{"id":9592,"date":"2021-09-16T12:52:01","date_gmt":"2021-09-16T10:52:01","guid":{"rendered":"https:\/\/inkovema.de\/?p=9592"},"modified":"2022-04-26T23:45:25","modified_gmt":"2022-04-26T21:45:25","slug":"the-creative-dispositive","status":"publish","type":"post","link":"https:\/\/inkovema.de\/en\/blog\/the-creative-dispositive\/","title":{"rendered":"The creativity dispositive (Institute design #06)"},"content":{"rendered":"

The creativity dispositive.<\/h1>\n

Creativity as a desire, aspiration and constraint in today's living and working environment.<\/h2>\n

From the margins of society to the centre<\/h2>\n

Cultural sociological insights and concepts according to Andreas Reckwitz<\/h2>\n<\/div>
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Institute drafts<\/h2><\/div>
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Our institute designs are dedicated to new ideas and concepts for advising people and organisations.<\/p>\n

We publish them as part of our editorial monthly mailings (newsletter) and inform you first and foremost about new developments and trends for consulting in and by organisations.<\/p>\n

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Institute drafts 2021<\/h2><\/div>
Cultural sociological insights and concepts according to Andreas Reckwitz<\/div><\/div>
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What is important for counselling people who\u00a0humanistic theoretical approaches <\/strong>(„Putting people at the centre“), have been the main focus of consulting services for organisations over the past 40 years. differentiation-theoretical approaches of systems theories<\/strong> The sociological systems theory according to N. Luhmann („System-Environment-Theory“).<\/p>\n

We want our new section of the „institute drafts“<\/strong><\/em>\u00a0therefore to another, namely cultural sociological approach<\/strong><\/em> which has fought its way out of the cocoon of science and into the social debate in recent years. Over the coming months, we will outline the ideas and concepts of its currently most prominent representative in Germany: the\u00a0Professor of Sociology Andreas Reckwitz<\/strong><\/em>born in 1970 in Witten, has been teaching at HU Berlin since 2020 and was awarded the Leibnitz Prize in 2019.
\nThe cultural sociological perspective appears to us as Important addition <\/strong><\/em>for understanding personal, organisational, economic and social processes. Feel invited to think and discuss with us.<\/p>\n

In small, interwoven Digressions <\/em><\/strong>In addition, the basic concepts and methods of cultural sociology are presented in bitesize chunks in order to explain Andreas Reckwitz‘ s approach to science and social theory, i.e. the How<\/em> to the What<\/em> outline. This time it's about the praxeological approach that Reckwitz chooses for his social and cultural-theoretical observations.<\/em><\/strong><\/p>\n

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I. Introduction<\/b><\/p>\n

Everything has to be new and everyone has to be creative. It is no longer just the artist who is creative and creativity is no longer something rare, special, innate that cannot be learnt, but a potential that people all carry within them – and actually something like the reason and meaning of life. Consequently, it is not only the personal, but also the personality that is created and what is created in the environment can always be an expression of this personality.\u00a0<\/span><\/p>\n

In essence, this is what the Berlin sociologist Andreas Reckwitz calls the creativity dispositive, emphasised in social and cultural history and thus essential lines of development in individual and social life.\u00a0 <\/span>of the past 250 years and in this way makes it comprehensible.<\/p>\n

In order to shed light on this perspective, it is first necessary to clarify what a dispositive is. We then return to the concept of creativity. By way of introduction, it can already be said here that a dispositif is a social network of socially dispersed practices, discourses, artefacts and modes of subjectivation which, while not necessarily completely homogeneous, are nevertheless held together and coordinated by an order of knowledge. The dispositive, as Reckwitz interprets it with regard to Focault, who once introduced this term to sociology, is thus directly linked to the praxeological square of cultural diagnosis (see IE 2021-04).<\/p>\n

II. What is a dispositive not<\/b><\/p>\n

It is worth shedding some more light on the sociological context and drawing on other concepts that are not a dispositive:<\/p>\n

1. a dispositive is no institution <\/i>in the sense of classical or new institutional theory. This is because dispositives are about more than systems of order and rules that have been conceptualised as social institutions and that shape, form and influence the social behaviour and actions of individuals, groups and societies. In this respect, institutional theory clarifies a section of social behaviour, primarily with the intention of explaining expected actions.<\/p>\n

2. dispositives are also No (differentiated, self-contained) functional systems<\/i> in the sense of difference theories. For their part, these functional systems consist only of communications, while dispositives also include artefacts, modes of subjectivation and practices and not only what is understood as communication. Dispositions dispose and coordinate their specific cultural and affirmative logic and effect transversally to the specific functional systems of modern, functionally differentiated society – and in this way have an economic, cultural, pedagogical as well as legal etc. effect. In this respect, dispositives contribute to the de-differentiation of society. They have a homogenising effect in different discourses and communicative codes and practices.<\/p>\n

3. dispositives are also More than a discourse<\/i>. Discourses, for their part, define the languages and ways of thinking that are available at a given time. They determine how people talk about something and how they are not allowed to talk about something. This is at least roughly how discourse theories see it, which attempt to describe how such consequences of utterances arise.<\/p>\n

But what are dispositives then?<\/p>\n<\/div>

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III What is a dispositive<\/b><\/h2>\n

A dispositif in the sense of Michel Focault is an entity that, at a given historical point in time, primarily has the function of fulfilling an urgent requirement. It represents a specific historical and local response to a social problem. It consists of a \"heterogeneous ensemble... comprising discourses, institutions, architectural facilities, regulatory decisions, laws, administrative measures, <\/i>scientific <\/i><\/span>Statements, philosophical, <\/i>moral <\/i><\/span>or <\/i>philanthropic <\/i><\/span>Theorems, in short: the said as well as the unsaid are included\"<\/i> (dispositives of power).<\/p>\n

What Reckwitz particularly emphasises (in contrast to Focault) is the social affectivity<\/i>which is based on a social dispositive. If the \"subject is invoked\", an affective and emotional process has always arisen – and if the subject submits to the invocation, it is because it is affected, emotionally moved and in this respect \"passionately arrested\" (Reckwitz).<\/p>\n

The dispositive thus becomes a dispositive not only because it exercises power, i.e. comes across as (over)powerful, but also because it is emotionalised and thus culturally significant. Participation in it becomes a fascination, an act of satisfaction and gratification that has a culturally valorising effect.<\/p>\n

IV. The creativity dispositive<\/b><\/h2>\n

The creativity dispositive describes the social and cultural-historical process whereby people in modern society are increasingly\u00a0 <\/span>creative and at the same time increasingly want to be. Its emergence also led to a specific social aestheticisation that became part of the dispositive. The dispositive thus describes an individual and societal orientation towards the creative, which is increasingly not only a desire, but also a desire to be creative.\u00a0 <\/span>also\u00a0 <\/span>became a compulsion at the same time.<\/p>\n

While religion and politics were initially the classic areas that conveyed meaning and satisfaction, in the modernising society this function was also fulfilled by the aesthetic-creative, which intervened in many areas of society.<\/p>\n

1. Historical lines of development <\/b><\/p>\n

The historical development of the creativity dispositive can be divided into four phases.<\/p>\n