‘Different artists often have quite divergent conceptions of
what they are doing’
Harrison-Barbet,
1990
Renzo Rosso’s Creative Rhetoric
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Practice-based beginning (school of Fashion)
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Best idea – always next creativity, art is
beyond definition and constantly changing
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Be Stupid – use your heart not your head,
expressionist theory, linked to romanticism idea that creativity is a knowledge, obtaining activity opposition
to rational sciences
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Work in teams- be collaborative
Mimesis
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Plato’s problem with creativity
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Republic – ideal society (critique of democracy)
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Metaphysics – forms
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Physical world mimics the real
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Art imitates an imitation
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Art mimics the sensory world
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Creativity merely a technical skill
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Denied creativity’s knowledge – producing
capability
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Dichotomy physical not mental activity
Academics talk about creativity as
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Complex and dynamic concept
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Subjects of history of art and aesthetics
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Nine rhetorics of creativity – theoretical
framework of lecture
Nine rhetorics of creativity
1-
Creative genius
2-
Democratic and political creativity
3-
Ubiquitous creativity
4-
Creativity for social good
5-
Creativity as economic imperative
6-
Play and creativity
7-
Creativity and cognition
8-
The creative affordances of technology
9-
The creative classroom
Romanticism
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Involves looking at how art and creativity are
made
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Redefined the role of the artist
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Rejects Platonic theory, suggests art as the
most important knowledge- generating discipline
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Artist as a creator not as an imitator
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Artists should break rules and define them, in
turn expanding the discipline