Practicing in the Uncertain: Reworking Standardized Clients as Improv Theatre

In this paper, I rework standardized client activities using improvisational methods. While standardized client approaches to teaching/learning interviewing skills have been proven to be effective in increasing students' competence, I suggest that enhancing these practices with the ideas and approaches of improvisational theatre provides opportunities for the creativity that characterizes advanced practice. Improvisational theatre's focus on spontaneity and intuition foregrounds three elements of practice. These include unconscious and emotional knowledge, the relational nature of practice, and the variability and unpredictability of the interview. Reframing standardized client activities through improvisational theory and practice offers students an explicit framework for making sense of simulations as creative, spontaneous spaces for learning.     

CREATIVITY NARRATIVES AMONG COLLEGE STUDENTS: Sociability and Everyday Creativity

Despite foundations in early pragmatism, research on social patterning of creative action has been scarce in the multidisciplinary literature on creativity. We address this by exploring how students perceive their creative contributions to college life. By analyzing narratives, we find that the majority of creativity is associated with everyday experiences and social interactions, in contrast to a popular and scholarly focus on extraordinary individual achievement in domains like art and science. We also find strong trends in sociability as students negotiate both "where they stand" with regards to those around them as well as "how they stand out" as individuals.     

Commentary: Foundations in performance

In this article, I outline the principal conceptions of performance that have guided language‐oriented work on performance, where they come from, and how they relate to or diverge from one another. I consider first the undeveloped potential for performance‐oriented work in variationist sociolinguistics, and then turn to performance as virtuosic display, as developed principally in linguistic anthropology, performance as theatricality, with special attention to the analysis of the interaction order, and cultural performance as a marked, heightened event that affords a richly reflexive vantage point on culture. I conclude with a discussion of mediated performance and the productiveness of the concept of remediation in bridging the gap between co‐present performance and mediated performance.     

Creativity, Habit, and the Social Products of Creative Action: Revising Joas, Incorporating Bourdieu

Hans Joas's The Creativity of Action (1996) posits that conceiving of all action as fundamentally creative would overcome problems inherent in rational and normative theories of action and would provide an alternative basis for action‐based theories of macrosociological phenomena. Joas conceives of creativity as a response to the frustration of "prereflective aspirations," which necessitates innovative adjustment to reestablish habitual intentions. This conceptualization creates an unsupportable duality between habitual action and creativity that neglects other possible sources of creative action, including habit itself. Combining strengths from Bourdieu's concept of habitus, creativity can be redefined as the necessary adaption of habitual practices to specific contexts of action. Creative action continually introduces novel possibilities in practical action and provokes a variety of social responses to its products. This revised concept of creativity overcomes the dichotomy presented by Joas, identifies a microsocial source of innovation in creative action, and calls attention to patterns of creative authority in society at large .     

Processualizing Data: Variants of Process‐Produced Data

The greatly increased importance of diachronic process perspectives in the social sciences has led to process‐produced data (PPD) becoming one of the main topics of this debate. However, its current use is peculiarly ambivalent. It oscillates between substantialist understandings and self‐evident use. This article stresses the beforehand conceptual decisions made by the researcher that eventually define data, that is, which materials become PPD. Because process‐oriented research rests on heterogenous conceptions of temporality, it is especially these conceptions researchers must make transparent. Drawing on social constructivism, extended by path dependency, happenings, and events, the article exemplifies one conceptual foundation and, using insights from two research projects (historical discussion circles and trajectories of digital infrastructures), a particular specification of PPD. The article thus contributes to the necessary methodological reflection on PPD, and, at the same time, responds to the need for diachronic social research in order to grasp contemporary processes of digitalization.     

“Organizing Creativity: Enabling Creative Output,Process, and Organizing Practices”

How individuals can exercise creativity in collectivities is unclear. We thus need to more thoroughly investigate the ‘black box’ of organizational creativity. Future research should consider creativity in a variety of organizations, rather than just those that are known for creative outputs or practices. In addition, we need to examine what I call everyday, relational, and proto‐institutional forms of organizational creativity. Intra‐ and inter‐organizational aspects can enhance or depress such organizational creativity: (1) within the organization’s boundary: internal interactions among organizational members and (2) outside the organization’s boundary: the surrounding organizational environment or field, which include competing or supporting organizations, other organizational actors, and the state. These two aspects pose dilemmas about how to organize that can constrain or enhance organizational creativity. In addressing these dilemmas, organizations must mediate between under‐ and over‐organizing extremes. Organizations can enable creativity by incorporating changing interests and conditions. Organizations can eschew convention, increase rank‐and‐file involvement with corresponding authority, tolerate ambiguity and deviance, encourage improvisation, and support members’ diverse experiences and perspectives.     

