 |
 |
Terry asks: How do you see your work on creativity describes engineering design and software coding design? Guy answers: I don't know a great deal about these specialisms. Maybe that's a question for STS (Science and Technology Studies) people. But I'm loath to say 'go back to Woolgar or Bijker'. STS has been around for such a long time now and since that early work in STS it seems that 'creativity' has shifted in terms of its valorization. In other words, particularly in commercial practices, it is somehow where economic value is hung, even if, in fact, this is mythical. The 'big breakthrough' or the 'core idea' seems to be how creativity continues to be sold to clients, while, in fact, the real labour and labour time is in the more routine activities of their realisation (and, indeed, where projects are mostly costed). But I don't know if there is a similar situation in the economic arrangements and the processing of engineering design or software coding. In terms of that notion of creativity being looped through people and objects that I suggested, however, I can't imagine that it is any different in terms of the applicability of that idea to these domains. 'Creativity' is such an abstracted term. I think it is more useful to talk about different kinds of creative practice. ________________________________ From: PhD-Design - This list is for discussion of PhD studies and related research in Design on behalf of Terence Love Sent: Sat 21/02/2009 14:32 To: [log in to unmask] Subject: Re: Creativity and Nature vs Nuture Dear Guy, Thank you for your references. Looks like an interesting way forward. How do you see your work on creativity describes engineering design and software coding design? Regards, Terry -----Original Message----- From: PhD-Design - This list is for discussion of PhD studies and related research in Design [mailto:[log in to unmask]] On Behalf Of Julier, Guy Sent: Saturday, 21 February 2009 6:56 PM To: [log in to unmask] Subject: Re: Creativity and Nature vs Nuture Liz Moor and myself have a book coming out later this year that we have edited entitled 'Design and Creativity: Policy, Management and Practice'. See http://www.designculture.info/main/Design+Creativity.html Within it we take the view that creativity is contingent upon and looped into the social and material networks that constitute whatever practice it is enacted through. Creative practice is neither about the simple implementation of established routines and processes, nor about a series of pure 'innovations' that punctuate an otherwise stable tradition. Rather, it emerges from an ongoing engagement with a material environment that provides both specific problems to be addressed (the 'objecti' of any design project) and a material infrastructure through which that processes may take place (the various devices that make up the designer's working environment). We are not therefore engaging with an 'essentialist' view of creativity (ie. what makes people creative or creative people?). We believe that it is more productive and interesting approach to research and think about different qualities, speeds, circumstances, locations and valorizations of creativity. see: Ingold, T. and Hallam, E. (2007), 'Creativity and Cultural Improvisation: An Introduction', in Hallam, E. and Ingold, T. (eds.) Creativity and Cultural Improvisation, Oxford and New York: Berg. Knorr Cetina, K. (1997), 'Sociality with Objects: Social Relations in Postsocial Knowledge Societies', in Theory, Culture and Society, 14 (4): 1-30. Knorr Cetina, K. (2001), 'Objectual practice', in T. R. Schatzki, K. Knorr Cetina and E. von Savigny (eds.) The Practice Turn in Contemporary Theory, London and New York: Routledge. Knorr Cetina, K. and Bruegger, U. (2002), 'Traders' Engagement with Markets: A Postsocial Relationship', in Theory, Culture and Society, 19 (5-6): 161-185. Muniesa, F., Millo, Y. and Callon, M. (2007), 'An Introduction to Market Devices', in M. Callon, Y. Millo and F. Muniesa (eds.), Market Devices, Oxford: Blackwell. Professor Guy Julier The Leeds School of Architecture, Landscape and Design Leeds Metropolitan University Hepworth Point Claypit Lane Leeds LS2 8BQ +44 (0)113 812 6752 www.leedsmet.ac.uk/designleeds <https://owa2k3.leedsmet.ac.uk/exchweb/bin/redir.asp?URL=http://www.leedsmet .ac.uk/designleeds> www.designculture.info <https://owa2k3.leedsmet.ac.uk/exchweb/bin/redir.asp?URL=http://www.designcu lture.info/> ________________________________ From: PhD-Design - This list is for discussion of PhD studies and related research in Design on behalf of Bill, Amanda Sent: Tue 17/02/2009 18:43 To: [log in to unmask] Subject: Re: Creativity and Nature vs Nuture Hi Rob, Have a look at the Creativity and Innovation Management Journal http://www.wiley.com/bw/journal.asp?ref=0963-1690&site=1. Amanda Bill Senior