The creative turn :: toward a new aesthetic imaginary /
The conundrum of understanding, practising and teaching contemporary creativity is that it wants to be all things to all people. Almost all modern lists of creativity, creative thinking and how-to "becoming creative" books begin with one premise: the creative individual/artist is not speci...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Rotterdam, The Netherlands :
SensePublishers,
2014.
|
| Schriftenreihe: | Advances in creativity and giftedness ;
v. 6. |
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | The conundrum of understanding, practising and teaching contemporary creativity is that it wants to be all things to all people. Almost all modern lists of creativity, creative thinking and how-to "becoming creative" books begin with one premise: the creative individual/artist is not special, rather each of us is creative in a special way and these skills can - and must - be nurtured. Increasingly, industry and education leaders are claiming that creativity is the core skill to take us into a prosperous future, signalling the democratisation of creativity as industry. Yet centuries of association between aesthetics, mastery and creativity are hard to dismantle. These days, it is increasingly difficult to discuss creativity without reference to business, industry and innovation. Why do we love to think of creativity in this way and no longer as that rare visitation of the muse or the elite gift of the few? This book looks at the possibility that creativity is taking a turn, what that turn might be, and how it relates to industry, education and, ultimately, cultural role of creativity and aesthetics for the 21st century. In proliferating discourses of the commodification of creativity, there is one thing all the experts agree on: creativity is undefinable, possibly unteachable, largely unassessable, and becoming the most valuable commodity in 21st-century markets |
| Beschreibung: | Includes index. |
| Beschreibung: | 1 online resource (x, 188 pages) |
| Bibliographie: | Includes bibliographical references at the end of each chapters and index. |
| ISBN: | 9789462095519 9462095515 |
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| 245 | 1 | 4 | |a The creative turn : |b toward a new aesthetic imaginary / |c Anne Harris. |
| 264 | 1 | |a Rotterdam, The Netherlands : |b SensePublishers, |c 2014. | |
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| 490 | 1 | |a Advances in creativity and giftedness ; |v volume 6 | |
| 500 | |a Includes index. | ||
| 520 | |a The conundrum of understanding, practising and teaching contemporary creativity is that it wants to be all things to all people. Almost all modern lists of creativity, creative thinking and how-to "becoming creative" books begin with one premise: the creative individual/artist is not special, rather each of us is creative in a special way and these skills can - and must - be nurtured. Increasingly, industry and education leaders are claiming that creativity is the core skill to take us into a prosperous future, signalling the democratisation of creativity as industry. Yet centuries of association between aesthetics, mastery and creativity are hard to dismantle. These days, it is increasingly difficult to discuss creativity without reference to business, industry and innovation. Why do we love to think of creativity in this way and no longer as that rare visitation of the muse or the elite gift of the few? This book looks at the possibility that creativity is taking a turn, what that turn might be, and how it relates to industry, education and, ultimately, cultural role of creativity and aesthetics for the 21st century. In proliferating discourses of the commodification of creativity, there is one thing all the experts agree on: creativity is undefinable, possibly unteachable, largely unassessable, and becoming the most valuable commodity in 21st-century markets | ||
