Creative Communion: Toward a Spirituality of Work

Reviewed Book: Holland, Joe. Creative Communion: Toward a Spirituality of Work. New York: Paulist Press, [19--]

Creative Work of nature and human creative work

Шаповал В. Н. Творчество природы и человеческое творчество / В. Н. Шаповал // Национальная стихия творчества: время и трансгрессия : сб. ст. / Российское философское общество, Общество русской философии при Украинском философском фонде, Кафедра философии МГИМО МИД России, Санкт-Петербургский государственный экономический университет, Гуманитарный факультет, Кафедра философии; Под ред. Г. Е. Аляева, О. Д. Маслобоевой. – Санкт-Петербург : Издательство Санкт-Петербургского экономического университета, 2017. – С. 191-197.В статье cделана попытка проанализировать творчество в его максимально широком, философском смысле, показать не только его человеческое измерение, но и природные основания и генезис. Последнее позволяет отойти от необоснованного и ложного по своей сути антропоцентризма и осуществить переход на более адекватную и перспективную позицию космоцентризма, вплотную подойти к постановке вопроса о конкретном месте человека в универсуме.The article tries to analyze the work in its widest, philosophical sense, to show not only its human dimension, but also the natural foundation and genesis. The latter allows you to depart from unreasonable and false in its essence of anthropocentrism and the transition to a more adequate and promising position cosmocentrism, come close to raising the question of a particular place of man in the universe.У статті зроблена спроба проаналізувати творчість в його максимально широкому, філософському сенсі, показати не лише його людський вимір, але й природні підстави і генезис. Останнє дозволяє відійти від необґрунтованого і неправдивого за своєю суттю антропоцентризму і здійснити перехід на більш адекватну і перспективну позицію космоцентризму, впритул підійти до постановки питання про конкретне місце людини в універсумі

Labour, work and action in the creative process

This paper uses Hannah Arendt's theoretical distinction between labour, work and action to provide ways of characterising different moments within artistic production. Using this model, "creativity", sometimes thought to be radically inexplicable, can be straightforwardly be aligned with the "actional"

Youth Voice in the work of Creative Partnerships

This report summarises the findings of an 18-month research project into ‘Youth Voice in the work of Creative Partnerships ‘, 2007-9, conducted by Sara Bragg, Helen Manchester, Dorothy Faulkner at the Open University, funded by the Arts Council England. Creative Partnerships (CP) was established in 2002 and is a ‘flagship creative learning programme’. It aims to foster innovative, long term collaborations between schools (often in areas of socio-economic deprivation) and creative practitioners. In particular CP states that it places young people ‘at the heart of what we do’ and claims that its programmes are most effective when young people are actively involved in leading and shaping them. CP highlights three key areas: involving young people in governance (the design, delivery and evaluation of the programme of work); building and maintaining ‘positive relationships’ with young people; working as ‘co-constructors of learning’ with them. The report maps existing youth voice initiatives in Creative Partnerships in those three areas. In addition, it considers the nature of the links between creativity and participation; explores issues of access to youth voice, such as patterns of inclusion and exclusion; explores what skills, experiences, identities and relationships are developed through participation. More broadly it attempts to understand, analyse and theorise youth voice, starting from the empirical but aiming to interpret the features of particular activities or projects to understand them more fully

De-westernizing creative labour studies: The informality of creative work from an ex-centric perspective

Creative labour studies focus almost exclusively on Euro-American metropolitan ‘creative hubs’ and hence the creative worker they theorize is typically white, middle-class, urban and overwhelmingly male. This article outlines the contours of a de-Westernizing project in creative labour studies while introducing a special journal issue that examines the lived dynamics of creative work outside the West. The article advocates an ‘ex-centric perspective’ on creative work. An ex-centric perspective does not merely aim at multiplying non-West empirical case studies. Rather, it aims at destabilizing, decentring and provincializing the taken-for-grantedness of some entrenched notions in creative labour studies such as informality and precarity. An ex-centric perspective, we contend, offers a potential challenge to many of the claims about creative work that have taken on the status of general truths and universal principles in spite of them being generated from limited empirical evidence gleaned from research sites situated almost exclusively in the creative hubs of Euro-America

All work and no pay: consequences of unpaid work experience in the creative industries

This research note evaluates the benefits and pitfalls of unpaid work as an entry route into employment in the creative industries and investigates the consequences of this practice for those who already work in the sector. Based on a qualitative study of perspectives of stakeholders in unpaid work, this article argues that the social capital thesis, often used as a rationale for unpaid work, inadequately explains the practice of unpaid work experience, primarily because it does not take cognisance of the consequences of this practice for other people working in the sector. The study also highlights methodological issues that need to be considered in the future. As well as the importance of a plurality of stakeholder perspectives, the study emphasizes the need to consider the perspectives of those who are excluded from unpaid work and those who are potentially displaced by it

The creative work of large ensembles

Preparing large ensembles for performance involves musical, social, logistical and financial challenges of a kind seldom encountered in other forms of collective music-making. The conventional approach to meeting the challenges that arise during rehearsal is to appoint a single musical overseer, usually a conductor, whose ostensible role in musical preparation is to directly influence the musicians while working towards the creation of a musical product to be delivered in later performances. Rehearsal leadership, viewed from this perspective, moves predominantly in one direction, from conductor to ensemble. But such a perspective oversimplifies the conductor’s relationship with the ensemble, the relationships between the musicians, and the strategies that the latter must employ when working in large ensembles. Conceptualizing the ensemble as a complex system of interrelated components, where leadership and creative agency are distributed and developed through rehearsal to achieve what audiences assume to be a unified whole, yields new understanding of the work of large ensembles. This chapter examines these components of the creative process in orchestral and choral rehearsal and performance, the internal and external forces shaping and constraining that process, and the approaches that individual musicians and conductors could adopt in response to the changing contexts in which such creativity might be manifested.</p

Front Cover

Collage on Exploring the Legacies of War designed by Candido Salinas. Image Attributions Cover collage public domain images: commons.wikimedia.org Doves image: © Didier Devèze / photodeprovence.com This work is licensed under a Creative Commons Attribution-ShareAlike 3.0 United States License. Machine gun image: © Israel Defense Forces / idfblog.com This work is licensed under a Creative Commons Attribution-ShareAlike 3.0 United States License. Cassegrain antenna image: © L. Chang This work is licensed under a Creative Commons Attribution-ShareAlike 2.5 Generic License. Drone image: © Corporal Steve Fellows RAF/MOD Cell tower image: © M.O. Stevens This work is licensed under a Creative Commons Attribution 3.0 Unported License

Creative Women in Advertising Agencies: Why So Few “Babes in Boyland”?

Purpose – The purpose of this paper is to explore reasons why there are so few women in creative departments of advertising agencies and to discuss what impact that might have on the work environment of those creative departments and advertising messages they create. Design/methodology/approach – Provides a review of published research and plus opinions of professionals who cover the advertising industry or work in agency creative departments. Personal observations from the authors’ time working in the advertising industry are also included. Findings – Themes gleaned from the literature look at the gender gap, the creative department of advertising agencies as an “old-boys network,” reasons why women leave creative jobs, and why advertising targeting women as consumers is so bad. Practical implications – Women opt out of advertising agencies for any number of reasons – more than just having babies. Keeping women’s voices in creative departments would give a better balance to the messages agencies create. Originality/value – Changing creative departments to be more accommodating and flexible to women’s needs might not only make them better for women, but also better for men and for families. In addition, the messages from those creative departments may be more compelling to consumers