In keeping with the focus of this special section, we concentrate initially on some of the problems of autonomist Marxist concepts such as `immaterial labour', `affective labour' and `precarity' for understanding work in the cultural industries. We then briefly review some relevant media theory (John Thompson's notion of mediated quasi-interaction) and some key recent sociological research on cultural labour (especially work by Andrew Ross and Laura Grindstaff, the latter drawing on Hochschild's concept of emotional labour), which we believe (...) may be more useful than autonomist concepts in developing empirically informed critique. The main body of the article then consists of an ethnographic account of working on one particular television programme, an account that aims to build on these theoretical debates. We analyse how the power to provide exposure or not to individuals in the talent show genre in contemporary television (a feature that derives from the symbolic power of producers to make texts that are then circulated to massive numbers of people) and disputes between commissioners and independent producers about how best to go about doing so (an organizational issue) are registered in the form of stress, anxiety and sometimes poor working relations among project teams of young television researchers (a matter of working conditions and experiences). We especially focus on how additional pressures are borne by these workers because of the requirements to undertake emotional labour, involving the handling of strong emotions on the part of talent show contributors, and to maintain good working relations in short-term project work, requirements generated by the need to ensure future employment. Ultimately, then, we support the view that creative work is `precarious' — but we go beyond the generalizations involved in concepts such as immaterial labour and affective labour to show the specific ways in which precariousness is registered and negotiated in the lives of young workers in one industry. (shrink)

The Covid-19 pandemic has resulted in disruption of work and other social activities of so many people. Some were forced to stay at home and many decided to stay at home for fear of being infected with the virus. This phenomenon brought different reactions and even mental stress to many people. However, there were people who turned this kind of tragedy into creative work. This paper discusses the experiences and insights of known plant lovers in Digos City, (...) Davao del Sur Philippines. Digos City is one of the heavily affected places during the series of earthquakes that jolted Davao del Sur last year. While people are still recovering, COVID-19 added an additional burden to the residents. In this paper, we argue that their decision to focus on gardening was not only to fight boredom and to divert their attention during lockdown but this was their way of maintaining their well-being by participating in the on-going work of creation and recreation and to rise from the tragedy. We further argue that it might be good that this creative work will go beyond home gardening and beyond pots and slowly extend to creative work for environmental protection and preservation through more active engagements into reforestation activities. (shrink)

Based on a psychobiographical approach, this study addresses magical thinking across the life span of Paulo Coelho. Paulo Coelho, who was born in Brazil in the 1940s, has become one of the most sold and famous contemporary authors in the world. In his life, as well as in his books, which are mainly autobiographical accounts, magic and magical thinking, spirituality, meaningfulness, and the living of one’s dream, are key themes. The aim of this study was to explore magic and magical (...) thinking in Paulo Coelho’s life and creative works. The study uses a psychobiographical single case study approach within the methodological frame of Husserl’s phenomenology. The author, Paulo Coelho, was chosen as the subject of research. Documents providing both first person and third person perspectives were subjected to content analysis. The findings show that magical thinking played an important role in Coelho’s creative works and in his life, in the form, for example, of ascriptions of magic to key situations in his life, the performance of daily rituals, mystic interpretations of life events, and his deep religious faith. Magical thinking is usually regarded as indicative of pathological and inappropriate cognitive and psychological behaviour, especially when found in adults in a westernised culture. However, the analysis of Coelho’s life and works shows that magical thinking can be utilised creatively and be integrated into one’s life to enable personal development and growth while simultaneously providing fertile ground for creative production. In Paulo Coelho’s case, the intertwining of religion and magical thinking provided deep meaning that guided his personal development. (shrink)

Recent advances in Generative AI (GenAI) are transforming creative industries, raising urgent ethical questions. This paper explores the impacts of GenAI on the meaningfulness of work for specialist, embedded, and support creatives. By integrating Amabile’s componential model of creativity with a holistic framework of meaningful work, we explore five dimensions of meaningfulness: task integrity, skill cultivation, task significance, autonomy, and belongingness. We emphasize the dual impacts of GenAI, highlighting positive potential for democratization and task consolidation in (...) class='Hi'>creative work, alongside negative threats of deskilling, autonomy erosion, and worker isolation. We outline structural implications of our analysis, including the shift of creative practice from creation to curation, the emergence of a penalty for AI use, and rising professional precarity. We conclude by arguing that accurate ethical assessment requires recognizing the complex interdependencies between these dimensions, as the various impacts of AI can cascade, reinforce, and compensate for one another. (shrink)

This article aims to raise education researchers’ self-reflection about their treatment of teachers as workers through introducing the term “creative work ethic.” At its core, the creative work ethic is the belief that good work entails innovation. Additional features of this ethic are the prizing self-motivation, work done individually, and a flexible schedule that mixes labor with leisure activities. The danger of the creative work ethic is a tendency for self-exploitation and devaluing (...) workers who do not fit into the ethic. After defining the features of the creative work ethic and describing its drawback, the paper reads closely three education papers in order to show how this ethic colors their analysis of teachers’ work or their prescription for better teaching. (shrink)