| 588 | 0 | |a Online resource; title from PDF title page (SpringerLink, viewed April 24, 2014). | |
| 504 | |a Includes bibliographical references at the end of each chapters and index. | ||
| 505 | 0 | |a TABLE OF CONTENTS; ACKNOWLEDGEMENTS; NOTE FOR READERS; INTRODUCTION: BUILDING CREATIVE CAPITAL; DON'T I KNOW YOU ...?; THE IMAGINARY; Beauty Sticks Like Glue; THE ARTS AND CREATIVITY: A 20TH-CENTURY MARRIAGE?; Creativity and Aesthetics in the 21St Century; A NEW CREATIVE IMAGINARY; An Invitation; REFERENCES; CHAPTER 1: THE CREATIVE TURN IN EDUCATIONAL DISCOURSE: Reality or Rhetoric?; INTRODUCTION; The F Word (Failure); On Daydreaming; On Provoking; On Brainstorming; On Commemorating; The C Word (The 'Creative' Turn); 'THE AURA OF THE LIFE BANAL, THE ART OF COOL' | |
| 505 | 8 | |a Conclusion (The Fetishisation of Performance)REFERENCES; CHAPTER 2: YOUNG PLAYWRIGHTS' INK; INTRODUCTION; Early Days; PROFILE #1 -- MADELEINE GEORGE (SWEETBITTER BABY, 1993; THE MOST MASSIVE WOMAN WINS, 1994); PROFILE #2 -- ANNE HARRIS (IN THE GARDEN, 1984); PROFILE #4: TISH DURKIN (FIXED UP, 1984); Creative Pedagogies, Creative Possibilities; RECOMMENDATIONS, THEN AND NOW; NOTES; REFERENCES; CHAPTER 3: DEADUCATION: Why Schools Need to Change; INTRODUCTION; DEAD(LY) THEATRE AND THE FUNCTION OF CULTURAL PRODUCTION; Deadly Education and the Economic Imperative. | |
| 505 | 8 | |a Productive Risk-Taking as Good BusinessProductive Risk-Taking as Good Education; SLOW EDUCATION; In Pursuit of Inertia and Creative Leaps in Learning; The State of Play in Schools; Resuscitate to Educate?; REFERENCES; CHAPTER 4: ETHICS 'VERSUS' AESTHETICS: Best Frenemies?; INTRODUCTION; Instrumentalising Ourselves Out af a Practice; Characteristics of the Rhizome; The Rhizome: Lines are Flight, Words are Weapons; Creativity as Becoming; The Ethics of Creativity as Innovation; An Ethics of Researcher as Subject; Ethics, Aesthetics, Or a Doctrine of Creativity; CONCLUSION; REFERENCES. | |
| 505 | 8 | |a CHAPTER 5: AESTHETIC POLITICS AND CREATIVE PATHWAYSINTRODUCTION; Aesthetics and Creative Research; CASE STUDY #1; 'Sailing Into Uni!' and the Intersection of Health Promotion, Education and Creative Arts; Self; Context; Behaviours; Some Voices from the Community; CASE STUDY #2; Culture Shack and the Politics of Aesthetics; Real Power of Creative Pedagogies?; What Way Forward?; NOTES; REFERENCES; CHAPTER 6: AESTHETICS AND INNOVATION; INTRODUCTION; The Performativity of Aesthetics; Creativity and Innovation in Education: Useful or Just Assessable?; CONCLUSION; REFERENCES. | |
| 505 | 8 | |a CHAPTER 7: ANIMATING CULTURE OR: Where has all the Magic Gone?INTRODUCTION; Queer Works of Art in a New Age; Cult Value Versus Exhibition Value: Everyone's 15 Minutes of Fame?; The Commodification of Difference; WHAT'S IN A NAME? A CASE STUDY; The QPOCalypse; CASE STUDY OVERVIEW; Is it Possible to 'Teach' Diversities?; Themes; Recommendations; Top 10 Arts Projects Recommended By the Participants; ON THE IMPOSSIBILITY OF POLITICAL ART AND RITUAL PRACTICE; Earlier Turns; REFERENCES; CHAPTER 8: CREATIVE INDUSTRIES OR CREATIVE IMAGINARIES?; INTRODUCTION. | |
| 650 | 0 | |a Creative teaching. |0 http://id.loc.gov/authorities/subjects/sh2005005272 | |
| 650 | 0 | |a Creative ability. |0 http://id.loc.gov/authorities/subjects/sh85033833 | |
| 650 | 6 | |a Enseignement créatif. | |
| 650 | 6 | |a Créativité. | |
