INNOVATION
(and Rigor)
There’s a difference between the realm of creating and
composing “primary” work and original material on the
one hand…
whether it’s Jesus-on-Velvet painting or
soup cans and Marilyn Monroe’s on an
Andy Warhol canvas, Tales of Peter
Rabbit or “The Love Song of J. Alfred
Prufrock,” “Howl,” e = mcsquared .
makes no never minding…
...and, on the other: what’s called the realm of “secondary”
work: academic & scholarly, the work of commentating &
Howard Cosell-ing, informing a general public what’s going
on in art and athletics, what’s happened if not what’s happen-
ing: describing assessing, estimating the product and not the
process seeing as the process is a ya-hadda-been-there-done-
that kind of a deal beyond the experience and expertise of
appraiser and critical thinker, analyzer, taxonomist, curator…
The problem is in the connotations Velcro-ed on to the notions
“creative” and “creativity”: talk that often generates defensive
snickers from the academic and scholarly as well and vice versa.
Look: the values of MAKING and the values of
GIVE & TAKING, the values of Creating and the
values of Consuming, the values of Process and
the values of Product: Just Don’t Get Along.
Got to keep them separate and equal or give&take,
consuming, & product-commodification dominate,
damnit. Need we argue? Industrialize supplants
industry. Institutionalization takes over instituting.
of creativity, sociology of creativity, psychology and philosophy
of creativity: not the same as the act and action of creativity— true?
Do you want to tell me I’m pushing a foe- dichotomy between the
action of “creativity” and the action of commenting on the creativity?
Between the environment of the Conservatory and that of the Academy?
I wish you would. Bring it on. Might generate some noetic ENGERGY
coming to our own shared terms regarding this classic relationship
between “creative” and “critical” thinker thinking.
(and Rigor)
There’s a difference between the realm of creating and
composing “primary” work and original material on the
one hand…
whether it’s Jesus-on-Velvet painting or
soup cans and Marilyn Monroe’s on an
Andy Warhol canvas, Tales of Peter
Rabbit or “The Love Song of J. Alfred
Prufrock,” “Howl,” e = mcsquared .
makes no never minding…
...and, on the other: what’s called the realm of “secondary”
work: academic & scholarly, the work of commentating &
Howard Cosell-ing, informing a general public what’s going
on in art and athletics, what’s happened if not what’s happen-
ing: describing assessing, estimating the product and not the
process seeing as the process is a ya-hadda-been-there-done-
that kind of a deal beyond the experience and expertise of
appraiser and critical thinker, analyzer, taxonomist, curator…
The problem is in the connotations Velcro-ed on to the notions
“creative” and “creativity”: talk that often generates defensive
snickers from the academic and scholarly as well and vice versa.
Look: the values of MAKING and the values of
GIVE & TAKING, the values of Creating and the
values of Consuming, the values of Process and
the values of Product: Just Don’t Get Along.
Got to keep them separate and equal or give&take,
consuming, & product-commodification dominate,
damnit. Need we argue? Industrialize supplants
industry. Institutionalization takes over instituting.
of creativity, sociology of creativity, psychology and philosophy
of creativity: not the same as the act and action of creativity— true?
Do you want to tell me I’m pushing a foe- dichotomy between the
action of “creativity” and the action of commenting on the creativity?
Between the environment of the Conservatory and that of the Academy?
I wish you would. Bring it on. Might generate some noetic ENGERGY
coming to our own shared terms regarding this classic relationship
between “creative” and “critical” thinker thinking.
The 2011/12 AVD theme is Energy –
how it is interpreted is completely open.
Laura L.
ENERGY
I.E. werg 1 . – “to do” - work.
Gk: ergon –work, action, urge
organon – organ, tool
orgia – secret rites, worship, orgy
measurable physical process on the one hand,
billiard-ball bumper-car impact & force (vios)
and then on the other hand:
non-physical, immeasurable, intangible,
can’t touch this
INFORMATION INNOVATION:
mental process, transform, transfer, translation,
communication, back & forth converse action. .
Every day in class I feel like I have somewhat of
an energy crisis in Jensen 206. How to plumb the
resource, prime pumps, start a spill, surge, swell
& the faculty well, too: goes without saying the
energy source there. solar, wind, perpetual motion
untapped clean coal for crying out loud, canaries
in the mind-shaft like caged birds I can hear
them sing. In my dreams. An uncommon language.
Innovative. Yet rigorous. Vigorous. Energas.
how it is interpreted is completely open.
Laura L.
ENERGY
I.E. werg 1 . – “to do” - work.
Gk: ergon –work, action, urge
organon – organ, tool
orgia – secret rites, worship, orgy
measurable physical process on the one hand,
billiard-ball bumper-car impact & force (vios)
and then on the other hand:
non-physical, immeasurable, intangible,
can’t touch this
INFORMATION INNOVATION:
mental process, transform, transfer, translation,
communication, back & forth converse action. .
Every day in class I feel like I have somewhat of
an energy crisis in Jensen 206. How to plumb the
resource, prime pumps, start a spill, surge, swell
& the faculty well, too: goes without saying the
energy source there. solar, wind, perpetual motion
untapped clean coal for crying out loud, canaries
in the mind-shaft like caged birds I can hear
them sing. In my dreams. An uncommon language.
Innovative. Yet rigorous. Vigorous. Energas.
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