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Creativity Techniques Claudia Mareis The imperative ‘to be creative’ no longer pertains exclusively to individual ac- tors in art, *design, or architecture, at least not since the 1950s, and has risen to the position of a foundation for late modern society on the whole. According to Andreas Reckwitz, this “creativity dispositif” cuts across almost every social class and every field of activity in contemporary society. It takes the form of a normative “regime of the new” (Reckwitz 2017: 9) whose constitutive cha- racteristics are not only perpetual marketing

A Companion to Contemporary Culture

Introduction The Creativity Complex Timon Beyes, Jörg Metelmann No matter where one looks, creativity can be found everywhere in contempora- ry society, from creative spaces and creative practices to creative subjects and creative organizations. To belong in contemporary society, everyone must sa- tisfy the entry requirement of being creative, of being new, unique, and above all, different. An essential part of everyday work and daily routines, creativity is just as evident on social networks and technological platforms as in advertising and traditional mass

Culture, creativity and practice (E)valuating the Kenya Music Festival as a transnational music space Mukasa Situma Wafula Introduction Performance being an integral part of the social lives of Africans, a festival that is predominantly music-oriented is not a new concept in their societies. Over time, the wave of change that has largely been catalyzed by civiliza- tion, modernization, urbanization and industrialization has escalated the idea of festivals to establishments beyond the traditional ritual-contextual institutions. This is the case in learning

Musical Creativity as a Social Fact Simon Frith For a sociologist the ›question of creativity‹ is not why are some people creative and others not, nor how can we develop and encourage creativity in everyone, nor even what sort of mental processes does creativity involve. Rather, sociologists are interested in creativity as a discourse – under what social and cultural circum- stances are some human activities considered ›creative‹ – and an ideology. Why is human creativity considered to be such a good thing? This was certainly not always the case: when it was

Dementia on the canvas Art and the biopolitics of creativity SCOTT SELBERG There is a developing trend in research and public interest in the conflu- ence of art and Alzheimer’s disease. 1 Indeed, for scientists and a weary public increasingly desperate for ways to combat the disease, art represents a hopeful site of progress, despite only modest advances in understanding exactly how art and dementia intersect. For many, creative expression allows for the performance of the very individuality that Alzheimer’s seems to threaten, but it does so

Counter-Creativity Innovative Ways to Counter Far-Right Communication Tactics Julia Ebner “The left can’t meme”, is a common saying among the Alt-Right. Far-right efforts to mock the political correctness of the liberal left – who they call “libtards”1 – and ridicule the conservative mainstream – in their words, “cuckservatives”2 – have relied on transgressive jokes and funny visuals. In an unexpectedly inventive fashion, the far right has pioneered a new wave of taboo-breaking and controlled provocation, which they call ‘trig- gering’. “We use the

Psychological Foundations Creativity, Invention, Association, and Problem Solving TOWARDS A CRITICAL ANALYSIS OF THE TRADITIONAL DISCOURSES OF DESIGN PROCESS The primary aim of this second part is to critically analyse the main psychologi- cal paradigms that have had and still have a direct influence upon the theories of design process in general. As already mentioned in the first part of the book, the current and more traditional discourses of design process framing the dynamics and the articulation of such projective processes and activities

Cradle of Creativity Cape Town was the Capital of Theatre for Young Audiences Wolfgang Schneider They sing and dance, they scream and gesture, they imagine and defamiliarise, six actors in a piece directed by South African director Neil Copens. And they have something to say. George Orwell’s Animal Farm creates a special theatre experience somewhere between musical and political thriller, tragic comedy and lecture performance, as it is adapted to a background of African history. It is no longer only about the patriarchal violence of Stalin’s times, it is

»Creativity isn’t a talent, it’s a way of operating«1 Zur Bedeutung von Diskontinuität als Potenzial im demografischen Wandel Silke Steinberg/Kim Lauenroth Gesellschaften sind einerseits Konstrukte im ständigen Wandel. Dies gilt umso mehr für die von Dirk Baecker (2011) als die »nächste Gesellschaft« bezeichnete Form aktueller Strukturen des menschlichen Zusammenlebens. »Die nächste Gesellschaft unterscheidet sich von der modernen Gesellschaft wie die Elek- trizität von der Mechanik. Schaltkreise überlagern Hebelkräfte. Die Dynamik der Moderne, die nur