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Logics of creative engagement in cultural production

Leitung Head Professur für Partizipative Technikgestaltung Assistant Professorship for Participatory Technology Design Prof. Dr. phil. Ignacio Farías Hurtado +49.89.289.29213 ignacio.farias@tum.de www.mcts.tum.de/personen/ professuren/ignacio-farias

Concept and aims This project proposes an alternative research program for studying cultural production based on the question of how people engage in creative work. Its primary aim is to describe the plurality of practical logics articulating people’s creative engagements. This question is addressed by ethnographically studying daily practices and processes of product creation in the studios of architects, visual artists and video-game developers. By closely following how projects are conceived, collaboration practices organized, and encounters between products and consumers conceived of and modelled, this project describes and compares different logics of creative engagement. Three analytical moves are the key points of this research projects: • from the notion of creativity as unobservable mental activity to one of distributed creation as a sociomaterial practice of prototyping and assembling cultural products; • from the study of the social or institutional contexts framing cultural production to the ethnographic description of studio processes; and • from notions of creative action and inspiration to the notion that a person’s capacity to think and act depends on his or her dynamic engagement with a situation or, in this case, with the socio-techno-material arrangements of studios. Key issues and examples In order to describe multiple logics of creative engagement, this project has involved ethnographic research and participant observation in three studios: one architectural office in Chile, one video game company in Montreal, as well as one video artist studio in Berlin. Observation

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Focus Area – Urban and Landscape Transformation

focused on three main issues: (a) modes of problematization or how projects are conceived, (b) types of dissonance or how collaboration is organized, and (c) models of affectivity or how users/audiences are involved. Modes of Problematization Georg Steiner has suggested that if there is anything that would distinguish the notion of creation from that of innovation, it is the fascination with the richness of problems rather than with solutions. Problems are indeed fundamental for creative engagement, as they involve transforming indeterminate situations into specific questions, thus opening up spaces of exploration, search, and inquiry. But problems are not given. They have to first be identified and formulated. Interestingly, problematization processes can significantly vary in different fields and disciplines. In architecture, for example, problems are often co-produced with clients. Beyond this, they involve design problems, in the sense that they problematize already existing socio-material arrangements as in need of improvement. This can be very different, when problems are not co-produced with clients. In the visual arts, for example, problematization has been accurately conceptualized as involving ‘ex-pression’, i.e. the process of pressing forth materials to squeeze out artistic forms. Forms of Dissonance Another central dimension for approaching the logics of creative engagement involves the collaboration dynamics and, more precisely, the orchestration of different types of dissonance in workspaces. The work of David Stark is here crucial, as he has suggested that collaboration is most productive, not when knowledge is equally

Profile for Fakultät für Architektur TU München

Jahrbuch 2015  

Jahrbuch der Fakultät für Architektur, TUM mit einem Schwerpunkt auf Forschung und Entwicklung

Jahrbuch 2015  

Jahrbuch der Fakultät für Architektur, TUM mit einem Schwerpunkt auf Forschung und Entwicklung

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