Industry and Creativity
In the extract from “Creativity and innovation in the Scandinavian design industry” by Dominic Power, he explores the notion of the modern “designer” and the machine which is Industry and Creativity. The high demand stimulated by how the ‘market for design services has rapidly expanded in recent decades’ has further lead to ‘an ever growing list of firms and products’. This has created an almost ‘consumption’ dependence lifestyle today. The extract details the importance which design plays in the building of an industry, the effectiveness of collaboration and the constant pressure to improve upon design as a result of competition between firms. Power, approaches these ideas through the development of several hypothesis and his understanding of creativity and knowledge specifically through Stockholm.
Design crosses a number of areas, most of which are being studied by the variety of students enrolled in a Creative Industries or Contemporary Arts course. These include my major, Graphic Design, along with others such as Industrial Design, Fashion Design, Interior Design, Web Design, to name a few. As mentioned by Power, it can be argued that ‘whilst designers are commonly assumed to be creative and innovative… some will be more creative and innovative than others.’ This is why the notion of ‘designer’ is so hard to define. However, I believe that what it means to be a successful ‘designer’, although rarely come across, is to work within ‘places that are home to design industries that are not only creative but also innovative’, giving rise to a product that will compete with others and a designer who is willing to continually improve upon their designs. A designer who is capable of meeting both areas of requirement has a lot to offer the world of design and positive influence to the marketing of a product. In Perth however, I do not think design is recognised in the correct or deserved way that it should be. For example, in comparison with the progressive states of Australia (Sydney and Melbourne), Perth provides approximately only a third of what can be seen in these states in regards to providing business opportunities for design. These statistics are evident of the low level of acknowledgement the city of Perth provides for design. It is being actively ignored by our growing business and marketing landscape, and without recognition, how can it be expected the Perth will be able to compete with the big names in the cities of Sydney and Melbourne. For more details on these facts and statistics, head to this webpage and see for yourself, just how far behind Perth design lags.
As mentioned, Power’s discussion mainly focuses on and ‘explores the case of Stockholm as a home to a creative, but also innovative and increasingly competitive, design service industry.’ In an effort to simplify and clearly explain the development of creativity and knowledge in Stockholm’s design cluster, Power has developed three hypothesises and two additional hypothesises.
These first three hypothesises are:
1. Knowledge in industrial clusters is conglomerated through various forms of ‘local inter-organisational collaborative interaction.’ This is probably the most effective way to stimulate innovation and encourage designers to meet the demands at a higher pace. A group of people compatible with one another and working towards the same goal, I believe, gives a richer outcome. The quality of the product reflects the collaborated effort from a well structured and cohered cluster of designers. An example of the strength behind collaboration is one given by Steve Jobs, who most of us know as the face of Apple. In an interview he explains that his “model for business is The Beatles. They were four guys, who kept each other’s negative tendencies in check. They balanced each other and the total was greater than the sum of the parts… Great things in business are never done by one person. They’re done by a team of people.” Below is the video of this section of the interview which Jobs had with the television show 60 Minutes.
2. Increased competition and intensified rivalry, particularly between similar firms, resultantly speeds up knowledge and the innovation process. Pressure is created to innovate and rise above what the other firms are offering. This is found to be most common between firms within close proximity to one another, their promotional efforts and products constantly in each other’s faces, causing them to react in no other way than to compete and improve upon what is already being done. Also, Power makes the accurate point that ‘geographically proximate firms are more visible to each other, which makes observation, monitoring and benchmarking easier and more efficient. Therefore, firms with nearby rivals will be more innovative that firms whose main competitors are located elsewhere.’ Although this point is very true to a certain extent, competition can have adverse effects on the company who fails to compete with the other firm. This can result in the ending of a company and will therefore lead to unemployment and customers not receiving the best available products possible. This is why, a collaborative effort may be considered more effective. For another opinion, check out this publication by Neva Goodwin, discussing who really benefits from competition between firms.
