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)NTRODUCTION 4IM)NGOLD

)NTHEDISTINGUISHED&RENCHBIOCHEMIST *ACQUES-ONOD PUBLISHEDALITTLE BOOKENTITLED#HANCEAND.ECESSITY!LONGWITHHISCOLLEAGUES!NDR¿,WOFF AND &RAN»OIS *ACOB -ONOD HAD BEEN AWARDED THE .OBEL 0RIZE IN  FOR GROUNDBREAKING WORK ON THE MECHANISMS OF GENETIC REPLICATION AND PROTEIN SYNTHESIS4HEBOOKAMOUNTEDTOAFORTHRIGHTDECLARATIONOFHISSCIENTIlCCREDO ANDOFTHEPOTENTIALOFTHEMOLECULARBIOLOGYHEHADHELPEDESTABLISHTOUNRAVEL ONCEANDFORALL THESECRETSOFLIFEANDITSEVOLUTION-ONODSPHILOSOPHYIS UNCOMPROMISINGLYMECHANISTICEVERYLIVINGCREATURE SOFARASHEISCONCERNED IS A CHEMICAL MACHINE WHOSE STRUCTURE AND PATTERNS OF BEHAVIOUR ARE FULLY DETERMINEDBYINTERACTIONSAMONGITSMOLECULARCONSTITUENTS PRINCIPALLYPROTEINS &UNDAMENTALLY ALLTHEINFORMATIONSPECIFYINGTHESECONSTITUENTSISENCODEDINTHE MATERIALSOFHEREDITYnTHATIS INSTRANDSOF$.!&ROMTHISITFOLLOWSTHATTHE GROWTHORDEVELOPMENTOFTHEORGANISMIS IN-ONODSWORDS @NOTACREATIONITIS AREVELATION-ONOD ORIGINALEMPHASES )TIS INOTHERWORDS NOMORE THANTHEREALIZATIONOFADESIGNTHATISALREADYTHERE ALBEITINTHEVIRTUALFORMOFA BLUEPRINTINSTALLEDATTHEPOINTOFINCEPTIONOFTHEORGANISM TO BE INDEPENDENTLY ANDINADVANCEOFITSLIFEINTHEWORLD "YTHESAMETOKEN CREATIVITYISEXCLUDEDFROMTHELIFE PROCESSITSELF4HE SOURCEOFALLCREATIONINTHEBIOSPHERE -ONODCLAIMS ISNOTLIFEBUTTHOSECHANCE EVENTS OFGENETICMUTATION THATALTERTHEDESIGNSPECIlCATIONSUNDERWRITINGTHE CONSTRUCTIONOFLIVINGTHINGS%VOLUTIONOCCURSPRECISELYBECAUSETHEMECHANISM OFREPLICATIONTHATOTHERWISEENSURESTHEHIGH lDELITYCOPYINGOFELEMENTSACROSS GENERATIONSDOESNOTWORKPERFECTLY)TISTHISINDETERMINACYTHATALLOWSFORTHE CREATIVEEMERGENCEOFNEWDESIGNS !CCORDINGTOMODERNTHEORY THEIDEAOF@REVELATIONAPPLIESTOEPIGENETICDEVELOPMENT BUTNOTOFCOURSETOEVOLUTIONARYEMERGENCE WHICH OWINGTOTHEFACTTHATITARISESFROM THEESSENTIALLYUNFORESEEABLE ISTHECREATOROFABSOLUTENEWNESS-ONOD

.OTALLADVOCATESOFTHESO CALLED@MODERNSYNTHESISOFNEO $ARWINIANEVOLUTION ARYTHEORYWEREQUITESOOUTSPOKEN/NEOFTHEMWAS4HEODOSIUS$OBZHANSKY #HANCE $OBZHANSKYARGUED MAYBETHESOURCEOFALLVARIATIONINTHEBIOSPHERE BUTITISNOT INITSELF THESOURCEOFALLCREATION%VOLUTIONOCCURSNOTBECAUSEOF n n

4IM)NGOLD VARIATIONSALONE BUTBECAUSETHESEVARIATIONSUNDERGOAPROCESSOFSELECTIONIN WHICHTHEYARETESTEDINMANIFOLDCOMBINATIONSANDRECOMBINATIONS4HERELATIVE VIABILITYOFTHESECOMBINATIONS UNDERSPECIlCENVIRONMENTALCONDITIONS THEN DETERMINESTHEFREQUENCYWITHWHICHTHEIRELEMENTSAREREPRESENTEDINFUTURE GENERATIONS4HUSTHECREATIVITYOFEVOLUTION FOR$OBZHANSKY LAYINWHATHE CALLEDTHE@ANTICHANCEFACTOROFSELECTION WORKINGONTHERAWMATERIALOFVARIATION SUPPLIEDBYCHANCE7HATARECREATED HOWEVER ARENOTLIVINGORGANISMS BUT RATHERDESIGNSFORLIFETHATARESUBSEQUENTLYREALIZEDINTHEFORMSWEACTUALLY OBSERVE@%VERYNEWFORMOFLIFETHATAPPEARSINEVOLUTION WRITES$OBZHANSKY @CAN WITHONLYMODERATESEMANTICLICENSE BEREGARDEDASANARTISTICEMBODIMENT OFANEWCONCEPTOFLIVING$OBZHANSKY  )RETURNBELOWTOTHEANALOGYBETWEENTHEORGANISMANDTHEWORKOFART7HAT MATTERSNOWISTHATFOR$OBZHANSKYASMUCHASFOR-ONOD LIFEISAMOVEMENT OFREVELATION ANDNOTOFCREATION)TISNOMORETHANTHEWRITINGOUTOFAGENETIC TEXTTHATHASBEENPRE COMPOSEDTHROUGHARESHUFmINGOFELEMENTS.ORWAS THISVIEWLIMITEDTOTHOSEWHOSEAPPROACHTOSCIENCEWASSIMILARLYREDUCTIONIST .OONECOULDHAVEBEENMOREOPPOSEDTOREDUCTIONISMTHAN'REGORY"ATESON YETINHIS-INDAND.ATURE"ATESONCOMPARESTHEPROCESSOFEPIGENESISnTHAT IS THEEMERGENCEOFTHEFORMOFANORGANISMTHROUGHITSLIFEINTHEWORLDnTO @THEDEVELOPMENTOFACOMPLEXTAUTOLOGYINWHICHNOTHINGISADDEDAFTERTHE AXIOMSANDDElNITIONSHAVEBEENLAIDDOWN"ATESON (EGOESONTO SETUPARADICALOPPOSITIONBETWEEN ONTHEONEHAND EPIGENESISANDTAUTOLOGY ANDONTHEOTHER ART LEARNINGANDEVOLUTION7HEREASTHEFORMERENTAILAWORKING OUT ORUNFOLDING OFWHATISALREADYGIVEN THELATTERCOMPRISE@THEWHOLEREALM OFCREATIVITYINWHICHTHEONGOINGPROCESSESOFCHANGEFEEDONTHERANDOM IBID ORIGINALEMPHASIS 4HUSINARTASINLIFE THECREATIVEELEMENTLIESINTHE SHEERNOVELTYOFTHECONCEPTION NOTINITSSUBSEQUENTREALIZATION9ETJUSTASIN EVOLUTION EVERYNEWDESIGNEMERGESTHROUGHTHERECOMBINATIONOFELEMENTS SO INTHOUGHT ACCORDINGTO"ATESON @THEGENESISOFNEWNOTIONSISALMOSTTOTALLY DEPENDENTUPONRESHUFmINGANDRECOMBININGIDEASWEALREADYHAVEIBID  ,EARNINGISLIKEEVOLUTIONINTHATTHETESTINGOFTHESEIDEAS INDIFFERENT COMBINATIONS AFFECTSTHEPROBABILITYOFTHEIRRECURRENCE 4HISCOMBINATORYVIEWOFCREATIVITY ASTHEENDLESSGENERATIONOFlRST TIME NOVELTIESTHROUGHTHEREARRANGEMENTOFELEMENTS"ODEN ISDEEPLY EMBEDDEDNOTONLYINBIOLOGYANDPSYCHOLOGYBUTINMANYOTHERlELDSOFACADEMIC DISCOURSEASWELL NOTLEASTINANTHROPOLOGY&RIEDMANn &OREXAMPLE ITUNDERLIES,¿VI 3TRAUSSSCELEBRATEDNOTIONOFTHECREATIVEMINDASABRICOLEUR THATISFOREVERENGAGEDINTHENOVELASSEMBLYOFSTRUCTURESOFTHOUGHTOUTOFTHE BITSANDPIECESOFOLDONES!NDINLINGUISTICS ITREAPPEARSIN#HOMSKYSNOTION OF@RULE GOVERNEDCREATIVITYASTHECAPACITYTOCONSTRUCTANINlNITEVARIETYOF COMPREHENSIBLEEXPRESSIONSFROMAlNITEREPERTOIREOFLEXICALITEMS,¿VI 3TRAUSS n n

