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 26: Authorship and collaborative creativity in new media art

Roanna Gonsalves and Janet Chan

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

Extract

The field of new media art is often interdisciplinary in nature, where art and science are inextricably intertwined. However, when artists and scientists collaborate to create new media art, a number of challenges arise, one of them being the issue of authorship. Controversies regarding authorship are not new. The American playwright Edward Albee is known to have waged numerous battles over many years in order to assert his authorial rights to his plays against non-writer collaborators such as directors, by making a clear distinction between the ‘creative act’ and the ‘interpretative act’ (Salter 2009, p. 2). Authorship disputes also occur frequently in relation to academic research publications, partly as a result of the ‘lack of clarity and openness about authorship’ (Rennie, Yank and Emanuel 1997). In creative collaborations, the interaction between collaborators can be so complex that the boundaries between authorship and non-authorship are blurred (Hughes and Lund 1994), and it is sometimes impossible to determine ‘who produced what’ (Stone and Thompson 2006, pp. 7–8).

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