Zhang, Xiaomeng; Bartol, Kathryn M.
Integrating theories addressing attention and activation with creativity literature, we found an inverted U-shaped relationship between creative process engagement and overall job performance among professionals in complex jobs in an information technology firm. Work experience moderated the curvilinear relationship, with low-experience employees…
Coles-Kemp, Lizzie; Hall, Peter
In this book we examine the role that creative security engagements have played in the TREsPASS project. These engagements are part of a wider creative securities approach that explores the contributions that social practices make to protection of data and information. Our most popular creative
parties are engaged in the design process in order to ensure a common goal: creating the best frame for creative learning. In reality, this rarely happens and the users are left with a physical learning environment where the intentions do not match the expectations and established practises. To remedy...
Jennifer M. Suh
Full Text Available This paper examines the experiences of two elementary teachers’ implementation of mathematical modeling in their classrooms and how the enactment by the teachers and the engagement by students exhibited their creativity, critical thinking, collaboration and communication skills. In particular, we explore the questions: (1 How can phases of mathematical modeling as a process serve as a venue for exhibiting students’ critical 21st century skills? (2 What were some effective pedagogical practices teachers used as they implemented mathematical modeling with elementary students and how did these promote students’ 21st century skills? We propose that mathematical modeling provides space for teachers and students to have a collective experience through the iterative process of making sense of and building knowledge of important mathematical ideas while engaging in the critical 21st century skills necessary in our complex modern world.
Conti, Regina; And Others
Assessed effectiveness of engaging students in a creative activity on a topic as a means of encouraging an active cognitive set toward learning that topic area. Creative task engagement was found to be an effective means of enhancing creativity (in the absence of evaluation expectation), intrinsic motivation, and long-term retention. (JBJ)
Full Text Available This article discusses the politics and practicalities of research process in a major government-funded, academic/community collaborative research project on cultural assets in Wollongong, a regional industrial city 85 km south of Sydney, Australia. It does so through the theoretical concept of ‘enclosure’, which helps illuminate how policy discourses are framed, and reveals capacities to challenge and reframe policy imaginations through research. The setting is pivotal: Wollongong has a legacy of steel and coal industries that dominates contemporary discourses about the city’s future prosperity. Cultural industries such as music, film, art, circus and theatre have at various times been either marginalised as insignificant to economic futures or, when they have been noticed, have been worked into city planning in very particular ways – as cultural pastimes, as prospects for economic diversification or as means to renew socioeconomically disadvantaged neighbourhoods. Such visions have rested on notions of what constitutes ‘culture’ and ‘creativity’, with a focus on the performing arts, while other forms of vernacular creativity have remained largely unnoticed. Our research project has sought to respond to this, identifying and engaging with people involved in forms of vernacular creativity outside the arts orthodoxy among Wollongong’s blue-collar and youth populations (including surfboard shapers, Aboriginal rappers, custom car designers and alternative music subcultures. Our hope is that such engagement can better inform future planning for cultural industries in Wollongong. However, engaging with such creative communities is complicated, and in different times and places research strategies confronted apathy, suspicion, absence of representative organisation and ‘consultation fatigue’. We discuss our efforts at engagement with creative communities beyond the arts orthodoxy, and appraise some of the prospects and
Waldrip, Bruce; Prain, Vaughan
Student engagement in learning science is both a desirable goal and a long-standing teacher challenge. Moving beyond engagement understood as transient topic interest, we argue that cognitive engagement entails sustained interaction in the processes of how knowledge claims are generated, judged, and shared in this subject. In this paper, we particularly focus on the initial claim-building aspect of this reasoning as a crucial phase in student engagement. In reviewing the literature on student reasoning and argumentation, we note that the well-established frameworks for claim-judging are not matched by accounts of creative reasoning in claim-building. We develop an exploratory framework to characterise and enact this reasoning to enhance engagement. We then apply this framework to interpret two lessons by two science teachers where they aimed to develop students' reasoning capabilities to support learning.
McFadden, Susan H; Basting, Anne D
Creative engagement, as an expression of and a support for resilience, may have a neuroprotective effect among older adults, contributing to retention of cognitive capacity. Recent research on creative activities shows that they strengthen social networks and give persons a sense of control; both outcomes have been associated with brain health. The authors cite evidence suggesting that positive social interactions can nurture resilience and creative engagement among older persons, including those living with dementia. The motivational, attentional, affective, and social components of creative activities combine to offer older persons meaningful opportunities to express and strengthen their resilience, regardless of their cognitive status, despite the biopsychosocial challenges of aging. The article addresses implications for future research, clinical practice, and public policy, and suggests how gaps in current research on resilience and creativity might be addressed.
For many years, the author has incorporated creative process into the way she teaches ballet class. The author shares the philosophical, practical, and artistic reasons for the creative process in ballet classes. She also shares the rationale and how this practice developed over time.
Bitz, Michael; Emejulu, Obiajulu
This article is an international reflection on literacy, creativity, and student engagement. The authors collaborated to help Nigerian youths and their teachers develop, design, and share original comic books. By leveraging student engagement for literacy learning, the authors highlighted the crucial role of creativity in the classroom. The…
Sayer, E.J.; Featherstone, H.C.; Gosling, W.D.
Public engagement is widely recognized as a key priority for achieving societal support for research. We spotlight creativity in public engagement as a way of reaching wider audiences and incentivising researcher involvement, demonstrating some of the possibilities with a recent initiative to engage
Sayer, Emma J; Featherstone, Helen C; Gosling, William D
Public engagement is widely recognized as a key priority for achieving societal support for research. We spotlight creativity in public engagement as a way of reaching wider audiences and incentivising researcher involvement, demonstrating some of the possibilities with a recent initiative to engage the public with ecology at music festivals. Copyright © 2013 Elsevier Ltd. All rights reserved.
Lee, Il Rang; Kemple, Kristen
The purpose of this study was to examine relationships among preservice teachers' personality traits, their own engagement in creative activities, and their beliefs about the teaching practices that have been shown to support children's creativity. A total of 302 early childhood and elementary preservice teachers participated in this study. The…
Andrew P. Allen
Full Text Available What is the relationship between the creative process and cognition and perception? Lynda Loughnane, a master’s student in Art and Process in Crawford College of Art and Design, Cork, Ireland interviewed Dr Andrew P. Allen about the subject. Areas covered include mindfulness, Type 1 and Type 2 thinking, stage theories of creativity, engagement with the art process and the artwork, phenomenology and consciousness with and without self report. The interview was constructed to cover a wide range of subject matter, so as to gather as much information as possible in layman's language about the cognitive process in relation to creativity and interaction with art.
Valgeirsdóttir, Dagný; Onarheim, Balder; Gabrielsen, Gorm
in creativity research, while the role of consumer’s knowledge of the creative process behind the product is fairly unexplored. In this paper, we present an empirical study investigating whether providing information about a complex development process could amplify consumer’s perception of product creativity......Creativity is a critical component that feeds into all stages of innovation and design processes by promoting inspiration, ideation, and implementation of ideas, revealing the need for thorough research to support design creativity. Assessment of product creativity is a reoccurring topic....... Does storytelling about the process contribute to amplifying creativity ratings? What form of storytelling is needed to make an impact? Results from 134 respondents showed a small but not significant amplifying effect from the additional process information; however, an important learning can be drawn...
Valgeirsdóttir, Dagný; Onarheim, Balder
to ensure capture of all instances of process awareness. Through this iterative process it was revealed that process awareness was predominantly observed in creativity related tasks. Moreover three distinct facets to process awareness emerged; planning, monitoring and reflecting, which were employed...... respectively before, during and after initiating a process and/or a workshop. We conclude that process awareness is an important creativity skill, being a crucial mechanism to enhance all stages of the creative process. If a designer becomes able to plan, monitor and reflect on his or her own cognitive...... processes, as well as other team members, he or she will be able to understand what works and what does not for advancing the creative process. In turn, that enables the designer to become more strategic about which actions are appropriate and at what time they are most usefully deployed; making the use...
This article makes a case for using creative writing in a second language course. Creative writing increases students' enthusiasm for writing skills development and supports students' creativity, which is a fundamental aspect of education. In order to engage less motivated students, a series of creative writing assignments was implemented in a…
Yonas, Michael A; Burke, Jessica G; Rak, Kimberly; Bennett, Antoine; Kelly, Vera; Gielen, Andrea C
Engaging youth and incorporating their unique expertise into the research process is important when addressing issues related to their health. Visual Voices is an arts-based participatory data collection method designed to work together with young people and communities to collaboratively elicit, examine, and celebrate the perspectives of youth. To present a process for using the creative arts with young people as a participatory data collection method and to give examples of their perspectives on safety and violence. Using the creative arts, this study examined and illustrates the perspectives of how community factors influence safety and violence. Visual Voices was conducted with a total of 22 African-American youth in two urban neighborhoods. This method included creative arts-based writing, drawing, and painting activities designed to yield culturally relevant data generated and explored by youth. Qualitative data were captured through the creative content of writings, drawings, and paintings created by the youths as well as transcripts from audio recorded group discussion. Data was analyzed for thematic content and triangulated across traditional and nontraditional mediums. Findings were interpreted with participants and shared publicly for further reflection and utilization. The youth participants identified a range of issues related to community factors, community safety, and violence. Such topics included the role of schools and social networks within the community as safe places and corner stores and abandoned houses as unsafe places. Visual Voices is a creative research method that provides a unique opportunity for youth to generate a range of ideas through access to the multiple creative methods provided. It is an innovative process that generates rich and valuable data about topics of interest and the lived experiences of young community members.
Anderson, Theresa Dirndorfer
The paper provides a distillation of findings emerging from an ongoing series of investigations of the research practices of academics in a university context to foreground the creativity in our engagements with information. The empirical research involved an ethnographic exploration of the scholarly practices of two scholars engaged in the…
Ahmetoglu, Gorkan; Harding, Xanthe; Akhtar, Reece; Chamorro-Premuzic, Tomas
Creativity is a key ingredient of organizational effectiveness, business innovation, and entrepreneurship. Yet there remain substantial gaps in the literature in terms of understanding the antecedents of creative achievement. This study investigated the effect of perfectionism, employee engagement, and entrepreneurial potential as predictors of…
Full Text Available Objective: Emotional creativity implies experiencing a complex emotional life, which is becoming increasingly necessary in societies that demand innovation and constant changes. This research studies the relation of emotional creativity as a dispositional trait with intrinsic motivation and academic engagement.Methods: A sample of 428 university Chilean students, 36.5% men and 63.5% women, with ages from 18 to 45 years old (M = 20,37 DT = 2,71. Additionally, the mediating function of class-related positive emotions in this relation is explored.Results: The obtained data indicate that developing high levels of dispositional emotional creativity enhances the activation of positive emotions, such as gratitude, love and hope, in the classroom. Furthermore, emotional creativity predicts intrinsic motivation and academic engagement of university students by the experience of positive emotions. Conclusion: These results compel us to be aware of the importance that university students in their early years can understand the complexity of the emotional processes they undergo. A greater control of these emotions would allow students to maintain higher levels of interest in their studies at the different educational stages and to avoid the risk of school failure.
