Teaching for Creativity Analyses – Arts & Humanities Assignment Help

Assignment Task

Task 

Immanence, Flow, and Creative Energy/ies Inherent in Pedagogy, Scholarship and Art: Teaching for Creativity

Introduction
Creativity is central in all human endeavours, encompassing recreation, play, work, and the aesthetics of our felt sensory experiences, including ideating and the development of unique individual and collective cultural, social, political, and aesthetic imaginaries. Creativity is framed in the beyond posthuman energy/ies of Deleuzian immanence (Deleuze, 2001), where creativity is unpredictable, organic, always immanent in that creative products, events, performances, and places are always being experienced anew, in memory and anticipation and in the present moment, and thus are always unfolding and becoming. In experiencing the creative moment, the now of making and engaging, flow (Csikszentmihalyi, 2008) is a key condition for creativity, and is framed in and through immanence.

Conceptions of Creativity are Entangled
The 20th century isms of philosophy, art, pedagogy, and epistemology are interconnected, making our ideas about creativity entangled and rhizomatic. For example, in the west, postmodernism in the second half of the twentieth century shifted our view of modernist authority (the authority of the artist, author, teacher, parent and official) to contemplate the lived experiences of those who are not considered authorities. In other words, in postmodernism we shifted our thinking, practices and praxis to begin to consider the lived experiences of students, children, audiences, readers and so on: Postmodernism de-centred authority and it decentred art and creativity. This can be seen politically in shifts in education to teach to the whole child, shifts politically to feminist issues and civil rights. 

None of these ideas were brand new, there were many antecedents: Turns in pedagogy to view the child wholistically, her affect, cognition, intellect, and physical self, can be seen in the scholarship of John Dewey (1938), for example, who at the start of the twentieth century opened us to the idea of the whole child in his book Experience and Education. These unfolding tendencies in postmodernism were significant in the western world, embracing and encapsulating the concept of multiple realities – the idea that each person has a unique, special, situated experience of any phenomenon: Your experience of this chapter is utterly unique and rooted in the idea of your particular reality within the broader construct of multiple realities, based on who you are, where you are at in your life, how you feel right now, how these ideas that stay with me and that I have synthesized here might here resonate with you. And here, there is another deep connection between postmodernism (shifting and multiple realities with author/authorial agency and power reframed by multiple others) and posthumanism. 

CONDITIONS FOR CREATIVITY

Opportunities
A first key aspect of being able to be creative is the privilege of learning via opportunities to afford education and training, equipment, space, and time to play and create with and through others. In this regard, being creative can be seen via the limitations and possibilities of intersectionality through constructs of social class, race, gender, sexual orientation, and culture, and the Bourdieusian (1984) habitus-based constructs of the family and its values: Not everyone has the opportunity to be and become creative.

Skills and play
Critically important for creativity to unfold are pedagogical and recreational opportunities to develop skills, experiment, and play, in order to find the passion and drive to create. A quality of passion and even compulsivity is important, where the human feels and finds herself drawn to a topic, a process, an idea, to experimentation, skill development and play.

Curating and discerning
Fourth, a key aspect of being and becoming in any creative work is the task of discerning, and the work of curating, selecting, and choosing. In nature, this happens intuitively. The covid 19 virus automatically recalibrates to survive and be effective. In creating a collage design, the
student must make important key decisions about each design in a series, in the process of making. If she is showing her work, she must discern which pieces are strongest and collectively make the greatest impact, just as we select photos for an album, or a website, and just as we edit an essay or design a lesson, deciding what to include and exclude.

Finding your state of flow
Third, to be engaged in an optimal state of creativity, one experiences the state of creative flow, where one has a high skill set (one has made many omelettes) and an interesting challenge match (one is creating a new recipe for an omelette). A person may be highly engaged in and aroused
by this creative work, and in a state of flow.

The work becomes itself its own thing – independent
The creator, a student making collages, becomes a channel or a medium for a set of design ideas and processes that speak to design qualities. In this work, her own identity then begins to fall away, as her work resonates with others. Her work becomes an entity that is independent of her,
as it resonates with and becomes meaningful for others. When the sense of a self falls away in a state of flow, or in the resonance of creative work for others, the work becomes its own thing, in its own state of immanent becoming. 

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