Political Creativity

Political Creativity intervenes in the lively debate currently underway in the social sciences on institutional change. Editors Gerald Berk, Dennis C. Galvan, and Victoria Hattam, along with the contributors to the volume, show how institutions inevitably combine order and change, because formal rules and roles are always available for reconfiguration. Creative action is not the exception but the very process through which all political formations are built, promulgated and changed. Drawing on the rich cache of antidualist theoretical traditions, from poststructuralism and ecological theory to constructivism and pragmatism, a diverse group of scholars probes acts of social innovation in many locations: land boards in Botswana, Russian labor relations, international statistics, global supply chains, Islamic economics in Algeria, Islamic sects and state authority in Senegal, and civil rights reform, colonization, industrial policy, and political consulting in the United States. These political scientists reconceptualize agency as a relational process that continually reorders the nature and meaning of people and things, order as an assemblage that necessitates creative tinkering and interpretation, and change as the unruly politics of time that confounds the conventional ordering of past, present, and future. Political Creativity offers analytical tools for reimagining order and change as entangled processes. Contributors: Stephen Amberg, Chris Ansell, Gerald Berk, Kevin Bruyneel, Dennis C. Galvan, Deborah Harrold, Victoria Hattam, Yoshiko M. Herrera, Gary Herrigel, Joseph Lowndes, Ato Kwamena Onoma, Adam Sheingate, Rudra Sil, Ulrich Voskamp, Volker Wittke.

For several decades, Antonio Gramsci has been one of the most studied and discussed political theorists; however, his originality as a political thinker has not yet been fully understood. In this incisive book, Sakari Hänninen explores Gramsci’s political theory of transformation and posits that he was altogether too creative a thinker to be simply categorized as an adherent of a certain school of thought or tradition.

Political Creativity intervenes in the lively debate currently underway in the social sciences on institutional change. Editors Gerald Berk, Dennis C. Galvan, and Victoria Hattam, along with the contributors to the volume, show how institutions inevitably combine order and change, because formal rules and roles are always available for reconfiguration. Creative action is not the exception but the very process through which all political formations are built, promulgated and changed. Drawing on the rich cache of antidualist theoretical traditions, from poststructuralism and ecological theory to constructivism and pragmatism, a diverse group of scholars probes acts of social innovation in many locations: land boards in Botswana, Russian labor relations, international statistics, global supply chains, Islamic economics in Algeria, Islamic sects and state authority in Senegal, and civil rights reform, colonization, industrial policy, and political consulting in the United States. These political scientists reconceptualize agency as a relational process that continually reorders the nature and meaning of people and things, order as an assemblage that necessitates creative tinkering and interpretation, and change as the unruly politics of time that confounds the conventional ordering of past, present, and future. Political Creativity offers analytical tools for reimagining order and change as entangled processes. Contributors: Stephen Amberg, Chris Ansell, Gerald Berk, Kevin Bruyneel, Dennis C. Galvan, Deborah Harrold, Victoria Hattam, Yoshiko M. Herrera, Gary Herrigel, Joseph Lowndes, Ato Kwamena Onoma, Adam Sheingate, Rudra Sil, Ulrich Voskamp, Volker Wittke.

Creativity matters. We want people to be more creative and admire those who are. Yet creativity is deeply puzzling. Just what is it to be creative? Why is it valuable? Who or what can be creative and how? Creativity and Philosophy is an outstanding collection of specially commissioned chapters by leading philosophers who explore these problems and many more. It provides a comprehensive and creative picture of creativity, including the following themes: creativity as a virtue, imagination, epistemic virtue, moral virtue and personal vice; creativity with and without value, the definition of creativity, creative failures and suffering; creativity in nature, divine creativity and human agency; naturalistic explanations of creativity and the extended mind; creativity in philosophy, mathematics and logic, and the role of heuristics; creativity in art, morality and politics; individual and group creativity. A major feature of the collection is that it explores creativity not only from the perspective of art and aesthetics, but also from a variety of philosophical disciplines, including epistemology, philosophy of mind, philosophical psychology, philosophy of science, political philosophy and ethics. The volume is essential reading for anyone fascinated by creativity, whether their interests lie in philosophy, music, art and visual studies, literature, psychology, neuroscience, management or education, or they are simply intent on learning more about this vital human trait.

How does political policy-making shape the creative activities of artists? Do the political interests of artists influence actual political practices in any way? Legislating Creativity examines the relationship between art and politics through an analysis of controversial art projects tied to the National Endowment for the Arts during the Culture Wars (late 1980s-1990s). Though there have always been tensions in government funding for the arts, these controversies intensified the public debates surrounding art/politics and remain as a focal point in conversations that continue today. The book focuses on three case studies: Mapplethorpe's controversial photography, an exhibit on the impact of AIDS entitled Witnesses, and the Guerrilla Girls. Dustin Kidd has provided a thoroughly enriching look at the intersections of art and politics—the ways that political practices transform creative expression and the ways that artistic drives shape political policies.

This book develops an approach to both method and the socio-political implications of knowledge production that embraces our embeddedness in the world that we study. It seeks to enact the transformative potentials inherent in this relationship in how it engages readers. It presents a creative survey of some of the newest developments in critical research methods and critical pedagogy that together go beyond the aims of knowledge transfer that often structure our practices. Each contribution takes on a different shape, tone and orientation, and discusses a critical method or approach, teasing out the ways in which it can also work as a transformative practice. While the presentation of different methods is both rigorously practice-based and specific, contributors also offer reflections on the stakes of critical engagement and how it may play an important role in expanding and subverting existing regimes of intelligibility. Contributions variously address the following key questions: What makes your research method important? How can others work with it? How has research through this method and/or the way you ended up deploying it transformed you and/or your practice? How did it matter for thinking about community, (academic) collaboration, and sharing ‘knowledge’? This volume makes the case for re-politicizing the importance of research and the transformative potentials of research methods not only in ‘accessing’ the world as an object of study, but as ways of acting and being in the world. It will be of interest to students and scholars of international relations, critical theory, research methods and politics in general.

The title Joy Forever refers to the false promise of a common happiness, constantly played out by the proponents of the creative class and creative economy the very promise that since Romanticism has been ascribed to art itself, a vow which remains unfulfilled. The aim of F/SUW s publication is to scrutinize the false promises of distributed creativity as an ideology of cognitive capitalism. The authors devote themselves to critical examination of the structural links between art, creativity, labour and the creation of value under contemporary relations of production. Some of them do not stop at a critical diagnosis but go further, reflecting upon potential alternatives to the status quo.

In an era of intensifying globalization and transnational connectivity, the dynamics of cultural production and the very notion of creativity are in transition. Exploring creative practices in various settings, the book does not only call attention to the spread of modernist discourses of creativity, from the colonial era to the current obsession with ‘innovation’ in neo-liberal capitalist cultural politics, but also to the less visible practices of copying, recycling and reproduction that occur as part and parcel of creative improvization.