Eitan Y. Wilf – författare

Jazz was born on the streets, grew up in clubs, and will die - so some fear - at the university. Facing dwindling commercial demand and the gradual disappearance of venues, many aspiring jazz musicians today learn their craft, and find their careers, in one of the many academic programs that now offer jazz degrees. School for Cool is their story. Going inside the halls of two of the most prestigious jazz schools around-at the Berklee School of Music in Boston and the New School in New York - Eitan Y. Wilf tackles a formidable question at the heart of jazz today: can creativity survive institutionalization? Few art forms epitomize the anti-institutional image more than jazz, but it's precisely at the academy that jazz is now flourishing. This shift has introduced numerous challenges and contradictions to the music's practitioners. Solos are transcribed, technique is standardized, and the whole endeavor is plastered with the label "high art" - a far cry from its freewheeling days.Wilf shows how students, educators, and administrators have attempted to meet these challenges with an inventive spirit and a robust drive to preserve - and foster - what they consider to be jazz's central attributes: its charisma and unexpectedness. He also highlights the unintended consequences of their efforts to do so. Ultimately he argues that the gap between creative practice and institutionalized schooling, although real, is often the product of our efforts to close it.

Business consultants everywhere preach the benefits of innovation—and promise to help businesses reap them. A trendy industry, this type of consulting is centered around courses, workshops, books, and conferences, all claiming to hold the secrets of success. But what kind of promises does the notion of innovation entail? What is it about the ideology and practice of business innovation that has made these consulting firms so successful at selling their services to everyone from small start-ups to Fortune 500 companies? Most importantly, what does business innovation actually mean for work and our economy in general in 2019? In Creativity on Demand, cultural anthropologist Eitan Wilf seeks to answer these questions by returning to the fundamental and pervasive expectation of continual business innovation. Wilf focuses a keen eye on how our obsession with innovation stems from the long-standing value of acceleration in capitalist society. Based on ethnographic work with innovation consultants in the United States, he reveals, among other surprises, how routine the culture of innovation is in reality. Procedures and strategies are repeated in a formulaic way, and imagination is harnessed as a new professional ethos, not always to generate genuinely new thinking, but also to produce predictable signs of continual change. A masterful look at the contradictions of our capitalist age, Creativity on Demand is a model for the anthropological study of our cultures of work.

Business consultants everywhere preach the benefits of innovation—and promise to help businesses reap them. A trendy industry, this type of consulting generates courses, workshops, books, and conferences that all claim to hold the secrets of success. But what promises does the notion of innovation entail? What is it about the ideology and practice of business innovation that has made these firms so successful at selling their services to everyone from small start-ups to Fortune 500 companies? And most important, what does business innovation actually mean for work and our economy today?   In Creativity on Demand, cultural anthropologist Eitan Wilf seeks to answer these questions by returning to the fundamental and pervasive expectation of continual innovation. Wilf focuses a keen eye on how our obsession with ceaseless innovation stems from the long-standing value of acceleration in capitalist society. Based on ethnographic work with innovation consultants in the United States, he reveals, among other surprises, how routine the culture of innovation actually is. Procedures and strategies are repeated in a formulaic way, and imagination is harnessed as a new professional ethos, not always to generate genuinely new thinking, but to produce predictable signs of continual change. A masterful look at the contradictions of our capitalist age, Creativity on Demand is a model for the anthropological study of our cultures of work.  

Explores how creative digital technologies and artificial intelligence are embedded in culture and society.  In The Inspiration Machine, Eitan Y. Wilf explores the transformative potentials that digital technology opens up for creative practice through three ethnographic cases, two with jazz musicians and one with a group of poets. At times dissatisfied with the limitations of human creativity, these artists do not turn to computerized algorithms merely to execute their preconceived ideas. Rather, they approach them as creative partners, delegating to them different degrees of agentive control and artistic decision-making in the hopes of finding inspiration in their output and thereby expanding their own creative horizons.  The algorithms these artists develop and use, however, remain rooted in and haunted by the specific social predicaments and human shortfalls that they were intended to overcome. Experiments in the digital thus hold an important lesson: although Wilf’s interlocutors returned from their adventures with computational creativity with modified, novel, and enriched capacities and predilections, they also gained a renewed appreciation for, and at times a desire to re-inhabit, non-digital creativity. In examining the potentials and pitfalls of seemingly autonomous digital technologies in the realm of art, Wilf shows that computational solutions to the real or imagined insufficiencies of human practice are best developed in relation to, rather than away from, the social and cultural contexts that gave rise to those insufficiencies, in the first place.

Explores how creative digital technologies and artificial intelligence are embedded in culture and society.   In The Inspiration Machine, Eitan Y. Wilf explores the transformative potentials that digital technology opens up for creative practice through three ethnographic cases, two with jazz musicians and one with a group of poets. At times dissatisfied with the limitations of human creativity, these artists do not turn to computerized algorithms merely to execute their preconceived ideas. Rather, they approach them as creative partners, delegating to them different degrees of agentive control and artistic decision-making in the hopes of finding inspiration in their output and thereby expanding their own creative horizons.   The algorithms these artists develop and use, however, remain rooted in and haunted by the specific social predicaments and human shortfalls that they were intended to overcome. Experiments in the digital thus hold an important lesson: although Wilf’s interlocutors returned from their adventures with computational creativity with modified, novel, and enriched capacities and predilections, they also gained a renewed appreciation for, and at times a desire to re-inhabit, non-digital creativity. In examining the potentials and pitfalls of seemingly autonomous digital technologies in the realm of art, Wilf shows that computational solutions to the real or imagined insufficiencies of human practice are best developed in relation to, rather than away from, the social and cultural contexts that gave rise to those insufficiencies, in the first place.

Explores how creative digital technologies and artificial intelligence are embedded in culture and society.  In The Inspiration Machine, Eitan Y. Wilf explores the transformative potentials that digital technology opens up for creative practice through three ethnographic cases, two with jazz musicians and one with a group of poets. At times dissatisfied with the limitations of human creativity, these artists do not turn to computerized algorithms merely to execute their preconceived ideas. Rather, they approach them as creative partners, delegating to them different degrees of agentive control and artistic decision-making in the hopes of finding inspiration in their output and thereby expanding their own creative horizons.  The algorithms these artists develop and use, however, remain rooted in and haunted by the specific social predicaments and human shortfalls that they were intended to overcome. Experiments in the digital thus hold an important lesson: although Wilf’s interlocutors returned from their adventures with computational creativity with modified, novel, and enriched capacities and predilections, they also gained a renewed appreciation for, and at times a desire to re-inhabit, non-digital creativity. In examining the potentials and pitfalls of seemingly autonomous digital technologies in the realm of art, Wilf shows that computational solutions to the real or imagined insufficiencies of human practice are best developed in relation to, rather than away from, the social and cultural contexts that gave rise to those insufficiencies, in the first place.

The chapters in this captivating volume demonstrate the importance and power of design and the ubiquitous and forceful effects it has on human life within the study of anthropology. The scholars explore the interactions between anthropology and design through a cross-disciplinary approach, and while their approaches vary in how they specifically consider design, they are all centered around the design-and-anthropology relationship. The chapters look at anthropology for design, in which anthropological methods and concepts are mobilized in the design process; anthropology of design, in which design is positioned as an object of ethnographic inquiry and critique; and design for anthropology, in which anthropologists borrow concepts and practices from design to enhance traditional ethnographic forms. Collectively, the chapters argue that bringing design and anthropology together can transform both fields in more than one way and that to tease out the implications of using design to reimagine ethnography--and of using ethnography to reimagine design--we need to consider the historical specificity of their entanglements.