Studies of non-standard, project-based forms of work prevalent in the creative industries have typically theorized the relational dynamics of work as a competitive process of social capital accumulation involving an individualistic, self-enterprising, zero-sum, and winner-takes-all struggle for favourable social network-positioning. Problematizing this prevailing conceptualization, our empirical case study draws on fifty in-depth interviews and two focus groups with creative workers in Ghana to show how relations of mutual aid, including elaborate efforts to live harmoniously with others, (...) are intricately intertwined with economic practices of getting by and getting ahead. Our analysis abductively mobilizes insights from Afro-communitarian ethics to theorize the mutual aid we observed as a complex socio-economic practice of relational resource redistribution contingent on degrees of social proximity. In applying “a theory from the South” to foreground the role of moral obligations, social harmony, and hands-on practices of mutual aid in non-standard forms of work, we contribute a “decolonial critique” of relationality of relevance to scholars of creative work and business ethicists. (shrink)

The question of who possesses the moral rights of creative works made using the assistance of artificial intelligence (AI) is not fully resolved. In particular, the relationship between moral rights and moral agency in the production of creative works has been under-investigated in the literature. I explore these topics and argue that moral agency, intentionality and values-based reasoning are crucial for the entitlement of moral rights and hence the assignment of authorship. I conclude that, despite their great power (...) to produce creative works, current generative AI systems cannot be the moral author of such works due to the absence of intentionality with values-based reasoning. Instead, the human end-user of a generative AI system is the moral author in most cases. (shrink)

This article explores some of the key dynamics of the UK fashion sector as an example of a post-industrial, urban based, cultural economy comprising of a largely youthful female workforce. It argues that the small scale, independent activities which formed the backbone of the success of British fashion design as an internationally recognized phenomenon from the mid 1980s to the mid 1990s, represented a form of female self-generated work giving rise to collaborative possibilities and co-operation. However without an effective (...) lobby or association (despite the expansion of the fashion media) and under conditions of rapid individualization and in an increasingly harsh climate of neo-liberalization, this creative economy has been overtaken and virtually demolished by the joint forces of a re-vitalized high street fashion culture and the aggressive presence of corporate fashion (‘Prada-ization’). While the UK government celebrates the growth of the cultural economy, it also overlooks the processes making the livelihoods of its predominantly female workforce either untenable or else requiring de-specialization and ‘multi-tasking’. (shrink)

This chapter examines non-fungible tokens (NFTs) that purportedly embody rights in creative works, revealing a fundamental disconnect between marketing claims and legal reality. It traces the evolution of NFTs from technical experiments through speculative fervor, collapse, and resurgence, establishing the economic and social context for legal analysis. The chapter identifies two dominant issuance models: the standardized approach using platforms like OpenSea and Mintable, and the bespoke approach employed by major issuers, including Yuga Labs and Dapper Labs. For standardized issuances, (...) an examination of the terms of service reveals that while claiming to be passive facilitators, platforms retain substantial control and explicitly deny any property link between NFTs and underlying creative works. For bespoke issuers, the analysis demonstrates a mischaracterization of property law, including claims that ownership is “mediated” by blockchain technology, attempts to condition property rights through contractual terms, and intellectual property licensing frameworks that are indeterminate and potentially invalid across jurisdictions. Nevertheless, the chapter argues that NFTs possess genuine commercial potential, which could be unlocked if they were structured in a manner consistent with established private law frameworks rather than attempting to circumvent them, as is the case in the present landscape. It concludes by proposing legitimate commercial applications, including pure digital collectibles, access-gated services, and digital certificates of authenticity that embrace legal frameworks while delivering meaningful market value. (shrink)

This study aims to explore the musical identity of Thai contemporary jazz artists by examining their attitude, musical content, and music creation process. Thirteen informants participated in this qualitative study through in-depth interviews. The results demonstrated that musical identity could be divided into three categories: 1) regional musical identity, 2) individual musical identity and 3) cultural musical identity. The factors associated with the emergence of musical identity include musical movements and phenomena, integration between two musical styles in terms of articulation (...) and contextual elements, and contemporary and hybrid-crossover music approaches in today’s world. These factors, along with social interactions both within and outside the jazz community, affect the transformation of musical identity. The findings of this study will help Thai jazz artists and those involved in the jazz industry effectively build their musical identity, create value for their music, and elevate their works to an international level. (shrink)

The article dwells on the problem of Rakhmaninov’s art, style and poetics influence on the process of formation and development of national music cultures, national composer schools and some individual author’s styles of the former USSR. Three evolution stages of all national music cultures are determined: “preprofessional”, “professional” and the stage of “new music”. Two work concepts are introduced: a Rakhmaninov’s musical and style canon as an individual system including characteristic properties of the composer’s style and poetics, and a (...) national musical and style canon as a system of musical and expressive language principles typical for every musical culture and possessive of the national character. The signs representing the Rakhmaninov’s style are revealed and considered on the piano concerto genre. These two spheres outlined are disclosed in folklore and neofolklore conditions as the main evolution directions of the national musical thinking. The main principles of the Rakhmaninov’s and national canons interaction are singled out: adaptation corresponding to the early development stages of national music cultures (forlklore stage) and assimilation (by G. Golovinsky) characteristic for “new music” (neofollore stage). The problems are considered on the example of piano concertos by Z. Ismagilov, A. Khatchaturyan, A. Eshpay, R. Gazizov and some others. (shrink)

The article analyzes the manuscript of a short story, Rzeźbiarz Merten, written by Tetmajer, one of the most known Polish poets at the turn of the 19th and 20th century. The author of this article tries to examine Tetmajer’s writing process. The scholar tries to prove also that this handwriting of Rzeźbiarz Merten is actually an autograph.

