Description
Book SynopsisIn this book the author takes the concept of the New as a starting point to open the way to a broader reflection on ar t production within neoliberal capitalism. Piazza explores the notions of innovation and New respectively in the Social Sciences and in the Humanities, tracing the differences from the conceptual and temporal perspective in relation to the most recent debates on creativity and postmodernism. The book investigates the field of theatre and dance, focusing on the essential aspects that link the New with the contemporary condition and its discourse. Combining theory and practice, this book calls for an art production able to slip out of the framework of innovation and builds the ground to rethink the New and its political value in the arts.
Table of ContentsChapter I * On the New in Social Sciences1.1 The new as unknown: the recognition of novelty in the Social Sciences 1.2 The production of innovation and its temporal dimension 1.2. 1 The production of innovation, its purpose and its critique 1.2.2 Critical innovation studies 1.3 Perspectives from Sociology of Art: the collective aspect and the impossibility of NoveltyChapter II * On the New in Humanities 2.1 On difference, memory and obscurity: the recognition of novelty in Humanities 2.2. Difference, space and time: the production of the new 2.2.1 The time of the new 2.2.2 The spaces of the New2.3 Duration and value2.3. 1 The problem of valueChapter III * On the New in the Present 3.1 Some notes on the Avantgarde 3.2 Postmodernism and the future 3.3 The affirmation of creativity and its critique 3.3.1 The critique to creativity: partial answers to the problem Chapter IV * On the traces of the New in the Theatre of the Present 4.1 Today's theatre across reality and fiction 4.2 The institutional critique yet to come 4.3 Open conclusions on theory and practice: where to start Chapter V * Empirical Research on the New: methodology 5.1 Balancing theory and empirical research: abduction and qualitative methods 5.2 Objectives and research questions 5.3 Sampling and data collection 5.4 Data analysis Chapter VI * The New in the Theatre of the Present 6.1 The Notion of New and its relevance in the field 6.1.1 The Difference of the New in the Field 6.1.2 The New as Incomplete 6.1.3 The Ephemeral New and its Eternity 6.2 From the Concept of New to its Production: escaping directionality 6.2.1 The Production of the New: a Co-Existence of Differences 6.2.2 Envisioning Production: suspension and self-betrayal 6.3 On the system and its value(s) 6.3.1 Perspectives on the System and Ways out of its Reproduction 6.4 On Art and Politics: values and roles Chapter VII * Rethinking Production as a Step towards the Incomplete 7.1 On paradigms and politics: institutions as frames 7.2 The collective cultivation of difference: autonomy and conflict 7.3 On clarity, obscurity and indeterminacy 7.4 On roles and rules: impossible possibilia 7.5 On products and failure7.6 On progress and time: the reconceptualization of production
