Thursday, 6 December 2012

Lecture 8: Creative Rhetorics

Aim of the lecture is to gain knowledge of the historicism and complexity of creativity, in order to better  understand and articulate your creative practice.

Objectives; It’ s good to talk
- Clarify how creativity is talked about
- Enable us to talk with precision about creativity
- Develop practice; techniques/definitions
- Potentially expand discipline

‘Different artists often have quite divergent conceptions of what they are doing’
Harrison-Barbet, 1990, p287 

Introducing creative 'flow'

Blade Runner (1982) Ridley & Rutger 

Renzo Rosso's Creative Rhetoric

How Rosso talks about creativity

- Practice-based beginning (School of Fashion) studio- pedagogy (supports creativity) Arts & Crafts/Bauhaus 
- Best idea – always next creativity 'dynamic' George Dickie (1971) art is beyond definition constantly changing (history of aesthetics) 
- Be Stupid – using heart not head expressionist theory – linked to Romanticism idea that creativity is a knowledge-obtaining activity opposition to rational sciences 
- Rosso Romantic Genius? 
- Work in teams – creative process Diesel – collaborative 


- Plato’s (427 BC - 346 BC ) problem with creativity 
- Republic – ideal society (critique of democracy) 
- Metaphysics – forms 
- Physical world mimics the real 
- Art imitates an imitation 
- Art mimics the sensory world 
- Creativity merely a technical skill - techne (GK) 
- Denied creativity's knowledge-producing capability 
- Dichotomy physical not mental activity 

Why start with Europe and Ancient GKs?

- Gombrich (1950) The popular view is that Western civilization
begins Ancient Greeks 

- Bernal (1991) argues Classical civilization has deep roots in Afroasiatic cultures - history
suppressed since 18c. 

- Classical Greeks, did not see their philosophy, as original, but derived from the East and Egypt. 

Evidence classification of GK Art
Marbel kouros from Attica 530 B.C lifesize

- Striving to imitate nature better
- Archaic
- Classical
- Hellenistic


- Roman Art (315 AD) Constantine
- Republic period realism (after Gks) Imperial period stylized
- Art followed spirit of Gks
- Suggesting Greeks reached some sort of apex.
- Sentiment found in histories of art Gombrich

Academics talk about Creativity as...

- Complex and dynamic concept
- Subjects of history of art and aesthetics
- Evidenced in Banaji et al (2006) Nine ‘rhetorics of creativity' contemporary review of the literature
- Theoretical framework of lecture

Nine rhetorics of creativity 

Creative genius
Democratic & political creativity
Ubiquitous creativity
Creativity for social good
Creativity as economic imperative
Play and creativity 
Creativity and cognition
The creative affordances of technology
The creative classroom

Romantic genius 

- Found in aesthetics 
- Area of philosophy
- Term originates in mid 18c
- Derived from the aesthesis (perception)
- Involves looking at how judgements about art and creativity are made.
- Immanuel Kant
- Critique of Judgement (1790) is still hailed as the most influential writings on aesthetics.


- Kant wrote about artistic movement 
- 18c literary and visual
- Redefined the role of the artist 

- Creative genius


- Movement changed ideas and language
about art & creativity
- Rejecting Platonic theory, Nietzsche and Schopenhauer (German philosophers) posited art as the most important knowledge-generating discipline.

The Creative

- Romanticism redefined the status of the artist
- Valued the originality of work, in terms of reflecting a subjective vision of artist
- Artist a creator – not imitator
- Artist should stand aside from rules 

- The artist is rule breaker & definer

The creative classroom 

- The Survival of Creativity (2000)
- Traces history of state-funded Art & Design Education.
- First Academies of Art in Italy 14c
- Classical rules perspective, orders of architecture etc.

- Scholarly activity ‘fine’
- 16c French Academy & Atelier
- 19c British Art Schools, Arts & Craft: LCA

Future Everything 2012

- Abundance research new media profound change on creatives & citizens.
‘people can collaborate...across networks to create...or participate in social revolutions’


- Art & copy teams (collaborative) concurrent practice-based
orthodox UK Art Schools 50s. 

- For some, new media prompting changes at the heart of the discipline; models of creativity -evidence teams are expanding in volume & online 
- Facilitating students working online and collaboratively facilitates a type of creativity of value to industry Bennett (2003) 
- Empowers learner online flattening/equalising effect traditional f2f roles tutor/learner Master/apprentice. 
- Study explores such claims 

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