Paul willis symbolic creativity


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Paul willis symbolic creativity

  1. 1. Chapter 28: Symbolic Creativity  The Everyday Life Reader<br />Willis, Paul (1990) Common Culture: Symbolic Work at Play in the Everyday Cultures of the Young<br />MiladHajiamiri<br />ID 501<br />
  2. 2. Key words:<br />The Everyday<br />Symbolic Creativity<br />Symbolic Work<br />Symbolic Resource<br />Necessary Work<br /> Grounded Aesthetic<br />Cultural Commodity<br />Consumerism<br />
  3. 3. Contents:<br />Editor`s Introduction<br />Necessary work and symbolic creativity<br />Commodities and consumerism<br />Grounded Aesthetics<br />Against post-modernist pessimism<br />
  4. 4. “Everyday is full of activities which although not recognized as Art, share the same Symbolic Creativity as art practices.”<br />Willis, Paul (1990)<br />
  6. 6. SYMBOLIC CREATIVITY<br /><ul><li> The necessary part of human activity
  7. 7. Integral part of necessary work
  8. 8. It has to be done Everyday
  9. 9. It is not Extra but Essential of daily production and reproduction</li></li></ul><li>NECESSARY WORK<br /><ul><li> What kind of necessary work do we talk?
  10. 10. What is the role of Symbolic activity in the necessary work?</li></ul>Tools & Raw Materials<br />Produce Goods <br />& Services<br />Satisfy Human Needs<br />By wage<br /> labor<br />In order to<br />
  11. 11. English Radical Tradition<br />William Morris:<br />Art = Work/Pleasure<br />Eric Gill:<br />Art is the Principle of Skill in making useful things. Work is Holy. The daily reproduction is Holy. The play of Symbolic Creativity in these things make them Holy.<br />
  12. 12. Modern Industry destroyed the possibility of art in paid work. Automatic production, takes Hand, Tool and Body altogether out of workplace.There is a necessary to reintroduce the “Holy Work”<br />
  13. 13. But there is another kind of humanly necessary work.Symbolic Work, is the application of human capacities to and through, on and with Symbolic resources and raw materials.(language, texts, songs, films, images and artefacts of all kind)(Communication) <br />
  14. 14. The basic elements of symbolic work:<br />Language as a practice and Symbolic Resource. It is the primary tool that we use to communicate and allow us to assess our impact on others and theirs to us. It allows us to see ourselves as others.<br />Active Body is a site of knowledge and set of signs and symbols.It is the source of productive and communicative activity. (singing, symbolizing, feeling)<br />Drama as a practice and Symbolic Resource. Communication is achieved through rules, rituals and performances that we produce with others.( dancing, singing, joke-making, story telling in dynamic settings and through performance.<br />Symbolic Creativity is the product of these three raw tools and raw materials. it transforms what is provided and helps to produce specific form of human identity and capacity. <br />Being Human means to be creative in the sense of remarking the world for ourselves as we find our own place and identity.<br />
  15. 15. What exactly produce by Symbolic Work and Symbolic creativity?<br />Produce Individual Identity. <br /> Who and what “I am” and could become. <br />Place the Identities in larger wholes. <br /> Identities do not stand alone above or beyond history. They are related to time, place and things.<br />Develop our active sense of our own vital capacities,<br /> the power of self and how it may applied to the cultural world. it is the dynamic and ,therefore, clinching part of identity. It is the expectation of being able to apply power of the world to change it. <br />
  16. 16. Commodities and Consumerism<br />The main material and resource used in symbolic work of leisure are cultural commodities. <br />The raise of leisure is really the raise of commercialized leisure.<br />But author believes that these things have always been excited. we should not ignore the dynamic and living quality of everyday culture and especially their necessary work and symbolic creativity.<br />Consumerism has to be understood as an active, not a passive, process. Its play include work. <br />
  17. 17. - Consumption continuously reproduce an image of selfishness an narcissism in individualized consumption and hedonism. But those tendencies are now given features of our cultural existence. Meanwhile a whole continent of informal everyday cultures has been recognized, opened up and developed. <br />
  18. 18. - Whereas the ideal model for the worker is the good time kept, the disciplined and empty head, the model for the good consumer is the converse – a head full of unbounded appetites for symbolic things.<br />
  19. 19. The basic point is; interpretation, symbolic action and creativity are part of consumption. they are involved in the whole realm of necessary symbolic work.<br />
  20. 20. Grounded Aesthetic<br />Grounded aesthetics are the specifically creative and dynamic moments of a whole process of cultural life, of cultural birth and rebirth. To know the cultural world, our relationship to it, and ultimately to know ourselves, it is necessary to merely to be in it but to change that cultural world.<br />So, Can we see the effects and impacts of consumerism as grounded aesthetic?<br />
  21. 21. Against post-modernist pessimism<br />The very incandescence passes through necessary symbolic work, changes and enables it. The incandescence is not simply a surface market quality. It produces and re reproduces further forms and varieties for everyday symbolic work and creativity, some of which remain in the everyday and in common culture far longer than they do on the market. <br />