This paper attempts to show how Adorno’s thought can illuminate our reflections on the future of work. It does so by situating Adorno’s conception of genuine activity in relation to his negativist critical epistemology and his subtle account of the distinction between true and false needs. What emerges is an understanding of work that can guide our aspirations for the future of work, and one we illustrate via discussions of creative work and care work. (...) These are types of work which cater to persistent human needs, albeit ones that are distorted under present social conditions. Adorno’s thought helps us to understand why this is the case. (shrink)

Abstract:This article examines the role of maieutic dialogue and exponential power in creative work. Its thesis is that maieutic dialogue is the engine that drives the creative process, and exponential power is the engine that informs maieutic dialogue. The legacy of Socrates is rehabilitated, and then his example is used as a clinic to rehabilitate the legacies of Jackson Pollock, Robert Rauschenberg, and creative artists in general. Implications for aesthetic education are alluded to in a concluding (...) section. (shrink)

This article explores recent developments in the sociology of the arts, namely the new theoretical framework set up by the French sociologist Pierre-Michel Menger in order to approach the artistic activity. It aims to show how he has shaped new tools of understanding and modelling for exploring the arts, as a particular world of action. Laying down the foundation of a conception of action related to symbolic interactionism and drawing on the economic analysis of risk and uncertainty, Menger move towards (...) a model where uncertainty, not determinism, is the default category. Uncertainty is thus the principle unifying the analysis and understanding of the particularities of the arts, and the main argument in integrating sociological and economic studies on artistic activities. Correlatively, artistic creation is qualified as an act of work, the creative work being defined as a system of action in uncertain horizon. Within this model, the artists are seen less like “rational fools” and more like Bayesian actors, adopting strategies for managing risk and uncertainty. (shrink)

Young academics have been facing a problem of high turnover rate due to missing links between the institutions’ policies and the performance. This study explores the effect of job embeddedness and community embeddedness on creative work performance and intentions to leave of young teaching staff in academic institutions in Pakistan. In this study, 300 qualified young academics from public and private universities were selected as subjects and asked to complete a questionnaire. Data were collected via mail-survey. A variance-based (...) structural equation model is employed to measure the path model. The results show that the fit-dimension of organizational- and community-embeddedness, along with the moderating effect of organization size and the availability of nearby alternative jobs have a significant impact on improving perceived creative performance and reducing staff turnover intentions. This study suggests that organizations should focus on organizational-fit and community-fit constructs in their nurturing strategies to embed young teachers in their academic institutions. This study also suggests that monetary rewards only are relatively ineffective to improve retention. Hence, public and private sector universities should facilitate meaningful contributions from young teachers in creative work and provide opportunities for social interactions and personal development. (shrink)

In a 1983 interview with Christine Weiland, Gloria Anzaldúa posited that human and nonhuman connectivity exists outside hierarchical arrangements. Some twenty years after Anzaldúa’s interview, the “Speculative Turn” emerged in continental philosophy which critiques anthropocentrism in modern philosophy and reconceptualizes nonhuman subjectivity. While Anzaldúa’s scholarship addresses core issues that are highlighted by the speculative turn, little scholarship exists that places her into conversation with these new trajectories in continental philosophy. In this essay, I aim to contribute to this nascent scholarship (...) and explore the question, How can Anzaldúa’s creative work contribute to and expand scholarship of the speculative turn? I investigate how Anzaldúa’s work can help bridge connections between differing veins of speculative turn thought, specifically Graham Harman’s object-oriented philosophy (OOP) and Jane Bennett’s vital materialism (VM). Conversations between Harman and Bennett demonstrate a split in understanding nonhuman autonomy and relationality and represent incompatibilities between OOP and VM. Interested in these departures, I posit that Anzaldúa’s creative works, such as poetry and drawing, offer ways to challenge problematic human/nonhuman relations and bridge philosophical divides within the speculative turn. (shrink)

