By Gerald Raunig, Gene Ray, Ulf Wuggenig
Creativity is astir: reborn, re-conjured, re-branded, resurgent. The previous myths of production and creators – the hallowed labors and privileged organizations of demiurges and leading movers, of Biblical world-makers and self-fashioning artist-geniuses – are again underway, generating results, circulating appeals. a lot because the Catholic Church attire the outdated creationism within the new robes of ‘intelligent design’, the inventive Industries sound the clarion name to the Cultural marketers. within the hype of the ‘creative category’ and the excessive flights of the electronic bohemians, the renaissance of ‘the creatives’ is visibly enacted. The essays accumulated during this publication learn this complicated resurgence of production myths and formulate a modern critique of creativity.
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Extra info for Critique of Creativity: Precarity, Subjectivity and Resistance in the 'Creative Industries'
In the resulting ‘counter-culture’, as it was called, forms were created to express that which was indicated by the resonant body affected by the otherness of the world, at grips with the problematics of its time. The forms thus created tend to transmit subjectivity’s incorporation of the forces that shake up the environment and deterritorialize it. The advent of such forms is inseparable from a becoming-other of the self, but also of the environment. It can be said that the creation of these new territories has to do with public life, in the strong sense of the phrase: the collective construction of reality moved by the tensions that destabilize the reigning cartographies, as these affect the body of each 27 Suely Rolnik person singularly, and as they are expressed on the basis of that singular affect.
From within this new scenario emerge the questions that are asked of all those who think/create – and especially artists – in the attempt to delineate a cartography of the present, so as to identify the points of asphyxiation of the vital process and to bring about, at exactly those points, the irruption of the power to create other worlds. A first bloc of questions would relate to the cartography of pimping exploitation. How does the tourniquet that leads us to tolerate the intolerable, and even to desire it, come to take hold of our vitality?
The exercise of thought/creation therefore has a power to intervene in reality and to participate in the orientation of its destiny, constituting an essential instrument for the transformation of the subjective and objective landscape. The weight of each of these modes of knowledge of the world, as well as the relation between them, is variable. Which is also to say that the place of the other varies, along with the politics of relation to him or her. The latter in its turn defines a mode of subjectivation.