vol. 33 núm. 106 (2012)

The aim of this work is to think about production in creative industries, focusing in the case of Buenos Aires, Argentina. First, it presentes a general accounting of the context in which these processes are inscribed. The article then presents an elaboration on the place of creativity in this approach and discussions on cultural and creative industries, providing some data to support the relevance of this sector and its related public policies.Finally, some cases are presented to understand the transformations recorded in recent years of symbolic and cultural production in relation to creativity and the emergence of new producers.Keywords: Creativity, symbolic production, creative industries, Argentina.

This article aims to analyze the social and cultural practices of two groups of migrants in two Latin American countries: the case of Argentine immigrants in Chile, and Senegalese immigrants in Argentina. We understand that these practices have as background the meeting between compatriots, and that they appeal to the creativity and spontaneity in the context of integration into the host society, helping to form networks and social ties that perhaps did not exist before. These creative and re-creative activities contribute to the (re) configuration of national identity in a context of migration. At the same time, they have in common that they arise spontaneously without advance planning. They also are setting up a network of relationships that nurture both the “Argentinian” and the “Senegalese identity” in the immigration context of reception.Keywords: Cultural practices, Argentinean migration, Senegalese migration, integration.

The paper aims to investigate the innovative potential of the concept of “creativity” in Philology. Nevertheless the author-witnesses, Mauricio Rosencof and Eleuterio Fernández Huidobro –both of whom are victims of the Uruguayan military dictatorship–, reject the traditional narrative strategies in Memorias del calabozo and use the concept of creativityin order to create a new poetics of terror. The principal narrative strategy, the leitmotiv, is creativity. Creativity is omnipresent on the level of text production as well as on the level of content and fulfills a double function: On the one hand the recourses on creative narrative forms contribute to transmit individual and collective experiences, on the other hand, creativity reveals itself as the unique strategy of survival.Keywords: Memorial literature, victim, creativity, improvisation, military dictatorship.

For Sociology, that deals with social structure and interaction, improvisation would be a highly interesting research topic. Only few social scientists though conduct research in this field. The analysis of actions often uses the classical theories of action, e.g., the theory of action by Thomas Luckmann mentioned herein. This paper tries to approach the topic of improvisation with an emphasis on the improvisational theatre, where social scienceshas conducted almost no research at all. The “how”, the modus operandi, and possible rules applying to improvisational actions will be studied. A theatre scene will be used as a subject for the Grounded Theory method to differentiate possible categories of action.Keywords:Improvisation, composition, improvisational theatre, action theory, Grounded Theory.

This paper presents the advances of a project of doctoral research in Social Sciences of the UBA. From a qualitative methodology spaces, clubs and cultural centers were explored in the city of Buenos Aires from the return of the democracy up to the effects of the crisis of 2001. The article focused in the relevancy of the collective production. It is a question of a process unleashed by the crossings of the desire between singular members.In such coordinates it was rerealed that the playful shade lives in the meetings, since it is a question of a space of sociableness where it is improvised with others in the relations hips of exchange between subjects of a certain group, whose motivation rules, even, the logical paces of its development.Keywords: Micropolicies, social ties, invention, affection, motivation.

Although Pierre Bourdieu is known and cited by most researchers on Argentine art, the notion of habitus does not usually take part in the analysis. Suspected of determinism, this concept has little been used even in classic works of sociology of intellectuals who adopt other aspects of Bourdieu’s perspective to configure their objects of analysis. In this article we want to show, from a philosophical history of the concept, its productivity to think of the conditions that disposed certain actors, according to their trajectories, to produce artistic practices oriented to break with dominant criteria in the artistic field of Buenos Aires, in the period after the last military dictatorship.Keywords: Habitus, artistic practices, art sociology, artistic field of Buenos Aires, postdictatorship.

This article approaches creativity of action. Not discarding the achievements of various sociological traditions, the article takes imagination as a complementary philosophical key to develop the notion of “creativity”. First, the article exposes the restricted place creativity has had in the sociology of action, and then it offers a more precise concept of “creativity”, in light of the notion of “contingency”. The article also describes the placefor imagination at the different levels of action. Finally, the article shows three possible theoretical developments, taking imagination as a phenomenon of conscience, language or psyche.Keywords:Imagination, contingency, event, social change.

This contribution discusses the phenomenon of improvisation from the perspective of the sociological theory of action and interaction. It postulates that the notion of action, frequently accepted within the theory and defined as either planned or routinized conduct, is not adequate to explain phenomena like improvisation processes. Hence, the notion of “musical material” is postulated as one of the central elements to elucidate improvisation, together with the interaction and the communication medium employed. The article proposes to understand the musical material as sedimented knowledge that is generated, transformed and adapted in the moment and the situation of improvisation. This enables us to explain not only the routine dimension of action and interaction, but also its creativeand spontaneous aspects.Keywords:Improvisation, creativity, action theory, interaction, material.

Presentación del equipo editorial.

This investigation seeks to explore connection points between music and societal processes, by linking improvised music to cultural networks and social practices. Exceeding musicological and action-theoretical reflections, the improvisation is regarded from a cultural sociological perspective, which asks how improvisational practices can be integrated into cultural, historical and discursive contexts. Taking free jazz as the scope of the investigation, it is argued that there is a necessity to discuss its characteristic improvisation, in connection to the critical, radical and aesthetical practices of the African-American community. The musical practices of free jazz, therefore, can be seen as social practices, in which a form of resistance is manifested through an intended liberation of the current musical and cultural order. Improvisation processes expressed in free jazz hence reflect an ethnically motivated strategy, in which the ruling system of values is questioned, while simultaneously offering alternative modes of expression.Keywords: Improvisation, free jazz, musical practices, cultural resistance, emancipation.

Literature and Science demarcated two alternative knowledge models, which disputed their capacity to better understand the new social context that was born in the XIXth century. This work analyzes how that space in between the two discourses, between “the two cultures”, is extraordinarily creative for social sciences. In particular, sociology moved between the inspiration drawn from the model of literary narrative and the influence ofthe discourse about truth from the natural sciences.Keywords: Literature and society, science, sociology, discourse, truth.

Creativity specifically emerges from the power of subjectivation and self-transcendence of human beings. From the perspective of philosophical anthropology, the capacity to be creative results from the “eccentric positionality” of humans beings, which explains their power of reflexivity and the compulsion and necessity to create culture. According to the sociological-anthropological theory of creativity by Heinrich Popitz, this human capacity to develop something new is based on the forms of action of exploring, creating, establishing meaning and playing. To explain the power of subjectivation of the individual, we introduce the phenomenologically oriented sociology of Alfred Schütz, who offersa theory of relevances which allows analyzing the subjective motivations which control the creative process.Keywords:Creativity, subjectivation, imagination, life-worldly knowledge, relevances.