0ART )NTRODUCTION #HOMSKYn 9ETTHISVIEWHASALWAYSEXISTEDSIDEBYSIDE WITHANOTHER LESSMAINSTREAMPERHAPS WHICHWOULDDENYTHATTHEREISANYTHING INTRINSICALLY CREATIVE ABOUT THE RECOMBINATORY GENERATION OF NOVELTY )N HIS 3CIENCEANDTHE-ODERN7ORLD lRSTPUBLISHEDIN THEPHILOSOPHER!LFRED .ORTH7HITEHEADINSISTEDTHATTHECREATIVITYOFTHEEVOLUTIONARYPROCESSWASTOBE FOUNDINSOMETHINGOTHERTHANTHEMECHANISMOFVARIATIONUNDERNATURALSELECTION 7HITEHEAD;=n &ORTHEWORLDWEINHABITISNOTMADEUPOF STATICANDDISCRETEBITSANDPIECESTHATMAYBECONNECTEDUPINMYRIADWAYSINTO EVER CHANGINGPATTERNS)TISRATHERAMOVEMENT ORmOW INWHICHEVERYELEMENT WEMIGHTIDENTIFYISBUTAMOMENT#REATIVITY FOR7HITEHEAD LAYINTHATVERY MOVEMENTOFBECOMINGBYWHICHTHEWORLD ASITUNFOLDS CONTINUALLYSURPASSES ITSELF7HITEHEADSTERMFORTHISUNFOLDINGWAS@CONCRESCENCE)NGOLD CF7HITEHEAD  )TWASINTHEPHILOSOPHYOF(ENRI"ERGSONnWHICH-ONODWOULDLATERDISMISS AS@ALMOSTCOMPLETELYDISCREDITED-ONOD nTHAT7HITEHEADFOUND INSPIRATION)NHIS#REATIVE%VOLUTIONOF "ERGSONHADBEENQUITEEXPLICIT INREPUDIATINGTHECREATIVITYOFTHEKINDOFINVENTIONTHATPROCEEDS@BYANEW ARRANGEMENTOFELEMENTSALREADYKNOWN"ERGSON 4HUSANEVOLUTIONARY MECHANISMTHATWORKEDINTHISWAY THROUGHMUTATIONANDRECOMBINATION ALTHOUGH ITMIGHTGENERATEANEVER CHANGEFULSEQUENCEOFNON RECURRENTPATTERNS WOULDNOT INITSELFBECREATIVE4OTHECONTRARY THECREATIVITYOFEVOLUTION FOR"ERGSON LAY PRECISELYINTHELIFEPROCESSITSELFnTHATIS INTHEVERYPROCESSTHATWRITERSLIKE -ONOD $OBZHANSKYAND"ATESONREGARDEDASREVELATORYOREXPRESSIVERATHER THANCREATIVE4OHIGHLIGHTTHECONTRASTBETWEENTHESETWOVIEWSOFCREATIVITY WECANRETURNTOTHEANALOGYBETWEENTHELIVINGORGANISMANDTHEWORKOFART &ORAS"ERGSONINSISTED THEARTISTSINVENTIONISINSEPARABLEFROMTHEPROGRESS OFHISWORK)FHEISPAINTINGAPICTURE THEPICTUREISNOTALREADYCREATEDBEFORE THEPAINTINGBEGINS4HISISWHATMAKESPAINTINGDIFFERENTFROMSOLVINGAJIGSAW PUZZLE7ITHTHEPUZZLETHERESULTISALREADYGIVEN@TOOBTAINITREQUIRESONLYA WORKOFRECOMPOSINGANDREARRANGINGnAWORKTHATCANBESUPPOSEDGOINGFASTER ANDFASTER ANDEVENINlNITELYFAST UPTOTHEPOINTOFBEINGINSTANTANEOUS7ITH PAINTING BYCONTRAST THETIMETAKENUPBYTHEINVENTIONISONEWITHTHEINVENTIONITSELF)TISTHEPROGRESSOFA THOUGHTWHICHISCHANGINGINTHEDEGREEANDMEASURETHATITISTAKINGFORM)TISAVITAL PROCESS SOMETHINGLIKETHERIPENINGOFANIDEA"ERGSONn

4HUS THE MOVEMENT OF CONSCIOUSNESS IN THE PAINTERS WORK IS CREATIVE IN BRINGINGFORTHTHEIDEAITEMBODIESITDOESNOTMERELYGIVEOUTWARDEXPRESSION TOACONCEPTIONTHATHASSPRUNGREADY FORMEDTOHISMIND)NJUSTTHESAMEWAY THELIFEOFTHEORGANISMISGENERATIVEOFFORMRATHERTHANMERELYTHEREVELATIONOF PRE EXISTINGDESIGN n n

4IM)NGOLD !CREATIVITYTHATISINHERENTINTHEmOWOFLIFEORCONSCIOUSNESS HOWEVER IS CONTINUOUSRATHERTHANPUNCTUAL)TCANNOTBECOLLAPSEDINTOASEQUENCEOFONE OFF EVENTSORNOVELTIES NORCANITBERECONSTRUCTEDBYJOININGTHEMUP4HEARTISTS INVENTION INTHISVIEW DOESNOTENDWITHTHECOMPLETIONOFHISWORK ANYMORE THANITBEGANWITHAPRECONCEIVEDIDEAOFITSlNALFORM)TISNOT INOTHERWORDS ENCOMPASSEDWITHINTHEBOUNDSOFANYSPECIFICPROJECT2ATHER EVERYWORK ENCAPSULATESTHEMOVEMENTTHATBROUGHTITFORTH ANDISINTURNENCAPSULATEDIN THEMATURATIONOFWHATFOLLOWS,IKEWISETHELIFEOFTHEORGANISMISNOTSIMPLY EXPENDEDINTHETRANSLATIONOFANINITIAL GENETICALLYENCODEDDESIGNINTOAMATERIAL END PRODUCT)FWEASKWHATORGANISMSANDPERSONSCREATE THEANSWERMUST BETHATTHEYCREATEONEANOTHERANDTHEMSELVES PLAYINGTHEIRPARTINTHENEVER ENDINGANDNON SPECIlCPROJECTOFKEEPINGLIFEGOING@&ORACONSCIOUSBEING AS"ERGSONREASONED @TOEXISTISTOCHANGE TOCHANGEISTOMATURE TOMATUREIS TOGOONCREATINGONESELFENDLESSLY3HOULDNOTTHESAMEBESAIDOFEXISTENCEIN GENERAL"ERGSON 4OANSWER"ERGSONSQUESTIONINTHEAFlRMATIVEISTO ACKNOWLEDGETHATWHILENOARTISTISIMMORTAL ANDWHILEEVERYCREATUREDIESINTHE END THEPROCESSOFLIFENEVERTHELESSGOESONINAWORLDTHATHASBEENUNALTERABLY AFFECTEDBYTHEIRPRESENCE )HAVEDWELTONTHECONTRASTBETWEENTHESETWOVIEWSOFCREATIVITYSINCE)BELIEVE ITACCOUNTSFORMANYOFTHETENSIONSTHATCOMETOLIGHTINTHETHREECHAPTERSTHAT FOLLOW)NHISDISCUSSIONOFTHEKōLAMnBEAUTIFULPATTERNSOFINTERWOVENLINES TRADITIONALLYDRAWNBY4AMILWOMENINSOUTHERN)NDIATOCLEANSEANDPROTECT THEIRHOMESANDTEMPLESn!MAR-ALLNOTESTHECONCERNOFMANYSCHOLARSTHATTHE WIDESPREADPUBLICATIONOFPATTERNBOOKSWILLTHWARTLOCALCREATIVITY ENCOURAGING WOMENTOCOPYEXISTINGPATTERNSRATHERTHANINVENTTHEIROWN4HESEBOOKS HOWEVER REPRODUCE READY MADE PATTERNS AND SAY LITTLE OR NOTHING ABOUT THE TECHNIQUESINVOLVEDINFORMINGTHEM4HEPERCEPTIONTHATCOPYINGISINIMICAL TOTHEEXERCISEOFTHECREATIVEIMAGINATIONBETRAYSANAPPROACHTOCREATIVITYTHAT SEESINTECHNIQUENOTHINGMORETHANTHEREVELATIONORTRANSCRIPTIONOFADESIGN THATALREADYSTANDSFULLYFORMEDBEFORETHEPRACTITIONERSMIND)FONEFOLLOWSTHIS APPROACH THENTECHNIQUEBECOMESIRRELEVANTTOTHEEXPLANATIONOFFORMORPATTERN SINCEITADDSNOTHINGTOWHATHASBEENLAIDDOWNFROMTHESTART$RAWINGAKōLAM TORECALL"ATESONSANALOGY WOULDBEEQUIVALENTTOTHEDEVELOPMENTOFACOMPLEX TAUTOLOGY"UTAS-ALLSHOWS ITISVERYFARFROMTHECASE ESPECIALLYWITHMORE CONVOLUTEDPATTERNS THATTHEDESIGNPRECEDESITSEXECUTION)TRATHERDEVELOPSOR MATURESASTHEWORKPROCEEDS SOTHATTHElNALFORMOFTHEPATTERNONLYEMERGES WHENITISVIRTUALLYCOMPLETEnWHENTHEMEANDERINGLINEKAMPI HAVINGMADE ANYNUMBEROFPOSSIBLYUNANTICIPATEDTWISTSANDTURNS EVENTUALLYlNDSITSWAY HOME ORATLEASTWHENJOURNEYSENDISINSIGHT/NLYTHEN ASKōLAM MAKERSSAY HASTHEPATTERN@COMEORBEEN@BROUGHTBACKTOITSSTARTINGPOINT SOASTOFORMA n n

