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By P. McIntyre

Phillip McIntyrepresents the newest scholarly examine into creativity andcreative practice.The bookprovidesinsights to media practitioners and coverage execs, tv, radio, movie, journalism, images, well known track and new media relating to psychology, sociology and cultural studies.

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Extra info for Creativity and Cultural Production: Issues for Media Practice

Sample text

We need to go beyond the idea of the artist as a specially gifted individual creative worker, engaged in some supra-human task, a conception that can be seen as historically based and the product of a particular society. However, regardless of this necessity, it has been the case that many researchers, particularly in psychology, have not considered to any great extent the social or cultural aspects of creativity and focused their work instead on investigating this phenomenon at the level of individual biology and psychology.

In summing these ideas up it can be said that both Bailin’s and Weisberg’s views, outlined briefly above, correspond to the conception that creativity is the use of imagination, expertise and perseverance to make something new and fresh, transforming the old into something novel or original which may then lead to astounding cultural works. It is the conception of creative genius as an unknowable, mystical process, a view aligned with both the inspirational Platonic view and the Romantic ideal, which is problematic here.

Torrance (1974), building on Guildford’s (1950) stimulus, produced a number of these tests for creativity, underscoring the fact that the research focus had shifted towards measuring a set of supposedly objective features of creativity. The one thing, apart from considerations of what became known as convergent and divergent thinking, that was measured more than anything else was intelligence, as this was thought to be the basis of creativity. As discussed earlier, there were problems associated with this approach.

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