Creativity versus Commodification - Book Report/Review Example

Critical Review: Creativity Versus Commodification 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. The first piece of work is by Paul Willis and it is titled Symbolic Creativity from the Volume titled Common Culture. The second piece of work is by Theodore Adorno and it is titled On Popular Music from the volume titled News from Nowhere. Both pieces have been critically reviewed in this paper in order to develop a theory revolving around the commodification of creativity. Paul Willis - Symbolic Creativity 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 relationship between western cultural values and the way art is perceived. Willis has missed out on the associative mode in his writing and this is an important mode as far as the commodification of creativity is concerned. It is said that the way something is built has a large bearing on how it is perceived. In the case of art, the use of mass media has accentuated the play of technology to the extent that the very way that an art form is conceptualised depends on the factors that are a part of the culture surrounding it. Since 1985, the play of mass media has begun on a note that has created the scope to create art beyond what has been seen in the conventional sense. The rise of technology has been accentuated by the west. Technology has come from the west and is associated with the west. Thus, an important premise here is that most of world sees western culture as an amalgamation of technology along with an ethic that is associated with the same. (Willis, 1990; Pp 1 - 29) Theodore Adorno - On Popular Music As a sociologist, philosopher, pianist, composer and musicologist, Theodore Ludwig Wiesengrund Adorno, played a plethora of roles. He has penned various influential pieces that have been benchmarks in the study of music and creativity. Music is an important creative form. In this article, Adorno speaks about the commodification of music. According to Adorno, "popular music, which promotes a stimuli we are investigating here, is usually characterised by its difference from serious music." Adorno has demonstrated a misplaced sense of focus in this regard through a generalisation that does not match the basic premise that music is that element of a person's soul, which is constantly adjusting to the strains of one's life experiences. An important part of any individual's life, music has been used through out history to demonstrate the quality of life, events and portray the emotions attached with the same. (Adorno, 1992; Pp 301 - 314) Originality, in this respect, is an important word. Originality may be described as a phenomenon that caters to the personal sense of creation that an artist indulges in. This sense of creation is something that is an outcome of the artist's sense of aesthetics and what he or she feels will have a wide acceptance and appeal in the long run. In this regard, artists generally regard qualities like timelessness and mass appeal in the creation of work that will be demonstrated before people. In order to grow as a musician, it is important to not only understand, but to implement. This will trigger growth through the crossing of new learning curves everyday. (Adorno, 1992; Pp 301 - 314) In this regard, Adorno says, "Every detail derives its musical sense from the concrete totality of the piece which in turn, consists of the life relationship of the details and never of a mere enforcement of a musical scheme." These words demonstrate that 'serious' music depends on the listener more than anyone else. Thus, it is imperative to simplify sounds. By simplifying various sounds created by the masters, musicians today can achieve wonders in their own body of work. For this, it is imperative to stick to the classics for replication of moods that will appropriately complement the sounds created. The models for playing music must be refashioned along old lines so as to achieve timelessness in creativity. This has been argued by Adorno as a "situational nexus." This situational nexus is out of context in the article, as it does not define the basis upon which serious music has been defined and decided upon by the author. (Adorno, 1992; Pp 301 - 314) Conclusion It may be seen that both pieces of work are lacking in a basic area: they have defined the creative expression in a very vague sense. In the case of Adorno, serious music has no particular definition that will help the reader differentiate between it and popular music. Therefore, the arguments that have been put forward by Adorno have no real basis as far as "situational nexus" in the listener's context is concerned. Further, in the case of Willis, there are many generalisations that do not support the vital arguments surrounding young people and technological interference as far as the commodification of creativity is concerned. The article does not etch the exact role of organisations and genres in terms of the effect on young people. The commodification of art forms is definitely an issue in today's world. Yet, both articles are lacking in the basic area of defining the arguments and theories in terms of relevant concepts like globalisation within which the perception of art takes place. References: 1. Willis, Paul. (1990) Symbolic Creativity. "Common Culture." Open University Press. 2. Adorno, Theodore. (1992) On Popular Music. "A Critical and Cultural Theory Reader." Open University Press. Read More