0ART )NTRODUCTION CLOSEDLOOPTHATHASNEITHERBEGINNINGNOREND!NDTHEPRACTITIONERMAYBEBOTH SURPRISEDANDDELIGHTEDBYTHERESULTSURPRISED SINCEITMAYBEFARFROMWHATWAS EXPECTEDDELIGHTED BECAUSETHEINNOVATIONHASCOMEOUTOFTHEWORKITSELF 4HECAPACITYOFTHEKAMPIKōLAMPATTERNSnASINDEEDOFTHEIRMAKERSnTO@GOON CREATINGTHEMSELVESENDLESSLYTOBORROW"ERGSONSWORDS ISEVENMORESTRIKING BYCONTRASTTOKōLAMDIFFERENTSORT INWHICHTHELINESCONNECTlXEDPOINTSRATHER THANWEAVINGAROUNDTHEM SOASTOREVEALASTRUCTURETHAT RATHERLIKEINA@JOIN THE DOTSPUZZLE ISALREADYGIVENINADVANCEOFITSEXECUTION7HEREASITMIGHTBE SAIDOFTHEMAKEROFAKAMPIKōLAM INTHEMEMORABLEPHRASEOFTHEPAINTER0AUL +LEE THATHERLINE@GOESOUTFORAWALK ALWAYSDEVELOPINGASITGOES INKōLAMOFTHISOTHERSORTEVERYCONSTITUENTLINEISPRECONCEIVEDASALINKBETWEEN POINTSEVENBEFOREITISMARKEDOUTONTHEGROUND4HESELINESAREINmEXIBLE OF lNITELENGTH ANDSTATICRATHERTHANDYNAMIC WELDINGTHEPOINTSTHEYCONNECTINTO ARIGIDASSEMBLY4HECONTRASTBETWEENTHESETWOSPECIESOFKōLAM ANDTHEKINDS OFLINEINVOLVEDINEACH ISCLEARLYRECOGNIZEDBYPRACTITIONERS-OREOVERAQUITE DIFFERENTSENSEOFINNOVATIONISENTAILEDINEACHCASE4OCREATEANEWASSEMBLY MEANSSHATTERINGTHEORIGINALCONNECTIONSBETWEENITSELEMENTSANDRECONNECTING ORRECOMBININGTHEMINNOVELCONlGURATIONS INTHEMANNEROFTHEBRICOLEUR4HE MAKERSOFKAMPIKōLAM HOWEVER lNDTHEIRWAYASTHEYGOALONG SOTHATTHE NOVELTYOFTHEIRPATTERNSISAPPARENTONLYWHENTHEYHAVElNALLYARRIVEDRATHER THANPRIORTOSETTINGOUT )TWOULDBEAGREATMISTAKE THEN TOREGARDEVERYSORTOFPATTERNASTHEREALIZA TIONOFAPREFORMEDCOGNITIVEASSEMBLY ORASTHEEMBODIMENTOFA@CONCEPTION THATHASLODGEDITSELFINTHEMAKERSMIND!NDFORTHESAMEREASON ITWOULDBE WRONGTOSUPPOSETHATTHEPATTERNNECESSARILYAPPEARSTOTHOSEWHOCOMEACROSSIT ASANINTELLECTUALPUZZLETOBESOLVED4HIS FOREXAMPLE ISHOW!LFRED'ELL INHIS STUDYOFCOMPLEXPATTERN UNDERSTANDSTHEKōLAM)TISA@MIND TRAP'ELL  THATENSNARESANYONEnINCLUDING INTHISCASE POTENTIALLYMALEVOLENTDEMONS nWHOWOULDATTEMPTTOlGUREOUTTHEGENERATIVEPRINCIPLESOFITSCONSTRUCTION ORTOUNPACKTHETAUTOLOGYITREPRESENTS9ETWHATSURELYDISTINGUISHESTHEKAMPI KōLAMFROMKōLAMOFOTHERKINDSISNOTADIFFERENCEOFDEGREEOFCOMPLEXITY AS'ELL SUGGESTS BUTONEOFKIND CORRESPONDINGQUITEPRECISELYTO"ERGSONSDISTINCTION BETWEENPAINTINGANDPUZZLE MAKING!S"ERGSONSAIDOFTHEWORKOFART SO ONECOULDALSOSAYOFTHEKAMPIKōLAM THATIT@EMBODIESTHEPROCESSOFTHINKING RATHERTHANTHEDETACHEDTHOUGHT ACONSCIOUSNESSRATHERTHANACONCEPTION LIFE ITSELFRATHERTHANAWAYOFLIVING)NGOLD 4HEMEANINGOFTHEPATTERN THEREFORE CANBEGRASPEDONLYBYANINTUITIONTHATENTERSINTOIT ORTHATFOLLOWSITS TRAILS RATHERTHANBYANINTELLECTTHAT INCONTEMPLATINGTHElNISHEDWORK ATTEMPTS TORECONSTRUCTTHEPUZZLEFROMITSSOLUTION -UCHTHESAMECONCLUSIONCANBEDRAWNFROM&UYUBI.AKAMURASSTUDYOF CONTEMPORARY*APANESECALLIGRAPHICART)NDEEDTHELINESOFTHEKAMPIKōLAMAND n n

4IM)NGOLD THOSEOFCALLIGRAPHYHAVEMUCHINCOMMON)NBOTHCASESTHEYlNDTHEIROWNWAY mEXIBLYANDORGANICALLY RATHERTHANCONNECTINGlXEDPOINTS)NBOTH TOO THEYARE LEARNEDANDREMEMBEREDASRHYTHMICGESTURES7HILETHESEGESTURESLEAVETHEIR TRACESINTHELINESWESEE ITISTHANKSTOTHEIRVERYRHYTHMICITYTHATTHESETRACES AREWOVENINTORECOGNIZABLEPATTERNS2HYTHMS AS!NDR¿,EROI 'OURHANHAS OBSERVED AREINTHISSENSE@THECREATORSOFFORMS,EROI 'OURHAN  4HUSTHECALLIGRAPHICLINEIS@READBYRELIVINGTHEGESTURALMOVEMENTTHATGAVE RISETOIT RATHERTHANBYCONTEMPLATINGITSlNALFORMANDSEEKINGTOEXTRAPOLATETO SOMECONCEPTOFWHICHITMIGHTBESUPPOSEDTOBETHEEXPRESSION!GAIN THESAME ISTRUEOFTHELINEOFTHEKAMPIKōLAM"OTH INTHISSENSE CANBECOMPAREDINTHEIR PERFORMANCETOMUSICORDANCECF'ELL !S.AKAMURASHOWS ONECAN NEVERGRASPTHEMEANINGOFCALLIGRAPHYSIMPLYBYLOOKINGATITANDWONDERING WHATITMIGHTEXPRESSORREVEAL/NEHASTOENTERINTOITANDTOJOININTHEPROCESS OFITSPRODUCTIONnINOTHERWORDS TOBEREUNITEDWITHTHECALLIGRAPHERINHISORHER @INKEDTRACESSEEALSO9ENn 9ETTOBEABLETODOTHAT ONEMUSTHAVE SOMEKNOWLEDGEOFCALLIGRAPHYSHISTORYANDTECHNIQUES -OREOVER WHILETHECONVENTIONSOFTHEARTWORLDMIGHTLEADUSTOSPEAKOF CALLIGRAPHIC@WORKS NOWORKISEVERlNISHED)TCANNOTBECONTAINEDWITHINTHE BOUNDSOFAPROJECTTHATORIGINATESWITHACONCEPTIONANDISFULlLLEDINITSMATERIAL EXPRESSION4HEWORKMIGHTRATHERBECOMPAREDTOANEVER ENDINGSTORYWHOSE EVERYTELLINGISSHAPEDBYPREVIOUSRELATIONSANDGOESONTOSHAPESUBSEQUENT ONES)NTHISSENSE ITEVOLVESTHROUGHTIMEITHASNODETERMINATEPOINTOFORIGIN NORANYlNALDESTINATION&ARFROMYIELDINGACONCRETEANDOBJECTIlEDEND PRODUCT EVERYPERFORMANCEISJUSTONEMOMENTINTHEWORKSCONCRESCENCEnITSONGOING GENERATION4HISIDEAISREINFORCEDBYAMETHODOFLEARNINGINWHICH THROUGH REPETITIVEPRACTICEINCOPYINGORIMITATINGPREVIOUSORCLASSICEXEMPLARS NOVICES INCORPORATETHEMOVEMENTSANDSENSIBILITIESOFTHEMASTERSINTOTHEIROWNBODILY COMPORTMENT ONLYTOSURPASSTHEMINTHEDEVELOPMENTOFTHEIROWNPERSONAL STYLE!TNOPOINT HOWEVER DOTHEYCEASETOCOPY&OREVERYORIGINALISACOPY INTHATITISMODELLEDONPREVIOUSSTUDIES ANDEVERYCOPYISANORIGINALINTHATIT CANBECOMEAMODELFORTHOSEWHOFOLLOW4HEREISNOTHINGCREATIVE FOR*APANESE CALLIGRAPHERS ABOUTTHEPRODUCTIONOFNOVELTYFORITSOWNSAKE7HATISOBSERVED INCALLIGRAPHY ACCORDINGTO.AKAMURA ISACREATIVITYOFADIFFERENTKINDONETHAT ISNOTOPPOSEDTOIMITATIONASTHEORIGINALISTOTHECOPY BUTTHATlNDSINIMITATION THEVERYIMPETUSTHATKEEPSAWORKALIVE ALLOWINGITTOGROWANDmOURISH *AMES,EACH INTHElNALCHAPTEROFTHISPART SHOWSHOWIMITATIONANDCREATIVITY WHICHTHE*APANESECRITIC+OBAYASHI(IDEOHASDESCRIBEDAS@MOTHERAND@CHILD CAMETOBEPRISEDAPARTINTHEHISTORYOFMODERNITY TOTHEPOINTATWHICHTHEYNOW APPEARRADICALLYOPPOSEDONEITHERSIDEOFAMASTERDICHOTOMYBETWEENSUBJECT ANDOBJECT INTELLECTUALFREEDOMANDMECHANICALNECESSITYSEEALSO)NGOLD  )TISTHISTHATHASLEDTOTHEEMERGENCEOFANOTIONOFCREATIVEARTORINVENTION n n