Horner, Althea J
Both psychologist and writer, the author describes the creative process from research, psychological, psychoanalytic, and personal experiential perspectives. The approaches of Ernest Hemingway, Stephen King, and W. Somerset Maugham to their work are very different, illustrating that the expression of creativity is idiosyncratic and unique. Examples of the author's creative process are also presented. Creativity can be used to help the writer come to terms with and to master his or her conflicts as described by Ray Bradbury. It can also be used simply to discharge those conflicts without coming to terms with them as was the work of Sylvia Plath. The relation between dreaming and creativity is discussed. Creativity is viewed not only as a vehicle for self-expression but also as a vehicle for self-discovery. The therapist's creativity and its relevance to the treatment process is also pointed out.
Yonas, Michael A.; Burke, Jessica G.; Rak, Kimberly; Bennett, Antoine; Kelly, Vera; Gielen, Andrea C.
Background Engaging youth and incorporating their unique expertise into the research process is important when addressing issues related to their health. Visual Voices is an arts-based participatory data collection method designed to work together with young people and communities to collaboratively elicit, examine, and celebrate the perspectives of youth. Objectives To present a process for using the creative arts with young people as a participatory data collection method and to give examples of their perspectives on safety and violence. Methods Using the creative arts, this study examined and illustrates the perspectives of how community factors influence safety and violence. Visual Voices was conducted with a total of 22 African-American youth in two urban neighborhoods. This method included creative arts-based writing, drawing, and painting activities designed to yield culturally relevant data generated and explored by youth. Qualitative data were captured through the creative content of writings, drawings, and paintings created by the youths as well as transcripts from audio recorded group discussion. Data was analyzed for thematic content and triangulated across traditional and nontraditional mediums. Findings were interpreted with participants and shared publicly for further reflection and utilization. Conclusion The youth participants identified a range of issues related to community factors, community safety, and violence. Such topics included the role of schools and social networks within the community as safe places and corner stores and abandoned houses as unsafe places. Visual Voices is a creative research method that provides a unique opportunity for youth to generate a range of ideas through access to the multiple creative methods provided. It is an innovative process that generates rich and valuable data about topics of interest and the lived experiences of young community members. PMID:20097996
Rojas, Joanne P.; Tyler, Kenneth M.
Within the investment theory of creativity (Sternberg & Lubart, 1996), creativity is defined as a 2-part process of "buying low" by investing in unusual ideas and then "selling high" by convincing others of the value or usefulness of these new ideas. This process requires both creative ideation and perseverance. The purpose…
Russ, Sandra W.; Wallace, Claire E.
The authors contend that many cognitive abilities and affective processes important in creativity also occur in pretend play and that pretend play in childhood affects the development of creativity in adulthood. They discuss a variety of theories and observations that attempt to explain the importance of pretend play to creativity. They argue that…
Full Text Available This research investigates the extent to which creative processes can be fostered through computer gaming. It focuses on creative components in games that have been specifically designed for educational purposes: Digital Game Based Learning (DGBL. A behavior analysis for measuring the creative potential of computer game activities and learning outcomes is described. Creative components were measured by examining task motivation and domain-relevant and creativity-relevant skill factors. The research approach applied heuristic checklists in the field of gameplay to analyze the stage of player activities involved in the performance of the task and to examine player experiences with the Player Experience of Need Satisfaction (PENS survey. Player experiences were influenced by competency, autonomy, intuitive controls, relatedness and presence. This study examines the impact of these activities on the player experience for evaluating learning outcomes through school records. The study is designed to better understand the creative potential of people who are engaged in learning knowledge and skills during the course while playing video games. The findings show the creative potential that occurred to yield levels of creative performance within game play activities to support learning. The anticipated outcome is knowledge on how video games foster creative thinking as an overview of the Creative Potential of Learning Model (CPLN. CPLN clearly describes the interrelationships between principles of learning and creative potential, the interpretation of the results is indispensable.
Gershon, Walter S.; Oded, Ben-Horin
Drawing from their respective work at the intersection of music and science, the coauthors argue that engaging in processes of making music can help students more deeply engage in the kinds of creativity associated with inquiry based science education (IBSE) and scientists better convey their ideas to others. Of equal importance, the processes of…
Rothballer, K.; Sturges, M. J.
Join veteran artist/activist Molly Sturges for a presentation on FIREROCK: PASS THE SPARK performances and engagement processes that foster personal and collective creativity for sustained climate engagement and collaborative leadership. FIREROCK: PASS THE ROCK opens in San Francisco in October 2016. This project is an evolving, long-term, social innovation project that has been developed with faith, Indigenous and directly impacted communities as well as schools, towns and universities. Informed by science, social justice, Indigenous knowledge, and grassroots activism FIREROCK includes performances that are accompanied by a series of activities designed to build community and engineer creative spaces for dialogue and response. The FIREROCK team has found that people are excited to engage around climate when there are venues available for expressivity and meaningful exchange. FIREROCK supports us in moving from our current stance in which we are paralyzed— often not knowing what to do or how to act—to seeing ourselves as part of the solution. FIREROCK is a family-friendly catalytic musical journey inviting people into the complexity of climate change and sparking an inspired response to the mythic challenges of our time. Through story, song and unique engagement experiences, FIREROCK builds community towards action and solutions. FIREROCK provides partners with everything they need to make the project their own, including a comprehensive toolkit to assist groups in learning how to develop community partnerships, convene FIREROCK engagement activities and facilitate dialogue and skill sharing. This dynamic storytelling project is scalable and can be employed, adapted and localized by groups and communities nationwide as a powerful catalyst for climate engagement work. Molly Sturges is a national leader in arts, ecology and social change work. She is the Founding Artistic Director of Littleglobe, a diverse arts cooperative made up of artistic and cultural workers
Florida, Richard; Goodnight, Jim
A company's most important asset isn't raw materials, transportation systems, or political influence. It's creative capital--simply put, an arsenal of creative thinkers whose ideas can be turned into valuable products and services. Creative employees pioneer new technologies, birth new industries, and power economic growth. If you want your company to succeed, these are the people you entrust it to. But how do you accommodate the complex and chaotic nature of the creative process while increasing efficiency, improving quality, and raising productivity? Most businesses haven't figured this out. A notable exception is SAS Institute, the world's largest privately held software company. SAS makes Fortune's 100 Best Companies to Work For list every year. The company has enjoyed low employee turnover, high customer satisfaction, and 28 straight years of revenue growth. What's the secret to all this success? The authors, an academic and a CEO, approach this question differently, but they've come to the same conclusion: SAS has learned how to harness the creative energies of all its stakeholders, including its customers, software developers, managers, and support staff. Its framework for managing creativity rests on three guiding principles. First, help employees do their best work by keeping them intellectually engaged and by removing distractions. Second, make managers responsible for sparking creativity and eliminate arbitrary distinctions between "suits" and "creatives". And third, engage customers as creative partners so you can deliver superior products. Underlying all three principles is a mandate to foster interaction--not just to collect individuals' ideas. By nurturing relationships among developers, salespeople, and customers, SAS is investing in its future creative capital. Within a management framework like SAS's, creativity and productivity flourish, flexibility and profitability go hand in hand, and work/life balance and hard work aren't mutually exclusive.
Tamara L. McNealy
Full Text Available ‘Attention spans have shortened,’ is a common phrase often used in reference to today’s college students. As faculty and instructors, we need to address this issue through the utilization of innovative and creative techniques that aid in making our subjects accessible to our students. Connecting a serious topic such as microbiology with a ‘fun’ activity can increase student engagement and learning. Ideas to maintain student attention on a subject include providing information in 15- to 20-minute blocks, giving one- to two-minute assignments, and providing an active learning activity at least once per hour. But what if we could also increase their engagement with science by connecting it to things they already think of outside of class, and, in addition, make science thinking interdisciplinary? I have recently introduced exercises that connect music and art to various microbiology topics in my class. The creative processes in art and science have much in common. Albert Einstein recognized that both science and art delve into the mysterious by stating, “The most beautiful thing we can experience is the mysterious. It is the source of all true art and all science” (1. Connecting these subjects in the minds of our students will help them realize the importance of technology, industry, and progress in science and simultaneously emphasize the importance of art, music, and the humanities. The tools presented here will encourage students to connect new science information through the music and art they already know and, therefore, provide increased engagement and retention of the new knowledge. These techniques used in a microbiology class increased the amount of time spent thinking about new information, increased engagement with the information being presented, and encouraged critical thinking of microbiology topics. These tools were used in an upper level microbiology course, but the techniques can be easily incorporated into any course
Klos, P. Z.
Psychological thought suggests that social engagement with an environmental problem requires 1) cognitive understanding of the problem, 2) emotional engagement with the problem, and 3) perceived efficacy that there is something we can do to solve the problem. Within the water sciences, we form problem-focused, cross-disciplinary teams to help address complex water resource problems, but often we only seek teammates from other disciplines within the realms of engineering and the natural/social sciences. Here I argue that this science-centric focus fails to fully solve these water resource problems, and often the science goes unheard because it is heavily cognitive and lacks the ability to effectively engage the audience through crucial social-psychological aspects of emotion and efficacy. To solve this, future cross-disciplinary collaborations that seek to include creative actors from the worlds of art, humanities, and design can begin to provide a much stronger overlap of the cognition, emotion, and efficacy needed to communicate the science, engage the audience, and create the solutions needed to solve or world's most complex water resource problems. Disciplines across the arts, sciences, and engineering all bring unique strengths that, through collaboration, allow for uniquely creative modes of art-science overlap that can engage people through additions of emotion and efficacy that compliment the science and go beyond the traditional cognitive approach. I highlight examples of this art-science overlap in action and argue that water resource collaborations like these will be more likely to have their hydrologic science accepted and applied by those who decide on water resource solutions. For this Pop-up Talk session, I aim to share the details of this proposed framework in the context of my own research and the work of others. I hope to incite discussion regarding the utility and relevance of this framework as a future option for other water resource
Thorsted, Ann Charlotte
This article draws on 20 Danish university students’ reflections in and on a Problem-based Learning process (PBL). The study showed how a more playful approach changed how the students collaborated, communicated, and approached a given task. They felt more creative, open minded and engaged compared...... between play and creativity in higher education learning processes?...