3. ‘Knowledge in clusters is created through spill-over effects’. This is explained by Power to be a result of the ‘local mobility and sociability of individuals.’ Due to the constant informal interaction within the local firms, knowledge will circulate far more rapidly than those dispersed globally throughout firms. Also the intensity of the people through the local labour market flow will actively facilitate the firms and support the design industry. This spill-over effect is a result and enhanced by the movement of people between jobs and firms, relocating, bringing with them their fresh ‘ideas and contacts’. Power further explains this in relation to designers by saying ‘Designers constantly referred to the importance they attach to the networks of friends and contacts they have developed in the local area over years of schooling, freelancing and different jobs.’ This supports the constantly reiterated fact that cohesion, understanding and relationships are vitally important to be successful in design. I firmly believe in this and the bond between co-workers will be reflected in what they produce as a design firm.
The following two additional hypotheses are:
1. ‘Clustered firms will often find specific events as important compliments to the day-to-day dynamics supporting creativity and innovation.’- In order for these creative designer types to feel useful and actively contributing, it is important for these clustered firms to provide the opportunity for their skills to be showcased and acknowledged.
2. ‘That social contact networks within a cluster are most likely to be motivated by individuals more concerned about developing their careers than the careers of their employers.’- This outlines that a company with a lack of a reciprocal benefit, is highly unlikely to create a sense loyalty from their employee.
From my reading of Power’s “Creativity and innovation in the Scandinavian design industry”, I have developed the understanding that the most effective way for designers to work in an innovative and creative nature, is for collaboration to occur. Developing friendships and networks is the key foundation to a successful design firm.
References
Power, D. (2009). Creativity, Innovation and the Cultural Economy. In Creativity and innovation in the Scandinavian design industry: Designed in Stockholm (pp. 200-216). Hoboken: Taylor and Francis.
Jobs, S. (2003). Steve Jobs rare interview (2003). (60 Minutes, Interviewer)
Creativity and Research
An artist’s career is certainly not something that happens over a few days, weeks or even months. It’s not an easy thing to establish, with years of struggle hidden in the early stages of their works, seeming as though their success did almost happen overnight. As “Don’t Quit Your Day Job” by David Throsby explains, a career is something ‘divided into stages’, starting out small and shy of their full potential. So let’s have a look at these stages and find out just exactly how we can all expect to reach fulfilment in our creative art practices.
In Edmond’s Editorial he outlines the process of art making, describing it as “fundamentally a research process… Each art object, performance or realized concept is sometimes seen as an experiment from which the artist learns and from which new ideas and goals emerge.” It can therefore be considered stages of learning, achieving milestones when learning valuable lessons via research and the experiences had whilst actively involved in art making. For the artists of modern culture, research can be considered one of the most powerful sources available. Information and previous works of artists before and within our time provides us as creative people, the opportunity to improve on what has already been done to produce a new and exciting art work.
Returning to Throsby’s stages of one’s art career, he begins with the earliest of the phases; uncertainty. During this stage, the artist begins with the small stuff, known as the ‘first-steps’. The artist’s work often will go unrecognised and be marginalised as just another small fish in a big pond. This is then followed by the phase he calls “becoming established”. He states that this is when ‘the artist consolidates these early efforts and works hard to achieve a level of professional acceptance.’ Although this is an early stage, it is very clear that already an enormous amount of time and dedication to their work has been contributed. Those who have a clear sense of what they want to achieve and understand that it demands whole hearted involvement will succeed in their field. This stage correlates with, myself, being a university student studying Graphic Design. I and my fellow Creativity students are all in the precursor stage of our careers as art makers, constantly asked to produce creative works as assignments to show our understanding of what it is like to be a part of the field of our choice. Not only do we do the practical side of our art making, but we learn about the theory behind what fuels our creativity and leads us to our decisions as artists within our culture. Although I am literally just starting out within my field of choice, Graphic Design, I have already gained vital skills and understanding about how to become ‘professionally accepted’. If you go to my Creative Project page, you will see an example of my current efforts to become established as a Graphic Artist. It is currently a working progress, with my ideas reasonably clear but demanding further research and practice.
To help make sense of the stages of a creative person’s career, a great example to take note of is J.K. Rowling, the self-made billionaire mother and author to the Harry Potter book series. Although today, all we know of her and her success is her fast selling books, the highly anticipated release of the books as films, merchandise and the Harry Potter amusement park, there is much more to her life story and the struggles she face through the beginning of her career. In her intimate interview with Oprah Whinfrey she tells of her battle with self belief in her work, but continually and compulsively wrote. After being rejected by 12 publishers, it’s hard to believe that her Harry Potter book series have gone on to sell over 400 million copies and become the empire we see today. Below is a section from the interview Rowling had with Oprah about her unexpected success and how her life is eternally affected by what she went through early on in life.
