multidisciplinary research project
2010 - ongoing
Kulunčić, visual artist
can be argued," claim Dacey and Lennon (1998)1
"that throughout human history our most valued ability
has been intelligence - the capacity to learn and to
use existing knowledge. In the new millennium, this will no
longer be so. Creativity - the ability to produce
knowledge, will become our most cherished trait."
Strategy is often defined as a set of purposeful actions
that lead to a given long-term objective. It is most often connected
with war, business and games.
The problems of the individual and of the community in everyday
life for which there are no already existing solutions, or for
which the old solutions are insufficiently functional, are soluble
by innovative strategies or the creative production of new solutions.
These are accordingly equally essential in the micro-situations
of an individual coping with new situations and in the general
progress of society.
to the authors of the article "The Nature of Creativity"2
the beginnings of a fairly systematic scientific research into
creativity are linked to the lecture "Creativity"
given by the American psychologist Guilford in 1950 at Pennsylvania
State College3. To the conception
of convergent thinking then holding sway he opposed the conception
of divergent thinking - the ability to generate multiple
solutions for a single problem. Most researchers agree that
the creative process is the production of something original
and valuable (Sterneberg, 1996), which is a product of the personality,
cognitive capacities and social environment (Amabile, 1983)
but also that the very judgement of what is creative, and to
what extent, is a kind of social consensus (Amabile, 1983).
ISSUES OF THE RESEARCH
research in the project framework is focused on the following
issues: the creative strategies of the individual,
collective creative strategies (family, neighbourhood,
city, state) and consideration of the relations and dynamics
of personal creativity and collective creativity, under
the following conditions: (a) when and how personal creativity
turns into collective, what is left of the original idea and
solution, what is changed, how a personal initiative or personal
creative energy gets changed in the collective, and what happens
with the initiator; (b) how much collective creative concepts
affect personal, and at what moment they turn into personal
The project also deal with the position of creative strategies
in a social context, the importance of its position in society
in which a state of specious security is changing: the global
economic crisis, the collapse of banks and insurance companies,
the sudden change in the manner of life and social norms.
A stratification of issues go on to study the dynamics of relations,
oppositions and correspondences, systems (political, economic,
bureaucratic, educational, scientific and so on) and self-organised
means of action such as civil society, the neighbourhood, the
extend family and so on. The investigation will expand to take
in topics of global creative strategies, or ways in which globalisation
shapes our lives and common strategies, considering the issue
of whether there are, and what they are, global strategies,
how they function, who dictates them, the dynamics, the examples.
In which way do we function as communities in the global context
and what the positions and mechanisms of common creative strategies
are, as well as the issue of the place of effective freedom
that puts into practice the life chances in them?
Finally, the issue that it will settle in conclusion will be
the general importance and influence of creativity on the
life of the individual, collectives, peoples, both historically
and in a contemporary context, from philosophical, religious
and spiritual, artistic and scientific positions.
OBJECTIVES OF THE PROJECT
overall aim of the project is to develop a trans-disciplinary
platform for understanding, exchanging and producing new creative
strategies in response to concrete social situations and
states of affairs, as well as the activation of them in the
real tissue of society. The specific objective within this
is the better understanding of social processes that rely on
creativity and discovering ways of encouraging the development
of various forms of action and process to increase the capacity
to understand current and to create new knowledge.
JUSTIFICATION OF THE METHOD
studies expert Joelle Zask starts off her book Art and Democracy
with the proposition: "There is no better citizen than
the artist: it is this idea that we wish to define in this book.
And there is no practice that better symbolises democratic
conduct than the practice of the artist. These ideas will
doubtless be surprising both to the artists and those who judge
which the artist is just a generator, and the user (the audience)
is the possible active subject that brings about the changes.
the conception of my work and the methodology that I am developing
I am positioning myself as an active agent in society, which
tells explicitly of the place of the artist and art. With the
engagement and interaction of different people, associates and
potential audience, they too get into a position to be "producers,
agents, designers, archivists and conveyors of knowledge",
that is they became effective practitioner and the public at
the same time. As the project develops, the analysis of these
relations, processes and occasional results will be considered
critically. Thus my role in the project as author and artist
will change positions, my clear aim being to demonstrate, engage
and change, without experiencing my artistic position as privileged,
but as one of the possible in the transfer of knowledge.
Dacey, J.S., Lennon, K.H.: 1998, "Understanding creativity",
San Francisco, Jossey-Bass Inc. Publishers, pp.3
Arar, Lj., Rački, Ž.: "Priroda kreativnosti/The Nature of Creativity",
Psihologijske teme,12, 2003., pp. 3-22
3 Guilford, P.J., 5.09.1950. predavanje "Creativity",
Pennsylvania State College.
4 Zask, Joelle: 2004, "Umetnost i demokratija",
Beograd, Clio, pp.7