0ART )NTRODUCTION ASTHESPONTANEOUSPRODUCTIONOFNOVELTY FEEDINGONTHERANDOMRECOMBINATION OFEXPERIENCESORELEMENTSOFDESIGN!NDBYTHESAMETOKEN ITHASREDUCEDTHE PROCESSOFIMITATIVELEARNINGORCOPYINGTOTHEMEREREPLICATIONOFTHESEELEMENTS INAMANNERANALOGOUSTOGENETICREPLICATION)NTHISVIEW THEPRACTICEOFIMITATION AMOUNTSTONOMORETHANRUNNINGOFFIDENTICALCOPIESFROMATEMPLATEORSCHEMA THATHASALREADYBEEN@DOWNLOADEDINTOTHENOVICESMIND4HISISNOT HOWEVER THEWAYNOVICECALLIGRAPHERSLEARNTHEIRART4HEYDOSO RATHER BYFOLLOWINGIN THEFOOTSTEPSOFPREDECESSORS ALONGTHESAMEORSIMILARTRAILS.OVICESARETHEREBY ENABLEDTOGROWINTOTHEKNOWLEDGEANDSKILLSOFTHEMASTERS INTHEVERYPROCESS OFFORMINGTHEIROWN4HEWISDOMTOWHICHTHEYASPIRE FARFROMHAVINGBEEN TRANSMITTEDATTHEOUTSET LIESATTHEENDOFTHEJOURNEYnALBEITATAHORIZONTHEY CANAPPROACHBUTNEVERREACH 4HISISWHY AS*EROME"RUNER HASPOINTEDOUT THERECANBENO DISTINCTIONINPRACTICEBETWEENLEARNINGCULTUREANDRE CREATINGCULTURE SINCE THECONTEXTSOFLEARNINGARETHEVERYCRUCIBLESFROMWHICHTHECULTURALPROCESS UNFOLDS)NTHISPROCESS KNOWLEDGEISNOTSOMUCHREPLICATEDASREPRODUCED nTHATIS @PRODUCEDANEW ASTHECRYSTALLISATIONOFCONCRETE SITUATEDACTIVITY )NGOLDONTHISDISTINCTION SEE*ABLONKA 4HOUGHAPIECEOF MUSICISREPLICATEDEACHTIMEITISPLAYEDFROMADISK ITISREPRODUCEDEACHTIME ITISPERFORMEDWITHANINSTRUMENT!KAMPIKōLAM AS-ALLSHOWS ISLIKEWISE REPRODUCEDORCREATEDANEWEVERYTIMEITISCOPIED!NDSO TOO ISACALLIGRAPHIC EXEMPLAREVERYTIMEITISPERFORMEDWITHTHEBRUSH.OPERFORMANCECANBE REPEATED YETASAWORKCOMPRISESTHEACCUMULATINGTRAILOFITSPERFORMANCES nEACHONECOPYINGTHECOPYOFACOPYnEVERYPERFORMANCEBECOMESPARTAND PARCELOFTHEEVER EVOLVINGWORK#ONTEMPORARYCALLIGRAPHERS HOWEVER ARETORN BETWEENTHISUNDERSTANDINGOFTHEIRARTANDTHEDEMANDSOFANARTWORLDTHATLAYS ALLTHEEMPHASISONTHEORIGINALITYANDCREATIVEAGENCYOFTHEINDIVIDUALARTIST)N THISMODERNISTCONCEPTION EVERYTRACEONPAPERISAUNIQUEANDlNISHED@WORK WHICHMAYBELINKEDTOTHEAGENCYTHATPRODUCEDITASOBJECTTOSUBJECT )NHISCHAPTER ,EACHSPELLSOUTTHEHISTORYOFIDEASTHATLEDTOTHISISOLATIONOF HUMANSUBJECTSVIS · VISONEANOTHERANDTHEIROBJECTIVEPRODUCTIONS(ESHOWS HOWTHECONNECTIONSBETWEENSUBJECTSANDOBJECTSCAMETOBEEPITOMIZEDIN THEIDEAOFPROPERTY ANDHOWTHESECONNECTIONSWEREGUARANTEEDANDENFORCED THROUGHTHEELABORATIONOFPROPERTYRIGHTS)NTHISWORLDOFSUBJECTSANDOBJECTS OR PERSONSANDTHINGS CULTUREITSELFBECOMESAPROJECTWHEREBYHUMANITYINSCRIBES ITSPRECONCEIVEDDESIGNSUPONAMATERIALSUBSTRATE!TTHECENTREOFTHISSTORYOF THEEMERGENCEOFPOSSESSIVEINDIVIDUALISMSTANDSTHEMAGISTERIALlGUREOF*OHN ,OCKE ONEOFTHEFOUNDINGFATHERSOFTHE%UROPEAN%NLIGHTENMENT&OR,OCKE PROPERTYBEGINSATTHEPOINTWHEREHUMANSUBJECTSMIXTHEIRLABOURWITHTHERAW MATERIALSOFNATURE IMPREGNATINGTHETHINGSTHEYlNDTHEREWITHTHEIROWNCREATIVE AGENCYANDCAUSINGTHEMTOBEARFRUITCF'UDEMANn 4HUSINTILLING n n

4IM)NGOLD THESOIL INCULTIVATION THEYMIXTHEIRLABOURWITHTHELAND!NDINTHEMEASURE THATTHEYTRANSFORMTHELAND ANDESTABLISHCONTROLOVERIT THEYALSOTRANSFORM THEMSELVESINTHECOLLECTIVEHUMANPROJECTOFCULTURE BUILDINGORCIVILIZATION .OWASITTURNSOUT CALLIGRAPHERS ACCORDINGTO.AKAMURA ALSOSPEAKOFMIXING "UTTHEMIXISNOTJUSTOFTHEIRLABOURWITHTHEMATERIALS BUTOFTHEMATERIALS THEMSELVES PRINCIPALLYPAPER INKANDINK STONE!STHE@ACTIVEINGREDIENT THE INKISSAIDTOMIXWITHTHEPAPERnINWAYSTHATARENEVERENTIRELYPREDICTABLE nTOYIELDANOUTCOME)TSEEMSASTHOUGHTHEAGENCYOF@THINGSTHEMATERIALS SUPPLIEDBYNATURE HASATLEASTPARTIALLYTAKENOVERFROMTHEAGENCYOFTHE@PERSON THECALLIGRAPHERANDHISTECHNIQUES SOTHATTHEOUTCOMEISACONSEQUENCEOF THEINTERACTIONBETWEENTHETWO3IGNIlCANTLY THISTHEMEOFTHEDISPLACEMENTOF AGENCYRUNSTHROUGHALLTHREECHAPTERSINTHISPART)NTHECASEOFTHEKōLAM -ALL CONTENDSTHATAGENCYISTOSOMEDEGREEDISPLACEDFROMTHEPRACTITIONERTOTHE PATTERN SOTHATTHEOUTCOMEMAYSURPASSORCONFOUNDHERORIGINALINTENTION!ND OFTHEVILLAGERSOF2EITE ONTHE2AI#OASTOF0APUA.EW'UINEA ,EACHARGUES THATINTHECREATIONOFKNOWLEDGE AGENCYISDISPLACEDFROMTHEPEOPLETOTHELAND INWHICHTHEYLIVE4HEGROUND VILLAGERSSAY GIVESPEOPLEKNOWLEDGE "UTTHEIMPLICATIONSOF,EACHSARGUMENTAREMOREPROFOUND&ORTHELANDTHAT 2EITEPEOPLEINHABIT CONTRARYTOTHEIMAGINATIONOF,OCKEANDHISINTELLECTUAL SUCCESSORS ISNOTFILLEDWITHCONCRETEENTITIESTHATHAVE ASITWERE ALREADY CRYSTALLIZED FROM THE FLOWS AND CIRCULATIONS OF SUBSTANCE IN WHICH THEY ARE FORMED4HEIRWORLDISRATHERCONCRESCENT IN7HITEHEADSSENSE UNDERGOING CONTINUALFORMATION)NSUCHAWORLD CREATIVEAGENCYRESIDESNEITHERINPERSONS NORINTHINGS NOREVENINPERSONSANDTHINGS)NDEEDITISNOT AS'ELL  WOULDHAVEIT ANINTERNALPROPERTYTHATRESIDESATALL ORTHATEITHERPERSONS ORTHINGSPOSSESS WHENCEITCAUSES@EFFECTSINTHEIRVICINITY!TTEMPTSTOMOVE BEYONDTHEMODERNISTPOLARIZATIONOFSUBJECTANDOBJECT ORTHEMENTALANDTHE MATERIAL INTERMSOFALANGUAGEOFAGENCYTHATREMAINSTRAPPEDINTHESEVERY SAMECATEGORIES AREBOUNDTOLEADTOCONTRADICTIONANDCONFUSION#ONTEMPORARY ANTHROPOLOGY AS'ELLSWORKEXEMPLIlES ISINTHETHICKOFIT0ERHAPS INSTEAD OFCLAIMINGTHATENTITIESPOSSESSANAGENCYTHATCAUSESTHEMTOACT WESHOULD ACKNOWLEDGETHATAGENCY@POSSESSESTHEENTITIESTHATnLIKEEDDIESOFDUSTRAISED BYTHEWIND TOADOPT"ERGSONS METAPHORnARECAUGHTUPINIT 4HISAGENCYCOULDBENONEOTHERTHANTHEGENERATIVEmUXOFTHEWORLDITSELFIN ITSCONTINUALCONCRESCENCE FROMWHICHPERSONSANDTHINGSEMERGEANDTAKETHE FORMSTHEYDOFORTHEDURATIONOFTHEIREXISTENCE4HUSTHEKōLAMISTHEOUTLINE OFAMOVEMENTTHATISASMUCHCREATIVEOFTHEPRACTITIONERASOFTHEPATTERN THE CALLIGRAPHICTRACECAPTURESTHEMOMENTARYCONmUENCEOFHAIR SOOTANDMORNING DEWINTHESWEEPOFABRUSH ANDnIN2EITEnANEWSONGCOMESTOAMANTHROUGH HISSUSCEPTIBILITYTOTHEGENERATIVEPOWEROFTHEGROUNDINAPARTICULARPLACE-ORE GENERALLY WHATTHESECHAPTERSSHOWISTHATHUMANSDONOT THROUGHTHEIRCREATIVE n n

0ART )NTRODUCTION INTERVENTIONS TRANSFORMTHEWORLDFROMWITHOUT BUTRATHERnBELONGINGWITHINIT nPLAYTHEIRPARTINTHEWORLDSCREATIVETRANSFORMATIONOFITSELF