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| contents | TABLE OF CONTENTS; ACKNOWLEDGEMENTS; NOTE FOR READERS; INTRODUCTION: BUILDING CREATIVE CAPITAL; DON'T I KNOW YOU ...?; THE IMAGINARY; Beauty Sticks Like Glue; THE ARTS AND CREATIVITY: A 20TH-CENTURY MARRIAGE?; Creativity and Aesthetics in the 21St Century; A NEW CREATIVE IMAGINARY; An Invitation; REFERENCES; CHAPTER 1: THE CREATIVE TURN IN EDUCATIONAL DISCOURSE: Reality or Rhetoric?; INTRODUCTION; The F Word (Failure); On Daydreaming; On Provoking; On Brainstorming; On Commemorating; The C Word (The 'Creative' Turn); 'THE AURA OF THE LIFE BANAL, THE ART OF COOL' Conclusion (The Fetishisation of Performance)REFERENCES; CHAPTER 2: YOUNG PLAYWRIGHTS' INK; INTRODUCTION; Early Days; PROFILE #1 -- MADELEINE GEORGE (SWEETBITTER BABY, 1993; THE MOST MASSIVE WOMAN WINS, 1994); PROFILE #2 -- ANNE HARRIS (IN THE GARDEN, 1984); PROFILE #4: TISH DURKIN (FIXED UP, 1984); Creative Pedagogies, Creative Possibilities; RECOMMENDATIONS, THEN AND NOW; NOTES; REFERENCES; CHAPTER 3: DEADUCATION: Why Schools Need to Change; INTRODUCTION; DEAD(LY) THEATRE AND THE FUNCTION OF CULTURAL PRODUCTION; Deadly Education and the Economic Imperative. Productive Risk-Taking as Good BusinessProductive Risk-Taking as Good Education; SLOW EDUCATION; In Pursuit of Inertia and Creative Leaps in Learning; The State of Play in Schools; Resuscitate to Educate?; REFERENCES; CHAPTER 4: ETHICS 'VERSUS' AESTHETICS: Best Frenemies?; INTRODUCTION; Instrumentalising Ourselves Out af a Practice; Characteristics of the Rhizome; The Rhizome: Lines are Flight, Words are Weapons; Creativity as Becoming; The Ethics of Creativity as Innovation; An Ethics of Researcher as Subject; Ethics, Aesthetics, Or a Doctrine of Creativity; CONCLUSION; REFERENCES. CHAPTER 5: AESTHETIC POLITICS AND CREATIVE PATHWAYSINTRODUCTION; Aesthetics and Creative Research; CASE STUDY #1; 'Sailing Into Uni!' and the Intersection of Health Promotion, Education and Creative Arts; Self; Context; Behaviours; Some Voices from the Community; CASE STUDY #2; Culture Shack and the Politics of Aesthetics; Real Power of Creative Pedagogies?; What Way Forward?; NOTES; REFERENCES; CHAPTER 6: AESTHETICS AND INNOVATION; INTRODUCTION; The Performativity of Aesthetics; Creativity and Innovation in Education: Useful or Just Assessable?; CONCLUSION; REFERENCES. CHAPTER 7: ANIMATING CULTURE OR: Where has all the Magic Gone?INTRODUCTION; Queer Works of Art in a New Age; Cult Value Versus Exhibition Value: Everyone's 15 Minutes of Fame?; The Commodification of Difference; WHAT'S IN A NAME? A CASE STUDY; The QPOCalypse; CASE STUDY OVERVIEW; Is it Possible to 'Teach' Diversities?; Themes; Recommendations; Top 10 Arts Projects Recommended By the Participants; ON THE IMPOSSIBILITY OF POLITICAL ART AND RITUAL PRACTICE; Earlier Turns; REFERENCES; CHAPTER 8: CREATIVE INDUSTRIES OR CREATIVE IMAGINARIES?; INTRODUCTION. |
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ind1=" " ind2=" "><subfield code="a">computer</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">online resource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="347" ind1=" " ind2=" "><subfield code="a">text file</subfield></datafield><datafield tag="347" ind1=" " ind2=" "><subfield code="b">PDF</subfield></datafield><datafield tag="490" ind1="1" ind2=" "><subfield code="a">Advances in creativity and giftedness ;</subfield><subfield code="v">volume 6</subfield></datafield><datafield tag="500" ind1=" " ind2=" "><subfield code="a">Includes index.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">The conundrum of understanding, practising and teaching contemporary creativity is that it wants to be all things to all people. Almost all modern lists of creativity, creative thinking and how-to "becoming creative" books begin with one premise: the creative individual/artist is not special, rather each of us is creative in a special way and these skills can - and must - be nurtured. Increasingly, industry and education leaders are claiming that creativity is the core skill to take us into a prosperous future, signalling the democratisation of creativity as industry. Yet centuries of association between aesthetics, mastery and creativity are hard to dismantle. These days, it