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Engaging with creativity in research through Bergson


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As teaching creative practice becomes part of education, it is timely to offer a critique of the kind of intellectual frameworks typically used to explain and evaluate creativity, for example the kind of research questions typically asked of a student commencing a creative project at postgraduate level. These questions are typically analytical, say, around the conventions of a genre and how they can be used to produce new work, but they fail in my
view to acknowledge creativity as a process, analytical questions being more suitable to assess a finished work, not one that hasn’t even started yet, or is in process. The conventional academic wisdom is that the “new” is a revoicing or recombining of the familiar, but in this formulation, the “new” remains essentially untheorised. I use concepts around creativity as novelty from Henri Bergson, such as duration and movement, to offer a critique
of systems theories of creativity (Toynbee, McIntyre and Csikszentmihalyi) that seek to reduce the creative process to a series of “choices” between different pre-­‐existing creative possibilities. In its place I propose a focus on
novelty, duration and movement as aspects of creative process.

Item Type: Item presented at a conference, workshop or other event, and published in the proceedings
Uncontrolled Keywords: Henri Bergson, music
Subjects: M Music and Books on Music > ML Literature of music
Depositing User: Matthew Bannister
Date Deposited: 21 Jul 2016 20:15
Last Modified: 21 Jul 2023 04:21

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