2EFERENCES "ATESON ' -INDAND.ATURE ,ONDON&ONTANA "ERGSON ( #REATIVE%VOLUTIONTRANS!-ITCHELL ,ONDON-ACMILLAN "ODEN -! 4HE#REATIVE-IND ,ONDON7EIDENFELDAND.ICOLSON "RUNER *3 !CTUAL-INDS 0OSSIBLE7ORLDS #AMBRIDGE -ASS(ARVARD 5NIVERSITY0RESS #HOMSKY . #URRENT)SSUESIN,INGUISTIC4HEORY 4HE(AGUE-OUTON $OBZHANSKY 4  @#HANCE AND CREATIVITY IN EVOLUTION IN &*!YALA AND4$OBZHANSKY EDS 3TUDIES IN THE 0HILOSOPHY OF "IOLOGY ,ONDON -ACMILLAN &RIEDMAN * @4HEIRONCAGEOFCREATIVITYANEXPLORATION IN*,IEPED ,OCATING#ULTURAL#REATIVITY ,ONDON0LUTO0RESS 'ELL ! !RTAND!GENCY!N!NTHROPOLOGICAL4HEORY /XFORD#LARENDON 0RESS 'UDEMAN 3 %CONOMICSAS#ULTURE-ODELSAND-ETAPHORSOF,IVELIHOOD ,ONDON2OUTLEDGEAND+EGAN0AUL )NGOLD 4 %VOLUTIONAND3OCIAL,IFE #AMBRIDGE#AMBRIDGE5NIVERSITY 0RESS ˆˆ 4HE0ERCEPTIONOFTHE%NVIRONMENT%SSAYSON,IVELIHOOD $WELLING AND3KILL ,ONDON2OUTLEDGE ˆˆ @"ETWEENEVOLUTIONANDHISTORY"IOLOGY CULTURE ANDTHEMYTHOF HUMANORIGINS IN-7HEELER *:IMANAND-!"ODENEDS 4HE%VOLUTION OF#ULTURAL%NTITIES /XFORD/XFORD5NIVERSITY0RESS *ABLONKA %  @,AMARCKIAN INHERITANCE SYSTEMS IN BIOLOGY A SOURCE OF METAPHORS AND MODELS IN TECHNOLOGICAL EVOLUTION IN * :IMAN ED 4ECHNOLOGICAL)NNOVATIONASAN%VOLUTIONARY0ROCESS #AMBRIDGE#AMBRIDGE 5NIVERSITY0RESS +LEE 0  .OTEBOOKS 6OLUME  4HE 4HINKING %YE ,ONDON ,UND (UMPHRIES ,EROI 'OURHAN !  'ESTURE AND 3PEECH TRANS! "OSTOCK "ERGER #AMBRIDGE -ASS-)40RESS ,¿VI 3TRAUSS # 4HE3AVAGE-IND ,ONDON7EIDENFELDAND.ICOLSON -ONOD *  #HANCE AND .ECESSITY TRANS! 7AINHOUSE ,ONDON #OLLINS 7HITEHEAD !. 0ROCESSAND2EALITY!N%SSAYIN#OSMOLOGY #AMBRIDGE #AMBRIDGE5NIVERSITY0RESS

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nn 3TRUCTURE )NNOVATIONAND!GENCYIN0ATTERN #ONSTRUCTION4HE+ōLAMOF3OUTHERN)NDIA !MAR3-ALL

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4HISCHAPTERISCONCERNEDWITHTHEQUESTIONOFINTENTIONALITYINTHEDESIGNAND GENERATIONOFNON REPRESENTATIONALFORM)TPOINTSINPARTICULARTOTHEPROBLEM OF@LOCATINGCREATIVITYWITHINTHEDESIGNPROCESSANDTOTHECONNECTIONBETWEEN REDUNDANCYANDNOVELTYINRELATIONTOTECHNIQUE WHERETECHNIQUECARRIESWITH ITSTRUCTURALIMPLICATIONS4HECASEINPOINTISTHATOFTHESOUTH)NDIANKōLAM  APARTICULARBUTWIDESPREADFORMOFWOMENSFOLKARTIN3OUTH!SIA0RESERVED ANDTRANSMITTEDALMOSTEXCLUSIVELYBYWOMEN TRADITIONALSOUTH)NDIANKōLAM AREDISTINCTIVEIN)NDIAFORTAKINGTHEFORMOFEITHERONEORSEVERALSUPERIMPOSED CLOSEDLINESKAMPI THATINTERWEAVEAROUNDAGRIDOFDOTSPUëëI 4HESEBEAUTIFUL ANDCOMPLEXGEOMETRICANDSYMMETRICALDESIGNSFORMACENTRALCOMPONENTOF DOMESTICANDPUBLICRITUALPRACTICEAMONGTHE(INDUCOMMUNITIESOFTHESOUTHERN )NDIANSTATEOF4AMIL.ADU WHERETHEYARECOMMONLYRENDEREDINRICEmOUROR RICE mOURSOLUTIONSONTHETHRESHOLDSANDmOORSOFHOUSESANDTEMPLESTORITUALLY CLEANSETHESEAREASANDPROTECTTHEMFROMMALEVOLENTFORCESSEE&IGURESAND  &ARFROMMANIFESTINGANOBSCURERITUALART KōLAMAREUBIQUITOUSTHROUGHOUT THESTATEANDINITSCAPITAL #HENNAIFORMALLYKNOWNAS-ADRAS WHERE)CONDUCTED MYlELDWORK!S2ENATE$OHMENRIGHTLYOBSERVES @INTERMSOFTHESHEERNUMBERS OFPRACTITIONERSANDHOUSEHOLDSACTIVELYENGAGEDINTHEPRACTICE ITCOULDBE SAIDTOBEONEOFTHEMOSTPOPULARFORMSOFVISUALPRACTICEINCONTEMPORARY4AMIL .ADU$OHMEN  -ARKINGBOTHSPACEANDTIME KōLAMPREPAREAGROUND ANDAREINTIMATELYLINKED TOTHEGENERATIONOFAUSPICIOUSnORCONVERSELY THEPREVENTIONOFINAUSPICIOUSn STATESSEE-ADAN-ARGLIN2AHEJA )TISTHROUGHTHEPLACINGOF

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&IGURE +ōLAMPLACEDFORDEITIESATA(INDUTEMPLE#HENNAI 4AMIL.ADU 

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4HE+ōLAMOF3OUTHERN)NDIA

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4HE+ōLAMOF3OUTHERN)NDIA

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4HE+ōLAMOF3OUTHERN)NDIA

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0ART )NTRODUCTION 4HE AMBIVALENCE TOWARDS CREATIVITY IN THESE CASES AND IN #ORY 0EARCES QUESTIONOFWHETHER-AKERETIWASANANCESTRALAPPROPRIATORORAPLAGIARISTOR BOTH ORNEITHER ISITSELFASUPPRESSEDASPECTOFTHECREATIVITYCONCEPT!S,ÏFGREN  AND,EACHTHISVOLUME #HAPTER HAVEBOTHOBSERVED CREATIVITY ISNOWTOUTEDASANUNQUALIlEDGOOD DESIRABLETOFUELA@KNOWLEDGEECONOMY WITHA@FLEXIBLEWORKFORCEAND PERHAPSMORETOTHEPOINT TEACHABLETOTHE CHILDRENWHOWILLONEDAYSUPPLYTHATWORKFORCE"UTTOCONCEIVEOFCREATIVITY ASUNEQUIVOCALLYVALUABLEISITSELFANOVELPOSITION0ERHAPSLURKINGINALLTHREE CHAPTERSINTHISPARTISTHEOLDER@TRADITIONOFCREATIVITY WHEREINCREATIVITYIS REGARDEDASTHEDISRUPTIVECHARACTERISTICOFTHEMYTHOLOGICALMONSTERS HEROES ANDTRICKSTERSWHOMAKEUSHUMAN BUTALSOSEPARATEUSIRRETRIEVABLYFROMDIVINE LAW-ASON )NTHISTRADITION CREATIVITYISASTERRIBLEASITISDESIRABLE AND ISFURTHERCONCEIVEDINEXPLICITOPPOSITIONTOSOCIETYTHOSEWHOCREATEMUSTBE COUNTERBALANCEDBYOTHERSWHOASSESSTHEMORALVALUEOFTHEIRCREATIONSIBID  7ITHTHEADVENTOFMONOTHEISTICRELIGIONS ALLCREATIVITYWASASSIGNEDTOTHE #REATOR SUCHTHATTHEMORALITYOFCREATIVITYWASUNEQUIVOCALASLONGASITWAS ATTRIBUTEDTODIVINEINSPIRATION4HE%NLIGHTENMENTCONCEPTOFARTISTICGENIUS IN OTHERWORDS WASONLYPOSSIBLEBECAUSE'ODHADBEENREMOVEDASANAGENTOF CREATIVITY+RISTELLER "UTAS%DWARDSCHAPTERINPARTICULARSHOWS THIS FEATWASONLYPARTIALLYACCOMPLISHED#ONTEMPORARY%NGLISH"APTISTSHAVENO TROUBLEREINSCRIBINGDIVINEINTENTIONSINTHECONCEPTIONOFCHILDRENBYMEANSOF )6& SINCETHECHILDSOCONCEIVEDISNOTINTHEEND@RELATEDTOITSPARENTSBYMEANS OFBIOLOGYOREVENTECHNOLOGY BUTBYMEANSOFTHEKNOWINGRECOGNITIONOF'OD 4HEPOTENTIALDISRUPTIONOFCREATIVITYISTHEREBYOBVIATEDTHEREAREALWAYSALREADY NOVELIDEASTHATPRECEDETHENOVELIDEASOFMEREHUMANS 7EHAVESOUGHTTOHIGHLIGHTSOMEOFTHEKEYQUESTIONSTHATEMERGEDDURINGTHE CONFERENCEPANEL ANDTHATARERAISEDBYTHECHAPTERSTHATFOLLOW&IRST WHYHAS DISCONTINUITYBECOMEPRIVILEGEDASEVIDENCEFORCREATIVITY WHENINFACTPEOPLE MAYENDEAVOURASFARASPOSSIBLETOIMPORTOLDCONTEXTSINTOTHEBACKGROUND OFNEWPOLITICALFORMSINORDERTOLEGITIMIZETHOSEFORMS3CHEELE 3ECOND ISCREATIVITYONLYRECOGNIZABLEASSUCHIFITISSELF CONSCIOUS THATIS IFACTION ISUNDERTAKENWITHTHEREmEXIVEINTENTTOANTICIPATETHEREGARDOFOTHERS#ORY 0EARCE &INALLY WEMIGHTASKHOWPRE %NLIGHTENMENTNOTIONSOFADIVINEAGENCY UNDERLYINGCREATIVITYHAVEBEENREINSCRIBEDINTOTHEDISCOURSEONAPPARENTLY NOVELTECHNOLOGICALINTERVENTIONS%DWARDS 4HEFOLLOWINGCHAPTERSINVITEUS TODENATURALIZETHECONCEPTOFCREATIVITYWITHTHESAMERIGOURWITHWHICH SAY MODERNITYHASBECOMEDENATURALIZED ANDTHEYALSOASKWHETHERCREATIVITYMAYBE FOUNDINTHEAPPROPRIATIONOFCONTEXTSRATHERTHANINTHEAPPROPRIATIONOFSPECIlC SOCIALFORMS 4HEREAREOFCOURSERISKSTOlNDINGCREATIVITYINEVERYMOMENTOFSOCIALLIFE NOTONLYBECAUSEOFTHEDISRUPTIONTHATSEEMSINVARIABLYTOBEREGARDEDASA nn