Pries-Heje, Jan; Lee, Jong Seok; Baskerville, Richard
Design theory lies at the heart of information systems design science research. One concern in this area is the potential to limit the designer’s creativity by over-specifying the meta-design or the design process. This paper explains how design research encapsulates a two-person design team...... consisting of the design theorist and the artifact instance designer. Design theory embodies a creativity passdown effect in which the creative design thinking is partly executed by the design theorist and the completion of this thinking is deferred to the artifact instance designer. In fact, rather than...... limiting the instance designer’s creativity, the design theorist may create an opportunity for the instance designer to be creative by passing down a design theory. Further, the artifact instance designer operates within the problem domain defined by design theorist, and engages in design thinking...
McNealy, Tamara L.
‘Attention spans have shortened,’ is a common phrase often used in reference to today’s college students. As faculty and instructors, we need to address this issue through the utilization of innovative and creative techniques that aid in making our subjects accessible to our students. Connecting a serious topic such as microbiology with a ‘fun’ activity can increase student engagement and learning. Ideas to maintain student attention on a subject include providing information in 15- to 20-min...
The primary purpose of this article is to combine both transfer of learning (hereafter, transfer) and creativity into similar processes that can increase the products of transfer and creativity. Both transfer and creativity operate within reciprocal relationships between memory storage and working memory. Moreover, they are also based on moving…
Toyama, Hiroyuki; Mauno, Saija
Work-related resources can be positive antecedents of employee work engagement (WE) and creativity. Although trait emotional intelligence (EI) and social support may be crucial resources in nursing, their relationships with WE and creativity remain unclear. Hence, with special focus on the role of trait EI, we examined this relationship by applying the job demands-resources (JD-R) model. The participants were 489 eldercare nurses in Japan (female: n = 401; male: n = 88; age = 39.5 ± 11.0 year...
Milligan, Eleanor; Woodley, Emma
The growing expectation that health practitioners should be ethically attuned and responsive to the broader humanistic and moral dimensions of their practice has seen a rise in medical ethics courses in universities. Many of these courses incorporate creative expressive encounters--such as the exploration and interpretation of poetry, art, music, and literature--as a powerful vehicle for increasing understanding of the illness experience and to support a relational approach to ethics in health care practices. First-year paramedic students were invited to produce their own creative composition in response to a short vignette describing the plight of a fictional "patient-other." Our aim was twofold: first, to engage their "sympathetic imaginations" to capture a sense of illness as being not only a fracturing of bodily wellness but also, for many, a fracturing of holistic well-being, and second, to encourage an ethics of relational engagement-rather than an ethics based on the detached, intellectual mastery of moral principles and theories-within their paramedical practice. After some initial apprehension, students embraced this task, producing works of great insight and sensitivity to the embedded and embodied nature of "being." Their work demonstrated deep ethical understanding of the multiple subjective and intersubjective layers of the illness experience, displaying a heightened understanding of ethics in practice as a relational engagement. Educationally, we found this to be an extremely powerful and successful pedagogical tool, with our students noting emotional and intellectual transformations that challenged and sensitised them to the deeper human dimensions of their practice.
Drus, Marina; Kozbelt, Aaron; Hughes, Robert R.
To what extent do more creative people process emotional information differently than less creative people? This study examined the role of emotion processing in creativity and its implications for the creativity-psychopathology association. A total of 117 participants performed a memory recognition task for negative, positive, and neutral words;…
Mbithi, Esther K
Language use and creative writing go hand in hand. In the process of exploring language, we also engage in the study of literature. An engagement with literature is, indeed, a continuing process of improving our capacity to use language and refining our sensibility to good language use. In Kenya, there are clearly discernible patterns of creative…
Professional practice and enterprise modules along with a graduate placement scheme prepare design and media students for employability in the creative sector.\\ud \\ud Responding to professional challenges facing graduates and UWE’s Employability Agenda, the Faculty of Creative Arts created an innovative senior academic post specialising in Employability and Creative Industry Liaison in 2007. Senior lecturer Adrienne Noonan works with Communication Design and Media courses on employability, te...
Liu, Siyuan; Erkkinen, Michael G; Healey, Meghan L; Xu, Yisheng; Swett, Katherine E; Chow, Ho Ming; Braun, Allen R
Creativity, a multifaceted construct, can be studied in various ways, for example, investigating phases of the creative process, quality of the creative product, or the impact of expertise. Previous neuroimaging studies have assessed these individually. Believing that each of these interacting features must be examined simultaneously to develop a comprehensive understanding of creative behavior, we examined poetry composition, assessing process, product, and expertise in a single experiment. Distinct activation patterns were associated with generation and revision, two major phases of the creative process. Medial prefrontal cortex (MPFC) was active during both phases, yet responses in dorsolateral prefrontal and parietal executive systems (DLPFC/IPS) were phase-dependent, indicating that while motivation remains unchanged, cognitive control is attenuated during generation and re-engaged during revision. Experts showed significantly stronger deactivation of DLPFC/IPS during generation, suggesting that they may more effectively suspend cognitive control. Importantly however, similar overall patterns were observed in both groups, indicating the same cognitive resources are available to experts and novices alike. Quality of poetry, assessed by an independent panel, was associated with divergent connectivity patterns in experts and novices, centered upon MPFC (for technical facility) and DLPFC/IPS (for innovation), suggesting a mechanism by which experts produce higher quality poetry. Crucially, each of these three key features can be understood in the context of a single neurocognitive model characterized by dynamic interactions between medial prefrontal areas regulating motivation, dorsolateral prefrontal, and parietal areas regulating cognitive control and the association of these regions with language, sensorimotor, limbic, and subcortical areas distributed throughout the brain. © 2015 Wiley Periodicals, Inc.
Ma, Min; Van Oystaeyen, Fred
The authors' aim was to arrive at a measurable model of the creative process by putting creativity in the context of a learning process. The authors aimed to provide a rather detailed description of how creative thinking fits in a general description of the learning process without trying to go into an analysis of a biological description of the…
Young, Shawna; Uy, Ana; Bell, Joyce
The Student Engagement in Research, Scholarship, and Creative Activity (SERSCA) Program at California State University, Stanislaus provides support for student engagement in these areas from idea conception through dissemination. Through assistantships, mini-grants, the Student Research Competition, and travel grants, the Program is designed to…
Zhou, Chunfang; Purushothaman, Aparna
types of knowledge. (3) These points drive this paper to develop a knowledge creation model by discussing how CoP can be used to improve creativity in collaborative processes in organizational learning contexts. The point of departure for the learning model is the learning framework proposed......This paper aims to build a theoretical framework by a literature review that is focusing on how a learning model based on Communities of Practice (CoP) can be useful in collaborative processes in organizational learning contexts. In the light of social approach to learning theories and knowledge...... management, this paper firstly will discuss: (1) learning as a process involving knowledge conversations between different types of knowledge such as tacit knowledge, explicit knowledge, individual knowledge and collective knowledge, and (2) creativity as a driver to the conversations between the different...
Marchant, M. [Cosumnes River Coll., Folsom Lake Center, CA (United States); Sesko, S.C. [Lawrence Livermore National Lab., CA (United States)
Objective was to examine the creative process, demonstrated by 5 student participants in a class at the Art Center College of Design in Pasadena CA, from the germ of the creative idea through the final creative product. The students, drawn from classes sponsored by LLNL, were assigned the problem of representing ``big`` science, as practiced at LLNL, in a graphic, artistic, or multimedia product. As a result of this study, it was discovered that the process of creativity with these students was not linear in nature, nor did it strictly follow the traditional creativity 5-step schema of preparation, incubation, insight, evaluation, and elaboration. Of particular interest were several emergent themes of the creative process: spontaneous use of metaphor to describe the Laboratory; a general lack of interest in ``school`` science or mathematics by the American art students; a well developed sense of conscience; and finally, the symbolism inherent in the repeated use of a single artistic element. This use of the circle revealed a continuity of thinking and design perhaps related to the idealistic bias mentioned above.
Findings from an empirical research project on creativity, including controlled experimental assessment, indicate that the development of creative capacity occurs primarily during the adolescent period. Defined as the production of entities that are both new and valuable, creativity necessarily involves two specific types of cognition designated as the janusian and homospatial processes. Although there are precursors to the development of creativity during earlier childhood, both the motivation and the capacity to create appear first in the adolescent period. Important motivational factors derive from adolescent conflicts and developmental tasks such as the impetus to solve and consolidate issues relating to identity, the return of oedipal conflicts, and the pressures toward autonomy and independence. Engaging in creative types of fields and outlets helps generally to establish coherent identity during adolescence and beyond; the beginnings of a specific creative identity in adolescence are a necessary foundation for creative motivation and ability to create throughout life. The return of the oedipal conflict at the onset of puberty motivates the dual compliance and competition of the creatively disposed adolescent with his or her same-sex parent. The pressures toward autonomy and independence provide the motivational and affective substrate for the development of the homospatial and janusian processes. The homospatial process arises from the vacillating and concomitant experiences of autonomy (or separation) and connectedness. In the creatively disposed adolescent, one who activates and uses cognition to express and explore affect, the creative aspect of those experiences begins to be manifested in the concomitant cognitive separation and connection involved in superimposition of mental images. The janusian process arises from the experiences of rebellious oppositionality and intense emotional ambivalence. The creative cognitive aspect of these experiences is
Pacheco, Moises; Fogh, Rune; Lund, Henrik Hautop
Robotic systems have a high potential for creative learning if they are flexible, accessible and engaging for the user in the experimental process of building and programming robots. In this paper we describe the Fable modular robotic system for creative learning which we develop to enable and mo...
Teachers seem to lack the skills and knowledge needed to recognise when creativity is taking place. In this study we investigated how learners demonstrate creativity whilst engaging in the technological process employing a qualitative research strategy, with observation and focus group interviews as the methods of data ...
Huber, Amy Mattingly; Leigh, Katharine E.; Tremblay, Kenneth R., Jr.
The creative process is a multifaceted and dynamic path of thinking required to execute a project in design-based disciplines. The goal of this research was to test a model outlining the creative design process by investigating student experiences in a design project assignment. The study used an exploratory design to collect data from student…
Daniel Santos Costa
Full Text Available This text presents weavings of a way to make the arts scene using the autobiographical support the creative process. Thus, we elucidate some of these weavings process while legitimizing the production of knowledge through artistic praxis, of sensitive experience. Introducing the concept of autobiography in analogy to the artistic and sequentially present the possibility of a laboratory setting amalgamated into reality/fiction. Keywords: creative process; autobiography; body.
