Creativity is the language spoken by a person's inner most desires in terms of what he or she would like to see in the environment outside. Creative guidance is the most effective when it comes from within in respect of inspiration from outside. This paper discusses the work of two social thinkers in terms of how they have perceived creativity in context of commodification of creative talent.
Download full paperFile format: .doc, available for editing
Download file to see previous pages
Paul Willis is well known in the world of philosophy as a 'cultural theorist'. He has penned several books, papers and articles on the bulk of human experience that helps understand the cultural and symbolic context within which these experiences operate and function. His arguments have helped understand the various nuances within which human experiences can help foster creativity for a more varied perspective on these experiences.
In this article, symbolic creativity has been defined by Paul Willis in this article as the hierarchies within which higher art forms are created. To begin with, Willis has argued that the various establishments and hierarchies within which art forms are born are not effective in their outreach as they miss out on affecting young people. This is a very general idea that does not hold true in today's world of globalisation. The idea that "the institutions and practices, genres and terms of high art are currently categories of exclusion more than of inclusion", is a vague one. (Willis, 1990; Pp 1 - 29)
To begin with, the basic premise that art needs to be a subject that emanates from institutions and formal practices is a deviation from the very definition of creativity. Inclusion can be regarded and studied only when art and creativity are defined in context of informal means and modes of experiences and perspectives. Willis' work is lacking in this regard. It has a very important ingredient missing: experience. Experience is the basic building block upon which art is form - it may be defined as the very theme of art. This is what has been excluded by Willis in his writing. (Willis, 1990; Pp 1 - 29)
Willis' article has important notes that have to do with how we perceive art. This has a definite bearing on the very premise upon which he studies creativity. This very perception decides the consumerism that has come to be attached with art. According to Willis, "the productive reception of and work on texts and artefacts can also be the start of a social process which results in its own more concrete productions, either of new forms or of recombined existing ones." Art has been a focal point for a variety of cultures since the history of time. It is an expression of how a race or a group of people perceive themselves in relation with the world around them. In this context, an important premise remains the fact that art is born from within and from influences that come from the outside. (Willis, 1990; Pp 1 - 29)
Yet, this is not entirely true. This concept adheres to a small section of people. In general, it may be seen that Communication forms in the form of electronic, print and other media has had a major role in deciding how western culture is perceived to begin with.. Thus, art has been accepted in context of these communication forms that dominate the various resources in the world. Technological innovations are a matter of providing newer and better insights into the way various elements around us are perceived. This has had a large bearing on the way western culture is perceived to start with. This in turn, affects the fact that we associate art with western culture as well. This associative mode has a bearing on the
...Download file to see next pagesRead More
Cite this document
(“Creativity and Commodification Book Report/Review”, n.d.)
Creativity and Commodification Book Report/Review. Retrieved from https://studentshare.org/architecture/1516687-creativity-and-commodification
(Creativity and Commodification Book Report/Review)
Creativity and Commodification Book Report/Review. https://studentshare.org/architecture/1516687-creativity-and-commodification.
“Creativity and Commodification Book Report/Review”, n.d. https://studentshare.org/architecture/1516687-creativity-and-commodification.
Walter Benjamin asserts that the Arcades, exhibition halls, and dioramas are all “residues of a dream-world” (88). Susan Buck-Morss agrees with Benjamin that the city of the past is a dream about the city of the future. This essay describes how French traditions of fantastique literature and Benjamin’s histories of the Arcade help to define the distinctions between the public and the private.
The Great Gatsby is a novel on how Gatsby achieved his American Dream but lost everything eventually. His success is inconsequential to him without his love interest. He achieved wealth at the expense of his love life. Gatsby went away to earn his American Dream and Daisy got tired of waiting and married Tom Buchanan.
The researcher states that the use of magic realism in the novel may be the constant source of amusement, novelty, and delight. Their purpose, however, is dominated by a strong sense of irony and a commanding undertone of prevailing sorrow and tragic futility. Thus, Marquez shows Jose Arcadio as powerless in sorting out magic from knowledge.
Behind the trailblazing creations and milestones that a creative person had accomplished is a painstaking and nerve-wracking process that only him can accomplish. From the vague insight of his future masterpiece to the astounding and awe-inspiring product of his once figment of his rich imagination a creative person has the passion to create something out of virtually nothing.
But such is the indeterminate subjectivity of both films-the contradictoriness of their characters, their unresolved ethical dilemmas, their wryly tragicomic representation of conflicted histories and divided allegiances-that they end up striking an ironic attitude to their own radicalism.
nd precise definition for creativity is one of the limitations that face scholars and educators in developing creativity in the education sector (Craft, 2003). However, despite the difficulties in defining creativity, it remains a central concept that drives education. In the
She talks about issues which she observes in quick flashes. This shows creativity due to the high levels of imaginations. She further illustrates that writing should be done without consideration of results, due to the process of discovery involved. Mary Wigman, a
A book demonstrates how to establish a creative culture. For almost a period of twenty years, Pixar has led the animation world. The movies of Pixar are an object lesson of what creativity entails. Catmull shows the
This depends on the pattern-recognition of the mind and demands the synthesis of raw materials into new concepts. Koestler diagrams this concept to explain it further. He extends to provide a discussion on varied forms that unstable creativity
1 Pages(250 words)Book Report/Review
GOT A TRICKY QUESTION? RECEIVE AN ANSWER FROM STUDENTS LIKE YOU!
Save Your Time for More Important Things
Let us write or edit the book report/review on your topic
"Creativity and Commodification"
with a personal 20% discount.