Lecturer College of Creative Arts Massey University Museum Building, Buckle Street, Wellington http://creative.massey.ac.nz <http://creative.massey.ac.nz/> <http://creative.massey.ac.nz/> ________________________________________ From: PhD-Design - This list is for discussion of PhD studies and related research in Design [[log in to unmask]] On Behalf Of Rob Curedale [[log in to unmask]] Sent: Wednesday, 18 February 2009 7:08 a.m. To: [log in to unmask] Subject: Re: Creativity and Nature vs Nuture My conclusion is that the application of the many and sometimes contradictory creativity theories into practical and effective creativity management for business is an area that needs more study and development. Rob On Tue, Feb 17, 2009 at 4:53 AM, Claudia Mareis <[log in to unmask]> wrote: > Hello, > > "Who would even think of social class and educational level as determining >> general intelligence." >> > > I guess, the french sociologist Pierre Bourdieu does. > (e.g.: Bourdieu, Pierre: Outline of a Theory of Practice. Cambridge/New > York. 1977) > > Also Michael Polanyi considered authority and tradition to be strong > influences on our tacit ways of knowing. > (Polanyi, Michael: Personal Knowledge. London. 1974, [1958], p. 53.) > Both would doubt, that there is a clearly defined "general intelligence" > that is performed only by genetic guidlines. > > Best wishes, > Claudia Mareis > > > Design Researcher, Berne University of the Arts, > Pre-doctoral Fellow, Max Planck Institut for the History of Science, Berlin > > > > (remember that race and sex are also genetic... I guess.) >> :) >> Cheers, >> Eduardo >> >> ----- Original Message ----- From: "Rob Curedale" <[log in to unmask]> >> To: <[log in to unmask]> >> Sent: Monday, February 16, 2009 10:24 PM >> Subject: Re: Fw: Creativity and Nature vs Nuture >> >> >> Carma, >>> >>> I am theorizing that genetic inheritance contributes to what we call >>> creativity but there are other factors as you ponit out and that >>> creativity >>> is a form or subset of general intelligence. >>> >>> Would you conclude that social class, race, sex, educational level have >>> more >>> to do with general intelligence than genetic inheritance? >>> >>> Rob >>> >>> On Mon, Feb 16, 2009 at 2:13 PM, Carma R. Gorman <[log in to unmask]> >>> wrote: >>> >>> It's probably not quite what you have in mind, but your query brought to >>>> mind immediately a number of feminist art historical writings. The >>>> argument >>>> of much of this literature is that although people with Y chromosomes >>>> have >>>> been credited with genetic superiority (esp. in terms of creativity), >>>> much >>>> of their success probably has nothing to do with their chromosomes, but >>>> instead with patriarchy. Linda Nochlin's "Why Have There Been No Great >>>> Women >>>> Artists" is a good place to start. She acknowledges that creativity >>>> often >>>> seems to run in families, but her explanation of that phenomenon is >>>> quite >>>> different from the genetic model you're suggesting. >>>> >>>> Despite the many fascinating genetic explanations/revelations that have >>>> been in the news in the last five years, I still find explanatory models >>>> like the one in Malcolm Gladwell's book *Outliers* to be a lot more >>>> persuasive: I suspect that social class, race, sex, educational level, >>>> etc. >>>> (and the opportunities these characteristics offer or preclude) have a >>>> lot >>>> more to do with individual and familial creativity than genetic >>>> inheritance. >>>> >>>> Carma Gorman >>>> >>>> -------------------------------------------------- >>>> From: "Rob Curedale" <[log in to unmask]> >>>> Sent: Monday, February 16, 2009 12:41 PM >>>> To: <[log in to unmask]> >>>> Subject: Creativity and Nature vs Nuture >>>> >>>> Can any group members refer me to studies in the area of DNA/genetic >>>> >>>>> inheritance and creativity? >>>>> >>>>> >>>> >>>> >>> >>> -- >>> Rob Curedale | President | Curedale Inc | 22148 Monte Vista Drive Topanga >>> Canyon CA 90290 USA | tel: +1 310.455.2636 studio | cell: +1 >>> 616.455.7025 | >>> www.curedale.com | [log in to unmask] | >>> >> >> >> >> ---------------------------------------------------------------------------- ---- >> >> >> >> Nenhum vírus encontrado nessa mensagem recebida. >> Verificado por AVG - www.avgbrasil.com.br >> Versão: 8.0.237 / Banco de dados de vírus: 270.10.25/1956 - Data de >> Lançamento: 02/16/09 18:31:00 >> > -- Rob Curedale | President | Curedale Inc | 22148 Monte Vista Drive Topanga Canyon CA 90290 USA | tel: +1 310.455.2636 studio | cell: +1 616.455.7025 | www.curedale.com | [log in to unmask] | To view the terms under which this email is distributed, please go to http://disclaimer.leedsmet.ac.uk/email.htm To view the terms under which this email is distributed, please go to http://disclaimer.leedsmet.ac.uk/email.htm