Creative Activism and Art Against Urban Renaissance and Social Exclusion – Space Sensitive Approaches to the Study of Collective Action and Belonging

Creative activism and urban art are increasingly being used as an instrument to collectively re‐appropriate the urban space and thus articulate urban belonging and citizenship from below. In cities worldwide, where different politics of place stimulate capitalist appropriation, individuals and groups use the public space as a laboratory for resistance, creative act, and as a medium for communication. As such, creative activism is a strategy for those who are widely excluded from social, political, cultural, and economic participation. Collectives are built through joint actions and experiences that are translated into the production situated forms of urban belonging. By drawing on space sensitive and situationist approaches and the power of creativity as an important moment in the analysis of action, the paper provides examples of how collective action and belonging is produced under conditions of contentious politics and exclusion that go beyond social norms, the social containment of institutions, ¹ and imposed collective identities.     

Coordinated Action in the Massively Multiplayer Online Game World of Warcraft

In tandem with the technological advancement of immersive virtual environments, digital games have evolved into complex social worlds where people play collaboratively to achieve individual‐ and group‐oriented goals. The massively multiplayer online games genre has received international attention for the large numbers of users that commit a significant amount of time and effort to online play. Play styles within such game worlds are diverse, but “raiding” is generally considered among gamers and scholars alike to be the most challenging form of collaborative play. Like other forms of social activity, raiding is predicated on players' abilities to successfully coordinate individual lines of action. Yet the vast majority of raiders are not physically copresent during their collaborative efforts. Using Couch's theory of coordinated action as an interpretive frame, we explore the computer‐mediated process of raiding in the massively multiplayer online game World of Warcraft by analyzing ethnographic data and audio/visual recordings of gameplay. Our study expands Couch's theory of coordinated action in two ways. First, we demonstrate how individuals and groups simultaneously engage in multiple forms of coordinated activity (e.g., conflict and cooperation). Second, we reveal two semiotic layers of coordinated action—the “subject‐subject” (i.e., intersubjective) layer that is facilitated through the game's user interface, and the “subject‐object” layer that comprises players' interactions with the user interface itself. Our study thus considers the potential of Couch's theory for the study of computer‐mediated communication and nonhumans in interaction.     

Toddlers' Understanding of Iconic Models: Cross‐Task Comparison of Selection and Preferential Looking Responses

Toddlers' symbolic understanding of iconic models was assessed through 2 comprehension‐based tasks: 1 based on looking and 1 requiring manual selection of the target object. Toddlers received either iconic models or photographs of models as the symbolic referent. Overall, 18‐month‐olds performed poorly, and both 22‐and 26‐month‐olds performed relatively well across tasks. Contrary to expectations that the 2 tasks would impose different levels of attentional demands, performance was relatively consistent across tasks. Vocabulary size was significantly related to performance, even when the effects of age were controlled. Relations between model comprehension and more sophisticated manifestations of symbolic comprehension are considered.     

Organizational closedown and the process of deconstruction and creativity

This paper outlines an analysis of how the deconstruction of organizational, management control and performance management structures affects performances and how workers make sense of enhanced efforts and practices of creativity, in a situation when facing a certainty of job loss as of the closedown of the organization. In this paper, we have shown that the deconstruction of structures generate positive performance outcomes, and that such relation is being mediated by workers identity. We have also shown that identity work under a process of organizational closedown generate certain creativity. By doing so, this paper contributes to the literature on creativity and deconstruction by developing an emergent model where workers identity mediates formal structures in relation to performance. This paper contributes to the literature on closedowns by extending its analytical and theoretical domains, proving alternative, yet complementary and mediating explanations to the causes of drivers to enhanced performances during the process of closedown.     

Creativity and Learning Jazz: The Practice of “Listening”

This article is about interaction, culture, and creativity. The ethnographic setting is a set of jazz performance classes at a California university. Although I write about jazz music, the reader need not have a background in studying or performing jazz (or music in general) to understand this article. In the title of the article, the term “practice” refers to (1) “listening” as a culturally specific communicative practice, and (2) the practice (a.k.a. rehearsal) of that culturally specific version of “listening”. I document and analyze how jazz instructors communicate with students about group interplay during musical performance. Extrapolating from this focus, I suggest some ways that contemporary linguistic anthropology can contribute to theories of creativity, focusing on the role that cultural norms of interaction defined by a particular activity play in constraining or shaping creative processes.     

TWO CONCEPTIONS OF THE SOCIAL SITUATION:

This article appraises two images of the social situation: Blumer's symbolic interactionism and Goffman's microstructuralism. Blumer stresses the improvisational and consequently unpredictable character of social interaction, while Goffman emphasizes situational determinism along with mutual predictability through self-abnegation. The evaluation of their respective positions is based upon their relative efficacy in the analysis of data drawn from an ethnographic study of jocularity in everyday life. The results indicate more utility for Blumer's than for Goffman's image of the situation.     

The Interactional Community: Emergent Fields of Collective Agency*

Social interaction is generally regarded as elemental to the notion of community. Within the broader discourse on community, the field‐interactional perspective is distinctive in its explicit focus on emergent social processes and community change dynamics. Wilkinson (1970) extended Kaufman’s (1959) early work on the interactional approach through an application of the social field concept to community action. In doing so, Wilkinson (1991) outlined several key linkages between social–symbolic interaction and community agency. Despite these promising beginnings, only a modicum of research has examined the theoretical or philosophical underpinnings of the interactional conception of community. This article explores the symbolic‐interactionist tenets undergirding the field‐interactional approach, most notably Mead’s (1934, 1938) discussion of generalized social attitudes and Blumer’s (1969a, 1969b) work on joint or collective action.     

