COMMUNICATING IN PROFESSIONS AND ORGANIZATIONS series editor: Jonathan Crichton Communicating Creativity The Discursive Facilitation of Creative Activity in Arts Darryl Hocking Communicating in Professions and Organizations Series editor Jonathan Crichton University of South Australia Adelaide, SA, Australia This ground-breaking series is edited by Jonathan Crichton, Senior Lecturer in Applied Linguistics at the University of South Australia. It provides a venue for research on issues of language and communication that matter to profes- sionals, their clients and stakeholders. Books in the series explore the relevance and real world impact of communication research in professional practice and forge reciprocal links between researchers in applied linguistics/discourse analysis and practitioners from numerous professions, including healthcare, education, business and trade, law, media, science and technology. Central to this agenda, the series responds to contemporary challenges to professional practice that are bringing issues of language and commu- nication to the fore. These include: • The growing importance of communication as a form of professional expertise that needs to be made visible and developed as a resource for the professionals • Political, economic, technological and social changes that are trans- forming communicative practices in professions and organisations • Increasing mobility and diversity (geographical, technological, cul- tural, linguistic) of organisations, professionals and clients Books in the series combine up to date overviews of issues of language and communication relevant to the particular professional domain with original research that addresses these issues at relevant sites. The authors also explore the practical implications of this research for the professions/ organisations in question. We are actively commissioning projects for this series and welcome pro- posals from authors whose experience combines linguistic and professional expertise, from those who have long-standing knowledge of the profes- sional and organisational settings in which their books are located and joint editing/authorship by language researchers and professional practitioners. The series is designed for both academic and professional readers, for scholars and students in Applied Linguistics, Communication Studies and related fields, and for members of the professions and organisations whose practice is the focus of the series. More information about this series at http://www.springer.com/series/14904 Darryl Hocking Communicating Creativity The Discursive Facilitation of Creative Activity in Arts Darryl Hocking AUT University Auckland, New Zealand Communicating in Professions and Organizations ISBN 978-1-137-55803-9 ISBN 978-1-137-55804-6 (eBook) https://doi.org/10.1057/978-1-137-55804-6 Library of Congress Control Number: 2017949877 © The Editor(s) (if applicable) and The Author(s) 2018 The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and trans- mission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. Cover illustration: Paper Boat Creative / Getty Images Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Macmillan Publishers Ltd. The registered company address is: The Campus, 4 Crinan Street, London, N1 9XW, United Kingdom To Rose, Lucia, and Isaac To the dedicated and outstanding art and design educators and professionals who provided me with access to their practices In memory of Chris Candlin Contents 1 Creativity and Communication 1 2 I nvestigating Communication in Creative Practice 33 3 W ork 65 4 Agency 87 5 Motivation 111 6 Exploration 135 7 Ideas 173 8 Identity 207 vii viii Contents 9 Professional Practice 235 10 Conclusion 275 Appendix: Transcription Symbols for Extracts 297 Index 299 List of Figures Fig. 2.1 A model for a multi-perspectival analysis of discourse (adapted from Crichton 2004, 2010, and Candlin and Crichton 2011, 2012, 2013) 47 Fig. 2.2 The focal themes forming the organisational framework for the central chapters of this book 51 Fig. 5.1 Casual studio interaction 126 Fig. 5.2 Casual studio interaction 128 Fig. 7.1 An NVivo-generated model (NVivo qualitative data analysis software; QSR International Pty Ltd. Version 9, 2010) of the thematic coding of the words idea and ideas found in the student brief corpus and ethnographic data (participant interviews and interactions) 180 Fig. 8.1 Graphic design students in the studio 216 Fig. 8.2 Graphic design students in the studio 217 Fig. 8.3 Graphic design students in the studio 219 Fig. 8.4 Visual arts students in the studio 220 Fig. 8.5 Visual arts students in the studio 221 Fig. 9.1 Luke’s studio 254 Fig. 9.2 The layout of Carl’s design studio (not to scale) 268 ix List of Tables Table 1.1 Frequency of the abstract noun ‘creativity’ and its cognates in the nineteenth and twentieth centuries 12 Table 2.1 Data collected for the four perspectives for the analysis of the educational perspective 57 Table 3.1 The data analysed and methodological foci for each of the perspectives 68 Table 3.2 Top 20 keywords of student briefs from the educational context, when compared to a corpus of briefs from a professional context and the Wellington Corpus of Written English 69 Table 3.3 Examples of work used as a material process in the corpus of briefs from an educational context 71 Table 3.4 Work semantically related to quantity, production, and time 71 Table 3.5 Concordances with working, semantically related to the habit and routine of working 72 Table 4.1 The data analysed and methodological foci for each of the perspectives 89 Table 4.2 Combined keyness of the three brief corpora, using the Wellington Written Corpus as a reference corpus 91 Table 4.3 First 30 concordances (overall total = 81) with the collocation you will found in the student brief corpus 92 Table 5.1 The data analysed and methodological foci for each of the perspectives 114 xi