is increasingly difficult to discuss creativity without reference to business, industry and innovation. Why do we love to think of creativity in this way and no longer as that rare visitation of the muse or the elite gift of the few? This book looks at the possibility that creativity is taking a turn, what that turn might be, and how it relates to industry, education and, ultimately, cultural role of creativity and aesthetics for the 21st century. In proliferating discourses of the commodification of creativity, there is one thing all the experts agree on: creativity is undefinable, possibly unteachable, largely unassessable, and becoming the most valuable commodity in 21st-century markets</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Online resource; title from PDF title page (SpringerLink, viewed April 24, 2014).</subfield></datafield><datafield tag="504" ind1=" " ind2=" "><subfield code="a">Includes bibliographical references at the end of each chapters and index.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">TABLE OF CONTENTS; ACKNOWLEDGEMENTS; NOTE FOR READERS; INTRODUCTION: BUILDING CREATIVE CAPITAL; DON'T I KNOW YOU ...?; THE IMAGINARY; Beauty Sticks Like Glue; THE ARTS AND CREATIVITY: A 20TH-CENTURY MARRIAGE?; Creativity and Aesthetics in the 21St Century; A NEW CREATIVE IMAGINARY; An Invitation; REFERENCES; CHAPTER 1: THE CREATIVE TURN IN EDUCATIONAL DISCOURSE: Reality or Rhetoric?; INTRODUCTION; The F Word (Failure); On Daydreaming; On Provoking; On Brainstorming; On Commemorating; The C Word (The 'Creative' Turn); 'THE AURA OF THE LIFE BANAL, THE ART OF COOL'</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Conclusion (The Fetishisation of Performance)REFERENCES; CHAPTER 2: YOUNG PLAYWRIGHTS' INK; INTRODUCTION; Early Days; PROFILE #1 -- MADELEINE GEORGE (SWEETBITTER BABY, 1993; THE MOST MASSIVE WOMAN WINS, 1994); PROFILE #2 -- ANNE HARRIS (IN THE GARDEN, 1984); PROFILE #4: TISH DURKIN (FIXED UP, 1984); Creative Pedagogies, Creative Possibilities; RECOMMENDATIONS, THEN AND NOW; NOTES; REFERENCES; CHAPTER 3: DEADUCATION: Why Schools Need to Change; INTRODUCTION; DEAD(LY) THEATRE AND THE FUNCTION OF CULTURAL PRODUCTION; Deadly Education and the Economic Imperative.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">Productive Risk-Taking as Good BusinessProductive Risk-Taking as Good Education; SLOW EDUCATION; In Pursuit of Inertia and Creative Leaps in Learning; The State of Play in Schools; Resuscitate to Educate?; REFERENCES; CHAPTER 4: ETHICS 'VERSUS' AESTHETICS: Best Frenemies?; INTRODUCTION; Instrumentalising Ourselves Out af a Practice; Characteristics of the Rhizome; The Rhizome: Lines are Flight, Words are Weapons; Creativity as Becoming; The Ethics of Creativity as Innovation; An Ethics of Researcher as Subject; Ethics, Aesthetics, Or a Doctrine of Creativity; CONCLUSION; REFERENCES.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">CHAPTER 5: AESTHETIC POLITICS AND CREATIVE PATHWAYSINTRODUCTION; Aesthetics and Creative Research; CASE STUDY #1; 'Sailing Into Uni!' and the Intersection of Health Promotion, Education and Creative Arts; Self; Context; Behaviours; Some Voices from the Community; CASE STUDY #2; Culture Shack and the Politics of Aesthetics; Real Power of Creative Pedagogies?; What Way Forward?; NOTES; REFERENCES; CHAPTER 6: AESTHETICS AND INNOVATION; INTRODUCTION; The Performativity of Aesthetics; Creativity and Innovation in Education: Useful or Just Assessable?; CONCLUSION; REFERENCES.</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">CHAPTER 7: ANIMATING CULTURE OR: Where has all the Magic Gone?INTRODUCTION; Queer Works of Art in a New Age; Cult Value Versus Exhibition Value: Everyone's 15 Minutes of Fame?; The Commodification of Difference; WHAT'S IN A NAME? A CASE STUDY; The QPOCalypse; CASE STUDY OVERVIEW; Is it Possible to 'Teach' Diversities?; Themes; Recommendations; Top 10 Arts Projects Recommended By the Participants; ON THE IMPOSSIBILITY OF POLITICAL ART AND RITUAL PRACTICE; Earlier Turns; REFERENCES; CHAPTER 8: CREATIVE INDUSTRIES OR CREATIVE IMAGINARIES?; INTRODUCTION.