Problem’s statement. This article is the result of a study of the historical context in which Isidore of Seville is inserted as an author, as the creator of a unique method, which became the result of his hard work. But in order to describe the method of Isidore of Seville, it is necessary to outline the range of problems that arise before us. Due to serious political and social upheavals in the Western Roman Empire, the preservation of education comes (...) to the fore. The need for “Christianization,” on the contrary, fades into the background. The authors of this period perceived the works of the church fathers and apologists as a legacy, as part of tradition. On the other hand, representatives of the intellectual culture of the era under consideration were part of the aristocracy of Roman (in the broad sense) origin and in this sense, like their predecessors, were bearers of ancient education and culture.The purpose of the study. Analyze the historical context in which the method of Isidore of Seville developed and to consider the influence of the method of Isidore of Seville on the development of knowledge and ideas in the dark ages.Methods. To achieve the goal of the study, a number of general and specific methods were used that contributed to the study of the creative heritage of Isidore of Seville: the etymological method used in the practice of Isidore for the classification and origin of sciences and arts; togoria method for understanding the symbolism of medieval language and judgments; historical-retrospective, contributing to the study of the contribution of Isidore of Seville to European education from the first monastic schools to the formation of universities; terminological selection – for the purpose of selecting, clarifying and modernizing the system of individual terms used in the educated circles of Visigothic Spain; reconstruction – to reproduce the events of the cultural and historical process on the Iberian Peninsula during the Visigothic Kingdom.Results. The reception of the ancient heritage in the works of the authors of this era – and these are primarily Boethius, Cassiodorus and Isidore of Seville – occurs in a different vein than that of the church fathers (Ambrose, Jerome and Augustine) and the German kings of the Carolingian revival. This question concerns a narrower issue that is discussed in the article, and it is connected with Isidore as the author. Isidore of Seville (560-636) is known primarily as an encyclopedist, indicating the wide coverage of topics in his works, on the other hand, in a certain way characterizes the level of these works.However, Isidore was not only and not so much an antiquarian – a collector of ancient knowledge. If we use the “intellectuals and power” scheme, then Isidore was, so to speak, an intellectual in power. He occupied the position of bishop of Seville (the episcopal rank was considered the best conclusion for the cursus honorum even in the 5th century, his authority significantly exceeded the authority of the constantly changing Visigothic kings of Spain. Isidore presided over the IV Council of Toledo (633), whose priests formulated an order with its significant the influence of the episcopate on public affairs.We can say that Isidore, through his works, in a certain sense constructed an ideology. (or what might be called ideology) and the educational program inextricably linked to it.Discussion. First, the era of the “Dark Ages” is a period of permanent military-political struggle between the local nobility and kings, the German kingdoms and Byzantium, which occurred as a result of the height of the Western Roman Empire. The second question is religion, since there were several religions in the territory of the Visigothic kingdom; Christianization of culture and education and, as a consequence, a contradiction with ancient philosophy. Hence the problem of preserving and transmitting knowledge. It was these reasons that complicated the creation of a high-quality educational system. Thirdly, Isidore was not a methodologist, but created a unique method, he was not a scientist, but wrote an encyclopedic work, was not a philosopher, but wrote about philosophy, distinguished it from dialectics, constructed a certain type of knowledge of the real world known to him, was not even a philologist, but he knew Visigothic, Latin, Greek, and Hebrew.How did Bishop Isidore create an effective method? Fourth, after the authors of the “Golden Age” of patristics in the 6th–7th centuries. A new generation is emerging, which is faced with slightly different tasks. How does Isidore “construct” knowledge and what impact has his work had on society? Another important problem is the question of the scale and nature of Isidore’s influence on the intellectual culture of the Middle Ages. At the same time, special attention was paid to “etymologies, or principles,” its distribution, influence on the presentation of the seven liberal arts, etc. On the significance of Isidore’s method for medieval education.Conclusions. The method of Isidore of Seville was an important contribution to the preservation and transmission of knowledge in the Middle Ages and influenced the further development of encyclopedic knowledge. (shrink)

The article deals with the little-studied but actual problem of loneliness of an outstanding creative personality as a consequence of stereotypical understanding of his works and activity. The cultural and philosophical meaning of Ivan Turgenev’s motif of loneliness is that he was a lone creator, recognized by Russian critics and historians of literature only in the context of the activities of other recognized great writers: Pushkin, Gogol, Dostoevsky, Tolstoy, Chekhov. The problem of loneliness is revealed through the paradoxical statement (...) by Turgenev on the question about strange loners and aggressive crowd. The paper presents the loneliness of I.S. Turgenev as a rejection of the understandable and normality among the non-understandable and weirdness. In Russian literatury critical and historico-cultural tradition, during the discussion of Russian classics, the general opinion has been formed: Turgenev is apparently non-Russian author, moreover he is not a classic writer indeed. (shrink)

Creativity is a key component in contemporary education, especially within the field of social work, where professionals face complex and ever-changing societal challenges. The aim of this study was to examine students’ perceptions of their own creativity, the educational climate, and family support as factors that either foster or hinder their creative potential. The research was conducted in May 2025 with a sample of 57 students from the Institute of Social Work and Social Policy. A questionnaire consisting (...) of 20 Likert-scale items was used, divided into three dimensions: self-perceived creativity, school climate, and family support. The results revealed a moderately high level of self-perceived creativity (M = 3.84), a strong sense of support from the family (M = 4.11), but a weaker perception of institutional support (M = 3.21). Correlation analysis indicated a significant relationship between self-perceived creativity and family support (r = 0.62), as well as a moderate link with the educational climate (r = 0.44). These findings confirm the importance of contextual influences in the development of creativity and point to the need for institutional changes to encourage it more actively. (shrink)

Students' creativity is one of the main skills that the K to 12 curriculums wanted to improve when the Revised Blooms Taxonomy was adopted. The main purpose of this study is to improve the students' creativity skills in recycling using the practical work approach. This action research was conducted in Tabugon Elementary School of the Schools Division Office of Kabankalan City utilizing 32 students in the school year 2019-2020, where 16 students served as the experimental group, and the other (...) 16 students served as the controlled group. The method employed in this study was one group pre-test and post-test type of quasi-experimental design using the result of scoring rubrics and statistical tools and to find out the level of creativity skills of the pupils in recycling, practical work approach was integrated with the lesson as a strategy for three weeks. It was found that before that intervention was introduced, students had an ordinary or routine level of creativity skills in recycling and were very creative in their level of creativity skills after the intervention was introduced. It was interesting to note that there was a significant difference in the level of creativity skills before and after the intervention of the practical work approach, which means the intervention is effective in helping students become creative. It is recommended that not only the science teachers could use the practical work approach but other subjects that require students to produce their products and become innovative. (shrink)