As the artist furthers their involvement in art practice and continues with the consolidation of the early works of their career, they will reach the fulfilment at the central point of their professional artistic career known as ‘established practice.’ This is not exactly a time of ‘full-time or continuous work’ as stated by Throsby, but does demonstrate a period of ‘commitment and high level of achievement’. In order to be appreciated as an ‘established practicing professional’ within their field, as without evidence of their potential, they will not be taken seriously by the giants of the industry.
It is not uncommon, for artists, that this stage will give light to the following phase Throsby describes to be ‘less intense’ than at the height of the artist’s career. This may be a result of wealth gained from the established stage where their creative works produced income or simply because they feel they can have a break and return with the same level of skill and acceptance within the field. For example, J.K. Rowling, the English author of the Harry Potter books who now has billions, has now reached a stage in her life and career that she has closure. Her book series has reached its finality but will continue to provide income, and not only that, the mass production of her books as film and merchandise will not go unnoticed as an ongoing income. She also mentions early on in her interview with Oprah that she was always sure that the books would end via the conclusion of the 7th Harry Potter book, but there will always be the possibility that she could write more. This reflects the fact that she is comfortable with where she is in her career, and is not under the initial pressure she was experiencing early on in the writing of the series. Rowling is now in a position of control and can afford to do whatever it is she likes as she has worked hard to build what she has accomplished to this day.
From my reading of Throsby’s understanding of the artist’s career, I believe it to be extremely essential that each stage be acknowledge. I truly believe them to be the key to one’s creative success.
References
Edmonds, E. (2007). Research on and within Creative Practice. Leonardo: 40(4).
Throsby, D. (2003). Dont give up your day job : an economic study of professional artists in Australia. Sydney: Australia Council.
Creative Community
In this week’s reading, The Role of Culture in Community Building by Thomas Borrup, the idea of Community is deeply discussed, covering all avenues of what it means to be a part of a community. These avenues are predominantly Culture, Art, Economics and “Place”, allowing Borrup to create an understanding of the elusive term of ‘Community.’
As an entity, the book refers to the term as the “people and the naturaland built environments within a geographically defined area.” It is further defined that community is more so an interaction within the “shell” of infrastructure and the sustaining of livelihood, made functional via culture. This culture reflects a set of shared values and understandings as a set of collective endeavours which make the community as a system “work.” It is therefore not the “container” itself, but rather “something we do together” within the boundaries of our location. I will aim to take care in dissecting the framework of what makes a “community” to discover how important each element is in making the system cooperate in cohesion.
First to be dealt with will be the role that art and culture both play in the development of community and the ongoing interaction between the two. Along with the fact that it’s constructed by a shared set of “values, attitudes and beliefs”, Culture is also the underlying assumptions within its place. These are a set of understandings about how life is gone about in everyday activities, so much so that is expected and almost uncontested. However there are now many and varied assumptions which seep into cultures, as “local communities become global microcosms”, a small world in its own right, within another. Conversely, many people unfortunately happen to believe that culture is a “sense of refinement” and something above the necessities of the mainstream group. This is something closely coupled with “art”, highly renowned artists and institutions commodifying culture as a form of promotional tactic.
On its own, art is a form of practice carried out as a form of “outward expressions of people from one of the many cultures on the planet.” Thus, art can be considered a reaction to culture, “a result of everyday life” presented in the form of a dimensional object or simply the acting out by a person, both done as forms manifesting creativity.
It can therefore be assumed by me that based on these ideas behind art and culture, that in order for either to exist, there must be a constant shared interaction with the individuals and the society where they are located. The existence of culture is made evident as the fuel powering the reaction or expression by the individual’s production of art and therefore leads to a response from the society. Art can also encourage an individual to respond in their own manner, then producing their own form of art, whether it is an adaptation or an act opposing this art form. Therefore without culture and art, it can be boldly stated that there would be little to no creativity and resultantly “community” would not exist. Here is an overview of this interaction between art, culture and community.