</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Creative teaching.</subfield><subfield code="0">http://id.loc.gov/authorities/subjects/sh2005005272</subfield></datafield><datafield tag="650" ind1=" " ind2="0"><subfield code="a">Creative ability.</subfield><subfield code="0">http://id.loc.gov/authorities/subjects/sh85033833</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Enseignement créatif.</subfield></datafield><datafield tag="650" ind1=" " ind2="6"><subfield code="a">Créativité.</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">creativity.</subfield><subfield code="2">aat</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">EDUCATION</subfield><subfield code="x">Administration</subfield><subfield code="x">General.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">EDUCATION</subfield><subfield code="x">Organizations & Institutions.</subfield><subfield code="2">bisacsh</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Droit.</subfield><subfield code="2">eclas</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Sciences sociales.</subfield><subfield code="2">eclas</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Sciences humaines.</subfield><subfield code="2">eclas</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Creative ability</subfield><subfield code="2">fast</subfield></datafield><datafield tag="650" ind1=" " ind2="7"><subfield code="a">Creative teaching</subfield><subfield code="2">fast</subfield></datafield><datafield tag="758" ind1=" " ind2=" "><subfield code="i">has work:</subfield><subfield code="a">The creative turn (Text)</subfield><subfield code="1">https://id.oclc.org/worldcat/entity/E39PCGWMfcJfVYGKt3tf4d93Bd</subfield><subfield code="4">https://id.oclc.org/worldcat/ontology/hasWork</subfield></datafield><datafield tag="776" ind1="0" ind2="8"><subfield code="i">Print version:</subfield><subfield code="a">Harris, Anne.</subfield><subfield code="t">Creative turn : toward a new aesthetic imaginary.</subfield><subfield code="d">Rotterdam, Netherlands : Sense Publishers, ©2014</subfield><subfield code="h">x, 188 pages</subfield><subfield code="k">Advances in creativity and giftedness ; Volume 6</subfield><subfield code="z">9789462095496</subfield></datafield><datafield tag="830" ind1=" " ind2="0"><subfield code="a">Advances in creativity and giftedness ;</subfield><subfield code="v">v. 6.</subfield><subfield code="0">http://id.loc.gov/authorities/names/no2011039163</subfield></datafield><datafield tag="856" ind1="4" ind2="0"><subfield code="l">FWS01</subfield><subfield code="p">ZDB-4-EDU</subfield><subfield code="q">FWS_PDA_EDU</subfield><subfield code="u">https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=779481</subfield><subfield code="3">Volltext</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Askews and Holts Library Services</subfield><subfield code="b">ASKH</subfield><subfield code="n">BDZ0025846819</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">Coutts Information Services</subfield><subfield code="b">COUT</subfield><subfield code="n">28843981</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">ProQuest Ebook Central</subfield><subfield code="b">EBLB</subfield><subfield code="n">EBL1731610</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">ebrary</subfield><subfield code="b">EBRY</subfield><subfield code="n">ebr10862836</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">EBSCOhost</subfield><subfield code="b">EBSC</subfield><subfield code="n">779481</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">ProQuest MyiLibrary Digital eBook Collection</subfield><subfield code="b">IDEB</subfield><subfield code="n">cis28843981</subfield></datafield><datafield tag="938" ind1=" " ind2=" "><subfield code="a">YBP Library Services</subfield><subfield code="b">YANK</subfield><subfield code="n">11804938</subfield></datafield><datafield tag="994" ind1=" " ind2=" "><subfield code="a">92</subfield><subfield code="b">GEBAY</subfield></datafield><datafield tag="912" ind1=" " ind2=" "><subfield code="a">ZDB-4-EDU</subfield></datafield><datafield tag="049" ind1=" " ind2=" "><subfield code="a">DE-863</subfield></datafield></record></collection> |