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0ART)6 4HE#REATIVITYOF!NTHROPOLOGICAL3CHOLARSHIP

)NTRODUCTION -ARK(ARRIS

$URINGONEOFTHESESSIONSOFTHECONFERENCETHATGAVERISETOTHISVOLUME A PANELLISTREMARKEDWITHSOMEEXASPERATIONTHAT@RESEARCHISALMOSTTHEOPPOSITE OFCREATIVITY4HEREMARKWASMADEPUBLICLYAND OFALLTHOSEPRESENTATTHE SESSION NEITHER)NORANYONEELSECHALLENGEDIT4HEREAPPEARSTOBEADEEPLYAND WIDELYFELTSENSETHATREALCREATIVITYLIESBEYONDTHEREALMSOFSCIENCE WHETHER HUMAN SOCIALORNATURAL)FITEXISTSINTHESEREALMS ITISBUTAPALEIMITATION ORASHAM4HECORRECTPLACEFORCREATIVITY ITISOFTENASSUMED ISINTHEWORLD OFHIGHARTANDLITERATURE4HEPANELLISTSEEMEDTOBESAYINGTHATTHEWORKOF SCHOLARSHIPISABOUTCOLLECTINGDATA APPLYINGMETHODS RElNINGIDEASANDIN GENERALCONTRIBUTINGTOTHEACCUMULATIONOFKNOWLEDGE!NDINTHEMAIN ITIS DREARYLABOUR4HEPRODUCTIONOFHIGHCULTURE BYCONTRAST lZZESALONGWITHITS OWNABUNDANTINVENTIVENESS#REATIVITYISUNDERSTOODASTYPICALLYTHEPRESERVEOF THEINDIVIDUALAUTHORORARTIST3CHOLARLYWORK EVENTHOUGHOFTENCARRIEDOUTBY ASINGLEPERSON EFFACESINDIVIDUALIDENTITYSINCEITISBYDElNITIONACONTRIBUTION TOALARGERBODYOFLEARNING4HERESEARCHTHATWEDOASANTHROPOLOGISTSCANNOT THENBECREATIVEBECAUSEITISCHARACTERIZEDBYVARIOUSCHECKSONCREATIVITY7E HAVETOUSETHEORIESDEVELOPEDBYOTHERPEOPLEATOTHERTIMESANDPLACESWE ARETRAINEDTOAVOIDTHEIDIOSYNCRATICWEHAVETOlTINWITHEXISTINGSCHOLARSHIP SOTHATOURARGUMENTISRECOGNIZABLE4OCAPITALL @AUDITCULTURERESTRICTSANY RESIDUALCREATIVEOREXPERIMENTALTENDENCIES3TRATHERN .OTONLYDOWE HAVETOCOMPLYWITHTHERIGOURSOFSCHOLARSHIPWEALSOHAVETODOWHATOUR MANAGERSEXPECTUSTODO 4HISBLEAKPICTUREIS )HOPE ACARICATURE-ANYCONTRARYEXAMPLESCOULD OFCOURSEBEADDUCED FROMBOTHANTHROPOLOGYANDNEIGHBOURINGDISCIPLINES REMINDINGUSOF#OLLINGWOODS INSISTENCETHATHISTORYCANNOTBEDONE WITHOUTIMAGINATIVEEMPATHY"UTTHEIDEATHATRESEARCHIS@DULL ANDTHATIT REQUIRESNOTHINGOFTHECREATIVEIMAGINATION PERSISTSINVARIOUSGUISES7EARE THUSINARATHERODDSITUATION FORWHILEWECANSTUDYTHECREATIVITYOFOTHERS WEARERELUCTANTTORECOGNIZEITINOUROWNACCOUNTS7HATEVERCREATIVITYTHE DISCIPLINEMAYHAVEREMAINSIMPLICITINTHEMETHODSANDPROCEDURESTHATHAVE DRIVENSTUDIESOFOTHERPEOPLESCREATIVITY SUCHASTHOSEDESCRIBEDINPREVIOUS PARTSOFTHISBOOK)NINTRODUCINGTHEPRESENTPART )SHALLARGUETHATTHESEPARATION OFRESEARCHANDCREATIVITYISUNNECESSARYnADEPRESSINGREmECTIONOFCERTAIN nn

-ARK(ARRIS ASPECTSOFACADEMICLABOURTHATEFFECTIVELYMYSTIFYWHATANTHROPOLOGISTSDOAND HOWTHEYGOABOUTTHEIRWORK'IVENTHENATUREOFITSINQUIRY ASTHESTUDYOF HUMANITY CRITICALREmEXIVITYISNOTANENDPOINTOFANTHROPOLOGYBUTINTEGRALTO ITSOVERALLPROJECT'IAMBATTISTA6ICOWASTHElRSTMODERNAUTHORTOMAKETHIS ARGUMENTINHISCRITICISMOF#ARTESIANRATIONALISM INHIS.EW3CIENCEOF 6ICO 6ICOINSISTEDTHATTHESTUDYOFHUMANITYREQUIRESITSOWNMETHODS ANDTHEORIES DIFFERENTFROMTHOSENEEDEDFORSTUDYINGTHEWORLDOFNATURE3INCE NATUREHASNOTBEENCREATEDBYHUMANS HEARGUED ITMUSTALWAYSREMAINTO SOMEEXTENTUNFATHOMABLE4HEHISTORYOFHUMANSOCIETIES HOWEVER FASHIONED THROUGHIMAGINATIONANDREASON CANBEUNDERSTOODTHROUGHTHEEXERCISEOFTHESE SAMEFACULTIES#ENTRALTO6ICOSTHOUGHTISTHEIDEATHATSOCIETIESANDINDIVIDUALS FOLLOWASEQUENCEOFDEVELOPMENTTHATISNOTRANDOM BUTLOGICALANDCUMULATIVE "ERLIN 4HESTUDYOFTHISHISTORICALLYSITUATEDPROGRESSIONISCRITICALTOTHE PROPERUNDERSTANDINGOFTHECREATIVEIMPULSEOFHUMANITY)NTHEFOLLOWING)TAKE INSPIRATIONFROMTHISIDEATOARGUEFORANEXPANDEDNOTIONOF@THElELDTOINCLUDE THECREATIVESPIRITOFRESEARCHANDTEACHING 7HATAREWEDISCUSSING THEN UNDERTHERUBRICOFTHECREATIVITYOFANTHROPO LOGICAL SCHOLARSHIP )T COULD BE THE RANGE OF CREATIVE ETHNOGRAPHIC WRITING TAKINGINSUCHWORKSAS'REGORY"ATESONS.AVEN (UGH"RODYS-APS AND$REAMS 2UTH,ANDES#ITYOF7OMEN -ICHAEL4AUSSIGS 3HAMANISM #OLONIALISMANDTHE7ILD-AN ALISTLESSDElNITIVETHAN EXEMPLARY/RITCOULDBETHECREATIVEANDRESPONSIBLEUSESTOWHICHANTHROPOLOGY CANBEPUTBYANTHROPOLOGISTS SUCHASINPOLITICALCAMPAIGNS INTEACHINGANDIN CRITICALINTERVENTIONSINPUBLICDEBATE!LTERNATIVELY CREATIVITYCOULDBESOUGHT INTHEDEVELOPMENTOFSPECIlCCONCEPTSORMETHODSINORDERTOANALYSEMORE EFFECTIVELYOLDTOPICSORNEWSOCIALFORMATIONS ASEXEMPLIlEDIN2ICHARD6OKES INNOVATIVEUSEOFTHERADIOASARESEARCHTOOLIN5GANDA ORIN!MANDA2AVETZS EXPLORATIONOFTHEUSESOFPHOTOGRAPHY )FCREATIVITYISTOMEANANYTHINGITHASTOBEFRAMEDBYCONCRETESITUATIONS RATHER THAN ABSTRACT PROPOSITIONS -OREOVER WE HAVE TO DECIDE WHETHER THE CREATIVEPROCESSINANTHROPOLOGYISDIFFERENTFROMANYOTHERKINDnBEARINGIN MIND%DMUND,EACHSn COMMENTTHATANTHROPOLOGISTSAREUSUALLY BADNOVELISTS4HISISPRECISELYTHEISSUETHAT4REVOR3TACKAND2OBEY#ALLAHAN ADDRESSINTHEIRCHAPTERCOMPARINGTHEWORKOFlCTIONWRITERS ANTHROPOLOGISTSAND ADVERTISINGCREATIVES"YWAYOFINTRODUCTION )WANTTOREFOCUSONCREATIVITYBY EXPANDINGONANDREINVIGORATINGTHENOTIONOFTHElELD)NPARTICULAR MYCONCERNIS TOINTEGRATETHEACTIVITIESOFTEACHINGANDRESEARCH#ONVENTIONALLY THElELDREFERS TOTHELOCATIONINWHICHANETHNOGRAPHERCONDUCTSEMPIRICALRESEARCH TYPICALLY ADENSENETWORKOFPEOPLEDElNEDGEOGRAPHICALLY4HISNOTIONOFTHElELDIS ROOTEDINSTRUCTURALFUNCTIONALISMANDITSATTENDANTLITERARYFORM THEMONOGRAPH WHICHFOCUSEDONTHEBOUNDEDlELDASASETOFRELATIONS(ART 7HATDOES nn

