کسالت، شانزهای و دیجیتالی شدن در زمان چین خلاق (فرهنگ‌های بصری آسیایی)

With its emergence as a global power, China aspires to transform from "made in China" to "created in China". Mobilised as a crucial source for solid growth and "soft power," creativity has become part of the new China Dream. This anthology engages with the imperative of creativity by aligning it to three interrelated phenomena: boredom, shanzhai, and digitisation. How does creativity help mitigate boredom? Does boredom incubate creativity? How do shanzhai practices and the omnipresence of fake stuffs challenge notions of the original and authentic? Which spaces for expressions and contestations has China's fast-developing digital world of Weixin, Taobao, Youku and Internet Plus Policy opened up? Are new technologies serving old interests? Essays, dialogues, audio-visual documents and field notes, from thinkers, researchers, practitioners and policy-makers, contribute to explore, examine and problematize what is going on in China now, ultimately to tease out its implication to our understanding of "creativity". Contents Acknowledgments I Introduction II ‘Creative China’ and Its Potential to Problematise WesternModern-Romantic Ideologies of Creativity Section 1: Boredom Essays 1.1 Create No More!Clutter and Boredom, a Hong Kong Perspective 1.2 Combating the Boredom of Traditional Performing Arts?The Case of Muyuge Interlocuting 1.3 You Must (Not) Be Bored!Boredom and Creativity in Global Capitalism 1.4 Boredom and Creativity in the Era of Accelerated Living Notes from the Field 1.5 Evaporating Ennui Water Calligraphy in Beiji 1.6 Male Cinderella on the Small Screen in mainland China In Dialogue 1.7 ‘Performativity’ in the Age of Banality Section 2: Shanzhai Essays 2.1 New Productive Culture 2.2 Creative ‘Shanzhai Labour’? 2.3 Maoism and Disruptive Creativity Interlocuting 2.4 ‘Isn’t that funny?’ 2.5 Shanzhai = Creativity, Creativity = Shanzhai Notes from the Field 2.6 Bringing the Chinese Dream to the U.S. 2.7 ‘Banal Creativity’ In Dialogue 2.8 Two sides of SZ (Shanzhai & Shenzhen) Section 3: Digitisation Essay 3.1 Creativity, Affordances, and Chinese Traditional Culture Interlocuting 3.2 Digital Payment, Vernacular Creativity, and Governmentality 3.3 Shopping ‘Natural’ and ‘Local’ food as Everyday Resistance Notes from the Field 3.4 Participatory Art On-off a Digital Platform 3.5 Ongoing Digitisation and Independent Chinese Documentary In Dialogue 3.6 Digitisation with (in/out) Borders Index

In Hochschulen, Bibliotheken, Erwachsenenbildungseinrichtungen, Bildungs- und Kulturzentren sowie kulturellen Einrichtungen wie Museen werden neue Lernumgebungen sowohl für den physischen als auch den digitalen Raum konzipiert. In dieser Reihe werden nicht nur didaktisch-methodische Settings vorgestellt, sondern auch die organisatorische, bauliche und digitale Gestaltung von Lernräumen. Unter den Perspektiven Lernen, Lehren und Wissensgenerierung entsteht so ein ganzheitliches Verständnis von Lernwelten.

Editorial Board

Prof. Dr. Karin Dollhausen (Deutsches Institut für Erwachsenenbildung, Bonn)
Olaf Eigenbrodt (Staats- und Universitätsbibliothek Hamburg Carl von Ossietzky)
Dr. Volker Klotz (Amt für Bibliotheken und Lesen, Bozen)
Prof. Dr. Katrin Kraus (Pädagogische Hochschule Fachhochschule Nordwestschweiz, Basel)
Dr. Bernd Schmid-Ruhe (Stadtbibliothek Mannheim)
Dr. André Schüller-Zwierlein (Universitätsbibliothek der Universität Regensburg)
Prof. Dr. Frank Thissen (Hochschule der Medien, Stuttgart)

With its emergence as a global power, China aspires to transform from ?made in China? to ?created in China?. Mobilised as a crucial source for solid growth and ?soft power,? creativity has become part of the new China Dream. Boredom, Shanzhai, and Digitisation in the Time of Creative China engages with the imperative of creativity by aligning it to three interrelated phenomena: boredom, shanzhai, and digitisation. How does creativity help mitigate boredom? Does boredom incubate creativity? How do shanzhai practices and the omnipresence of fake goods challenge notions of the original and the authentic? Which spaces for expressions and contestations has China?s fast-developing digital world of Weixin, Taobao, Youku, and Internet Plus Policy opened up? Are new technologies serving old interests? Essays, dialogues, audio-visual documents, and field notes, from thinkers, researchers, practitioners, and policy-makers, examine what is going on in China now, ultimately to tease out its implication to our understanding of ?creativity?.