Full Text Available Purpose – to analyze gamification, as the method for fostering creativity.Design/methodology/approach – Author analyses the precognitions, which allowed gamification to attract mainstream attention, the diversity of understandings about the phenomenon, and the possible relations between usage of gamified platform and the development of creativity. The paper is based on the comparative analysis of scientific literature and related sources from sociology, business, and entertainment. The engagement is analyzed through the theories of self-determination and the “flow”. Creativity is understood as “any act, idea, or product that changes an existing domain, or that transforms an existing domain into a new one” (Csikszentmihalyi, 1996. Gamification is analyzed as “use of game design elements in non-game context” (Deterding, Dixon, Khaled, and Nacke (2011. Findings – Although the gamification is gaining more public attention, there is a lack of studies which would reveal its relations in fostering creativity. One of the main goals of any gamified platform is to raise the engagement of the participant while keeping subject interested in the process or activity. In some cases, there is a relation between “flow” and creativity. However, the strength of this relationship depends from the users of gamified content and the domain of interest.Research limitations / implications – There are very few empirical studies which would support correlation between experiencing the “flow” state and a raise of creativity. This issue requires more surveys, which would ground the idea.Practical implications – By developing further research in usage of gamification while fostering creativity it is possible to determine, whether or not the “creative domains” should apply more measures of gamification in their activities.Value – The article emphasizes on theoretical analysis of gamification and its applicability in fostering creativity
Morrison, A.; Gold, A. U.; Soltis, N.; McNeal, K.; Kay, J. E.
Climate science and global climate change are complex topics that require system-level thinking and the application of general science concepts. Identifying effective instructional approaches for improving climate literacy is an emerging research area with important broader impacts. Active learning techniques can ensure engagement throughout the learning process and increase retention of climate science content. Conceptual changes that can be measured as lasting learning gains occur when both the cognitive and affective domain are engaged. Galvanic skin sensors are a relatively new technique to directly measure engagement and cognitive load in science education. We studied the engagement and learning gains of 16 teachers throughout a one-day teacher professional development workshop focused on creative strategies to communicate about climate change. The workshop consisted of presentations about climate science, climate communication, storytelling and filmmaking, which were delivered using different pedagogical approaches. Presentations alternated with group exercises, clicker questions, videos and discussions. Using a pre-post test design we measured learning gains and attitude changes towards climate change among participating teachers. Each teacher wore a hand sensor to measure galvanic skin conductance as a proxy for emotional engagement. We surveyed teachers to obtain self-reflection data on engagement and on their skin conductance data during and after the workshop. Qualitative data provide critical information to aid the interpretation of skin conductance readings. Based on skin conductance data, teachers were most engaged during group work, discussions and videos as compared to lecture-style presentations. We discuss the benefits and limitations of using galvanic skin sensors to inform the design of teacher professional development opportunities. Results indicate that watching videos or doing interactive activities may be the most effective strategies for
Saggar, Manish; Quintin, Eve-Marie; Kienitz, Eliza; Bott, Nicholas T; Sun, Zhaochun; Hong, Wei-Chen; Chien, Yin-hsuan; Liu, Ning; Dougherty, Robert F; Royalty, Adam; Hawthorne, Grace; Reiss, Allan L
A novel game-like and creativity-conducive fMRI paradigm is developed to assess the neural correlates of spontaneous improvisation and figural creativity in healthy adults. Participants were engaged in the word-guessing game of Pictionary(TM), using an MR-safe drawing tablet and no explicit instructions to be "creative". Using the primary contrast of drawing a given word versus drawing a control word (zigzag), we observed increased engagement of cerebellum, thalamus, left parietal cortex, right superior frontal, left prefrontal and paracingulate/cingulate regions, such that activation in the cingulate and left prefrontal cortices negatively influenced task performance. Further, using parametric fMRI analysis, increasing subjective difficulty ratings for drawing the word engaged higher activations in the left pre-frontal cortices, whereas higher expert-rated creative content in the drawings was associated with increased engagement of bilateral cerebellum. Altogether, our data suggest that cerebral-cerebellar interaction underlying implicit processing of mental representations has a facilitative effect on spontaneous improvisation and figural creativity.
Hellstrom, Tomas Georg
This paper addresses the subject of textual creativity by drawing on work done in classical literary theory and criticism, specifically new criticism, structuralism and early poststructuralism. The question of how readers and writers engage creatively with the text is closely related to educational concerns, though they are often thought of as…
Andersen, Esben Sloth; Dahl, Michael Slavensky; Lundvall, Bengt-Åke
The paper studies of the process of creative destruction according to Schumpeter's programme of making a 'Theoretical, Historical, and Statistical Analysis of the Capitalist Process'. He had both a Mark I and a Mark II of concept of creative destruction, and they are important for understanding...... the coevolution between economic life and socio-political life. A method for partitioning of evolutionary change into a selection effect and an innovation effect is described, and sketches of the historical experience of Denmark and Sweden are made accordingly. Finally, a statistical study of creative destruction...
Madjar, Nora; Greenberg, Ellen; Chen, Zheng
This study extends theory and research by differentiating between routine, noncreative performance and 2 distinct types of creativity: radical and incremental. We also use a sensemaking perspective to examine the interplay of social and personal factors that may influence a person's engagement in a certain level of creative action versus routine,…
van Rossenberg, Yvonne Gerarda Theodora; Swart, Juani; Kinnie, Nicholas
are vital to the creative process. Purpose: Using a field theoretic lens, this paper seeks to examine the relations between affective commitment and Creative Process Engagement (CPE) across seven foci: project team, organisation, occupation, client, leader, career and the job. Furthermore, it explores....... Commitment to the inter-organisation project team has a key mediator effect in the relations between commitment to the leader, commitment to the occupation and commitment to the career. The effect of commitment to the career on CPE becomes positive if it is mediated by commitment to the project. Originality....... The results demonstrate multiple commitments and CPE are involved in a complex net of relationships among which the project, the job and the career play a central role. Understanding of the relation between commitment and creativity provides a basis of the management of employee commitments, and, thereby...
Rose, Laura Hall
Using tenets from Vedic science and quantum physics, this model of the creative process suggests that the unified field of creation is pure consciousness, and that the development of the creative process within individuals mirrors the creative process within the universe. Rational and supra-rational creative thinking techniques are also described.…
Clary, Renee; Wandersee, James
In the authors' science classrooms, students respond favorably and with more enthusiasm when they engage them with doing activities and building their own connections, as opposed to simply listening to or reading about the important concepts. Creative activities are important in science classrooms because creativity is not only an integral…
Evolutionary computation has often been presented as a possible model for creativity in computers. In this paper, evolution is discussed in the light of a theoretical model of human artistic process, recently presented by the author. Some crucial differences between human artistic creativity......, and the results of initial experiments are presented and discussed. Artistic creativity is here modeled as an iterated turn-based process, alternating between a conceptual representation and a material representation of the work-to-be. Evolutionary computation is proposed as a heuristic solution to the principal...... and natural evolution are observed and discussed, also in the light of other creative processes occurring in nature. As a tractable way to overcome these limitations, a new kind of evolutionary implementation of creativity is proposed, based on a simplified version of the previously presented model...
Waldrip, Bruce; Prain, Vaughan
Student engagement in learning science is both a desirable goal and a long-standing teacher challenge. Moving beyond engagement understood as transient topic interest, we argue that cognitive engagement entails sustained interaction in the processes of how knowledge claims are generated, judged, and shared in this subject. In this paper, we…
Full Text Available Creativity is primarily investigated within the neuroscientific perspective as a unitary construct. While such an approach is beneficial when trying to infer the general picture regarding creativity and brain function, it is insufficient if the objective is to uncover the information processing brain mechanisms by which creativity occurs. As creative thinking emerges through the dynamic interplay between several cognitive processes, assessing the neural correlates of these operations would enable the development and characterization of an information processing framework from which to better understand this complex ability. This article focuses on two aspects of creative cognition that are central to generating original ideas. Conceptual expansion refers to the ability to widen one’s conceptual structures to include unusual or novel associations, while overcoming knowledge constraints refers to our ability to override the constraining influence imposed by salient or pertinent knowledge when trying to be creative. Neuroimaging and neuropsychological evidence is presented to illustrate how semantic processing and cognitive control networks in the brain differentially modulate these critical facets of creative cognition.
Pedersen, J. U.; Onarheim, Balder
process and present the process in a visual overview with the use of a visual language of symbols. The framework, entitled C3, Capturing Creativity in Context, is presented and subsequently evaluated based on a pilot study utilizing C3. Here it was found that the framework was particularly useful...
Darya N. Sergeeva
Full Text Available The aim of the article is to present creativity in the process of pedagogical conflict resolution. The results of psychological research conducted among secondary school teachers are given. The article summarizes the results of the study of personality and creativity highlighted its main components. Methods. The methods involve theoretical analysis of the problem and the subject of investigation, philosophical, psychological, pedagogical, sociological literature research; empirical methods (school teacher’s psychological testing by means of hand-picked procedures; methods stimulating educational specialists to take initiative in the process of conflict situations› constructive resolution (training methods group discussion, role-playing and business games, specific situations analysis; quantitative and qualitative analysis of empirical results (computer data processing, data design in the form of tables, schemes, illustrations, diagrams, bar charts, methods of mathematical statistics (The Spearman's Rank Correlation Coefficient, φ-Fisher. Data processing procedure is actualized by means of MS Excel package and statistical manipulation program «Statistica 8.0». Results and scientific novelty. The scientific belief of the following concepts content is concretized: «educational specialist’s creativity in the process of conflict resolution», «pedagogical conflict»; psycho-pedagogical conditions of creativity development in the process of conflict resolution are determined. Personal and behavioral features of various creativity level pedagogues are elicited. The correlation of educational specialist’s creativity with peculiarities of their behavior in conflict situations is revealed. It is stated that creativity appears to be one of the determinant of individual’s action, which is oriented on constructive conflict resolution. The program schemed by us promoted the extension of the teachers creative potential, which, in return
de Dreu, C.K.W.; Nijstad, B.A.; Bechtoldt, M.N.; Baas, M.
The authors review the Motivated Information Processing in Groups Model (De Dreu, Nijstad, & Van Knippenberg, 2008) to understand group creativity and innovation. Although distinct phenomena, group creativity and innovation are both considered a function of epistemic motivation (EM; the degree to
Saggar, Manish; Quintin, Eve-Marie; Kienitz, Eliza; Bott, Nicholas T.; Sun, Zhaochun; Hong, Wei-Chen; Chien, Yin-hsuan; Liu, Ning; Dougherty, Robert F.; Royalty, Adam; Hawthorne, Grace; Reiss, Allan L.
