By Gerald Raunig, Gene Ray, Ulf Wuggenig
Creativity is astir: reborn, re-conjured, re-branded, resurgent. The previous myths of construction and creators – the hallowed labors and privileged organizations of demiurges and top 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 a lot because the Catholic Church attire the outdated creationism within the new robes of ‘intelligent design’, the artistic Industries sound the clarion name to the Cultural marketers. within the hype of the ‘creative type’ and the excessive flights of the electronic bohemians, the renaissance of ‘the creatives’ is visibly enacted. The essays accumulated during this ebook study this complicated resurgence of production myths and formulate a modern critique of creativity.
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Additional info for Critique of Creativity: Precarity, Subjectivity and Resistance in the 'Creative Industries'
What became of him, what may have happened to him later is outside the scope of our knowledge. For the time being, we have not been able to discover any further traces. Perhaps we may be able to some other time. We will see what endeavors might yet be undertaken. We will wait and see, and as soon as something new might have come to light, assuming that sufficient new interest will have kindly been made known, we will be happy to convey it. (Walser, 1986: 130) Walser’s text takes its place among countless documents that work towards a de-theologization of ‘creativity’ in the modern history of the arts themselves, thus articulating, to a certain extent, a cre-active critique of creativity.
How to liberate life from its new dead ends? What can our force of creation do in order to confront this challenge? Which artistic devices are succeeding in that confrontation? Which of them are treating the territory of art itself, a territory that is increasingly lusted for and at the same time undermined by the pimping that takes it as a bottomless well for the extortion of the surplus value of creativity, in order to increase its seductive power? In short, how to reactivate in our times, in each situation, the political potential inherent in artistic activity, its power to unleash possibilities?
Which of them are treating the territory of art itself, a territory that is increasingly lusted for and at the same time undermined by the pimping that takes it as a bottomless well for the extortion of the surplus value of creativity, in order to increase its seductive power? In short, how to reactivate in our times, in each situation, the political potential inherent in artistic activity, its power to unleash possibilities? By which I mean, its power to embody the mutations of the sensible, and thereby, contribute to reconfiguring the contours of the world.