Embodied creativity in the fine and performing arts

Anna Griffith
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引用次数: 4

Abstract

Creativity studies has focused on creative thinking processes, problem-solving, and innovation, while the embodied dimensions of creativity have remained a tangential thread. In part, this is due to the challenge of running original, quantitative experiments in the embodied and performing arts. At a more paradigmatic level, it is also due to the valuing of cognition over embodiment that continues to structure academia and creativity studies. Not running counter to cognitive creativity, but interconnected with it, embodied creativity includes creative expressions and processes that emphasize or are generated by the physical body. It is a view of creativity that highlights physical responses within creative practice and is attentive to the influences of space, environment, materials, and the individual's relationships to other bodies. The fine and performing arts are exemplary places to study embodied creativity, and 4E cognition theory can assist in describing how and where embodied creativity exists. This article argues for embodied creativity as an important place of study that can move creativity studies toward decoloniality.

在美术和表演艺术中体现创造性
创造力研究的重点是创造性思维过程、问题解决和创新,而创造力的具体维度仍然是一条切线。在某种程度上,这是由于在具象艺术和表演艺术中进行原创的、定量的实验所面临的挑战。在一个更典型的层面上,这也是由于对认知的重视超过了体现,这继续构成了学术界和创造力研究。具体化的创造力并非与认知创造力背道而驰,而是相互关联的,它包括强调身体或由身体产生的创造性表达和过程。这是一种创造性的观点,强调在创造性实践中身体的反应,并注意空间、环境、材料和个人与其他身体的关系的影响。美术和表演艺术是研究具身创造力的典型场所,4E认知理论可以帮助描述具身创造力如何存在以及在哪里存在。本文认为具象创造力是一个重要的研究领域,可以推动创造力研究走向非殖民化。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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CiteScore
2.10
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