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Re: [xmca] Re: Cultural Synergy/Creativity -- And the relation between imagination and creativity
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- Subject: Re: [xmca] Re: Cultural Synergy/Creativity -- And the relation between imagination and creativity
- From: Larry Purss <email@example.com>
- Date: Wed, 23 May 2012 06:21:28 -0700
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Mike, I hope others participate in a conversation in the difference [or
similarity] understanding imagination and creativity.
Do others agree that imagination begins at approximately 3 years of age?
Is creativity and interpretation intimately related concepts? Would
Vygotsky agree with Gadamer that *interpretation* as a process has 2
On the one hand,
interpretation implies continuity ans self-identity over time. If the
interpretation is NOT the same then it is not an interpretation but a NEW
text, unrelated to the first and is not the same.
On the other hand,
interpretation includes a pole of discontinuity and self-difference.
Interpretations are not merely duplicates [the other hand] but GENUINELY
DIFFERENT. This might b called the pole of CREATIVITY, since interpretation
points to the CAPACITY to generate an essentially limitless number of novel
interpretations. In Gadamer's language, texts, when interpreted invite the
limitless novelty of the *unsaid*
For interpretation [and creativity??] is it essential to maintain the pole
of correctness [in interpretation NOT anything goes] and the pole of
creativity [there is NOT one single correct interpretation]
If *correct and novel* are relata HOW are they related WITHOUT sliding to
either the pole of *absoluteness* OR the pole of *relativism* What kinds
of things can be interpreted [texts, artifacts?] that INVITE many right
interpretations [OF the artifact or text] BUT still different from it?
Gadamer's dis-position is to *perceive* [metaphorically] this question of
interpretation as a GENERALIZABLE QUESTION as it pertains to any occurence
that can be INTERPRETED and understood. What KIND of objects [text,
occurences, artifact] is OPEN to interpretation such that it produces
OTHERNESS that nevertheless BELONGS to the object. What kind of objects
[texts, occurences, artifacts] can be understood?
Is this interpretive process occuring before age 3 or must it wait for
imagination to occur? Does creativity and interpretation require
How would Vygotsky respond to Gadamer's invitation to explore imagination,
creativity, and the polarity implied in interpreting?
On Tue, May 22, 2012 at 4:14 PM, mike cole <email@example.com> wrote:
> Sounds real interesting, Francine. Thanks for sending it. Would you like
> it posted also on papers for
> discussion at xmca for others who might find it that way.
> Here is a question I have been trying to think about, but am still puzzled
> by: Is there, from a Vygotskian point of view, a difference between
> imagination and creativity (voobrazhenie and tvorchestvo)? In what does it
> consist and how can we study their relationship empirically?
> With you and Vera and David and the playworld people on this list, it seems
> a perfect place to seek enlightenment.
> On Tue, May 22, 2012 at 2:59 PM, larry smolucha <firstname.lastname@example.org
> > Message from Francine Smolucha;
> > The attachment contains a paper that I am writing titled aVygotskian
> > Perspective on Cultural Synergy and Cultural Creativity.
> > It is a work in progress, that might be of interest to XMCA.
> > As usual, I am pioneering a new perspective. The main thesis is that
> > Vygotsky's Theory of Creativitycan enhance our understanding of how ideas
> > and tools fromdifferent cultures can be used to create new inventions
> > andconceptual systems. Cultural exchanges throughout historyhave fueled
> > creativity. The contemporary emphasis oncultural exchange as conflict and
> > oppression, has obscuredthe creativity dimension. Understanding how the
> > individual, group, and society creatively use ideas and tools from
> > different cultures,will provide models for enhancing these skills.
> > Greetings from the south side of Chicago.
> > __________________________________________
> > _____
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