certainly at that early stage I had those feelings of discomfort all the time, whereas now I don’t. I don’t think that’s entirely due to changes in the art world, although it has definitely shifted. I think it’s also changes within myself, and a kind of decision to not prioritise other people’s perceptions of me.
We are starting our discussion of inequality in cultural and creative occupations with Michaela. A Black British woman from a working-class background, she was in her late thirties when we interviewed her. She had found success in the art world, as a
have a high
‘standard of living’, in the sense that they have plenty of material goods,
but they acknowledge that this is not the same as a good quality of life.
However, they are so busy coping with work, commuting and simply
surviving the rat race that they have no time to take a step back and
think creatively about alternative ways of living. Their talk is dominated
by reports of lack of choice and a lack of control over the shape of their
The How Was It For You? study reveals another group of people,
who report having a good quality of life, even if it
Discourses of agency and progress in organisational change
to the organisation, HBOS. Here,
change was supposedly not just something the good staff member could cope with
effectively, but a necessary resource they could provide through their own creative
powers. As I will show, this message was received somewhat ambivalently.
Participation in these courses was confirmed through a formal letter from a
senior trainer in GL&D, indicating the instructor, delegates, location and sometimes some preliminary work to be done by delegates and materials for that.
For the ‘Creativity and Innovation’ course, the letter was written in a
that most methodological work with smell focuses on environmental monitoring of odours or air quality, as part of strategies to manage nuisance, and are very much the domain of environmental consultancies and specialist technical equipment. Social scientific methods charted by Pink do incorporate smell into interviews, or focus groups, but do not directly attend to smell. By way of contrast to technical assessments, or smells’ subsidiary role in other ethnographic approaches, this chapter focuses upon the creative deployment of mapping as a mobile method, building on
future in which humanity
becomes creatively re-oriented, Human Being can overcome its past and
escape its determination. While Human Being is subject to constraints
and directions that are of its own making, it is also singularly capable of
self-recreation whereby Human Being may overcome that which appears
to determine, place limitation upon it, and which may destroy it and
with which Human Being is complicit. The film takes up the Nietzschean
argument that human being must continually realise its potential in an
overcoming or surpassing of that which condemns it to
Art worlds, improvisation and the language of jazz
Peter J. Martin
relatively few systematic studies of improvisation (Nettl, 1998: 4), and those tend to
be based on individualistic presuppositions. Indeed, while academic
discussions are few and far between, they display a remarkably wide
range of psychologistic positions. Thus Kernfield makes a vague reference to the role of the ‘unconscious’ (1995: 130), while in Pike’s
phenomenological approach, by contrast, musical improvisation is a
‘rational creative process’ based on ‘conscious inner perception’,
and certainly not the ‘uninvited intrusions of the unconscious mind’
stop the clock and look at the world in slow motion while building expectation.
Working-class writing and publishing in the late twentieth century
Straight description becomes a creative process. The silence is broken by a noise
as we are introduced to a setting suspended in time. The rapid succession of
actions, as the four players interact, cleverly mirrors the casting of dominos.
Language was debated in a context where education and culture overlapped
directly. While many proponents of young people’s writing directly encouraged
the use of slang and non
the authors show how a metaphor like overflow
can also be a creative springboard for understanding and framing
new phenomena, connecting otherwise disparate places and processes
in new configurations.
One of the key themes woven through this book is the moral
value of overflow, which often carries the connotation of error or
even terror. Online encyclopedias define overflow this way in reference
to the operations of computer programs: ‘Overflow condition, a
situation that occurs when more information is being transmitted
than the hardware can handle’, ‘Integer
-breaking work has opened up the arena for research into the everyday, renewing and invigorating social science research. In doing so, Mason and Dale ( 2011 ) present a range of mixed, creative methods for studying the fields of personal life and relationships; places and mobilities, and socio-cultural change: from working creatively with longitudinal survey data; to considering socio-technical methods; to innovative approaches to mapping. Similarly, Back and Puwar's Live Methods (2010) engages with the experimental and serendipitous nature of research on the everyday
significance for the middle mass is self-provisioning. This political fact has been slow to find expression in party terms. Strikingly little creative political thinking took place in Britain between 1964 and 1984; these were twenty years of uncertain drifting after the British colonial empire was dispersed and the process of de-industrialization began to accelerate. The fact that most people during this period were extremely busy expanding and developing all forms of work was barely noticed. But there are signs that some intellectuals are rediscovering the practical