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2.3 A Kind of Space, a Kind of Relation. Milieu .. .

Moments one, two, three and four in the room are somehow—each in a different sense—also a result of changes in attitudes and feelings through relations with and within space. In the traditional concert the main creative moment happened elsewhere, probably in a composer's room, with her/his instruments, some paper, a table, a pencil ... The classical setting of the performance separates people's roles, even spatially: the composer may be absent, the performer must be present on stage, the audience sits in front of the stage. The classical setting elicits admiration, respect, emulation, but perhaps even frustration and envy through exclusion. Exclusion causes a certain loss of energy and happiness.

In moments one, three and four the creative process depends on the spatial

arrangement in different ways: being alone in a free space open to the outside, or sitting in a circle, watching and listening to each other close-up, listening simultaneously to the same sounds and paying attention to the reactions of the musicians and of the audience. The participatory and sympathetic presence of a non-formal, non-prejudiced audience encourages and improves the “improvisation”. This belongs essentially to a certain way of making music. The setting, including the spatial conditions, cannot be separated from the results.

The setting of the musical performance may be a little model for what we describe as a “milieu”. It is based on “live” relationships: sitting close to one another, seeing each other's faces, and interacting. It may give rise to free relations, free processes, thanks to a mutual agreement, together with particular spatial features. It produces even a certain kind of responsibility: each person is made directly accountable for what she/he is doing -for the same reasons, this setting may produce incompatibility in a clear way.

An economic “milieu” is much more complex than a room. Let us think of a city or district. Economic milieus work not only face to face but also by means of distance-media like writing, phones, the Internet... These are intertwined in such a way as to form networks of relations with close-media, like workplaces or meeting places and their atmospheres, in continuous, iridescent metamorphic changes, as we shall see in the next paragraphs. However, the musical example illustrates an experience of space. We have to think of space not only in the modern geometrical and metric sense, but as a place of ethically defined relations. In the musical example, the relations between people, and between the latter and their setting, were different for each one of the four situations described. The different intentions, ethical attitudes, inclusions and exclusions, and hierarchies turned the same metric space into several different places. More in general, we have a space insofar we are included within it or excluded from it, welcome or rejected; insofar as we “make room” for others or reject them, establish hierarchies or avoid them.

In the next steps I will present some ideas regarding:

– the economy as an interand trans-medial territory of conflicts.

– a criticism of the European policies for creativity in the economy and the ideological use of the concept of creativity.

– a philosophical approach to the ambivalence of the notion of “creativity” and its applications.

 
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