THE NORMATIVITY OF CREATIVE PRACTICE AND FORMS OF ITS INSTITUTIONALISATION

The increasing influence of creative industries in all fields of human life determines the turn to the problem of acceptable normative regulatives and forms of institutionalising creative practices. Its solution implies an enquiry into specifics of the subject matter of value judgement fulfilled in creative space outlined by politicians and economists in contemporary society. The latter acquires its own style characteristics and an appropriate language of their interpretation. Creative practice, visually identified as a social activity characteristic for the late modern time, becomes a subject of specialised research in different sciences. Social philosophy problematises the aesthetically attractive creative style of life and suggests axiological parameters of enquiring into conditionally defined limitations of its realisation in public space, which are intuitively perceptible on the level of common sense but are still insufficiently subjected to critical reflection. The photos, which are used as a visual-empirical basis, demonstrate a variety of forms for style interaction and resistance to the normative view in creative space, signalling a possible value clash, either blamed or sublated as the acceptable. The article reveals the principle of value judgement in creative space and consequences of its fulfillment. The praxeological approach of Luc Boltanski and Laurent Thevenot is employed in order to differentiate diverse modes of claiming to value and social objects’ forms of being valuable, ways of evaluating them, identifying and qualifying creative actions in public space. The article explicates the normative nature of creative practices and different strategies of their institutionalisation, permissible and necessary directions of their realisation in contemporary society. The analysis of value-normative foundations of creative practices in the 21st century allows revealing dominant forms of value judgement in the social reality configured with the imperative of creativity. The author substantiates the productivity of the institutional approach in explicating the specifics of self-organising creative practices. On the basis of Rahel Jaeggi’s social critical theory, the author elaborates the definition of creative institution, which can be further operationalised in the framework of cultural and economic policies by means of the creative industries conception in building the institutional infrastructure. The definitions of creative institution demonstrated in the article allow identifying valid institutionalisation forms and subjecting their viability to an expert evaluation, thereby contributing to a sustainable development of the most acceptable among them in the long run. The illustrative material, which represents creative spaces, is used to confirm the possibility of an aesthetic (re)structuring of value judgement by means of clashing style contexts of their interpretation.

creative practice, normativity, forms of institutionalisation, creative institution, value judgement, praxis