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1 Introduction

In this text I discuss the concepts of milieu and of creativity, starting from a musical experiencing of space as an element of co-generative energy, when used in conjunction with open attitudes.

Music, or sound, is a significant indicator for a society. Plato knew this well—as do all traditional cultures. Thus, the discourse about music serves as an introduction to philosophical discourse.

I suggest to integrate some concepts, drawn from hermeneutics and other

philosophic theories, with a considerably extended use of McLuhan's notions of message and medium, in order to develop theoretical tools for an analysis of social, economic, non-verbal or even unconscious forms of power and conditioning. My thesis is that converging or conflicting (interand trans-medial) lines of forces constitute the spatial/temporal territories of those economic contexts in which individuals, groups and/or communities find their possibilities.

The present approach aims to show that the current insistence on creativity is the sign of an aestheticisation of the economy. This is the 'engine' that allows current global capitalism to function, when many of its traditional conditions (hierarchies, oppositions) are disappearing. From this point of view, this text might be inscribed within the tradition of the 'critique of the political economy', although it resorts to theoretical tools partially different from those of Marx and closer to Benjamin's awareness of ambivalence.

Indeed, the resistance of old media and of their cultural influence to 'new' ones, as well existing conflicts among the latter, constitute a too complex context to lead to determinism, even though there are dominant lines of power. And so, what seems to be univocal can now conceal, and later reveal, unexpected consequences and new possibilities. Many traditional hierarchies and oppositions, along with the very belief in the established economic order and in 'universal' information, are declining.

The following pages suggest that we see the focus of current economic policies on creativity also as a sign of ambivalence. They propose a new possible approach to creativity, different from the dominant one, as a means of ensuring better relations between individuals and groups, and with one's milieu: a politics of friendship. A contemporary repetition of the ancient notion of oikonomia is possible: to take care, and so find the law, the nomos, of the space and place we inhabit.

 
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