| id | ZDB-4-EDU-ocn878051906 |
| illustrated | Not Illustrated |
| indexdate | 2024-11-26T14:54:11Z |
| institution | BVB |
| isbn | 9789462095519 9462095515 |
| language | English |
| oclc_num | 878051906 |
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| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (x, 188 pages) |
| psigel | ZDB-4-EDU |
| publishDate | 2014 |
| publishDateSearch | 2014 |
| publishDateSort | 2014 |
| publisher | SensePublishers, |
| record_format | marc |
| series | Advances in creativity and giftedness ; |
| series2 | Advances in creativity and giftedness ; |
| spelling | Harris, Anne, author. The creative turn : toward a new aesthetic imaginary / Anne Harris. Rotterdam, The Netherlands : SensePublishers, 2014. 1 online resource (x, 188 pages) text txt rdacontent computer c rdamedia online resource cr rdacarrier text file Advances in creativity and giftedness ; volume 6 Includes index. The conundrum of understanding, practising and teaching contemporary creativity is that it wants to be all things to all people. Almost all modern lists of creativity, creative thinking and how-to "becoming creative" books begin with one premise: the creative individual/artist is not special, rather each of us is creative in a special way and these skills can - and must - be nurtured. Increasingly, industry and education leaders are claiming that creativity is the core skill to take us into a prosperous future, signalling the democratisation of creativity as industry. Yet centuries of association between aesthetics, mastery and creativity are hard to dismantle. These days, it is increasingly difficult to discuss creativity without reference to business, industry and innovation. Why do we love to think of creativity in this way and no longer as that rare visitation of the muse or the elite gift of the few? This book looks at the possibility that creativity is taking a turn, what that turn might be, and how it relates to industry, education and, ultimately, cultural role of creativity and aesthetics for the 21st century. In proliferating discourses of the commodification of creativity, there is one thing all the experts agree on: creativity is undefinable, possibly unteachable, largely unassessable, and becoming the most valuable commodity in 21st-century markets Online resource; title from PDF title page (SpringerLink, viewed April 24, 2014). Includes bibliographical references at the end of each chapters and index. TABLE OF CONTENTS; ACKNOWLEDGEMENTS; NOTE FOR READERS; INTRODUCTION: BUILDING CREATIVE CAPITAL; DON'T I KNOW YOU ...?; THE IMAGINARY; Beauty Sticks Like Glue; THE ARTS AND CREATIVITY: A 20TH-CENTURY MARRIAGE?; Creativity and Aesthetics in the 21St Century; A NEW CREATIVE IMAGINARY; An Invitation; REFERENCES; CHAPTER 1: THE CREATIVE TURN IN EDUCATIONAL DISCOURSE: Reality or Rhetoric?; INTRODUCTION; The F Word (Failure); On Daydreaming; On Provoking; On Brainstorming; On Commemorating; The C Word (The 'Creative' Turn); 'THE AURA OF THE LIFE BANAL, THE ART OF COOL' Conclusion (The Fetishisation of Performance)REFERENCES; CHAPTER 2: YOUNG PLAYWRIGHTS' INK; INTRODUCTION; Early Days; PROFILE #1 -- MADELEINE GEORGE (SWEETBITTER BABY, 1993; THE MOST MASSIVE WOMAN WINS, 1994); PROFILE #2 -- ANNE HARRIS (IN THE GARDEN, 1984); PROFILE #4: TISH DURKIN (FIXED