Education Session Speakers at CC Asia 2010
Originally uploaded by neofuture.
Thursday, June 17, 2010
Thursday, June 10, 2010
DIY Urban Agriculture Skillshare
UPDATE: We’ve reached our maximum attendees for June 5!However, we’re considering hosting more urban agriculture skillshares!Click here to submit your interest for future urban agriculture skillshares
Do-It-Yourself Urban Agriculture Skillshare
1-3pm Saturday June 5The Change You Want To See Gallery84 Havemeyer St., Williamsburg Brooklyn $15 entry to cover materialsCapped at 30 attendees for the best hands-on experienceWe will raffle-off everything made at the skillshare!
We will be doing 3 hands-on demonstrations to show you how to help improve your local environment. Bring curiosity, cameras, and a pen+notebook:. WindowFarms to grow food indoors year round. Seedbombing to beautify abandoned lots. Vermiculture indoor food waste composting
Sunday, June 06, 2010
The Systems Model of Creativity
reference : http://www.cultural-science.org/journal/index.php/culturalscience/article/viewArticle/11/48
The systems model, briefly explained here, holds that a confluence of factors, in this case those associated with a field, domain and an individual, must converge in order for creativity to result.
Figure 1: The Systems Model of Creativity (Csikszentmihalyi, 1999: 315)
The system has circular causality meaning that the process doesn’t start through the instigation of one component alone but could be instigated at any point in the system. It is then necessary for each element in the system to play its part. The domain, or symbol system used by the field, provides the cultural terrain against which the introduction of novelty occurs. It is the field, the social organisation that understands the knowledge system, that makes decisions about whether a novel re-arrangement of the symbol system is to be included in the domain. The individual, who has a particular personal background, must acquire the domain information prior to and during their use of it, as well as be socialised into the operations of the field. Bourdieu’s concept of habitus is also useful in its application to this latter aspect of the systems model and his use of the term field as an arena of social contestation was used to amplify the similar concept used by Csikszentmihalyi. The concept of field of works also augmented that of the domain as a knowledge system identifiable in its accumulated artefacts. With these constructs in mind the overall research study was designed to see whether there was any evidence within contemporary western popular music to support this model’s existence.
The systems model, briefly explained here, holds that a confluence of factors, in this case those associated with a field, domain and an individual, must converge in order for creativity to result.
Figure 1: The Systems Model of Creativity (Csikszentmihalyi, 1999: 315)
The system has circular causality meaning that the process doesn’t start through the instigation of one component alone but could be instigated at any point in the system. It is then necessary for each element in the system to play its part. The domain, or symbol system used by the field, provides the cultural terrain against which the introduction of novelty occurs. It is the field, the social organisation that understands the knowledge system, that makes decisions about whether a novel re-arrangement of the symbol system is to be included in the domain. The individual, who has a particular personal background, must acquire the domain information prior to and during their use of it, as well as be socialised into the operations of the field. Bourdieu’s concept of habitus is also useful in its application to this latter aspect of the systems model and his use of the term field as an arena of social contestation was used to amplify the similar concept used by Csikszentmihalyi. The concept of field of works also augmented that of the domain as a knowledge system identifiable in its accumulated artefacts. With these constructs in mind the overall research study was designed to see whether there was any evidence within contemporary western popular music to support this model’s existence.
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