Analyse The Relationship Between Design And Creativity

What is the relationship between the creative impulse and the creative output of designers, who for the purpose of this essay will be extended to include artists from all fields of endeavour? Neil Brown (2005) examines this relationship and concludes that it is necessary to preserve separation between the practice of research into design and the practice of design itself. He references the argument of Schön (1983) (in Brown (2005), p3) that there is a difference between reflecting in one’s practice, i.e. the art practice itself, and “reflective deconstruction of the system in which one’s practice is conducted”, or rather research into the practice of the artist as distinct from the making.

Some theorists posit that the practice of design or

According to Brown (2005), “creativity refers to a categorically distinct kind of performance”. Elster defines creativity as using “particular aesthetic choices and adaptations made within existing conventions”, while Steiner (1997) maintains that creativity is “the satisfaction of a totally unprecedented but significant purpose”, and Danto (1978) refers to it as transfiguration. Interpretation of creativity then is constrained by its intelligibility within its field, since the artefact and its production necessarily occurs within some field of production. Contingent upon this, therefore, are cultural and psychological overlays. As Karmillof-Smith (1991) notes, it is difficult to elucidate which mental activities of an artist (or performer as he terms it) are uniquely attached to a particular “performance” or artefact. The enactment, which is observable, obscures the mental processes drawn upon, since these are not. This includes, e.g., technologies available at a certain time and place, which cannot be known to an observer, and so leads to Vygotsky’s (1978) position that the best explanation for the relationship between artist and artefact is in the conceptual space between them and that explanations surface from a historical study of the performance, so the relation between artist and artwork is developed through

Items do not require prerequisite sets of properties in order to exist. (Boyd, 1988) The presence of a property in a definition is accepted because of its contribution to the overall explanation. Explanations of practice are equally about artefacts, consumers, subject matter, as they are about designers and artists. Normative properties of objects are embedded with characteristics due to their