The scientific career of the outstanding Russian physiologist A. A. Ukhtomskii was complex and full of contradictions. A descendant of Prince Vsevolod Big Nest [Bol'shoe Gnezdo] of Suzdal', he was strongly influenced by the traditions and legends of his caste. As a juvenile he was sent to the Nizhnii Novgorod Corps of Cadets where he developed a profound interest in philosophy, psychology, history, and literature. His fellow cadets of the same age were amazed at, and sometimes ridiculed the young Ukhtomskii's (...) attempts to find answers to the burning questions of the day in the books of Shakespeare and Dostoevsky and in scientific works. Ukhtomskii's notebooks and synopses of those years show how this youth, from age 15 to 17, pondered over cardinal problems of world view, the contradictions of Russian society, and the future of science. The barracks life of the cadets, the rigorous schedule and supervision did not suppress Ukhtomskii's persistent desire to get a closer knowledge of the life of Nizhnii Novgorod, a major mill town and river port. He managed to make the acquaintance of members of a group of Marxist workers and maintained contact with one of them, M. Ia. Iakovlev , for over 40 years. (shrink)

I argue for an account of creativity that unifies creative achievements in the arts, sciences, and other domains and identifies its characteristic value. This account draws upon case studies of creative work in both the arts and sciences to identify creativity as a kind of successful exploration. I argue that if creativity is properly understood in this way, then it is fundamentally a property of processes, something only agents can achieve, something that comes in degrees, subjectively novel, (...) and non-formulaic. As I develop the account, I show how it avoids challenges faced by other accounts of creativity, especially concerning creativity’s value. Hills and Bird (2018, 2019) have together argued that creativity is not necessarily valuable. My account challenges this view. If I am right that creativity is a kind of successful exploration, then creativity does have a characteristic value, specifically epistemic value. (shrink)

There is an underappreciated respect in which the widespread availability of generative artificial intelligence (AI) models poses a threat to human connection. My central contention is that human creativity is especially capable of helping us connect to others in a valuable way, but the widespread availability of generative AI models reduces our incentives to engage in various sorts of creative work in the arts and sciences. I argue that creative endeavors must be motivated by curiosity, and so (...) they must disclose the creative agent’s inquisitive self. It is through self-disclosure, including the disclosure of the inquisitive self, that we put ourselves in a position to be seen by and connect with others through our creative pursuits. Because relying on AI for certain generative tasks is less self-disclosive than the creative work such technologies supplant, this reliance threatens to weaken our connections to one another. (shrink)

Creativity — A New Vocabulary proposes a novel approach to the way in which we talk and think about creativity. It covers a variety of topics not commonly associated with creativity that offer us valuable insights and open up new and exciting possibilities for creative action. This collection of essays challenges the 'traditional' vocabulary of creativity and its preference for individuals, brains, cognition, personality, divergent thinking, insight, and problem solving. Instead, the book proposes a more dynamic and relational perspective (...) that considers creativity as an embodied, social, material, and cultural process. This book will be useful for a wide range of specialists within the humanities and social sciences, as well as practitioners from applied fields who are looking for novel ways of thinking about and doing creative work. (shrink)

Visual artists and scientists frequently employ the labour of assistants and technicians, however these workers generally receive little recognition for their contribution to the production of artistic and scientific work. They are effectively “invisible”. This invisible status however, comes at the cost of a better understanding of artistic and scientific work, and improvements in artistic and scientific practice. To enhance understanding of artistic and scientific work, and these practices more broadly, it is vital to discern the nature (...) of an assistant or technician’s contribution to the production of a work, which is difficult as it is uncommon to discuss these workers. To address this, I investigate how different kinds of parallel working arrangements in collective artistic and scientific practices affect the creative potential of individuals involved. Different working arrangements permit different degrees of autonomy for individuals involved in these practices. Significantly, a lack of autonomy precludes the opportunity to act spontaneously and so exercise, what I term, “creative agency”. Evaluating the contribution of an assistant or technician based on the degree of autonomy that they are granted in the production of a work is an approach that I show can be used to precisely determine the nature of their contribution to the production of a work and accordingly, what kind of recognition an agent should receive for this. Importantly, this approach has the advantage of explaining the artistic and epistemic significance of different kinds of contribution to the production of artistic and scientific work. (shrink)

Abstract: The study aimed to identify the creative behavior in the Palestinian civil organizations between reality and expectations, and the study used the descriptive analytical approach and the questionnaire as a main tool for collecting data from employees of associations operating in the governorates of Gaza Strip, and the cluster sample method was used and the sample size was (343) individuals and has been recovered (298) Resolution. The following results were reached: The relative weight of the measure of (...) class='Hi'>creative behavior was 78.99 (%), and there were no statistically significant differences in creative behavior according to the gender variable, age group, educational qualification, specialization, while the results indicated that there were differences according to the number of years of service. The study presented a set of recommendations, the most important of which are: the necessity of working to follow up the strategic plan for NGOs using electronic messages as it paves the way for achieving excellence and creativity in the field of work, the need to hold meetings and workshops with the local community and this helps them determine the needs of the community. (shrink)