To further demonstrate understanding of this essentially “creative community” type, cyber culture provides the example of Facebook. This “social networking” medium has become the biggest craze over the last five to six years, the number of users increasing exponentially month by month, thousands of people connecting just to keep up with the latest information and join in on what would be the greatest social interactive medium. Today it is not only people who have their own “Facebook”, but company’s, organisations, fundraising groups, businesses and entertainment venues do to, Facebook being up there as one the most effective way to publicise and connect with their audience. Individuals use the uploading of images and the writing of opinions and “statuses” to creatively express themselves in the easiest way to publicise information they know possible. Facebook is just one example of how the internet and the progression of technology has lead to creative communities, now the most preferred way of communicating.
For creative community building, Borrup states that there a 10 economic and social strategies required.
These are:
Economic Development Strategies
1. Create Jobs: it is important to care and support the artists within the community in order to encourage communication and stimulate healthy interaction.
E.g. Penn Avenue Arts Initiative, Pittsburgh, PA.
2. Stimulate Trade through Cultural Tourism: creating a hospitable environment for cultural tourism is essential for engagement with outside resources. In order to grow and advance, trade between cultures must be promoted.
E.g. Lanesboro Art Council, Town of Lanesboro, MN.
3. Attract Investment by Creativity Live/ Work Zones for Artists: nurture artists and artists live/workspaces as anchors around which to build local economies. This will further stimulate the community to become creatively motivated.
E.g. Torpedo Factory Artists’ Association, Alexandria, VA.
4. Diversify the Local Economy: cluster arts organisations as retail anchors and activity generators to attract and support other enterprises. If a location is known for its art, external cultures and their art will be attracted to this.
E.g. ACT Roxbury and Madison Park Development Corporation, Boston, MA.
5. Improve Property and Enhance Value: leverage the proximity of cultural amenities and the artists’ touch to improve property. This will create a better presence of the local community art.
E.g. Paducah Artist Relocation Program, Paducah, KY.
Social Development Strategies
6. Promote Interaction in Public Space: Engage people in public spaces through public art and collective cultural experience. This promotes an interaction between art, the individual and society within a culture developing a sense of community.
E.g. WaterFire Providence, Providence, RI.
7. Increase Civic Participation through Cultural Celebrations: strengthen connections between neighbours through cultural celebrations and festivals. This also will promote an interaction within a community, providing opportunities for people to group together and share a common interest.
E.g. May Day Parade and Festival, Minneapolis, MN.
8. Engage Youth: include young people in civic affairs and enterprises through meaningful work and activity. It is important to encourage involvement of people, especially from a young age, giving them a sense of participation within their community early in life.
E.g. Artists for Humanity, Boston, MA.
9. Promote Stewardship of Place: develop civic pride and responsibility through good “place making” and design practices.
E.g. Hope Community, Minneapolis, MN.
10. Broaden Participation in the Civic Agenda: expand involvement in civic issues and governance through community- centred arts and cultural practices. This creates a sense of belonging within a large group, bringing people together to make them feel a part of something that is big.
E.g. Understanding Neighbours, Anchorage, AK.
In conclusion, Community Building is not something that happens overnight. It requires constant interaction between the arts, culture, individual and society in order for it to work. A shared understanding of how we go about everyday life will make for the best community, and we can only hope this will someday be achieved.
References
Borrup, T. (2006). The creative community builders handbook: How to transform communities using local assets, art, and culture. Minnesota: Fieldstone Alliance.
Yadav, S. (2006). Facebook: The Complete Biography. Retrieved 2011, from Mashable: Social Media: http://mashable.com/2006/08/25/facebook-profile/
The Creative Personality: Banksy
It has previously been discussed what creativity is, but what type of person is able to embrace and utilise their inner creativity? Who are these creative types and what are the characteristics of their personality? In week 4’s reading The Creative Personality, M. Csikszentmihalyi lays out the set of traits which cohere to form the ideal creative type.
This week, week 7, Sophie and I presented to the class about this very topic and we used the daring street artist Banksy as our case study. We felt Banksy best represented, in our eyes, the modern day creative personality. However it is up to me to prove as to why he fits the creative type.
