Deleuze and Lifelong Learning: Creativity, Events and Ethics by C. Beighton

By C. Beighton

This publication examines Gilles Deleuze's principles approximately creativity within the context of lifelong studying, supplying an unique tackle this significant modern subject utilizing cinematic parallels. Discussing Deleuze's tricky inspiration of 'counter-actualization' as a kind of artistic perform, it attracts useful results for these throughout a various area.

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In fact, a problem lies with an understanding of creativity which has both dominated western thought and become increasingly unbalanced, according to Ingold (2008, p. 3). Although creation, Aristotle felt, involved bringing together form (morphe) and matter (hyle), increasingly we have come to think of the forming process as something to which matter is subjected: our agency is exaggerated, just as that of matter is dismissed. Western metaphysics has been a “prisoner” to this representation of matter as static and the forming process as anthropocentric (Sauvagnargues, 2012, p.

Types of creativity Powerful stakeholders influence what is meant by creativity, and a degree of “conservatism” is expressed by the belief in a supra-individual notion of cultural or creative value. Creativity, where it exists, must correspond to accepted norms and serve an existing whole. , 2006, p. 8), for example, opposes notions of individual creative Creativity 25 potential as long as they claim to escape a larger societal paradigm. He defines creativity as art within a perspective which relies on a certain relation between practices situated in time: the artist sees their work as belonging to a pattern under which self-expression and personal interest are not valued because they fail to recognize previous successes.

Consumers themselves may contribute to the product, for example through customization or personalization of products such as knowledge or learning, which are prime examples. Consumers may even internalize the consumption process, treating themselves as products to be displayed, enhanced and marketed, for example by making a spectacle of their own conformity to the demands of the jobs market (cf. Bauman, 2007; Krejsler, 2007). These differences, however, do not constitute creativity because they do not change the relations which obtain between subject and object; they merely reposition the terms of a relation which remains the same, objectifying subjects in order to perpetuate the same relation of consumption.

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