A novel game-like and creativity-conducive fMRI paradigm is developed to assess the neural correlates of spontaneous improvisation and figural creativity in healthy adults. Participants were engaged in the word-guessing game of PictionaryTM, using an MR-safe drawing tablet and no explicit instructions to be “creative”. Using the primary contrast of drawing a given word versus drawing a control word (zigzag), we observed increased engagement of cerebellum, thalamus, left parietal cortex, right superior frontal, left prefrontal and paracingulate/cingulate regions, such that activation in the cingulate and left prefrontal cortices negatively influenced task performance. Further, using parametric fMRI analysis, increasing subjective difficulty ratings for drawing the word engaged higher activations in the left pre-frontal cortices, whereas higher expert-rated creative content in the drawings was associated with increased engagement of bilateral cerebellum. Altogether, our data suggest that cerebral-cerebellar interaction underlying implicit processing of mental representations has a facilitative effect on spontaneous improvisation and figural creativity. PMID:26018874
Retalis, Symeon; Sloep, Peter
Retalis, S., & Sloep, P. B. (Eds.) (2009). Collection of 4 symposium papers at EC-TEL 2009. Proceedings of the Workshop on Methods & Tools for Computer Supported Collaborative Creativity Process: Linking creativity & informal learning. September, 30, 2009, Nice,
... creative in character. (b) Federal employees engaged in the work of newspapers, magazines, television, or... professionals. Employees also do not qualify as exempt creative professionals if their work product is subject...) To qualify for the creative professional exemption, an employee's primary duty must be the...
Yoga Budi Bhakti
Full Text Available This research aims to understand the influence process of science skill and motivation learning with creativity learn. Data about the process of scince skill, motivation and creativity learn collected by test questioner instrument. Data analysis with regression analysis and correlation . Research shows that: There is the influence of skill process of science to the process of creativity learn with correlation coefficient r = 0.634 , there is the influence of motivation learn students to creativity learning with correlation coefficient r = 0.55, the process of science skills and motivation to study for students influence of creativity learn with correlation coefficient r = 0.935. This study concluded that skill process of science and the motivation to study student could creative learning.
Full Text Available The article deals with the processes of developing creative industries under conditions of a growth in the worldwide economy and globalization, discloses the role of the sector of creative industries and shows its place in the system of the modern global economy. The paper presents a comparative analysis of theories and theoretical approaches intended for the sector of creative industries and its development as well as defines regularities and specificities characteristic of the development of creative industries. Particular attention is shifted on the growth and development of creative industries considering the current challenges of globalization and on the most important specificities of the developing sector in the context of the challenges of economic globalization. The paper examines the trends reflecting the place of the sector of creative industries in the economy of the modern world, including the tendencies indicating changes in the export of the products created in this sector. The article considers the issues of developing creative industries and reveals priorities of future research.
Maryangela Drumond de Abreu Negrão
Full Text Available This article contributes to the understanding of marketing strategy process when it presents the organizational and human factors that support the processes of implementation, identified in a qualitative study conducted in the creative industry of video game development. The research, a case study applied to four video and computer game companies was based on the Sashittal and Jassawalla (2001 marketing strategic model, and on the concepts of the creative behavior and innovation in organizations proposed by Amabile (1997. The analysis suggests that the marketing strategy implementation is anchored in innovative administrative process, creative skills and the adoption of modern control technologies. It was observed that a vision that associates production, process, the market orientation and the delivery of value-adding is essential for the implementation of strategies in creative and innovative organizational structures. The research contributes to the marketing strategy implementation studies in creative and innovative environments under the approach of smaller organizations. It also contributes with the marketing strategy theory when it suggests that the analysis of the process, the control and the management skills be included as categories into the theoretical model in future investigations.
Oriol Amat; Catherine Gowthorpe
This paper explores the nature and incidence of creative accounting practices within the context of ethical considerations.It explores several definitions of creative accounting and the potential and the range of reasons for a company's directors to engage in creative accounting. Later the paper considers the various ways in which creative accounting can be undertaken and summarizes some empirical research on the nature and incidence of creative accounting. The ethical dimension of creative a...
Cloninger, C. Robert; Cloninger, Kevin M.
Effective health promotion involves the creative cultivation of physical, mental, social, and spiritual well-being. Efforts at health promotion produce weak and inconsistent benefits when it does not engage people to express their own goals and values. Likewise, health promotion has been ineffective when it relies only on instruction about facts regarding a healthy lifestyle, or focuses on reduction of disease rather than the cultivation of well-being. Meta-analysis of longitudinal studies an...
Johan Torp Rasmussen, Ludvig; Østergaard, Lars Domino
Creativity is essential in soccer due to the unpredictable and complex situations occurring in the game, where stereotypical play gradually loses its efficiency. Further, creativity is an important psychological factor for the development of soccer expertise, and valuing creativity increases...... sessions where TSCP was implemented at a youth team indicate that the application of TCSP exercises establishes a playful, judgment-free and autonomy-supportive training environment, where soccer players are able to unfold their creative potential. The creative environment helped the youth players...... in the intervention engage in unfamiliar activities that they did not dare to do in normal training sessions (i.e., performed difficult, new and playful technical skills), which developed creative abilities important for game performance (i.e., idea generation abilities and not fearing mistakes)....
Galina I. Zhelezovskaya
Full Text Available The aim of the investigation is to designate a problem of formation of creative communicative behaviour of graduates mastering at “Creative Economics” through the system of vocational training. Methods. The research is constructed on the review and the comparative analysis of works of the foreign and Russian scientists dealing with the subject of creativeness, psychology of creativity and studying of communicative behaviour.Results and scientific novelty. The article explains the need to prepare students for the development of creativity. Concept definition «creative formation» is given; the system of requirements shown to educational process corresponding to it is designated. Research positions in the field of creativeness studying, different lines of thought to its interpretation and directions of scientific search of the decision of a problem of formation of creative communicative behaviour are considered. Complexity of a problem is connected with the crudity of theories and techniques of the system, and complex description of communicative behaviour of this or that generality and absence of a common opinion concerning the issue that it is still uncertain, which scientific representatives should be engaged in this field. The authors suppose that studying of communicative behaviour is a synthetic philological and socially-anthropological perspective scientific direction. On the one hand, the description of communicative behaviour is a component of the description of any language as cultural-historical phenomenon; on the other, the given behaviour is based on the certain developed and standard social norms. This behaviour can be implemented in oral and written speech of participants of process of communications, and also in nonverbal displays of dialogue, and may serve as a means of self-realisation of the person. The problem of vocational training system is to create conditions for development of skills of such behaviour. The future
The term creativity is defined, and the underlying creative process is described. The creative process is developed with the help of the new metaphors. The two most successful and creative from over 130 entrepreneurs involved in a research project are taken as examples. The essentials of the creative process the inexhaustible process of the phantasy concerning certain ideas and problems is enlarged in connection with the results of the Giessen Test S and the two above-mentioned entrepreneurs.
Ritter, S.M.; Baaren, R.B. van; Dijksterhuis, A.J.
Today's world of continuous change thrives on creative individuals. Anecdotal reports suggest that creative performance benefits from unconscious processes. Empirical research on the role of the unconscious in creativity, though, is inconsistent and thus far has focused mainly on one aspect of the
Full Text Available This study attempts to assess and compare the residential and non-residential schoolchildren in information-processing skills and creative thinking abilities. A sample of 80 children from Classes 5 and 7 were selected from two types of schools, residential/ashram (02 and non-residential/formal schools (02 in Bolpur subdivision of West Bengal in India where the medium of instruction is Bengali language/mother-tongue. All the children were individually administered the PASS (Planning, Attention, Simultaneous, Successive, Stroop, Matching Familiar Figure Test (MFFT-20, and creative thinking tasks. The residential school children were found to perform better both in information processing and creative thinking tasks. The developmental trend could not be clearly observed due to small sample size, but with increasing age, children were using better processing strategies. Due to ashram environment, creative pedagogy, and various co-curricular activities, the residential school children were found to be more creative than their formal school counterparts. Moreover, some significant positive correlations were found among information processing skills and creative thinking dimensions.
This study associates the subclinical dark triad (DT) of personality--narcissism, psychopathy, and Machiavellianism, and their composite--with negative creativity. An instrument developed by the author assessed the likelihood of engaging in creativity, where negative creativity was defined as an act that is original and useful to the individual.…
Cantu, Adelita G; Fleuriet, K Jill
Document psychosocial and mental well-being outcomes across artistic mediums and classes of a community-based, professionally taught arts program for older adults. One hundred and thirty-eight students completed pre and post class surveys about expectations/experiences when creating art in four mediums (painting, drawing, mixed media, creative writing). In addition, 162 students composed one-paragraph biographical narratives describing their relationships to art and creative engagement. Text was coded for a priori and emergent themes to identify and explain well-being outcomes. Results of this new study supported and expanded our earlier model of improved psychosocial and mental well-being due to creative engagement: impact of class-cognitive focus and outcome of class-cognitive focus, happiness as component of mental and social well-being due to creative engagement, and robust sense of calmness during the creative process. Results suggest that professionally taught arts programming can contribute to well-being and may contribute to brain health through promoting an enhanced ability to focus. Holistic nursing treats creativity as healing, and results suggest that creative engagement should be a priority in therapeutic programming, and individual counseling for older adults to begin engaging in some form of art making suited to their abilities should be incorporated into nursing practice.
Full Text Available Purpose – to analyze gamification, as the method for promoting creativity in individual and collective levels with the respect to player types.Design/methodology/approach – This research serves as a general review/viewpoint which seeks to examine collective creativity as a phenomenon and gamification as the tool for promoting individual and collective creativity. The paper is based on the comparative analysis of scientific literature and related sources from game design, psychology, business and entertainment.Findings – Although the gamification is gaining more public attention, there is a lack of studies which would reveal its relations in fostering individual and collective creativity. One of the main goals of any gamified content is to raise the engagement into activities in non-game contexts. The objective of creative work is to come up with some ideas, methods or tools which would be significantly new and innovative in the case of a certain issue. The theory of “flow” is used widely in explaining the working principles of gamification. In this state, the information absorption rates are increased and the group or individual is immersed into performed activities. This may lead to prolonged periods while accumulating knowledge, and thus, improving creative capabilities in the specific domain. However, creative performance in different fields has various approaches. It is also related to personal characteristics. The success of gamification is also dependent on the types of “players” which participate in the activity. Having the common picture of personality type in creative performance and in game based tasks may allow creating gamification strategy for optimal engagement into creative work according to the features of a person.Research limitations/implications – There are very few empirical studies which would support correlation between experiencing the “flow” state and a raise of creativity. The idea of unified
Müller, Sune Dueholm; Ulrich, Frank; Nielsen, Peter Axel
these process models and quality standards influence organizational cultures that enhance creativity and innovation is, however, under-researched within the field. Using a software analysis tool built on the competing values framework, we set out to investigate how commonly used process models and quality...... standards promote cultures of creativity and innovation. Our findings are overwhelmingly negative as the analyzed models and standards clearly promote an organizational culture emphasizing stability and control rather than creativity and innovation. To reconcile our findings with the nature of these models...... and standards, we suggest a new way forward by providing managers with theory-based guidelines to cope with cultural challenges of process improvement and quality management....
