Wondering About Wutu

Borofsky, Robert

doi:10.2307/j.ctt18fs9q6.8

Cited by 6 publications

(6 citation statements)

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“…Unlike habit, creativity is largely appreciated as a social value (Mason, 2003), and its importance accentuated by the fact that creativity “involves going beyond the habituated. It moves beyond the standard, repeated routines of everyday life” (Borofsky, 2001, p. 66). Consequently, creative products are more “esteemed” and expressive of self.…”

Section: Theoretical Difficulties: Creativity Versus Habit In Psychologymentioning

confidence: 99%

Habitual Creativity: Revising Habit, Reconceptualizing Creativity

Glăveanu

2012

Review of General Psychology

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Current psychological scholarship is based on a dichotomy between habit, associated with automatic reflex behaviour, and creativity, which involves deliberation, purpose and heuristic procedures. However, this account is problematic and contradicts everyday experience where mastery, for instance, is one of the highest levels of creative performance achieved within a habitual practice. This article argues that such a separation misrepresents both habit and creativity with important theoretical and practical consequences. A first step towards reconciling the two terms is made by revisiting a series of foundational strands of theory from psychology and related disciplines. In light of these sources, habit is reformulated as a social, situated and open system and habitual creativity defined as the intrinsically creative nature of customary action, reflected in the way habits adjust to dynamic contexts, the way they are used, combined and ultimately perfected. Further distinctions are then made between habit, improvisation and innovation. Both improvisational and innovative creativity are embedded in habitual forms and this is well illustrated by craftwork: a practiced type of activity on the basis of which artisans improvise, whenever obstacles or difficulties are encountered, and even get to innovate, when their intention is to generate novel artefacts or work techniques.

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Section: Theoretical Difficulties: Creativity Versus Habit In Psychologymentioning

confidence: 99%

Habitual Creativity: Revising Habit, Reconceptualizing Creativity

Glăveanu

2012

Review of General Psychology

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“…As in other cases, creativity is not only related to the ‘extraordinary’ but is an intrinsic characteristic of the social and cultural processes that I have analysed. As Borofsky (2001) has written ‘creativity is more gerund than noun – more a creating, a process, than a thing to be located. It is always in motion’ (p. 69).…”

Section: Discussionmentioning

confidence: 99%

Holy Ghost feasts in Tambor de Mina cult houses: Modes of articulations

Leal

2019

Social Compass

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This article is centred on the diverse modes of articulation between Tambor de Mina – the African-Brazilian religion prevalent among the Black population of São Luís (the state capital of Maranhão, Brazil) – and Holy Ghost feasts – a Catholic feast that is the most important public celebration in Tambor de Mina cult houses. My focus is on the creative processes associated with these diverse modes of articulation. I argue that these processes are connected, on one hand, to the wider politics of boundary management between religious genres that each cult house adopts and, on the other hand, to different politics of display and containment centred on the visibility of Tambor de Mina in the public space. The article is both a contribution to recent anthropological debates on creativity and to discussions on processes of interface between different religious genres in African-Brazilian religions.

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“…According to Borofsky, people telling stories need to be creative in order to grab the attention of the audience and make the tale come to life. “There is always a move beyond the habituated, beyond the repeated” (Borofsky, 2001, p. 67). But the social environment can help or hinder innovative talk, with respect to the form as well as the content.…”

Section: How To Organize the Creative Processmentioning

confidence: 99%

Creativity, planning and organizational change

Woerkum

Aarts

Grip³

2007

Journal of OrgChange Mgmt

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PurposeThe purpose of this paper is to reflect on the relationship between creativity and planning perspectives.Design/methodology/approachCreativity is considered to be the source of new and competitive ideas through which an organization positions itself in its environment. A distinction is made between means‐end planning and emerging alternative approaches to planning. It is argued that in means‐end planning schemes creativity is predominantly a problem solving activity seeking to find an ideal mix of instruments to meet a clearly stated goal.FindingsDemonstrates that creativity can be much more if other perspectives on planning are accepted. A broadened concept of creativity is presented, pointing to strategic devices that promote and facilitate creativity in an organization.Originality/valueIs of value by stressing that “being creative” should be a part of an organization's everyday experiences, a component of normal meetings, and a reality for all members of an organization.

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Wondering About Wutu

Cited by 6 publications

References 0 publications

Habitual Creativity: Revising Habit, Reconceptualizing Creativity

Habitual Creativity: Revising Habit, Reconceptualizing Creativity

Holy Ghost feasts in Tambor de Mina cult houses: Modes of articulations

Creativity, planning and organizational change

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