these studies reveal creativity as a multifaceted phenomenon, only few of them address the issue of artistic creativity as a social process.…”

Section: Introductionmentioning

confidence: 99%

Demystifying Creativity: An Assemblage Perspective Towards Artistic Creativity

Manta

2018

Creativity Studies

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Common understandings of creativity reduce it to a flash of insight or to a personal characteristic of a highly-gifted person. This paper develops an alternative way of understanding creativity departing from a series of interviews with local painters by conceptualizing creativity as a process of articulating and getting caught up in a “meshwork” of materials, places, spaces and social encounters. Using assemblage theoretical framework, my perspective examines how different elements (both human and non-human) are brought together in flows of connections. Looking at the art world this paper takes into account also the materiality of the creative process and inquiry into how the materiality of working materials (paint, coal, brushes etc.) and the materiality of the space affect and are affected in the creativity assemblage. As such, departing from an anthropocentric perspective on artistic creativity, that takes only in consideration the meanings attributed by people (especially the artist) to forms, social uses and trajectories of artistic objects.

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Theoretical Features of the Creative Society

Cited by 18 publications

References 13 publications

Creativity Management: Towards Soft Control

Creativity Management: Towards Soft Control

Creative and Social Capital: Concepts, Problems and Contradictions

Demystifying Creativity: An Assemblage Perspective Towards Artistic Creativity

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