Hugo Mastrodoménico Brid
Full Text Available Through some analogies between eastern thinking, especially that of the ancient Chinese Taoism, and some contemporary schools of psychology related to the gestaltic neo-humanism and the so called trans-personal psychology, this paper presents and discusses the main findings of psychology on the creative process, the personality traits of highly creative subjects and the psychosocial circumstances that usually favor the appearance of creativity.Draw a line in space and now you have one side and the other. Think about something and I will tell you that the opposite also exists with its measure of truth. Justify “being” to me, and I will justify “not being”. Up and down, left and right, life and death, beauty and ugliness, good and evil, success and failure, light and darkness, sadness and happiness, etc. Those are just some examples of opposite concepts that, maybe, are truly opposite in reality or are just conceived as such due to the way in which our sensory and cognitive processes work.
This research investigates the extent to which creative processes can be fostered through computer gaming. It focuses on creative components in games that have been specifically designed for educational purposes: Digital Game Based Learning (DGBL). A behavior analysis for measuring the creative potential of computer game activities and learning outcomes is described. Creative components were measured by examining task motivation and domain-relevant and creativity-relevant skill factors. The r...
Through my performance company, Capacitor, I have designed a novel conceptual space - ``the Capacitor Lab'' - where artists and scientists exchange ideas and information about a concept that underlies my next performance piece. In 2000, I invited astronomers to advise my company on Earth's relationship to outer space. In 2003, we invited geophysicists into the dance studio to advise us about the layers of the Earth. In 2006, we invited an ecologist to the Monteverde Cloud forest to advise us on the on the quiet interactions among animals and plants in the forest. Currently we are working on a piece about ocean exploration, marine ecology, and the physics of sound underwater. Each of these Capacitor Labs results in a conceptually-rich dance piece which we perform in cities nationally and internationally. In my talk, I take a deeper look at the creative process that scientists and artists share. In the Capacitor labs, the process serves not only our creative team, but also our participating scientists by giving them an opportunity to view their own work in a new light. These collaborations are part of my ongoing research into creative problem solving and my belief that it is essentially the same process regardless of its application.
Maria Irina Dromereschi
Full Text Available Creativity as producing new information system, you can put in what seems unconnected connection, after so many forms of the unfold plan and in content. An entrepreneur will think and do new things or old things in a new form trying to transform ideas into tangible things, products and services. Entrepreneurship is the process through which all functions, activities and actions are shared to identify business opportunities and creating organizations through which they will be used in order to obtain profit and meeting social interests. Boosting creativity is justified in that creative activity is educated, even if some native elements have their own importance in the creative process. If we start from the idea that most barriers to creative thinking are all human creations, tributaries of the left hemisphere, will have to find alternative responses to stimulation, shaping and maintaining the creative process and even create organizational culture conducive to the creative process. Ideas are our tenement dwellers and often are near us in the simplest and quickest form. Just educate us the activation process and instituting the ideas process which involves methods fall under three broad categories: imaginative, heuristics and logical approach. Subject to the risk taken, the combination of these methods can provide as many alternatives to a reality whose details they ultimately determines who assumes the risk of their own decisions.
DeHaan, Robert L
Engaging learners in the excitement of science, helping them discover the value of evidence-based reasoning and higher-order cognitive skills, and teaching them to become creative problem solvers have long been goals of science education reformers. But the means to achieve these goals, especially methods to promote creative thinking in scientific problem solving, have not become widely known or used. In this essay, I review the evidence that creativity is not a single hard-to-measure property. The creative process can be explained by reference to increasingly well-understood cognitive skills such as cognitive flexibility and inhibitory control that are widely distributed in the population. I explore the relationship between creativity and the higher-order cognitive skills, review assessment methods, and describe several instructional strategies for enhancing creative problem solving in the college classroom. Evidence suggests that instruction to support the development of creativity requires inquiry-based teaching that includes explicit strategies to promote cognitive flexibility. Students need to be repeatedly reminded and shown how to be creative, to integrate material across subject areas, to question their own assumptions, and to imagine other viewpoints and possibilities. Further research is required to determine whether college students' learning will be enhanced by these measures.
Glaveanu, Vlad Petre
The 50 years anniversary of "The Journal of Creative Behavior" offers a festive occasion to reflect on the recent history of the field as well as look toward its future. From the standpoint of sociocultural psychology, I celebrate the growing importance of society and culture within creativity research. However, I also note an important…
St-Louis, Ariane C.; Vallerand, Robert J.
The creative process refers a sequence of thoughts and actions leading to a novel, adaptive production (Lubart, 2000). It demands love, time, and devotion; therefore, creators are passionate toward their creative work. The Dualistic Model of Passion (Vallerand et al., 2003) defines passion as a strong inclination for a self-defining activity that…
This research investigates the extent to which creative processes can be fostered through computer gaming. It focuses on creative components in games that have been specifically designed for educational purposes: Digital Game Based Learning (DGBL). A behavior analysis for measuring the creative potential of computer game activities and learning…
Full Text Available The immersive method is a new concept of visual education that is better suited to the needs of students in contemporary post-industrial society. The features of the immersive method are: 1 it emerges from interaction with visual culture; 2 it encourages understanding of contemporary art (as an integral part of visual culture; and 3 it implements the strategies and processes of the dominant tendencies in contemporary art (new media art and relational art with the goal of adopting the creative process, expressing one’s thoughts and emotions, and communicating with the environment. The immersive method transfers the creative process from art to the process of creation by the students themselves. This occurs with the mediation of an algorithmic scheme that enables students to adopt ways to solve problems, to express thoughts and emotions, to develop ideas and to transfer these ideas to form, medium and material. The immersive method uses transfer in classes, the therapeutic aspect of art and “flow state” (the optimal experience of being immersed in an activity/aesthetic experience (a total experience that has a beginning, a process and a conclusion/immersive experience (comprehensive immersion in the present moment. This is a state leading to the sublimative effect of creation (identification with what has been expressed, as well as to self-actualisation. The immersive method teaches one to connect the context, social relations and the artwork as a whole in which one lives as an individual. The adopted creative process is implemented in a critical manner on one’s surrounding through analysis, aesthetic interventions, and ecologically and socially aware inclusion in the life of a community. The students gain the crucial meta-competence of a creative thinking process.
Dreyer, Pia; Haahr, Anita; Martinsen, Bente
The creative processes of understanding patients’ experiences in phenomenological research are difficult to articulate. Drawing on life philosophy as represented by the Danish philosopher K.E. Løgstrup (1905–1981), this article aims to illustrate Løgstrup's thinking as a way to elaborate the creation of cognition and understanding of patients’ experiences. We suggest that Løgstrup's thoughts on sensation can add new dimensions to an increased understanding of the creative process of phenomenological research, and that his thinking can be seen as an epistemological ground for these processes. We argue with Løgstrup that sense-based impressions can facilitate an flash of insight, i.e., the spontaneous, intuitive flash of an idea. Løgstrup stresses that an “flash of insight” is an important source in the creation of cognition and understanding. Relating to three empirical phenomenological studies of patients’ experiences, we illustrate how the notions of impression and flash of insight can add new dimensions to increased understanding of the creative processes in phenomenological research that have previously not been discussed. We illustrate that sense-based impressions can facilitate creative flash of insights that open for understanding of patients’ experiences in the research process as well as in the communication of the findings. The nature of impression and flash of insight and their relevance in the creation of cognition and understanding contributes to the sparse descriptions in the methodological phenomenological research literature of the creative processes of this research. An elaboration of the creative processes in phenomenological research can help researchers to articulate these processes. Thus, Løgstrup's life philosophy has proven to be valuable in adding new dimensions to phenomenological empirical research as well as embracing lived experience. PMID:22076123
Full Text Available The creative processes of understanding patients’ experiences in phenomenological research are difficult to articulate. Drawing on life philosophy as represented by the Danish philosopher K.E. Løgstrup (1905–1981, this article aims to illustrate Løgstrup's thinking as a way to elaborate the creation of cognition and understanding of patients’ experiences. We suggest that Løgstrup's thoughts on sensation can add new dimensions to an increased understanding of the creative process of phenomenological research, and that his thinking can be seen as an epistemological ground for these processes. We argue with Løgstrup that sense-based impressions can facilitate an flash of insight, i.e., the spontaneous, intuitive flash of an idea. Løgstrup stresses that an “flash of insight” is an important source in the creation of cognition and understanding. Relating to three empirical phenomenological studies of patients’ experiences, we illustrate how the notions of impression and flash of insight can add new dimensions to increased understanding of the creative processes in phenomenological research that have previously not been discussed. We illustrate that sense-based impressions can facilitate creative flash of insights that open for understanding of patients’ experiences in the research process as well as in the communication of the findings. The nature of impression and flash of insight and their relevance in the creation of cognition and understanding contributes to the sparse descriptions in the methodological phenomenological research literature of the creative processes of this research. An elaboration of the creative processes in phenomenological research can help researchers to articulate these processes. Thus, Løgstrup's life philosophy has proven to be valuable in adding new dimensions to phenomenological empirical research as well as embracing lived experience.
Norlyk, Annelise; Dreyer, Pia; Haahr, Anita; Martinsen, Bente
The creative processes of understanding patients' experiences in phenomenological research are difficult to articulate. Drawing on life philosophy as represented by the Danish philosopher K.E. Løgstrup (1905-1981), this article aims to illustrate Løgstrup's thinking as a way to elaborate the creation of cognition and understanding of patients' experiences. We suggest that Løgstrup's thoughts on sensation can add new dimensions to an increased understanding of the creative process of phenomenological research, and that his thinking can be seen as an epistemological ground for these processes. We argue with Løgstrup that sense-based impressions can facilitate an flash of insight, i.e., the spontaneous, intuitive flash of an idea. Løgstrup stresses that an "flash of insight" is an important source in the creation of cognition and understanding. Relating to three empirical phenomenological studies of patients' experiences, we illustrate how the notions of impression and flash of insight can add new dimensions to increased understanding of the creative processes in phenomenological research that have previously not been discussed. We illustrate that sense-based impressions can facilitate creative flash of insights that open for understanding of patients' experiences in the research process as well as in the communication of the findings. The nature of impression and flash of insight and their relevance in the creation of cognition and understanding contributes to the sparse descriptions in the methodological phenomenological research literature of the creative processes of this research. An elaboration of the creative processes in phenomenological research can help researchers to articulate these processes. Thus, Løgstrup's life philosophy has proven to be valuable in adding new dimensions to phenomenological empirical research as well as embracing lived experience.
