Conformity, deformity and reformity

In any given field of artistic practice, practitioners position themselves—or find themselves positioned—according to interests and allegiances with spe- cific movements, genres, and traditions. Selecting particular frameworks through which to approach the development of new ideas, patterns and ex- pressions, balance is invariably maintained between the desire to contribute towards and connect with a particular set of domain conventions, whilst at the same time developing distinction and recognition as a creative individual. Creativity through the constraints of artistic domain, discipline and style pro- vides a basis for consideration of notions of originality in the context of activ- ity primarily associated with reconfiguration, manipulation and reorganisation of existing elements and ideas. Drawing from postmodern and post- structuralist perspectives in the analysis of modern hybrid art forms and the emergence of virtual creative environments, the transition from traditional artistic practice and notions of craft and creation, to creative spaces in which elements are manipulated, mutated, combined and distorted with often frivo- lous or subversive intent are considered. This chapter presents an educational and musically focused perspective of the relationship between the individual and domain-based creative practice. Drawing primarily from musical and audio-visual examples with particular interest in creative disruption of pre-existing elements, creative strategies of appropriation and recycling are explored in the context of music composition and production. Conclusions focus on the interpretation of creativity as essen- tially a process of recombination and manipulation and highlight how the relationship between artist and field of practice creates unique creative spaces through which new ideas emerge.

In any given field of artistic practice, practitioners position themselves—or find themselves positioned—according to interests and allegiances with spe- cific movements, genres, and traditions. Selecting particular frameworks through which to approach the development of new ideas, patterns and ex- pressions, balance is invariably maintained between the desire to contribute towards and connect with a particular set of domain conventions, whilst at the same time developing distinction and recognition as a creative individual. Creativity through the constraints of artistic domain, discipline and style pro- vides a basis for consideration of notions of originality in the context of activ- ity primarily associated with reconfiguration, manipulation and reorganisation of existing elements and ideas. Drawing from postmodern and post- structuralist perspectives in the analysis of modern hybrid art forms and the emergence of virtual creative environments, the transition from traditional artistic practice and notions of craft and creation, to creative spaces in which elements are manipulated, mutated, combined and distorted with often frivo- lous or subversive intent are considered.
This chapter presents an educational and musically focused perspective of the relationship between the individual and domain-based creative practice. Drawing primarily from musical and audio-visual examples with particular interest in creative disruption of pre-existing elements, creative strategies of appropriation and recycling are explored in the context of music composition and production. Conclusions focus on the interpretation of creativity as essen- tially a process of recombination and manipulation and highlight how the relationship between artist and field of practice creates unique creative spaces through which new ideas emerge.