Conformity, deformity, and reformity: considering the domain-idiolect creativity dynamic

Hdl Handle:
http://hdl.handle.net/10545/577262
Title:
Conformity, deformity, and reformity: considering the domain-idiolect creativity dynamic
Authors:
Brown, Michael ( 0000-0003-0689-5266 ) ; Wilson, Chris
Other Titles:
KIE Handbook of Creativity: Research Papers on Knowledge, Innovation and Enterprise Volume III
Abstract:
In any given field of artistic practice, practitioners position themselves—or find themselves positioned—according to interests and allegiances with specific movements, genres, and traditions. Selecting particular frameworks through which to approach the development of new ideas, patterns and expressions, balance is invariably maintained between the desire to contribute towards and connect with a particular set of domain conventions, whilst at the same time developing distinction and recognition as a creative individual. Creativity through the constraints of artistic domain, discipline and style provides a basis for consideration of notions of originality in the context of activity primarily associated with reconfiguration, manipulation and reorganisation of existing elements and ideas. Drawing from postmodern and post-structuralist perspectives in the analysis of modern hybrid art forms and the emergence of virtual creative environments, the transition from traditional artistic practice and notions of craft and creation, to creative spaces in which elements are manipulated, mutated, combined and distorted with often frivolous or subversive intent are considered. This chapter presents an educational and musically focused perspective of the relationship between the individual and domain-based creative practice. Drawing primarily from musical and audio-visual examples with particular interest in creative disruption of pre-existing elements, creative strategies of appropriation and recycling are explored in the context of music composition and production. Conclusions focus on the interpretation of creativity as essentially a process of recombination and manipulation and highlight how the relationship between artist and field of practice creates unique creative spaces through which new ideas emerge.
Affiliation:
University of Derby
Citation:
Wilson, C. and Brown, M. (2015) 'Conformity, deformity, and reformity: considering the domain-idiolect creativity dynamic' in Reisman, F. (ed.) KIE Handbook of Creativity: Research Papers on Knowledge, Innovation and Enterprise Volume III, London, KIE Conference Publications, pp 203-227
Publisher:
KIE Conference Publications
Issue Date:
Jul-2015
URI:
http://hdl.handle.net/10545/577262
Additional Links:
http://www.kiecon.org/Creativity%20Book%202015.pdf; http://kiecon.org/
Type:
Book chapter
Language:
en
ISBN:
9781859242278
Appears in Collections:
D-Marc

Full metadata record

DC FieldValue Language
dc.contributor.authorBrown, Michaelen
dc.contributor.authorWilson, Chrisen
dc.date.accessioned2015-09-14T10:14:19Zen
dc.date.available2015-09-14T10:14:19Zen
dc.date.issued2015-07en
dc.identifier.citationWilson, C. and Brown, M. (2015) 'Conformity, deformity, and reformity: considering the domain-idiolect creativity dynamic' in Reisman, F. (ed.) KIE Handbook of Creativity: Research Papers on Knowledge, Innovation and Enterprise Volume III, London, KIE Conference Publications, pp 203-227en
dc.identifier.isbn9781859242278en
dc.identifier.urihttp://hdl.handle.net/10545/577262en
dc.description.abstractIn any given field of artistic practice, practitioners position themselves—or find themselves positioned—according to interests and allegiances with specific movements, genres, and traditions. Selecting particular frameworks through which to approach the development of new ideas, patterns and expressions, balance is invariably maintained between the desire to contribute towards and connect with a particular set of domain conventions, whilst at the same time developing distinction and recognition as a creative individual. Creativity through the constraints of artistic domain, discipline and style provides a basis for consideration of notions of originality in the context of activity primarily associated with reconfiguration, manipulation and reorganisation of existing elements and ideas. Drawing from postmodern and post-structuralist perspectives in the analysis of modern hybrid art forms and the emergence of virtual creative environments, the transition from traditional artistic practice and notions of craft and creation, to creative spaces in which elements are manipulated, mutated, combined and distorted with often frivolous or subversive intent are considered. This chapter presents an educational and musically focused perspective of the relationship between the individual and domain-based creative practice. Drawing primarily from musical and audio-visual examples with particular interest in creative disruption of pre-existing elements, creative strategies of appropriation and recycling are explored in the context of music composition and production. Conclusions focus on the interpretation of creativity as essentially a process of recombination and manipulation and highlight how the relationship between artist and field of practice creates unique creative spaces through which new ideas emerge.en
dc.language.isoenen
dc.publisherKIE Conference Publicationsen
dc.relation.urlhttp://www.kiecon.org/Creativity%20Book%202015.pdfen
dc.relation.urlhttp://kiecon.org/en
dc.subjectCreativityen
dc.subjectMusicen
dc.subjectEducationen
dc.subjectDomainen
dc.titleConformity, deformity, and reformity: considering the domain-idiolect creativity dynamicen
dc.title.alternativeKIE Handbook of Creativity: Research Papers on Knowledge, Innovation and Enterprise Volume IIIen
dc.typeBook chapteren
dc.contributor.departmentUniversity of Derbyen
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