Consequently, the study of individual creativity took center stage, serving as a lifeline for the preservation of the corporate capitalist society from its own potential self-destruction. Yet, there was little appetite for dismantling corporate structures or handing over intellectual property rights to the engineers. Despite this, post World War II, the pinnacle of this organizational age, inklings of concern began to surface that bureaucratic structures might suffocate the spark of innovation. The early 20th century was the era of faith in systematized innovation, there wasn’t a pressing need to focus on the individual. For most of capitalism’s existence, the general assumption has been that innovation was a self-fuelling process spurred by inherent incentives that motivated individuals to invent and find new niches in the market. It’s constantly evolving and generating new products to meet ever-emerging desires, often of its own creation. In the process, he lays bare a dubious and often dark underbelly that leaves readers with the questions: What is creativity, and who does it truly serve?Īs discussed in your book, how would you characterize the symbiosis between creativity and capitalism?Ĭapitalism, by its very nature, has always been a highly inventive system. In 260 pages, Franklin offers a fresh, nuanced take on the relationship between the pursuit of profit and our need for creativity. This, perhaps unlikely, marriage has progressively groomed us into contributors in a cycle of relentless novelty, where creativity is transformed into a production line for innovative ideas ready for packaging, marketing, and sale in the global marketplace. According to Franklin, our comprehension of creativity is largely structured to fit within the constraints of capitalist ideologies. Franklin, The Cult of Creativity: A Surprsingly Recent History. The dynamics of this relationship forms the core theme of a new book by author Samuel W. No matter your style, the collection of antique, new and vintage seating on 1stDibs is surely worthy of a standing ovation.Capitalism and creativity have become critical symbionts in today’s economy. Shop our inventory of Egg chairs, designed in 1958 by Arne Jacobsen, the Florence Knoll lounge chair and more. With respect to the latest obsessions in design, cane seating has been cropping up everywhere, from sleek armchairs to lounge chairs, while bouclé fabric, a staple of modern furniture design, can be seen in mid-century modern, Scandinavian modern and Hollywood Regency furniture styles.Īdmirers of the sophisticated craftsmanship and dark woods frequently associated with mid-century modern seating can find timeless furnishings in our expansive collection of lounge chairs, dining chairs and other items - whether they’re vintage editions or alluring official reproductions of iconic designs from the likes of Hans Wegner or from Charles and Ray Eames. Whether your preference is stretching out on a plush sofa, such as the Serpentine, designed by Vladimir Kagan, or cozying up in a vintage wingback chair, there is likely to be a comfy classic or contemporary gem for you on 1stDibs. Of course, with luxurious vintage or antique furnishings, every chair can seem like the best seat in the house. In the kitchen, the dining chair placed at the head of the table is typically reserved for the head of the household or a revered guest. Much like the thrones of fairy tales and the regency, elegant lounges crafted in the Louis XV style convey wealth and prestige. Antique desk chairs and armchairs designed in the style of Louis XV, which eventually included painted furniture and were often made of rare woods, feature prominently curved legs as well as Chinese themes and varied ornaments. The seating of today is more inclusive but the style and placement of chairs can still make a statement. In the 18th century and earlier, seats with backs and armrests were largely reserved for high nobility. These rudimentary chairs informed the design of Greek and Roman stools, all of which were a long way from Sori Yanagi's Butterfly stool or Alvar Aalto's Stool 60. Egyptian stools, for example, designed for one person with no seat back, were x-shaped and typically folded to be tucked away. With entire areas of our homes reserved for “sitting rooms,” the value of quality antique and vintage seating cannot be overstated.įortunately, the design of side chairs, armchairs and other lounge furniture - since what were, quite literally, the early perches of our ancestors - has evolved considerably.Īmong the earliest standard seating furniture were stools.
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