Today our lives are bombarded with cultural objects and semiotics that take the reins of our subconscious to guide us to a creative outlet. For some creative persons, in particular Pop Artists, they use these cultural objects to make a statement or a subverting message about our culture. Graffiti or modern “Street art” is one of the most common forms of this expression today. Although illegal, it can be considered as some of the best art work you will ever see by simply walking through your local town centre. The very person who does this for a life project is Bristol U.K.’s, Banksy. He is a man of a few words, in a very literal sense, however if a picture speaks a thousand words, he is certainly the verbose artist of our time. Not only does he target the culture of his own, he journeys from Palestine to the U.S. just to speak up for urban society through his street “graffiti” work (Sewell, 2006). However he is more commonly referred to as a “street artist”, with many of his works on the walls of these locations heralded with accolades by the very artists of the country (Northover, 2010). But not everyone has this shared positive take on the way his “art” works “contaminate” the walls of buildings, many people opposing to what he stands for and insisting that his work blights the areas he paints (Sewell, 2006).
Unlike the irritating free-hand scribble you see on toilet doors, his work is constructed by a series of stencils. It all begins in his studio, cutting stencil shapes, from the most gigantic to some as small as rats, which come together to make a magnificent and more often than not, politically controversial image. However his work is not only limited to the street, stencils and spray paint, he also paints on canvas, guerrillafying famous artworks and cheekily planting installations where he sees fit. He now even has a film and a published book.
Here are just a few characteristics named by Csikszentmihalyi which are associated with Banksy and his style of works.
1. Physical energy- Banksy is incredibly energetic when at work, actively making a clear effort to paint, plant and install his works where he most envisages it. It is clear in such works as his stencils on the Palestine wall that an intense dedication and personal involvement is required, and without this physical energy and adrenaline, he would not have been able to continue to paint as a group of men held guns to his head. Making is artistic mark on such a politically divided wall indicates his passion for what his work stands for and the result he achieves in his final piece. (Csikszentmihalyi, 1996)
2. The combination of playfulness and discipline- It is made relevant by not only artists, but the common successful type, that a balance between work and play is essential. Banksy, manages to encapsulate both of these elements within his work, pulling our attention with his intrinsically enchanting images. I personally believe that this is what makes his work so powerful. Although the physical sense is powerful, the underpinning meaning and creative emotion associated with what is depicted is far more influential. (Csikszentmihalyi, 1996)
3. Humble and proud at the same time- Although Banksy has chosen to remain enigmatically silent about his identity, he also appears to have no problem in receiving the money that comes with his infamous reputation and politically challenging works. He is not “arrogant” or willing to publicly take owner ship for his paintings in the streets of urban centres, yet he sells his work through his website, and not cheaply. But, how else would he make his living. And if people are willing to pay for his work which he enjoys doing, why not utilise it? (Csikszentmihalyi, 1996)
Banksy has remained mysteriously and somewhat tantalisingly silent about his identity, refusing to reveal his birth name. However, it is highly pressed by many newspapers that his actual name is either Robin or Robert Banks, born in 1974 (Sewell, 2006). The reason for the media sources having not expressed much information on the likes of Banksy is simply because the information is not available or rather made available to them. Banksy requires a strict set of guidelines in order for him to comment on any of his works or the values which he expresses in an interview. In one instance, a British news program, The Culture Show, were reporting on Banksy and were fortunate enough to be granted an interview. However his idea of an interview meant the broadcasting company would send him the questions they hope to be answered via email to which he would return with a voice recording, said by himself to be “scrambled up real nice”, and answering only the questions he was comfortable with.
References
Csikszentmihalyi, M. (1996). The Creative Personality. In Creativity: Flow and the psychology of discovery and invention (pp. 51-76). New York: Harper Collins.
Northover, K. (2010, 5 29). Banksy’s first Australian interview. Retrieved 2011, from The Age: http://www.theage.com.au/entertainment/art-and-design/banksys-first-australian-interview-20100528-wlj8.html
Romanticism. (2009). Retrieved 2011, from A Guide to the Study of Literature: http://academic.brooklyn.cuny.edu/english/melani/cs6/rom.html
Sewell, B. (2006). Banksy. Retrieved 2011, from Brian Sewell Art Directory: http://www.briansewell.com/artist/b-artist/banksy/banksy-biography.html
Week 6: Let’s Go with the Creative Flow
Ever wondered how or why we manage to fall into a state of complete emersion when carrying out a task? You know, when you are actively doing something to point where you become to do it naturally or fluently? You feel so engrossed in what you’re doing that nothing else can get in your way or interrupt your “flow”.