ABSTRACT Generative artificial intelligence is transforming the way we make, and think about, art. With prompting from human users, these generative systems now produce aesthetically compelling and seemingly creative works in a variety of artistic domains. In doing so, they challenge the ways we think about artistic credit, about creativity, and about the mechanism of legal copyright, which is meant to protect and promote creativity in a capitalist art market. All of this is currently at play in the courtroom, (...) as artists contest the ways in which their artworks can be rightfully fed into these artificial systems (“the problem of the inputs”), and other artists are challenged over whether they might be credited for the visual images these systems generate (“the problem of the outputs”). Here, we explore these problems as they arise in visual art. We argue that the contested legal landscape surrounding these artificial systems reflects the ways they challenge our received notions of artistic credit and creativity. And we suggest that clarifying or changing the application of copyright in light of their generative capacities will ultimately involve revising our conception of art. (shrink)

Studies of creative industries typically contend that creative work is profoundly precarious, taking place on a freelance basis in highly competitive, individualized and contingent labour markets. Such studies depict creative workers as correspondingly self-enterprising, self-reliant, self-interested and calculative agents who valorise care-free independence. In contrast, we adopt the ‘ethics of care’ approach to explore, recognize and appreciate the communitarian, relational and moral considerations as well as interpersonal connectedness and interdependencies that underpin creative work. Drawing (...) on in-depth interviews with creative workers in a range of marginal socio-cultural contexts, we argue that creative workers cultivate and sustain a diverse array of practices of care arising from an affective concern with the well-being of others. Far from being merely individualistic and crudely competitive actors, creative workers enact practical ethical responsibilities and affectivities towards a range of human and non-human others, including families, local communities and neighbourhoods, colleagues, artistic scenes and their adjacent genres, and surrounding national and linguistic cultures. In emphasizing the fundamental and structuring role of care in contingent labour markets our approach accords with recent trends in the social sciences that ‘affirmatively’—as opposed to ‘negatively’ and ‘suspiciously’—recognize that mutuality, solidarity and affectivity are powerful drivers of action on a par with or even exceeding market-driven self-centredness. (shrink)

In this essay we collect and put together a number of ideas relevant to the under- standing of the phenomenon of creativity, confining our considerations mostly to the domain of cognitive psychology while we will, on a few occasions, hint at neuropsy- chological underpinnings as well. In this, we will mostly focus on creativity in science, since creativity in other domains of human endeavor have common links with scientific creativity while differing in numerous other specific respects. We begin by briefly (...) introducing a few basic notions relating to cognition, among which the notion of ‘concepts’ is of basic relevance. The myriads of concepts lodged in our mind constitute a ‘conceptual space’ of an enormously complex structure, where con- cepts are correlated by beliefs that are themselves made up of concepts and are as- sociated with emotions. The conceptual space, moreover, is perpetually in a state of dynamic evolution that is once again of a complex nature. A major component of the dynamic evolution is made up of incessant acts of inference, where an inference occurs essentially by means of a succession of correlations among concepts set up with beliefs and heuristics, the latter being beliefs of a special kind, namely, ones relatively free of emotional associations and possessed of a relatively greater degree of justification. Beliefs, along with heuristics, have been described as the ‘mind’s software’, and con- stitute important cognitive components of the self-linked psychological resources of an individual. The self is the psychological engine driving all our mental and physical activity, and is in a state of ceaseless dynamics resulting from one’s most intimate ex- periences of the world accumulating in the course of one’s journey through life. Many of our psychological resources are of a dual character, having both a self-linked and a shared character, the latter being held in common with larger groups of people and imbibed from cultural inputs. We focus on the privately held self-linked beliefs of an individual, since these are presumably of central relevance in making possible inductive inferences – ones in which there arises a fundamental need of adopting a choice or making a decision. Beliefs, decisions, and inferences, all have the common link to the self of an individual and, in this, are fundamentally analogous to free will, where all of these have an aspect of non-determinism inherent in them. Creativity involves a major restructuring of the conceptual space where a sustained inferential process eventually links remote conceptual domains, thereby opening up the possibility of a large number of new correlations between remote concepts by a cascading process. Since the process of inductive inference depends crucially on de- cisions at critical junctures of the inferential chain, it becomes necessary to examine the basic mechanism underlying the making of decisions. In the framework that we attempt to build up for the understanding of scientific creativity, this role of decision making in the inferential process assumes central relevance. With this background in place, we briefly sketch the affect theory of decisions. Affect is an innate system of response to perceptual inputs received either from the exter- nal world or from the internal physiological and psychological environment whereby a positive or negative valence gets associated with a perceptual input. Almost every sit- uation faced by an individual, even one experienced tacitly, i.e., without overt aware-ness, elicits an affective response from him, carrying a positive or negative valence that underlies all sorts of decision making, including ones carried out unconsciously in inferential processes. Referring to the process of inferential exploration of the conceptual space that gener- ates the possibility of correlations being established between remote conceptual do- mains, such exploration is guided and steered at every stage by the affect system, analogous to the way a complex computer program proceeds through junctures where the program ascertains whether specified conditions are met with by way of generating appropriate numerical values – for instance, the program takes different routes, depending on whether some particular numerical value turns out to be positive or negative. The valence generated by the affect system in the process of adoption of a choice plays a similar role which therefore is of crucial relevance in inferential processes, especially in the exploration of the conceptual space where remote domains need to be linked up – the affect system produces a response along a single value dimension, resembling a number with a sign and a magnitude. While the affect system plays a guiding role in the exploration of the conceptual space, the process of exploration itself consists of the establishment of correlations between concepts by means of beliefs and heuristics, the self-linked ones among the latter having a special role in making possible the inferential journey along alternative routes whenever the shared rules of inference become inadequate. A successful access to a remote conceptual domain, necessary for the creative solution of a standing problem or anomaly – one that could not be solved within the limited domain hitherto accessed – requires a phase of relatively slow cumulative search and then, at some stage, a rapid cascading process when a solution is in sight. Representing the conceptual space in the form of a complex network, the overall process can be likened to one of self-organized criticality commonly observed in the dynamical evolution of complex systems. In order that inferential access to remote domains may actually be possible, it is necessary that restrictions on the exploration process – necessary for setting the context in ordinary instances of inductive inference – be relaxed and a relatively free exploration in a larger conceptual terrain be made possible. This is achieved by the mind going into the default mode, where external constraints – ones imposed by shared beliefs and modes of exploration – are made inoperative. While explaining all these various aspects of the creative process, we underline the supremely important role that analogy plays in it. Broadly speaking, analogy is in the nature of a heuristic, establishing correlations between concepts. However, analo- gies are very special in that these are particularly effective in establishing correlations among remote concepts, since analogy works without regard to the contiguity of the concepts in the conceptual space. In establishing links between concepts, analogies have the power to light up entire terrains in the conceptual space when a rapid cas- cading of fresh correlations becomes possible. The creative process occurs within the mind of a single individual or of a few closely collaborating individuals, but is then continued by an entire epistemic community, eventually resulting in a conceptual revolution. Such conceptual revolutions make pos- sible the radical revision of scientific theories whereby the scope of an extant theory is broadened and a new theoretical framework makes its appearance. The emerging theory is characterized by a certain degree of incommensurability when compared with the earlier one – a feature that may appear strange at first sight. But incommen- surability does not mean incompatibility and the apparently contrary features of the relation between the successive theories may be traced to the multi-layered structureof the conceptual space where concepts are correlated not by means of single links but by multiple ones, thereby generating multiple layers of correlation, among which some are retained and some created afresh in a conceptual restructuring. We conclude with the observation that creativity occurs on all scales. Analogous to correlations being set up across domains in the conceptual space and new domains being generated, processes with similar features can occur within the confines of a domain where a new layer of inferential links may be generated, connecting up sub- domains. In this context, insight can be looked upon as an instance of creativity within the confines of a domain of a relatively limited extent. (shrink)