Christensen, Bo; Ball, Linden J.
Previous design research has demonstrated how epistemic uncertainty engenders localised, creative reasoning, including analogising and mental simulation. We analysed not just the short-term, localised effects of epistemic uncertainty on creative processing and information selection, but also its...... long-term impact on downstream creative processes. Our hypothesis was that heightened levels of uncertainty associated with a particular cognitive referent would engender: (1) immediate creative elaboration of that referent aimed at resolving uncertainty and determining information selection; and (2...
Endrissat, Nada; Kärreman, Dan; Noppeney, Claus
This article explores the intersection of branding, identity and control. It develops the notion of identity-incentive branding and links research on the collective-associative construction of occupational identities with work on identity incentives as an engaging form of control. Empirically, we...... draw on a case study of a North American grocery chain that is known for employing art-school graduates and other creative talents in creative (store artist) and non-creative shop-floor positions. The study shows that the brand is partly built outside–in through association with employees who embody...... brand-relevant characteristics in their identities and lifestyles. In return, those employees receive identity opportunities to validate their desired sense of self as ‘creative subject’. We discuss the dual nature of identity-incentive branding as neo-normative control and outline its implications...
Full Text Available this article presents a study of the dynamics of socio-psychological adaptation in adolescents during the course of pictorial arts. 60 teenagers aged 13 to 17 years have been participating in a longitudinal study for three years, systematically involved and not involved in pictorial art. It has been found that the creative adolescents have lower level of neuro-psychological adaptation and higher level of subjective feelings of loneliness than non-creative adolescents. But creative teenagers have significantly higher self-esteem, level of aspiration and satisfaction in achieving success and lower anxiety in relationships with adults. The influence of the creative group reflected on such personal qualities as: self-confidence, credibility among peers, ability to do things with their hands, social identity, loneliness, frustration needs in achieving success, problems and fears in relations with adults. The personal characteristics of creative adolescents have been identified. These characteristics distinguish them from others teenagers, and the effect of the creative group and creative activity indirectly on the personal qualities of adolescents.
Full Text Available The purpose of this study is to investigate if a change in psychological well-being can result from engagement in creative activity. In an online experimental study participants will be randomly assigned to solve either a creative or a non-creative task. Their experience of completing the task will be compared with their average daily well-being level. Involvement in a creative task is expected to boost both positive feelings (hedonic well-being and good functioning (eudaimonic well-being. Personal characteristics, such as a need for closure, and task features, e.g. difficulty level, will also be tested for their moderating effects.
Victoria C. Oleynick
Full Text Available Inspiration is a motivational state that compels individuals to bring ideas into fruition. Creators have long argued that inspiration is important to the creative process, but until recently, scientists have not investigated this claim. In this article, we review challenges to the study of creative inspiration, as well as solutions to these challenges afforded by theoretical and empirical work on inspiration over the past decade. First, we discuss the problem of definitional ambiguity, which has been addressed through an integrative process of construct conceptualization. Second, we discuss the challenge of how to operationalize inspiration. This challenge has been overcome by the development and validation of the Inspiration Scale, which may be used to assess trait or state inspiration. Third, we address ambiguity regarding how inspiration differs from related concepts (creativity, insight, positive affect by discussing discriminant validity. Next, we discuss the preconception that inspiration is less important than perspiration (effort, and we review empirical evidence that inspiration and effort both play important—but different—roles in the creative process. Finally, with many challenges overcome, we argue that the foundation is now set for a new generation of research focused on neural underpinnings. We discuss potential challenges to and opportunities for the neuroscientific study of inspiration. A better understanding of the biological basis of inspiration will illuminate the process through which creative ideas fire the soul, such that individuals are compelled to transform ideas into products and solutions that may benefit society.
Full Text Available Words are speakers for human adventure, but often they difficultly come over in memory’s labyrinth. Esthetical knowledge allows to be in contact with the most inner mind plot. Psychoanalytical view and experimental data underlined multiplicity of expressive codes, show an interpersonal process of mirroring which start with Self state regulation and seem to confirm transposition in esthetic object of personal identity. Esthetical productions are a natural, available alphabet. The “images” realized in different contexts of expressive therapy intevention exemplify and confirm the theoretical arguments. The language of arts can welcome, transform and make intelligible the original and unaware emotional chaos. The evocative quality in the relation between masterpiece and interpreter, between interpreter and fruitor/user can be similar to the model of intimacy mother-child. Creative potential and disruptive potential are both present in human condition. It’s necessary to join courage of creation with patience and measure of therapy to promote a creative and vital process that can be speaker of primary experience.
Full Text Available The understanding of creativity in the social sciencies became more complex with the course of time. The concepts of creative individual, creative process and environment are discussed. Looking at the environment, distinction was made on three levels: macro, meso and micro. The impact of environments on creativity is analyzed, focusing attention on the collective creativity as the positive micro-environmental factor for innovations. Insights are gained about the tendency to move from an exclusive, elite, narrow concept of creativity, measured by the creation of products and their abundance, towards a broader, democratic concept of everyday creativity of the most people. The conclusion is that the creative industries of the exceptional creativity of genius or talent and mysticism are gradually transformed to broader creativity as the governed system, emphasizing creativity links with internal elements of the system and with the social context.
Ku, Ya-Lie; Kuo, Chien-Lin
The purpose of this study was to develop a framework of creative thinking teaching mode for RN-BSN students on the basis of the creative process of clinical nurses in Taiwan. Purposive samples have earned creativity awards recruited from the medical, surgical, maternity, paediatric, community and psychiatric departments in Taiwan. Semi-structured…
Lille, Benjamin; Romero, Margarida
Creativity is a key competence in 21st century education. Among the active learning pedagogies which aims to develop creativity, learning by making is an emerging approach in which the students are engaged in the co-creation of a shared artefact. In this study, we aim to analyse the creativity competency through a maker-based projects.…
Eijnatten, van F.M.; Simonse, W.L.
Current research in industrial engineering and management sciences shows that organizational architectures are of critical importance for a better performance of product creation processes in terms of creativity, quality and speed. For many companies, streamlining those processes - including
Slavich, Barbara; Velikova, Silviya Svejenova
This article aims at providing definitional clarity on creativity and a systematic understanding of its management in organizations. By drawing on the results of a content analysis of creativity definitions in 440 scholarly publications in the field of management between 1990 and 2014, this study...... clarifies how scholars in the management domain have defined the concept and identifies core categories shared by these definitions. It also brings together these conceptual categories into an integrative multilevel framework of relevance for managing creativity in organizations. The framework outlines...... a view of managing creativity, which involves managing interconnected processes as well as dualities, such as processes-outcomes, individuals-collectives, and permanent-temporary creativity units. Finally, it paves the way to new research frontiers for the domain....
Perchtold, Corinna M; Papousek, Ilona; Koschutnig, Karl; Rominger, Christian; Weber, Hannelore; Weiss, Elisabeth M; Fink, Andreas
The investigation of neurocognitive processes underlying more real-life creative behavior is among the greatest challenges in creativity research. In this fMRI study, we addressed this issue by investigating functional patterns of brain activity while participants were required to be creative in an affective context. Affective creativity was assessed in terms of individual's inventiveness in generating alternative appraisals for anger-evoking events, which has recently emerged as a new ability concept in cognitive reappraisal research. In addition, a classic divergent thinking task was administered. Both creativity tasks yielded strong activation in left prefrontal regions, indicating their shared cognitive processing demands like the inhibition of prepotent responses, shifting between different perspectives and controlled memory retrieval. Regarding task-specific differences, classic creative ideation activated a characteristic divergent thinking network comprising the left supramarginal, inferior temporal, and inferior frontal gyri. Affective creativity on the other hand specifically recruited the right superior frontal gyrus, presumably involved in the postretrieval monitoring of reappraisal success, and core hubs of the default-mode network, which are also implicated in social cognition. As a whole, by taking creativity research to the realm of emotion, this study advances our understanding of how more real-life creativity is rooted in the brain. Hum Brain Mapp 39:393-406, 2018. © 2017 Wiley Periodicals, Inc. © 2017 Wiley Periodicals, Inc.
The ADAPT-r Creativity book provides an account of creative practitioners on their creative processes. The book does not take a theoretical, statistical or experimental point fo view, but includes testimonies and experiences by creative people.......The ADAPT-r Creativity book provides an account of creative practitioners on their creative processes. The book does not take a theoretical, statistical or experimental point fo view, but includes testimonies and experiences by creative people....
Maçkalı, Zeynep; Gülöksüz, Sinan; Oral, Timuçin
The relationship between creativity and bipolar disorder has been an intriguing topic since ancient times. Early studies focused on describing characteristics of creative people. From the last quarter of the twentieth century, researchers began to focus on the relationship between mood disorders and creativity. Initially, the studies were based on biographical texts and the obtained results indicated a relationship between these two concepts. The limitations of the retrospective studies led the researchers to develop systematic investigations into this area. The systematic studies that have focused on artistic creativity have examined both the prevalence of mood disorders and the creative process. In addition, a group of researchers addressed the relationship in terms of affective temperaments. Through the end of the 90's, the scope of creativity was widened and the notion of everyday creativity was proposed. The emergence of this notion led researchers to investigate the associations of the creative process in ordinary (non-artist) individuals. In this review, the descriptions of creativity and creative process are mentioned. Also, the creative process is addressed with regards to bipolar disorder. Then, the relationship between creativity and bipolar disorder are evaluated in terms of aforementioned studies (biographical, systematic, psychobiographical, affective temperaments). In addition, a new model, the "Shared Vulnerability Model" which was developed to explain the relationship between creativity and psychopathology is introduced. Finally, the methodological limitations and the suggestions for resolving these limitations are included.
Emmanuel, Elizabeth; Collins, Diane; Carey, Melissa
Creative art as part of assessment in nursing is a powerful alternative to traditional methods of promoting engagement for students who have different learning styles, and who value engagement in creative activities. This paper describes an innovative assessment approach for first year nursing students which addressed the development of a beginning knowledge base in therapeutic communication as well as critical thinking and writing skills. Each student was asked to design a wearable mask to display an abstract interpretation of the therapeutic communication skills required as a nursing student, followed by a discussion about therapeutic nursing communication. Results from an evaluation of the assessment are described using Bigg's (1995) structure of observed learning outcome (SOLO) taxonomy. Seventy percent of students (n=35) found the new assessment to be an effective learning strategy. As a creative exercise, 82% (n=41) found the assessment to have engaged them at a personal level. More effort is needed for innovative assessment strategies to promote student engagement. Use of a creative assessment approach that incorporates art creation shows much promise in bridging the gap from a superficial understanding of concepts to an understanding characterised by deeper learning. Copyright © 2010 Elsevier Ltd. All rights reserved.