This week’s reading, tutorial and class discussion covered the idea of “flow”. Flow is something described as the intrinsic performance of a task, a state of elation when swept away and captivated by what you are doing. In the reading The Flow of Creativity, Creativity: Flow and the psychology of discovery and invention by M. Csikszentmihalyi, his particular explanation relates it closely to that of “enjoyment” and that in that creative flow corresponds to that “Creative persons… all love what they do”. He further defines “flow” in more detail later on in the excerpt based on what he’d learnt from speaking to those happy in their jobs: “what kept them motivated was the quality of the experience they felt…” It is therefore not the materialistic results possibly gained such as fame or riches, but the feeling that they get from doing something that they truly value and cherish. However flow is not solely dependent on enjoyment or love alone, but there are in fact 9 aspects which Csikszentmihalyi associates with “flow”. These aspects I believe further associate the connection between “flow” and creativity, detailing what is desired to reach our full capacity of creative mindset.
1. Clarity of goals- at each stage of the creative process, there must be smaller aims to meet or a sense of what is being achieved. If it is not clear what you are setting out to achieve, you are more than likely to stop and give up as there is no result or milestone at the completion of each step.
2. Immediate feedback- I believe this to be one of the most helpful elements in a creative process. From my personal experience, immediate feedback has helped me to build up a confidence in carrying out a task by letting me know that I’m doing the right thing. An example which can be used is riding a bike. Whilst riding a bike, your aim is to balance and move forward without falling off. Whether you fall off or successfully move forward whilst balanced are both immediate forms of feedback.
3. A balance between challenges and skills- “our abilities are well matched to the opportunities for action”. This means that in order for “flow” to occur, we must feel that something is not overtly easy or cripplingly difficult. An even balance eliminates room for boredom or frustration with the task at hand. Another man, Tom Glover, who has read Csikszentmihalyi’s work, has written his own blog on his response to this idea of balance.
4. Action and awareness are merged- this occurs once you have become familiar with what you are doing to point where you are so engrossed by it that it becomes almost a natural interaction. There is almost no thought involved or feeling of doubt, allowing for the “flow” to occur. Other elements, as mentioned earlier which play a role in this occurring is the “clarity of goals” and “balance between challenges and skills.”
5. Distractions are excluded from consciousness- distractions interrupt to “flow” of a process, leading our minds off in the wrong direction, further from what is at hand. Therefore when we eliminate distractions, an “intense concentration on the present” will occur, allowing “flow” to continue rapidly and effectively.
6. No fear of failure- this element has a close link with point 5, as a true emersion into what you are doing makes the process effectively enjoyable in itself, so there is no concern with the idea of failure present. When I have felt so involved in an activity, I’m more focussed on what I’m doing at that moment rather than if I could be doing the wrong thing or not. Therefore failure itself, fails to cross my mind.
7. Self-consciousness disappears- this allows you to feel a sense of freedom, unleashed from all your consciences fears and doubts. This is the most liberating element, leaving your creativity to “flow” all by itself without the “burden of self awareness”.
8. Sense of time becomes distorted- when so immersed in the current action, the time which is passing is not apparent or relevant to what you are doing. When actively doing something that has no interruptions or pauses you forget about time to point when sometimes hours feel as though they pass by as quickly as minutes.
9. Activity becomes autotelic- this when we willingly suspend our disbelief. We may be emmersed in what we know is factually false, but our minds are so deep within the activity that we allow our creativity to “flow”. An example of this is when reading a fantasy novel about witches and wizards and magical creatures that we know are not real or reality credible, but we allow our minds to broaden and bend to create “flow”.
Along with all Csikszentmihalyi’s 9 aspects of creative flow, life doctor Paul Sheppard has his own website and video log which can assist you to enhance creative flow.
Another man who explores the idea of creative thinking is Edward de Bono, who discusses the 6 Thinking Hats of “lateral thinking” in the excerpt Six thinking hats. Serious Creativity. These thinking hats can be referred to as frames of mind or ways of thinking. Here’s a diagram which displays the ideas behind each individual thinking hat.
References
Csikszentmihalyi, M. (1996). The Flow of Creativity. In Creativity: Flow and the psychology of discovery and invention (pp. 107-126). New York: Harper Collins.