Creativity in science and engineering has moral significance and deserves attention within professional ethics, in at least three areas. First, much scientific and technological creativity constitutes moral creativity because it generates moral benefits, is motivated by moral concern, and manifests virtues such as beneficence, courage, and perseverance. Second, creativity contributes to the meaning that scientists and engineers derive from their work, thereby connecting with virtues such as authenticity and also faults arising from Faustian trade-offs. Third, morally creative leadership (...) is important at all levels of science and engineering. (shrink)

An essential work for anyone interested in the creativity of the human mind, "The Creative Mind" has been updated to include recent developments in artificial...

With the COVID-19 pandemic, governments implemented successive lockdowns that forced employees to work from home to contain the spread of the coronavirus. This crisis raises the question of the effects of mandatory work from home on employees’ well-being and performance, and whether these effects are the same for all employees. In the present study, we examined whether working at home may be related to intensity, familiarity with WFH, employees’ well-being and creativity. We also examined whether the psychological profile (...) of employees, combining preference for solitude and associated personality variables from the Big Five, may influence the effects of WFH. The data were collected via an online survey from November 13th to December 15th 2020 among 946 employees from various organizations during the second lockdown in France. In addition to identifying two distinctive psychological profiles for employees having to WFH, results revealed that those with a “Solitary” profile reported higher loneliness at work, higher levels of stress, and lower levels of job satisfaction and work engagement than those with an “Affiliative” profile. It was also found that employees with a “Solitary” profile perceived themselves as less creative and produced objectively fewer ideas than individuals with an “Affiliative” profile. The present study suggests the necessity to distinguish the profiles of teleworkers and to offer a stronger support for the less affiliative employees when working from home. (shrink)

Arts and Humanities in Higher Education, Volume 21, Issue 1, Page 3-20, February 2022. As graduate labour market conditions have become increasingly challenging, higher education institutions have intensified their focus on ‘employability’ via strategies such as work placements. Focusing on work placements in the media and creative industries, this article identifies and analyses three key discourses that animate the pedagogical literature in these sectors: work placements as facilitating a ‘smooth transition’ to the labour market; work (...) placements as a place in which inequalities in the labour market are produced; and work placements as a space for fostering resilience and adaptation to labour market precarity. The article argues that critiques of inequalities based on race, class or gender are marked by a transformative impulse that is largely absent in critiques of those based on worker precarity. This highlights a need to adopt pedagogies that similarly unnaturalise the economic conditions of neoliberal capitalism to discursively construct work in new, more socially just, ways. (shrink)

