Michael Peters

This article reviews claims for creativity in the economy and in education distinguishing two accounts: 'personal anarcho-aesthetics' and 'the design principle'. The first emerges in the psychological literature from sources in the Romantic Movement emphasizing the creative genius and the way in which creativity emerges from deep subconscious processes, involves the imagination, is anchored in the passions, cannot be directed and is beyond the rational control of the individual. This account has a close fit to business as a form of 'brainstorming', 'mind-mapping' or 'strategic planning', and is closely associated with the figure of the risk-taking entrepreneur. By contrast, 'the design principle' is both relational and social and surfaces in related ideas of 'social capital', 'situated learning', and 'P2P' (peer-to-peer) accounts of commons-based peer production. It is seen to be a product of social and networked environments — rich semiotic and intelligent environments in which everything speaks. The article traces the genealogies of these two contrasting accounts of creativity and their significance for educational practice before showing how both notions are strongly connected in accounts of new forms of capitalism that require a rethinking of the notion of creativity and its place in schools and institutions of higher education. The article begins by providing a context in terms of a history of the knowledge economy and the historical tendency toward aesthetic or designer capitalism

Jacques Derrida is perhaps the foremost philosopher of the humanities and of its place in the university. Over the long period of his career he has been concerned with the fate, status, place and contribution of the humanities. Through his deconstructive readings and writings he has done much not only to reinvent the western tradition by attending closely to those texts which constitute it but also he has redefined its procedures and protocols. This paper first introduces the notion of postmodern nursing, its relation to the culture wars and some of the main characteristics of so‐called poststructuralism, considered as a response to the scientific pretensions of structuralism. Secondly, it provides some background to Derrida, who Althusser believed to be the most important French philosopher of the 20th century. Thirdly, it explores a recent essay where Derrida outlines seven programmatic theses or what he calls ‘seven professions of faith’ for the new humanities. Finally, and very tentatively, it suggests what such a view might contribute to the nursing humanities.

This paper, based on an invited Thesis Eleven presentation, provides a ‘map of technopolitics’ that springs from an investigation of the theoretical notion of technological convergence adopted by the US National Science Foundation, signaling a new paradigm of ‘nano-bio-info-cogno’ technologies. This integration at the nano-level is expected to drive the next wave of scientific research, technology and knowledge economy. The paper explores the concept of ‘technopolitics’ by investigating the links between Wittgenstein’s anti-scientism and Lyotard’s ‘technoscience’, reviewing the history of the notion in the work of the Belgium philosopher Gilbert Hottois. The ‘deep convergence’ representing a new technoscientific synergy is the product of long-term trends of ‘bioinformational capitalism’ that harnesses the twin forces of information and genetic sciences that coalesce in the least mature ‘cognosciences’ in their application to education and research. The map of technopolitics systematically identifies the political relations between Big Tech and ‘new digital publics’ to reveal that the new paradigm is based on the supreme value of cognitive efficiency. There are a closely-knit cluster of concerns that frame a map of political issues about the fifth-generation technological impacts on human beings, their bodies and minds, and public institutions, not least the logic of the distribution and ownership of data, information and knowledge, and its effects on democracy.