ABSTRACT
Chapter 2 shows how the ontology that underpins artistic representation has gone through at least three paradigmatic shifts, what Richard Kearney identifies as mirror, lamp and labyrinth. I argue that with the ending of postmodernity, we have now entered a new, fourth era of creative modality, building on Martin Heidegger’s (1889–1976) concept of ‘worlding the world’. Key here are creative interventions that are embodied, ethically-charged and affective in their engagement with the world. Chapter 2 uses this theoretical framework to advance a reconfigured understanding of creativity within the arts and humanities; it also outlines how an affective and embodied understanding of creativity leads us towards interdisciplinary and transdisciplinary approaches to practice-based research.
