In its requirement, for both an author
and reader, art can be considered a participatory activity. Expanded concepts
of agency allow us to question what or who can be an active participant,
allowing us to revisit the debate on authorship from alternate perspectives. We
can ask whether creativity might be regarded as a form of social interaction,
rather than an outcome. How might we understand creativity as interaction
between people and things, as sets of discursive relations rather than
Whilst creativity is often perceived as the product of the individual artist,
or creative ensemble, it can also be considered an emergent phenomenon of
communities, driving change and facilitating individual or ensemble creativity.
Creativity can be a performative activity released when engaged through and by
a community and understood as a process of interaction.
In this context the model of the solitary artist who produces artefacts which
embody creativity is questioned as an ideal for achieving creative outcomes.
Instead, creativity is proposed as an activity of exchange that enables
(creates) people and communities. In his book Creative Land anthropologist James Leach describes cultural
practices where the creation of new things, and the ritualised forms of
exchange enacted around them, function to "create" individuals and
bind them in social groups, "creating" the community they inhabit.
Leach's argument is an interesting take on the concept of the gift-economy and
suggests it is possible to conceive of creativity as emergent from and innate
to the interactions of people. Such an understanding might then function to
combat an instrumentalist view of creativity that demands of artists that their
creations have social (e.g.: "economic") value. In the argument
proposed here, creativity is not valued as arising from a perceived need, a
particular solution or product, nor from a "blue skies" ideal, but as an emergent property of
This paper seeks to articulate these
issues, identifying a set of core questions and describing the context within
which they will be addressed, indicating how these questions are at the centre
of the pan-European Electronic Literature as a Model of Creativity and
Innovation in Practice (ELMCIP) collaborative research project, undertaken from
2010-2013 and funded through the Humanities in the European Research Area Joint
Research Programme. The paper examines a specific example of a creative
community and outlines the research methods we employ during our field work.
The paper concludes with an outline of our expected outcomes.
Creative Communities, Authorship and Becoming
Communities in the Net
An Ethnography of a Networked Community
as Emergent Creativity
A previous version of this article was presented at the Society for Literature, Science and the Arts conference, Riga Latvia, in June 2010 and will be published in the conference proceedings (forthcoming).