People consider Media Practice to be creative in terms of filmmaking, television and music videos, mainly in relation to Entertainment.

it is perceived as a medium which enables creation, innovation and thinking through different production processes allowing us to express ideas and connect. British sociologist and media theorist David Gauntlett focuses upon the everyday making and sharing of media and the role it plays in people’s everyday lives. He states that making and producing things is part of a process of thinking about different things which leads to choices, preferences and understandings, increased upon and obtained within the process of making itself. He expresses that making is connecting because things have to be combined together to produce something new and that acts of creation connect us with others and increases engagement with the social world. "Making things shows us that we are powerful, creative agents – people who can really do things, things that other people can see, learn from, and enjoy. Making things is about transforming materials into something new, but it is also about transforming one’s own sense of self." (Gauntlett, 2011, p. 245) In relation to notions of Creativity, Gauntlett explains that the term is something we as individuals do a lot yet it is a great struggle to present a clear and simple definition of what is. He focuses more specifically on ‘Everyday Creativity’ in relation to everyday activities of making. In the conclusion to his book, Gauntlett puts forward a key principle to consider involving media, creativity and everyday activities which he states as ‘A new understanding of creativity as process, emotion and presence.’ (Ibid., p. 220) This principle suggests that Creativity may be understood as a method used for distributing significant ideas and knowledge which will form connections between groups of people. "We should reject the ‘certified public genius’ model of creativity and instead embrace a rather fuzzier understanding which is, perhaps, closer to the ‘common sense’ notion of creativity that we might use to describe a friend or colleague who seems to like making things or solving problems in everyday life." (Ibid., p. 75) Hungarian psychologist Mihaly Csikszentmihalyi has analysed the subject of Creativity from a sociological perspective, focusing on what makes a life worth living. He argues that Creativity results from the interaction of a culture that contains symbolic rules, an individual who brings novelty into that particular domain and finally social interaction, evaluation and approval from a field of experts. As with Gauntlett, this rejects the conventional concept of ‘the one creative genius’ and claims instead that creative outputs appear from specific supportive environments. "It also seems true that centers of creativity tend to be at the intersection of different cultures, where beliefs, lifestyles, and knowledge mingle and allow individuals to see new combinations of ideas with greater ease. In cultures that are uniform and

rigid, it takes a greater investment of attention to achieve new ways of thinking. In other words, creativity is more likely in places where new ideas require less effort to be perceived." (Csikszentmihalyi, 1996, p. 8-9) In addition, Csikszentmihalyi is also notable for introducing the concept of Flow, a state of mind and experience where the individual is fully involved in what they are doing. It is described as being focused, having a clear set of goals receiving immediate feedback to actions and balancing challenges and abilities. He states that a way to heighten and enrich creative practice is to introduce as much of the experience of Flow into numerous areas and fields. "The conditions that make flow possible suggest how to transform everyday activities so that they are more enjoyable. Having clear goals and expectations for whatever we do, paying attention to the consequences of our actions, adjusting skills to the opportunities for action in the environment, concentrating on the task at hand without distractions – these are the simple rules that can make the difference between an unpleasant and an enjoyable experience." (Ibid., p. 349) As we have seen, both Gauntlett and Csikzentmihalyi express that creative practice maybe understood as a process where you are combining elements to produce something, you are fully involved and focused on what you are doing for the task and you are increasing engaging and receiving social appraisal and assessment with groups of people. But we should also consider different viewpoints on created outputs in relation to objective structures, viewpoints from individuals which are divided and not always favourable. French sociologist Pierre Bourdieu focused upon the changing aspects of power relationships in social life in relation to the role of practice, and in this case, cultural production. He argues that judgments of taste are associated with social position, or are acts of social positioning. "The classifying subjects who classify the properties and practices of others, or their own, are also classifiable objects which classify themselves (in the eyes of others) by appropriating practices and properties that are already classified (as vulgar or distinguished, high or low, heavy or light etc. – in other words, in the last analysis, as popular or bourgeois) according to their probable distribution between groups that are themselves classified."(Bourdieu, 1984, p. 482)