Creativity and Cultural Production

McIntyre, Phillip

doi:10.1057/9780230358614

Cited by 69 publications

(14 citation statements)

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“…iii For a recent review of the field of creativity studies, see Mcintyre (2012). iv The assertion of the individual being 'calculating' is distinct from an assumption that all individuals are rational.…”

Section: Discussionmentioning

confidence: 99%

A Regulatory Perspective on the Interests and Motivators of Creative Individuals

Dent

2015

SSRN Journal

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The copyright regime is based on the assessment that many, if not most, individuals are creative. To date, much of the literature assumes that copyright law is an effective instrument of innovation policy simply because the legislated rights to reproduce a creation are seen to be an incentive -even though it is acknowledged that many creators are, in fact, 'intrinsically motivated'. There have been few attempts to provide a more expansive understanding of the relationship between the diverse reasons a person has to create and the law in this area. To try and correct this state of affairs, this article uses insights from the regulatory theory in order to better understand those who produce copyrightable works. Specifically, this work discusses the motivators of creative individuals in terms of the categories of 'internal motivators', 'external motivators' and 'reputational motivators'. This understanding suggests that the notion of 'copyright as a carrot to creators' is an overly simplistic assessment of the contexts in which individuals create.

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Section: Discussionmentioning

confidence: 99%

A Regulatory Perspective on the Interests and Motivators of Creative Individuals

Dent

2015

SSRN Journal

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“…The history of the development of thinking on the topic has been elegantly described by John Hope Mason, and several scholars have brought forward comprehensive reviews of the main trends in the creativity literature (Hope Mason 2003;Sternberg and Lubart 1999;Fillis and McAuley 2000;Starko 2001;McIntyre 2012;Glaveanu 2012). To understand its relationship to popular music instrumental performance it is necessary to briefly review how we got to where we are.…”

Section: Creativity and Music Performancementioning

confidence: 99%

A breed apart and a breed below: creative music performance and the expert drummer

Bruford¹

2020

Pop. Mus.

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This article argues that contemporary systems theory explanations are insufficient when accounting for ‘in the moment’ creative musical performance. The system model's focus on a domain-changing contribution from an individual fails to offer a satisfactory account of the construction and assessment of the more everyday distributed and collaborative creativity undertaken by many popular music instrumentalists. A cultural psychology perspective, in contrast, situates distributed creativity inbetween people and objects rather than within them. Glăveanu's ‘Five As framework’ has particular utility in capturing the ordinary creativity that does not seek to change the domain but nevertheless contributes to it. The model is applied here to four case studies of expert instrumentalists that draw upon a combination of primary evidence, lived experience and original research.

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“…What these theories have not revealed is what discerned savvy means for idea development processes in a field like TV production. While news articles often have one or a few authors, it is usually difficult to pinpoint any single author of a product in TV production because TV production is a collective production process (McIntyre, 2012: 130). This article uses the theoretical concept of the gatekeeper to describe the unavoidably important role that commissioning editors have in decision-making processes within TV production by calling them gatekeeping editors .…”

Section: Theories About Gatekeeping and Creativitymentioning

confidence: 99%

Gatekeeping within the simplicity regime: evaluative practices in television idea development

Andersen

2019

Media, Culture & Society

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This article investigates the kinds of evaluative practices that are employed when gatekeepers in TV want to maximise creativity. By analysing the evaluative regimes used in TV idea development, the analysis points to how a simplicity regime is used in the observed idea development sessions, with ideas being judged constantly as to whether they are clear and simple enough. Using observations, interviews and briefs as data sources, the article concludes that the desire of gatekeeping editors to maximise creativity can place significant pressure on developers who find it difficult to live up to these desires. In addition, the findings suggest that these developers primarily develop ideas for their immediate gatekeeping editors and that the TV viewers are not considered as equally important in their idea development process.

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Creativity and Cultural Production

Cited by 69 publications

References 0 publications

A Regulatory Perspective on the Interests and Motivators of Creative Individuals

A Regulatory Perspective on the Interests and Motivators of Creative Individuals

A breed apart and a breed below: creative music performance and the expert drummer

Gatekeeping within the simplicity regime: evaluative practices in television idea development

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