UP, 1984); Creative Pedagogies, Creative Possibilities; RECOMMENDATIONS, THEN AND NOW; NOTES; REFERENCES; CHAPTER 3: DEADUCATION: Why Schools Need to Change; INTRODUCTION; DEAD(LY) THEATRE AND THE FUNCTION OF CULTURAL PRODUCTION; Deadly Education and the Economic Imperative. Productive Risk-Taking as Good BusinessProductive Risk-Taking as Good Education; SLOW EDUCATION; In Pursuit of Inertia and Creative Leaps in Learning; The State of Play in Schools; Resuscitate to Educate?; REFERENCES; CHAPTER 4: ETHICS 'VERSUS' AESTHETICS: Best Frenemies?; INTRODUCTION; Instrumentalising Ourselves Out af a Practice; Characteristics of the Rhizome; The Rhizome: Lines are Flight, Words are Weapons; Creativity as Becoming; The Ethics of Creativity as Innovation; An Ethics of Researcher as Subject; Ethics, Aesthetics, Or a Doctrine of Creativity; CONCLUSION; REFERENCES. CHAPTER 5: AESTHETIC POLITICS AND CREATIVE PATHWAYSINTRODUCTION; Aesthetics and Creative Research; CASE STUDY #1; 'Sailing Into Uni!' and the Intersection of Health Promotion, Education and Creative Arts; Self; Context; Behaviours; Some Voices from the Community; CASE STUDY #2; Culture Shack and the Politics of Aesthetics; Real Power of Creative Pedagogies?; What Way Forward?; NOTES; REFERENCES; CHAPTER 6: AESTHETICS AND INNOVATION; INTRODUCTION; The Performativity of Aesthetics; Creativity and Innovation in Education: Useful or Just Assessable?; CONCLUSION; REFERENCES. CHAPTER 7: ANIMATING CULTURE OR: Where has all the Magic Gone?INTRODUCTION; Queer Works of Art in a New Age; Cult Value Versus Exhibition Value: Everyone's 15 Minutes of Fame?; The Commodification of Difference; WHAT'S IN A NAME? A CASE STUDY; The QPOCalypse; CASE STUDY OVERVIEW; Is it Possible to 'Teach' Diversities?; Themes; Recommendations; Top 10 Arts Projects Recommended By the Participants; ON THE IMPOSSIBILITY OF POLITICAL ART AND RITUAL PRACTICE; Earlier Turns; REFERENCES; CHAPTER 8: CREATIVE INDUSTRIES OR CREATIVE IMAGINARIES?; INTRODUCTION. Creative teaching. http://id.loc.gov/authorities/subjects/sh2005005272 Creative ability. http://id.loc.gov/authorities/subjects/sh85033833 Enseignement créatif. Créativité. creativity. aat EDUCATION Administration General. bisacsh EDUCATION Organizations & Institutions. bisacsh Droit. eclas Sciences sociales. eclas Sciences humaines. eclas Creative ability fast Creative teaching fast has work: The creative turn (Text) https://id.oclc.org/worldcat/entity/E39PCGWMfcJfVYGKt3tf4d93Bd https://id.oclc.org/worldcat/ontology/hasWork Print version: Harris, Anne. Creative turn : toward a new aesthetic imaginary. Rotterdam, Netherlands : Sense Publishers, ©2014 x, 188 pages Advances in creativity and giftedness ; Volume 6 9789462095496 Advances in creativity and giftedness ; v. 6. http://id.loc.gov/authorities/names/no2011039163 FWS01 ZDB-4-EDU FWS_PDA_EDU https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=779481 Volltext |
| spellingShingle | Harris, Anne The creative turn : toward a new aesthetic imaginary / Advances in creativity and giftedness ; TABLE OF CONTENTS; ACKNOWLEDGEMENTS; NOTE FOR READERS; INTRODUCTION: BUILDING CREATIVE CAPITAL; DON'T I KNOW YOU ...?; THE IMAGINARY; Beauty Sticks Like Glue; THE ARTS AND CREATIVITY: A 20TH-CENTURY MARRIAGE?; Creativity and Aesthetics in the 21St Century; A NEW CREATIVE IMAGINARY; An Invitation; REFERENCES; CHAPTER 1: THE CREATIVE TURN IN EDUCATIONAL DISCOURSE: Reality or Rhetoric?; INTRODUCTION; The F Word (Failure); On Daydreaming; On Provoking; On Brainstorming; On Commemorating; The C Word (The 'Creative' Turn); 'THE AURA OF THE LIFE BANAL, THE ART OF COOL' Conclusion (The Fetishisation of Performance)REFERENCES; CHAPTER 2: YOUNG PLAYWRIGHTS' INK; INTRODUCTION; Early Days; PROFILE #1 -- MADELEINE GEORGE (SWEETBITTER BABY, 1993; THE MOST MASSIVE WOMAN WINS, 1994); PROFILE #2 -- ANNE HARRIS (IN THE GARDEN, 