![]() In other words, the most sophisticated response would be to disprove the four points in the preceding paragraph. This retort might have more credibility were it based on a scientific understanding of leisure rather than a commonsensical one. 20-22) suggests a similar warped understanding of how people use their free time, why they do this, and why it is important to have such knowledge.Īll this might seem like sour grapes: a-nobody-likes-me-but-they-should kind of argument. 4) Leisure science’s weak reception in many of the mainstream social sciences (e.g., economics and political science, Stebbins, 2012, pp. Certain commonsense definitions are presumed to be behind such thinking. ![]() 3) Some practitioners in fields where leisure has been shown to benefit clients still refuse to accept this approach. 2) The general population guided by certain commonsense definitions suffers with its ignorance of how it could benefit from an informed view of free time. 1) Gatekeepers informed only by the commonsense definitions of leisure while working in the institutions of higher education and funding agencies for research and teaching often fail to give research and education in leisure science its due. In general, the reasons for confrontation are the following. The following chapters will show what this popular outlook is lacking and why it is important that it be confronted. In other words, there is plenty of evidence to justify the central proposal in this book that the commonsense view of free-time activities can and should be challenged. Many people outside the comparatively small circle of leisure theorists, researchers, and practitioners – this indictment includes other scholars and university administrators on the outside – might well greet this claim with: “who cares?” But leisure’s modern legacy is both profound and immense, a product of approximately 45 years of steady research, application, and theory development. Drawing on ethnographic empirical research and my own experiences as an amateur musician I describe the ways in which working helps a specific group of people to creatively make music and provide an analysis of how positive and negative images of work help to structure and inspire this creativity.Īs with some other complex ideas having currency in today’s world, that of leisure suffers at the level of commonsense from a combination of oversimplification, moral depreciation, and in some quar ters, even lack of recognition. However, marking a distinction between creatively producing something and producing something creative, I argue that organising creativity is now an important creative activity in its own right and is intimately related to various ways of representing work. Researchers have suggested that the precarious labour conditions typical of creative work along with the growing role of large corporations in the creative labour market make it all but impossible for creative workers to be experimental and innovative – that is, to be truly creative. Many have argued that our ability to be creative has, ironically, decreased with the rise of creative work. But in what sense is creative work, itself, creative? This is the central concern of this thesis. Creative work is thought to offer a model for the future of all work as we move into a knowledge economy. Thesis submitted for the degree of Doctor of Philosophy at the University of Leicester. The Future of Magic: Will magic eventually become obsolete? The Deception of Magic: How can a magician deceive us? The Magic of Teaching: What can we learn from magic tricks? The Power of Magic: What is the practical use of conjuring? The History of Magic: What role did magicians play in history? Magic Networks: What is it like to be a magician? The Art of Magic: Is magic a performance art? The Science of Magic: How does magic relate to science? Introduction: How can we define theatrical magic? Perspectives on Magic discusses the following questions: For people with a passive interest in magic, this book offers an insight into this quaint performance art, which is usually surrounded by secrecy and cliches. For magicians, this book provides new perspectives on their art. This book explores some of the answers to the questions that scholars from different fields of science have asked about the performances of magicians. ![]() ![]() A psychologist might ask why it is possible that the mind can be deceived, occupational therapists are interested in how performing magic tricks can help people with physical disabilities, and sociologists research the subculture of magicians. When watching a magician, the question that is most pressing on people’s minds is “how did he do it”? This question is not the only one that can be asked of a magic performance. Perspectives on Magic is a book about the relationship between science and magic.
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