Emotional creativity refers to a set of cognitive abilities and personality traits related to the originality of emotional experience and expression. Previous studies have found that emotional creativity can positively predict posttraumatic growth and mental health. The outbreak of coronavirus disease 2019 (COVID-19) has posed great challenges to people’s daily lives and their mental health status. Therefore, this study aims to address the following two questions: whether emotional creativity can improve posttraumatic growth and mental health during the COVID-19 pandemic and (...) how it works. To do this, a multiple mediation model has been proposed, which supposes that emotional creativity is associated with posttraumatic growth and mental health through perceived social support and regulatory emotional self-efficacy. The study involved 423 participants from multiple regions with different COVID-19 involvement levels. Participants were asked to complete a questionnaire with six parts, which included Emotional Creativity Inventory (ECI), Regulatory Emotional Self-Efficacy Scale (RES), Stress-Related Growth Scale-Short Form (SRGS-SF), Multidimensional Scale of Perceived Social Support scale (MSPSS), Brief Symptom Inventory-18 scale (BSI-18), and COVID-19-related life events questionnaire. Path analysis used to examine the mediation model indicated that under the control of COVID-19-related life events and age, perceived social support mediated a positive association between emotional creativity and posttraumatic growth as well as a negative association between emotional creativity and all mental health problems, including somatization, depression, and anxiety. Regulatory emotional self-efficacy mediates the association between emotional creativity and posttraumatic growth, emotional creativity and anxiety, and emotional creativity and depression. The results suggest that emotional creativity plays an important role in coping with stressful events related to COVID-19. Furthermore, these results might provide a better understanding of the possible paths through which emotional creativity is related to psychological outcomes, such as mental health and posttraumatic growth. (shrink)

Creativity is commonly thought of as a positive advance for society that transcends the status quo knowledge. Humans display an inordinate capacity for it in a broad range of activities, with art being only one. Most work on creativity’s neural substrates measures general creativity, and that is done with laboratory tasks, whereas specific creativity in art is gleaned from acquired brain damage, largely in observing established visual artists, and some in visual de novo artists (became artists after the damage). (...) The verb “to create” has been erroneously equated with creativity; creativity, in the classic sense, does not appear to be enhanced following brain damage, regardless of etiology. The turning to communication through art in lieu of language deficits reflects a biological survival strategy. Creativity in art, and in other domains, is most likely dependent on intact and healthy knowledge and semantic conceptual systems, which are represented in several pathways in the cortex. It is adversely affected when these systems are dysfunctional, for congenital reasons (savant autism) or because of acquired brain damage (stroke, dementia, Parkinson’s), whereas inherent artistic talent and skill appear less affected. Clues to the neural substrates of general creativity and specific art creativity can be gleaned from considering that art is produced spontaneously mainly by humans, that there are unique neuroanatomical and neurofunctional organizations in the human brain, and that there are biological antecedents of innovation in animals. (shrink)

Everything you have been told about creativity is wrong. From line managers, corporate CEOs, urban designers, teachers, politicians, mayors, advertisers and even our friends and family, the message is 'be creative'. Creativity is heralded as the driving force of our contemporary society; celebrated as agile, progressive and liberating. It is the spring of the knowledge economy and shapes the cities we inhabit. It even defines our politics. What could possibly be wrong with this? In this brilliant, counter intuitive blast (...) Oli Mould demands that we rethink the story we are being sold. Behind the novelty, he shows that creativity is a barely hidden form of neoliberal appropriation. It is a regime that prioritizes individual success over collective flourishing. It refuses to recognise anything - job, place, person - that is not profitable. And it impacts on everything around us: the places where we work, the way we are managed, how we spend our leisure time. Is there an alternative? Mould offers a radical redefinition of creativity, one embedded in the idea of collective flourishing, outside the tyranny of profit. Bold, passionate and refreshing, Against Creativity, is a timely correction to the doctrine of our times. (shrink)

The study aimed to identify creative behavior and its impact on achieving Lean strategy in Palestinian civil organizations. The study used the descriptive analytical approach and the questionnaire as a main tool for collecting data from employees of associations operating in the governorates of Gaza Strip. The cluster sample method was used and the sample size was (343) individuals. Retrieving (298) questionnaires, and the following results were reached: The relative weight of the measure of Lean strategy was 79.04 (%), (...) and the relative weight of the measure of creative behavior was 78.99 (%), and there was a statistically significant relationship between creative behavior and Lean strategy, and the presence of an effect of creative behavior on Achieving Lean strategy, the absence of statistically significant differences in creative behavior according to the gender variable, age group, educational qualification, specialization, and the presence of statistically significant differences in Lean strategy attributable to the gender variable in dimensions (strategic sensitivity, clarity of vision, choice of strategic goals, Response speed, action) and differences were in favor of females. While there were no statistically significant differences in my dimension (shared responsibility, core capabilities) due to the gender variable, there were no statistically significant differences between the mean dimensions of Lean strategy due to the age group variable, the educational qualification, and the study presented a set of recommendations, the most important of which are: the necessity of seeking civil organizations In Gaza Strip, by obtaining funding from external countries to provide self-income for associations to face crises and give them independence in order to preserve them to carry out their role in society, the need to work to follow up on the strategic plan for NGOs using electronic messages as they pave the way to reach excellence and creativity in the field of work, The necessity of holding meetings and workshops with the local community, and this helps them to define the community's needs. (shrink)