1984); PROFILE #4: TISH DURKIN (FIXED UP, 1984); Creative Pedagogies, Creative Possibilities; RECOMMENDATIONS, THEN AND NOW; NOTES; REFERENCES; CHAPTER 3: DEADUCATION: Why Schools Need to Change; INTRODUCTION; DEAD(LY) THEATRE AND THE FUNCTION OF CULTURAL PRODUCTION; Deadly Education and the Economic Imperative. Productive Risk-Taking as Good BusinessProductive Risk-Taking as Good Education; SLOW EDUCATION; In Pursuit of Inertia and Creative Leaps in Learning; The State of Play in Schools; Resuscitate to Educate?; REFERENCES; CHAPTER 4: ETHICS 'VERSUS' AESTHETICS: Best Frenemies?; INTRODUCTION; Instrumentalising Ourselves Out af a Practice; Characteristics of the Rhizome; The Rhizome: Lines are Flight, Words are Weapons; Creativity as Becoming; The Ethics of Creativity as Innovation; An Ethics of Researcher as Subject; Ethics, Aesthetics, Or a Doctrine of Creativity; CONCLUSION; REFERENCES. CHAPTER 5: AESTHETIC POLITICS AND CREATIVE PATHWAYSINTRODUCTION; Aesthetics and Creative Research; CASE STUDY #1; 'Sailing Into Uni!' and the Intersection of Health Promotion, Education and Creative Arts; Self; Context; Behaviours; Some Voices from the Community; CASE STUDY #2; Culture Shack and the Politics of Aesthetics; Real Power of Creative Pedagogies?; What Way Forward?; NOTES; REFERENCES; CHAPTER 6: AESTHETICS AND INNOVATION; INTRODUCTION; The Performativity of Aesthetics; Creativity and Innovation in Education: Useful or Just Assessable?; CONCLUSION; REFERENCES. CHAPTER 7: ANIMATING CULTURE OR: Where has all the Magic Gone?INTRODUCTION; Queer Works of Art in a New Age; Cult Value Versus Exhibition Value: Everyone's 15 Minutes of Fame?; The Commodification of Difference; WHAT'S IN A NAME? A CASE STUDY; The QPOCalypse; CASE STUDY OVERVIEW; Is it Possible to 'Teach' Diversities?; Themes; Recommendations; Top 10 Arts Projects Recommended By the Participants; ON THE IMPOSSIBILITY OF POLITICAL ART AND RITUAL PRACTICE; Earlier Turns; REFERENCES; CHAPTER 8: CREATIVE INDUSTRIES OR CREATIVE IMAGINARIES?; INTRODUCTION. Creative teaching. http://id.loc.gov/authorities/subjects/sh2005005272 Creative ability. http://id.loc.gov/authorities/subjects/sh85033833 Enseignement créatif. Créativité. creativity. aat EDUCATION Administration General. bisacsh EDUCATION Organizations & Institutions. bisacsh Droit. eclas Sciences sociales. eclas Sciences humaines. eclas Creative ability fast Creative teaching fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh2005005272 http://id.loc.gov/authorities/subjects/sh85033833 |
| title | The creative turn : toward a new aesthetic imaginary / |
| title_auth | The creative turn : toward a new aesthetic imaginary / |
| title_exact_search | The creative turn : toward a new aesthetic imaginary / |
| title_full | The creative turn : toward a new aesthetic imaginary / Anne Harris. |
| title_fullStr | The creative turn : toward a new aesthetic imaginary / Anne Harris. |
| title_full_unstemmed | The creative turn : toward a new aesthetic imaginary / Anne Harris. |
| title_short | The creative turn : |
| title_sort | creative turn toward a new aesthetic imaginary |
| title_sub | toward a new aesthetic imaginary / |
| topic | Creative teaching. http://id.loc.gov/authorities/subjects/sh2005005272 Creative ability. http://id.loc.gov/authorities/subjects/sh85033833 Enseignement créatif. Créativité. creativity. aat EDUCATION Administration General. bisacsh EDUCATION Organizations & Institutions. bisacsh Droit. eclas Sciences sociales. eclas Sciences humaines. eclas Creative ability fast Creative teaching fast |
| topic_facet | Creative teaching. Creative ability. Enseignement créatif. Créativité. creativity. EDUCATION Administration General. EDUCATION Organizations & Institutions. Droit. Sciences sociales. Sciences humaines. Creative ability Creative teaching |
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