This concise, precise, and inclusive dictionary contributes to a growing, transforming, and living research culture within both humanities scholarship and professional practices within the creative sectors. Its format of succinct starting definitions, demonstrations of possible routes of further development, and references to new and revisited concepts as “conceptual invitations” allows readers to quickly uptake and orient themselves within this exciting methodological field for didactic, scholarly and creative use, and as a starting point for further investigation for future contributions to the new canon of critical concepts.Critical Concepts for the Creative Humanities is the first book to outline and define the specific and evolving field of the creative humanities and provides the field’s nascent bibliography.
Iris van der Tuin is professor of theory of cultural inquiry in the Department of Philosophy and Religious Studies at Utrecht University and university-wide dean for interdisciplinary education.
Nanna Verhoeff is professor of screen cultures & society at the Department of Media and Culture Studies of Utrecht University.
Together, Iris and Nanna initiated the Creative Humanities Academy of the Faculty of Humanities at Utrecht University: an infrastructure for collaboration between academic scholars and creative professionals, post-academic teaching, and consultancy on humanities theories, methodologies, and pedagogies. See: https://www.uu.nl/en/education/creative-humanities-academy.
Between No-Longer and Not-Yet
Brackets , Parentheses ()
Care, Ethics of Care
Cartography, Performative Cartography
Dash – , Hyphen -
Making Kin, Unkinning
Mode, Modality, Multi-Modality
Theoretical Object, Knowledge Object
INDEX of Concepts
INDEX of Names
About the Authors
This is an animate lexicon, overflowing with pulsating and creative concepts. Van der Tuin and Verhoeff are engaged with what concepts can do, and what they can make happen, rather than trying to capture a spurious ‘classifixation’ of what they are. The authors do not so much offer definitions as stage a series of potentialities, novel directions in which to take concepts, or indeed, to be taken by them. The conceptual territory traversed is at once familiar and foreign, provoking feelings of the uncanny. This brilliant and seriously playful work enacts its own incitement to the reader: to connect, to create, to articulate, and to activate new ways of thinking-being, in the service of a vibrant future.
This book is a gem. The ways that the authors approach the dictionary format, through the notion of concepts-in-the-making, arts-based creative methods and practices, is innovative and entirely appropriate to its aim to compile and expand the creative humanities. The authors are both leaders in their fields and are ideally positioned and eminently experienced. Their ground-breaking conceptual approach goes beyond a textbook and performs the field that it explores.
Exploring the potentialities of creative humanities, this book will contribute substantially to the research field. The book’s strengths are its focus on concepts as always performative and methodological, and engagement with nature-culture and theory-practice complexities and openness. The authors represent a strong theoretical foundation and thoroughness. There is absolutely a need for didactic texts like this, that are fitting for the contemporary interdisciplinary and collaborative research culture of a new generation of thinkers and makers.
In Critical Concepts for the Creative Humanities, van der Tuin and Verhoeff have created new and original conceptual pathways for exploring the multiple and complexly intertwining lines connecting theoretical and creative practice, and intellectual and sensory experience. This is a bold book, and its influence is bound to be transformative of current and future directions in the arts and humanities.