De Bono, E. (1992). Six thinking hats: Serious Creativity. New York: HarperBusiness.
Week 2: Show Me The Dark
Has one of today’s most convenient and accessible means of seeing in the times of night’s darkness trapped our creativity in the dark dungeons of our once superstitious minds?
In this week’s Tutorial and reading, the notion of creativity having been destroyed over time was a prominent one which we discussed. The reading was an excerpt from At day’s close: Night in times of the past by A.R. Ekirch in which light was shed on the idea of the de-stimulation of our imagination since the dawning of Enlightenment. The passage takes us back around 300 years ago to the 1700s, a century following a time before which was far more complex, when Witches were abroad and monsters hid under children’s beds.
Before we get too far in to things, allow me to first establish what ‘creativity’ is. Creativity has arguably been considered one of the hardest things to define by man. However, it is my belief it is our own manifestation of our thoughts and imagination to produce something. Whether it is our own creation as such is controversial. We all view things which we may or may not recall, however, it is our experience and interaction with the touchstones in our lives that make us who we are. So to those who argue that it may be simply copying, it is rather the process of us ‘bringing something new into birth,’ (May, 1959) as stated in Week 1’s lecture by Mark McMahon ‘What is Creativity.’ Just because thousands of babies are born every day, doesn’t mean each baby will be raised in an identical way to another. Just like these babies, it is our own version of creativity that Mother these into something which expresses our own way of doing things. This is what I understand individual creativity to be. However, this is mostly my own interpretation of creativity. Others, for example Brian Tracy, believe creativity, is in fact “improving” upon others ideas.
Between the years of 1730 and 1830, there was a huge historical shift in creativity which correlated with the insidious nature of artificial light in the night life of humans. However, it was the late 1600s and the very beginning of the eighteenth century that saw the pre-Enlightenment classes of Imagination overcome by ‘reason and scepticism’.
These stages of Imagination were:
- Ancient Imagination
- Classical Imagination- Egypt and Greek Mythology
- Medieval Imagination
- And then of course, The Dark Ages of Imagination
Greek Mythology: Bellerophon riding Pegasus
The event in time which inevitably ended these precursors’ of creative practices was the artificial light revolution. This light in the night made time for the wealthier people to venture out in this time of darkness to visit the theatre, watch comedy acts and musical performances, and go dancing. These were all creative outlets, made possible by the artificial lighting in the streets and on the stages essential for these events. However, this provided the opportune chance for theft, prostitution and violence, amongst the lower class. Whilst other nations feared this ‘rising lawlessness’, all had prevailed to experience the extent of uneasiness felt in England’s capital in 1774, when even the ‘prime minister…was robbed’. Not only did it encourage such criminal acts as these, but people lost faith in the once dominant superstitious behaviours and beliefs. Although it was a positive outcome that innocent women were not being ruthlessly killed because they were believed to be Witches, it was this era of Enlightenment that threatened to shrink the creative capacity of our minds.
In my own experience in Art practices, particularly in High School, we were taught to research earlier artists and their art works to come up with ‘our own idea’ to produce a painting. The fact that we were encouraged and practically forced to do this was very frustrating to me. I believed that it was basically copying their designs and we weren’t allowed to tap into our own creative potential enough. However, in my year 12 project, I came to the realisation that although we were using similar ideas and techniques to previous artists, the meaning and construction of our painting was done in our own creative way. In the end result, what shone through was not the fact that elements had been done before, but the message that I sought to portray to the viewer.
I truly believe it to be important that we continue to explore previous and current works, to continue our exposure to new and innovative ways of doing things in order to allow us to express our creativity in the way that we so desire.
The World We Live In
References
Ekirch, A. (2005). Cock-Crow. In At days close: Night in times of the past (pp. 325-339). New York: Norton and Company.
McMahon, M. (2011). What is Creativity? Lecture given at Edith Cowan University, Mt. Lawley campus. August 2nd, 2011.
Spoors, G. (2011). An Historical Overview. Lecture given at Edith Cowan University, Mt Lawley campus. August 9th, 2011.
Tiepolo, G. B. (1696-1770). Bellerophon riding Pegasus. http://www.mythindex.com/greek-mythology/B/Bellerophon.html
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