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Creativity and Commodification - Book Report/Review Example

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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.
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Creativity and Commodification
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"Creativity and Commodification"

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
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