0ART )NTRODUCTION AlELDSITEMEANINCONTEMPORARYANTHROPOLOGY#ANAMONOGRAPHCAPTURETHAT PLACE7HATFORMMIGHTBEBETTERSUITED4HESEQUESTIONSSHOULDBEPRACTICALAND METHODOLOGICAL RATHERTHANABSTRACT )NTHESTUDYOF,ATIN!MERICANPEASANTRIESnMYOWNREGIONALINTERESTnTHE CONVENTIONALNOTIONOFTHElELDCAMEUNDERATTACKOVERlFTYYEARSAGO4HEDElNING INTELLECTUALMOMENTWASWHEN*ULIAN3TEWARDORGANIZEDTHE0EOPLEOF0UERTO 2ICOPROJECTINTHEEARLYS.EWMETHODOLOGICALANDTHEORETICALQUESTIONS WERECATAPULTEDTOTHEFOREFRONTOFTHESTUDYOFNON TRIBALPEOPLESCAUGHTUPIN LABOURMIGRATIONS AGRICULTURALMODERNIZATIONANDCLASSINEQUALITY)NTHISAND SUBSEQUENTWORKCONCERNINGPEASANTRIESIN,ATIN!MERICA INNOVATIONSWEREMADE INTHEFORMOFWRITINGANDMETHODFOREXAMPLE THELIFEHISTORYMETHOD USEDBY 3IDNEY-INTZ TOLOOKATBOTHPERSONALANDGLOBALCHANGE AND%RIC7OLFS  SYNTHETICUSEOFANTHROPOLOGY ARCHAEOLOGYANDHISTORYTOSTUDYETHNICITY IN'UATEMALAAND-EXICO4HISWASNOTACASEOFLOSINGSIGHTOFTHEVILLAGE BUTOFUNDERSTANDINGTHATITWAS INIMPORTANTWAYS SHAPEDANDCONSTRAINEDBY PROCESSESANDMOVEMENTSOFPEOPLEOUTSIDETHEIMMEDIATEAREA.EWFORMS OFANTHROPOLOGICALENGAGEMENTWERENECESSARYTOUNDERSTANDTHESEPROCESSES &IELDWORK BASEDETHNOGRAPHYWASTOOLIMITED#OMPLEMENTARYTECHNIQUESAND SOURCESWEREREQUIRED SUCHASlLMS NOVELS ARCHIVESANDJOURNALISM TOEXPRESS THEINTERTWININGOFDIFFERENTWAYSOFKNOWINGTHEWORLD -ORE RECENTLY ANOTHER DEVELOPMENT HAS PRODUCED SIMILAR INNOVATION IN SCOPE!LTHOUGHNOTUNIQUELYRESPONSIBLE -ICHAEL*ACKSONS0ATHS4OWARDA #LEARING PIONEEREDANAPPROACHINWHICHEXPERIENCEWASFOREGROUNDED BOTHASAPARTICIPATORYMETHODACTIVEINVOLVEMENTINPRACTICALLIFE INTHElELD ANDANEPISTEMOLOGICALORIENTATIONPHENOMENOLOGY 4HISARGUMENTHELPSTO OPENUPTHESTAGESINWHICHANTHROPOLOGICALKNOWLEDGEISMADE RUNNINGFROM lELDSITETOACADEMY SINCEITFORCESAREmECTIONONTHEMOVEFROMUNARTICULATED EXPERIENCETOEXPLICITLYARTICULATED REPRESENTATIONALFORMS-OREOVER ITDREW ATTENTIONAWAYFROMTHETEXTnTHATIS FROMPREOCCUPATIONSWITH@WRITINGCULTURE nTOWARDSANDINTOTHEWORLDITSELF)NMYTERMS THEEMPHASISONEXPERIENCEISA WAYOFRECLAIMING6ICOSPROJECTFORTHESTUDYOFHUMANITY GROUNDINGITINWHAT HUMANSSHAREASTHEIRCOMMONHERITAGEANDINWHATCONNECTSTHEMTOONEANOTHER 4HElELD INEFFECT COMPRISESTHEMANIFOLDPATHWAYSCONNECTINGVARIETIESOF SUBJECTIVEEXPERIENCE !NOTHERCONSEQUENCEOFTHEEXPERIENTIALTURNWASTOQUESTIONTHEBOUNDARIES BETWEENCOMMON SENSEKNOWLEDGE OFTHEEVERYDAYKINDTHATETHNOGRAPHERS COLLECT ANDTHESORTOFEXPERTKNOWLEDGEFOREXAMPLE OFKINSHIPSYSTEMS THATWASSUPPOSEDTORESULTFROMSPECIALISTANALYSISBYTRAINEDANTHROPOLOGISTS ANDTHATTHEYALONECOULDUNDERSTAND4HEFOCUSONEXPERIENCETHREATENEDTHIS DIVISIONBYREFUSINGTOALLOWTHATKNOWLEDGE SINCEITISALWAYSCONNECTEDTO PERCEPTIONANDSENSATION COULDEVERESCAPETHEWORLD-OREOVERTHIS@RADICAL nn

-ARK(ARRIS EMPIRICISM AS*ACKSON CALLEDHISAPPROACH FORCEDACONSIDERATIONOF WHETHERANETHNOGRAPHERSAPPRENTICESHIPINANOTHERWAYOFLIFEISREALLYANY DIFFERENT INPRINCIPLE FROMACHILDSLEARNINGTHEBUSINESSOFLIFEAMONGSTFAMILY ANDNEIGHBOURS)STHElELDWORKERSEDUCATIONSODIFFERENTFROMTHEINTERPERSONAL ENCOUNTERS IN WHICH ALL SOCIAL AND CULTURAL LIFE SUBSISTS!LTHOUGH THEY ARE ORGANIZEDANDVALUEDDIFFERENTLY THEYINTERTWINEINWAYSTHATREVEALANINNOVATIVE DYNAMICTHATHASALWAYSBEENIMPORTANTTOANTHROPOLOGY)SHALLILLUSTRATETHIS POINTBRIEmYBYTURNINGTOTHERELATIONBETWEENCREATIVITYANDTEACHING AGAINWITH REFERENCETOTHENOTIONOFTHElELD )TISUNCOMMONFORANTHROPOLOGISTSTOREmECTONTHEIRTEACHINGEXPERIENCE AND EVENMOREUNCOMMONFORTHEMTOWRITEABOUTTEACHINGASACREATIVEEXERCISE) COULDNOT FORINSTANCE lNDANYONEWILLINGTOPRESENTACONTRIBUTIONONTEACHING TOTHECONFERENCESESSIONON@THECREATIVITYOFANTHROPOLOGICALSCHOLARSHIPON WHICHTHISPARTOFTHEBOOKISBASED4HEREARE HOWEVER SOMEEXCEPTIONSINTHE HISTORYOFANTHROPOLOGY%DMUND,EACH WHOHADMUCHTOSAYABOUTTHECLEAR COMMUNICATIONOFIDEASnESPECIALLYINTEACHINGnANDDEVOTEDSIGNIlCANTTIME TOSTUDENTS(UGH *ONES4AMBIAH SAIDINHISlFTH2EITHLECTURE DELIVEREDON""#RADIOIN #ERTAINLYTHEYOUNGNEEDTOBEEDUCATEDTHEYNEEDTOBETAUGHTTOGAINCONlDENCEIN THEASTONISHINGPOWEROFTHEIRIMAGINATIONS"UTTHEYDONTNEEDTOBELOADEDDOWN WITHTHECLUTTEROFUSELESSINFORMATIONWHICHISALLTHATTRADITIONALSCHOLARSHIPHASTO OFFER/NLYTHOSEWHOHOLDTHEPASTINCOMPLETECONTEMPTAREEVERLIKELYTOSEEVISIONS OFTHE.EW*ERUSALEM,EACH

