Table of Contents

Handbook of Research on Creativity

Handbook of Research on Creativity

Elgar original reference

Edited by Kerry Thomas and Janet Chan

In this timely work, creativity is not defined by an ideal, rather it encompasses a range of theories, functions, characteristics, processes, products and practices that are associated with the generation of novel and useful outcomes suited to particular social, cultural and political contexts. Chapters present original research by international scholars from a wide range of disciplines including history, sociology, psychology, philosophy, cultural studies, education, economics and interdisciplinary studies. Their research investigates creativity in diverse fields including art, creative industries, aesthetics, design, new media, music, arts education, science, engineering and technology.

Chapter 19: Experimental research in the digital media arts

Tim Barker

Subjects: business and management, organisation studies, innovation and technology, innovation policy


When Gene Youngblood tells us that experimental art is meaningless, he is of course trying to draw our attention to the fact that all art is experimental, otherwise it is not art. Following Youngblood, creative practice might be thought of as an experiment, a process of bricolage, or of assemblage, where new relationships are able to be tested. From this perspective, experimental art could be meaningfully considered alongside experimental practices in science, and further, as a part of a larger ‘experimental culture’. This is, of course, not to say that experimental practice in science and art consists entirely of interchangeable methods and principles. Instead, we could position science and art within a culture of technological experimentation, where both disciplines converge in their use of new techniques and technologies to re-imagine our bodies, minds and the worlds that we live in.

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