![]() ![]() ![]() Indeed, the aging society is seen by some as a graver threat than even global warming, with potentially unmanageable tensions relating to intergenerational relationships, work and benefits, and flows of people. The prediction for other Western countries is scarcely different. Both improvisational and innovative creativity are embedded in habitual forms and this is well illustrated by craftwork: a practiced type of activity on the basis of which artisans improvise, whenever obstacles or difficulties are encountered, and even get to innovate when their intention is to generate novel artifacts or work techniques.ĭemographers say that by the year 2060, every seventh person in Germany will be aged eighty or older, and every third person over sixty-five. Further distinctions are then made between habit, improvisation, and innovation. In light of these sources, habit is reformulated as a social, situated, and open system, and habitual creativity defined as the intrinsically creative nature of customary action, reflected in the way habits adjust to dynamic contexts, the way they are used, combined, and ultimately perfected. A first step toward reconciling the two terms is made by revisiting a series of foundational strands of theory from psychology and related disciplines. This article argues that such a separation misrepresents both habit and creativity with important theoretical and practical consequences. However, this account is problematic and contradicts everyday experience where mastery, for instance, is one of the highest levels of creative performance achieved within a habitual practice. Current psychological scholarship is based on a dichotomy between habit, associated with automatic reflex behavior, and creativity, which involves deliberation, purpose and heuristic procedures.
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