!LTHOUGHTHISPASSAGEWASOFITSTIMEANDSPOKETOTHEGENERATIONALTENSIONS OF"RITISHSOCIETYINTHES ITSHOULDSTILLPROVOKEANYTEACHERWHOWISHESTO RELEASETHEPOWEROFSTUDENTSIMAGINATIONS)ASSUMETHATPUSHINGTHEPASTTOONE SIDEWHICHISTOSAYTHATCONSERVATISMISAMATTEROFCHOICEANDNOTOFSCHOLARLY NECESSITY ANDWORKINGTHINGSOUTFORONESELFISCREATIVE)NDEED )BELIEVETHE SPIRITOF,EACHSARGUMENTISTHATNOBODYLEARNSWITHOUTTRYINGSOMETHINGOUT FORHIM ORHERSELF7ITHTHISEXPERIMENTALAPPROACHTOPEDAGOGY ,EACHSAW ANTHROPOLOGYASAPERSONALSKILLREQUIRINGTRAINING ANDNOTASASERIESOFTHEORIES ORFACTSTOBELEARNED,EACH 9ETHOWCANTHISAPPROACHPOSSIBLYWORKAS ATEACHINGPROGRAMMEINUNIVERSITIES POLICEDASTHEYAREBYQUALITYASSURANCE ANDAUDITS4HEREHAVEBEENMANYEXAMPLESIN"RITAINOVERTHELASTDECADEOR SO BUTFEWOFTHEMHAVEBEENREmECTEDUPONSUFlCIENTLYTOMAKETHEIRWAYINTO PRINTSEE FOREXAMPLE THE# 3!0WEBSITE'RIMSHAWETAL)NGOLDWITH ,UCASFORTHCOMING )NTERESTINGLY THESEEXPERIMENTALPROGRAMMESHAVETAKEN PLACEMOSTLYINDEPARTMENTSOFANTHROPOLOGYLINKEDTOASPECIALISTCENTREVISUAL ANTHROPOLOGY-ANCHESTER SEE2AVETZ THISVOLUME #HAPTER ETHNOMUSICOLOGY nn

0ART )NTRODUCTION "ELFAST COMPUTING+ENT !TTHEHEARTOFTHESEMOVESISANATTEMPTTOMAKETHE TEACHINGPROCESSMORELIKETHERESEARCHPROCESS4HISISTOENCOURAGESTUDENTSTO BECOMERESEARCHERS DISCOVERINGTHEIRSUBJECTSFORTHEMSELVES WITHTHEIRTEACHERS GUIDINGTHEMALONGTHEWAY 4HEREISNOTHINGNEWABOUTSEEINGTEACHINGANDRESEARCHASCOMPLEMENTARY ACTIVITIES BUTTHISHASBEENMOREFROMTHEPOINTOFVIEWOFTHEACADEMICTHAN FROMTHATOFTHESTUDENT4HERECENTSWITCHTOWARDSAMORESTUDENT CENTREDVIEW HASBEENMOTIVATEDBYATHEORETICALEMPHASIS NOTEDABOVE ONTHEEXPERIENTIAL ASPECTSOFSOCIALLIFE,EARNING ACCORDINGTO4IM)NGOLDFORTHCOMING ISAN EXPLORATORYPRACTICETHATGENERATESITSOWNKNOWLEDGEANDUNDERSTANDING)FTHIS ARGUMENTWORKSFORLEARNINGINSOCIALANDCULTURALLIFE THENWHYSHOULDITNOT BEAPPLIEDTOMOREFORMALEDUCATIONALENVIRONMENTS SUCHASTHETEACHINGOF ANTHROPOLOGY)NTHISLIGHT LEARNINGBECOMESTANTAMOUNTTOACQUIRINGTHESKILLS OFPERCEPTION OBSERVATIONANDIMAGINATION4OGETHERWITH2AY,UCAS )NGOLD HASTAUGHTACOURSEAT!BERDEENALONGTHESELINES)TNATURALLYRAISEDAHOSTOF QUESTIONS NOTLEASTOFWHICHWASHOWTOASSESSSTUDENTWORK"UTINITSREJECTION OFTHEDIVISIONBETWEENLEARNINGANDRESEARCH THEORYANDPRACTICE DISCOVERYAND CREATIVITY ITFORCESANAWARENESSOFTHEPROCESSOFMAKINGANANTHROPOLOGICAL ARGUMENT)TTHROWSINTORELIEFTHECHANGESASTUDENTUNDERGOESINTHECOURSEOF LEARNING ALONGWITHTHEMETHODSANDRESOURCESUSEDANDSOCIALRELATIONSENGAGED TOMAKEPROGRESS,EARNINGTHENBECOMESAJOURNEYINWHICHKNOWLEDGEISNOTSO MUCHPASSEDDOWNREADY MADEASCONTINUALLYPRODUCEDUNDERCONDITIONSTHAT FAR FROMBEINGOBSCUREDANDMYSTIlED ACTUALLYPROPELSTUDENTSFORWARD4HESAME KINDOFJOURNEYISENTAILEDINPOSTGRADUATEANDESTABLISHEDACADEMICWORK EVEN THOUGHWEMAYWISHTODENYORDISTORTIT !LLTHESEPOINTSCOMETOGETHERINASUPERBARTICLEBY!LBERTO#ORSÄN*IM¿NEZ  WHICHCONSIDERSTHEAUTHORSEXPERIENCEOFRESEARCHINGMININGCOMMUNITIES IN#HILE INTHESAMEPLACEASTHEUNIVERSITYWHEREHEWASALSOWORKING!SWELL ASTEACHINGHISSTUDENTSTHECLASSICALTEXTS HEENGAGEDTHEMWITHSOMEOFHISOWN RESEARCHTOTHEEXTENTTHATSOMEOFTHEMBECAMEHISINFORMANTSnHENCETHETITLE OFHISESSAY @TEACHINGTHElELD(OWEVER THEYWEREALSOTHROWINGBACKATHIM SOMEOFTHECONCEPTSANDTHEORIESlRSTENCOUNTEREDINTEACHING4HIS HEARGUES WASA@REDUPLICATIONOFKNOWLEDGETHATREVERSEDTHENORMALmOWOFINFORMATION FROMTHElELDOFOBSERVATIONTOTHEANALYTICALlELDOFWRITINGUP3TUDENTSUSED IDEASTHEYENCOUNTEREDINTEACHINGTOMAKESENSEOFTHEIROWNLIVESANDTHOSE OFOTHERS#ORSÄN*IM¿NEZARGUESTHATTHISASPECTOFTEACHINGGIVESITASPECIAL @ETHNOGRAPHICNESS UNITINGTHEDIFFERENTlELDSOFANTHROPOLOGICALWORKSUCHAS THElELDWORKSITE THECANTEEN THESEMINARROOM OFlCE ANDSOON%THNOGRAPHY DOES NOT PRODUCE KNOWLEDGE AS SUCH RATHER IT MOBILIZES KNOWLEDGE ACROSS PLACES#ORSÄN*IM¿NEZ &OLLOWING-ARILYN3TRATHERN THIS CANBESEENASA@RESCALINGOFKNOWLEDGE THATIS AMOVEMENTBETWEENORDERSOF nn

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0ART )NTRODUCTION 4HETHREECHAPTERSHEREPROVOKEARETHINKINGOFMETHODOLOGY4HEYARGUE FOR MORE OPENNESS AND MORE ANALYTICAL ATTENTION TO THE PROCESS OF MAKING ANTHROPOLOGY 7HILE THE DISCIPLINE IS NO LONGER COMMITTED TO THE KIND OF lELDWORK BASEDETHNOGRAPHYTHATAIMEDTOUNCOVERSOCIALSTRUCTURESANDREVEAL THEIRFUNCTIONS ITISNOTYETCLEARWHATHASREPLACEDIT4HISISPARTLYDUETO THEGROWTHANDSUBSEQUENTPARTITIONINGOFANTHROPOLOGYINTOSUBDISCIPLINES! COMMONAIMHASBECOMEFRAGMENTED4HECHAPTERSINTHISPART INTHEIRDIFFERENT WAYS REVEALWHATANECLECTICANDMETHODOLOGICALLYSOPHISTICATEDANTHROPOLOGY COULDLOOKLIKEANDTHEREAREOTHEREXAMPLES TOBESURE %ACHONEENGAGESIN ACONVERSATIONBETWEENANTHROPOLOGYANDANOTHERSUBJECTRADIOBROADCASTING PHOTOGRAPHYANDCREATIVEWRITING4HISFRAMINGISINTENDEDTOBEANADVANCE ON THE @ANTHROPOLOGIES OF THAT TURN EVERY OTHER SUBJECT INTO AN OBJECT OF INVESTIGATION)NSTEADWEHAVE@ANTHROPOLOGYAND%VERYSUCHCOMBINATION OPENSADEBATE ANINTERROGATIONPERHAPS BUTALWAYSONAMOREEQUALFOOTING 4HISEXPLICITNESSCONCERNINGMETHODANDTHEORYISAFORMALIZATIONOFWHATHAS ALWAYSBEENATTHEHEARTOFANTHROPOLOGY7ITHITSTWO SIDEDNATURE ONEFOOT INTHElELDANDTHEOTHERINTHEACADEMY ANTHROPOLOGYSCREATIVEMOTORHAS BEENITSUNIQUEANDAMBIVALENTIDENTITY!S'RIMSHAWAND(ARTARGUE  @ITMIGHTBESAIDTHAT COMPAREDWITHTHEOTHERSCIENCESANDHUMANITIES ANTHROPOLOGYHASREMAINEDINIMPORTANTWAYSANANTI DISCIPLINEnTAKINGITSIDEAS FROMANYWHERE STRIVINGFORTHEWHOLE CONSTANTLYREINVENTINGPROCEDURESONTHE MOVE.EVERTHELESSTHEREISANOPPOSITETENDENCYWITHWHICHANTHROPOLOGISTS STRUGGLETHEMOVETOFORMALIZETHESEINFORMALPROCEDURES ANDTOINSTITUTIONALIZE THEANTI DISCIPLINEnINSHORT TOKEEPANTHROPOLOGYGOINGASAUNIVERSITY BASED SUBJECT4HEFOLLOWINGCHAPTERSEXEMPLIFYTHISSTRUGGLEANDTHEINNOVATIVEAND IMPROVISATIONALSPIRITOFANTHROPOLOGY4HEYARENOTSOMUCHCONCERNEDWITH CREATIVITYPERSEINANTHROPOLOGICALSCHOLARSHIPASWITHSOMEASPECTSOFTHEWAYIN WHICHANTHROPOLOGYCANWORKCREATIVELY

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