Jazz in Social Interaction: Personal Creativity,Collective Constraint,and Motivational Explanation in the Social Thought of Howard S. Becker

Although symbolic interactionist studies are often thought to abandon motivational explanation in favor of a focus on social process, the interactionist tradition has usefully employed two deterministic themes. One is inherent in the appreciation of the actor's inescapable sense of interactional significance for behavior that will be socially witnessed. A second deterministic theme appreciates external constraints on the individual's perception and generation of social acts. The former shapes all work in symbolic interactionism. The latter has been developed most consistently in the work of Howard S. Becker. Without addressing the matter as such, Becker has worked with a series of ideas about constraint on individual motivation, ideas that are harmonious with the interactionist's understanding of personal creativity in social action. His writings invite a reconsideration of the supposed antagonism between the appreciation of interactive process and the understanding of motivational constraint. Becker's work on motivation is also notable for outlining a theory of increasing constraints through the life cycle, constraints which, if appreciated by the actor, carry paradoxically liberating implications. The distinctive interplay of personal creativity and collective constraint in his thought is succinctly captured by the metaphor of jazz in social interaction.     

创意产业集聚与城市更新的互动研究——以上海田子坊为例

通过对上海较为成熟的创意产业集聚区田子坊的实证研究,分析了创意产业对城市更新的推动作用及局部城市更新对该地创意产业发展的影响,并对这一过程进行了中外比较。针对田子坊目前存在的创意产业淡出、原住居民安置等问题展开讨论,提出有利于城市更新与创意产业协调长期发展的思路,以实现两者间的共赢。     

上海青少年创造力发展状况最新调查

上海作为我国社会改革、经济发展的前沿阵地,在强化青少年创新教育项目上发展较快。对当前上海中小学生的创造力发展状态及创新环境的调查表明:上海青少年创造力的总体水平为中等偏上,呈现出随年级升高而下降的趋势,并与学业成绩呈现出高度正相关关系;他们的想象力和参与创新活动的积极性有待提高,并且成绩越好的上海青少年越重视创新能力锻炼;他们认为恒心、自信和好奇心是最重要的创新品质;同时,教师的创新态度良好,但学校创新资源仍不充分,并且他们的创造力行为仅能获得不到四成家长的支持;因此,要提高上海青少年学生创造力的整体水平,仍需要学生、家长、学校、政府和社会等各方面的共同努力。     

The Crowd and Collective Behavior: Bringing Symbolic Interaction Back In

Presented as the Distinguished Lecture at the annual meeting of the Society for the Study of Symbolic Interaction in Philadelphia, Pennsylvania, in August 2005, this article's objective is to illustrate the importance of symbolic interaction in the formation of temporary gatherings, in the dynamic alternation between individual and collective actions that comprise those gatherings, and in the dispersal processes that bring such gatherings to an end. In reviewing the phenomena to be explained, I also call attention to the limitations of the concepts of “the crowd” and of “collective behavior.” Finally, to make sense of the dynamic variation and alternation between individual and collective actions, and the variation in the latter, I champion and extend G. H. Mead's theory of the act as a closed‐loop, negative‐feedback model of purposive action. No lesser model of agency and action is adequate to the challenge of understanding and explaining the phenomena in question.     

Diana Gittins. The Child in Question. New York: St. Martin's Press, 1997. 231 Pages

Abstract

Does occupation-level information reflect what people actually do at work and thus influence individuals? I examine whether there is an effect of occupation-level complexity on individuals' sense of personal control, and if there is, whether the effect is a proxy for the actual work people do on their jobs. I analyze a national probability sample of 1,450 employed persons interviewed by telephone in 1995. Without adjustment for worker's reports of autonomy, creativity, authority, and social interaction in their daily work, an index of DOT occupational complexity of work with data and people correlates with the sense of personal control. Adjustment for job-level autonomy, creativity, authority, and social interaction renders the occupation-level measure insignificant and shows significant effects of autonomous work, creative work, and social interaction at work on the sense of personal control.     

Coming back to life: From indicator to stereotype and a strange story of frequency1

In the history of Spanish there are five forms, originally from the same lexical item, co‐existing: así, asín, ansí, asina, and ansina, all meaning ‘like that’. Standard Modern Spanish includes only one of these: así. This is not the case, however, in New Mexican Spanish. This corpus‐based study examines the patterns of synchronic variation in New Mexican Spanish, as well as the near death and transformed rebirth of forms other than standard así in literature. Multivariate analysis suggests a decline in non‐standard variants in New Mexico, associated with rural activities and objects, and with older, less‐educated speakers. The synchronic idiosyncrasy of stereotypes is confirmed, while the quantitative diachronic patterns found may prove to be a regular pattern for developing stereotypes in literary texts: a slow decline in frequency followed by a sharp rise.