Mumford, Michael D; Waples, Ethan P; Antes, Alison L; Brown, Ryan P; Connelly, Shane; Murphy, Stephen T; Devenport, Lynn D
Students of creativity have long been interested in the relationship between creativity and deviant behaviors such as criminality, mental disease, and unethical behavior. In the present study we wished to examine the relationship between creative thinking skills and ethical decision-making among scientists. Accordingly, 258 doctoral students in the health, biological, and social sciences were asked to complete a measure of creative processing skills (e.g., problem definition, conceptual combination, idea generation) and a measure of ethical decision-making examining four domains, data management, study conduct, professional practices, and business practices. It was found that ethical decision-making in all four of these areas was related to creative problem-solving processes with late cycle processes (e.g., idea generation and solution monitoring) proving particularly important. The implications of these findings for understanding the relationship between creative and deviant thought are discussed.
Huang, Furong; Fan, Jin; Luo, Jing
Novelty and appropriateness have been recognized as the fundamental features of creative thinking. However, the brain mechanisms underlying these features remain largely unknown. In this study, we used event-related functional magnetic resonance imaging (fMRI) to dissociate these mechanisms in a revised creative chunk decomposition task in which participants were required to perform different types of chunk decomposition that systematically varied in novelty and appropriateness. We found that novelty processing involved functional areas for procedural memory (caudate), mental rewarding (substantia nigra, SN), and visual-spatial processing, whereas appropriateness processing was mediated by areas for declarative memory (hippocampus), emotional arousal (amygdala), and orthography recognition. These results indicate that non-declarative and declarative memory systems may jointly contribute to the two fundamental features of creative thinking. Copyright © 2015 Elsevier Inc. All rights reserved.
Christensen, Bo; Ball, Linden J.
Previous design research has demonstrated how epistemic uncertainty engenders localized, creative reasoning, including analogizing and mental simulation. Our analysis of the DTRS11 dataset examined not just the short-term, localized effects of epistemic uncertainty on creative processing...... and information selection, but also its long-term impact on downstream creative processes and decisions about what information to take forward. Our hypothesis was that heightened levels of uncertainty associated with a particular cognitive referent (i.e., a post-it note translated from Chinese end-users) would......, as predicted, found to engender subsequent attentive returns to cognitive referents at later points in the design process. Third, although epistemic uncertainty did not predict the information that was eventually selected to take forward in the design space, both immediate creative elaboration and subsequent...
Zubkov, Sarah; Friedman, Daniel
Creativity can be defined as the ability to understand, develop, and express, in a systematic fashion, novel orderly relationships. It is sometimes difficult to separate cognitive skills requisite for the creative process from the drive that generates unique new ideas and associations. Epilepsy itself may affect the creative process. The treatment of epilepsy and its comorbidities, by altering or disrupting the same neural networks through antiseizure drugs (ASDs), treatment of epilepsy comorbidities, ablative surgery, or neurostimulation may also affect creativity. In this review, we discuss the potential mechanisms by which treatment can influence the creative process and review the literature on the consequences of therapy on different aspects of creativity in people with epilepsy. This article is part of a Special Issue entitled "Epilepsy, Art, and Creativity". Copyright © 2016 Elsevier Inc. All rights reserved.
Vidal, Rene Victor Valqui
This paper presents some modern and interdisciplinary concepts about creativity and creative processes specially related to problem solving. Central publications of Creativity- OR are brie y reviewed. Creative tools and approaches suitable to support OR work are also presented. Finally, the paper...... outlines the author's experiences using creative tools and approaches to: Facilitation of problem solving processes, strategy development in organisations, and design of optimisation systems for large scale and complex logistic systems....
Vidal, Rene Victor Valqui
This paper presents some modern and interdisciplinary concepts about creativity and creative processes specially related to problem solving. Central publications of Creativity-OR are briefly reviewed. Creative tools and approaches suitable to support OR work are also presented. Finally, the paper...... outlines the author's experiences using creative tools and approaches to: Facilitation of problem solving processes, strategy development in organisations, and design of optimisation systems for large scale and complex logistic systems....
Yu, Lixiu; Nickerson, Jeffrey V.; Sakamoto, Yasuaki
Creativity is individual, and it is social. The social aspects of creativity have become of increasing interest as systems have emerged that mobilize large numbers of people to engage in creative tasks. We examine research related to collective intelligence and differentiate work on collective creativity from other collective activities by analyzing systems with respect to the tasks that are performed and the outputs that result. Three types of systems are discussed: games, contests and netwo...
Despite more than half a century of psychological research on creativity we are still far from a clear understanding of the creative process, its antecedents and consequences and, most of all, the ways in which we can effectively support creativity. This is primarily due to a narrow focus...... on creative individuals isolated from culture and society. Rethinking Creativity proposes a fundamental review of this position and argues that creativity is not only a psychological but a sociocultural phenomenon. This edited volume aims to relocate creativity from inside individual minds to the material......, symbolic and social world of culture. It brings together eminent social and cultural psychologists who study dynamic, transformative and emergent phenomena, and invites them to conceptualise creativity in ways that depart from mainstream definitions and theoretical models existing in past and present...
Okada, Takeshi; Ishibashi, Kentaro
To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: (a) copying an artist's drawing, then producing an original drawing; (b) producing an original drawing without having seen another's work; and (c) copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from the model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks-whether through copying or prolonged observation-change people's cognitive representations of the act of drawing to produce novel artwork. Copyright © 2016 Cognitive Science Society, Inc.
Carrasco, and Ranee A. Flores. 2013. “The Structure of Creative Cognition in the Human Brain .” Frontiers in Human Neuroscience 7: 1–13. doi: 10.3389/fnhum...The place aspect of creativity will be addressed in a limited fashion to raise awareness of possible prescriptive methods to enhance creativity...threshold theory states, “…creativity and intelligence are correlated up to a certain threshold [around an intelligence quotient ( IQ ) of 120] after which
This edited book discusses the exciting field of Digital Creativity. Through exploring the current state of the creative industries, the authors show how technologies are reshaping our creative processes and how they are affecting the innovative creation of new products. Readers will discover how creative production processes are dominated by digital data transmission which makes the connection between people, ideas and creative processes easy to achieve within collaborative and co-creative environments. Since we rely on our senses to understand our world, perhaps of more significance is that
Université de Genève
Geneva University Physics Department 24, quai Ernest-Ansermet CH-1211 Geneva 4 Tel: (022) 379 62 73 Fax: (022) 379 69 92 Lundi 3 octobre 2011, 17h00 Ecole de Physique, Auditoire Stueckelberg «Experiments in Physics : Hands-on Creative Processes» Prof. Manfred Euler Leibniz-Institute for Mathematics and Science Education (IPN) University of Kiel, Deutschland Experiments play a variety of different roles in knowledge generation. The lecture will focus on the function of experiments as engines of intuition that foster insights into complex processes. The experimental presentations consider self-organization phenomena in various domains that range from the nanomechanics of biomolecules to perception and cognition. The inherent universality contributes to elucidating the enigmatic phenomenon of creativity. Une verrée en compagnie du conférencier sera offerte après le colloque. &...
Moffatt, Amanda; Ryan, Mary; Barton, Georgina
Those who work with others to explore new and creative ways of thinking about community and organizational participation, ways of engaging with others, individual well-being and creative solutions to problems, have a significant role in a cohesive society. Creative forms of learning can stimulate reflexive practices of self-care and lead to…
Benedek, Mathias; Franz, Fabiola; Heene, Moritz; Neubauer, Aljoscha C.
There are different conceptions about how cognitive inhibition is related to creativity. Creativity has either been associated with effective inhibition, or with disinhibition, or with an adaptive engagement of inhibition. In this study, we examined the relationship of cognitive inhibition, assessed by means of the random motor generation task, with different measures of creativity. We also analyzed whether this relation is mediated by intelligence. We generally found a positive correlation o...
Garcia-Ros, Rafael; Talaya, Isabel; Perez-Gonzalez, Francisco
This study describes the importance of creativity in the identification of gifted elementary-aged children and presents the process of validating a scale for rating the creativity of the students through the teachers' responses. The results show the instrument's unifactorial structure, satisfactory levels of internal consistency, as well as…
The creative drawing process Associated Professor Ingelise Flensborg, PhD The Danish University school of Education, Aarhus University Tuborgvej 164 København NV Why are children's drawings important for the development of cognitive structures and for their development in a visual society......'s. It is a pattern of actions as well as a pattern for action In my doctoral thesis I discussed the connection between spatial orientation and visual representation (as a form of knowledge). I wanted to show the developmental possibilities within spatial cognition in art-education. I used the dynamic theory......, which is supposed to be our most basic cognitive structure. The body's interaction with the environment is decisive for children's spatial representations. In my theoretical and empirical investigations I found that this interaction creates the basic form of cognitive structures. The child...
From what perspective should creativity of a system be considered? Are we interested in the creativity of the system’s out- put? The creativity of the system itself? Or of its creative processes? Creativity as measured by internal features or by external feedback? Traditionally within computational creativity the focus had been on the creativity of the system’s Products or of its Processes, though this focus has widened recently regarding the role of the audience or the field surrounding the ...
Vidal, Rene Victor Valqui
This paper presents some modern and interdisciplinary concepts about creativity and creative processes specially related to problem solving. Central publications related to the theme are briefly reviewed. Creative tools and approaches suitable to support problem solving are also presented. Finally......, the paper outlines the author’s experiences using creative tools and approaches to: Facilitation of problem solving processes, strategy development in organisations, design of optimisation systems for large scale and complex logistic systems, and creative design of software optimisation for complex non...
The Chartered Institute of Personal Development (CIPD) has acknowledged the rise of coaching, and has developed a set of standards to guide the coaching profession. The aim of this discussion paper is to explore the potential of creative coaching. What it could offer professional practitioners, and to investigate what professionals understand to be the components of creative coaching. In order, to reach conclusions and recommendations on how the professional coach can practically engage with ...
This book offers a platform for engineering educators who are interested in implementing a “creative ways of knowing” approach to presenting engineering concepts. The case studies in this book reveal how students learn through creative engagement that includes not only design and build activities, but also creative presentations of learning, such as composing songs, writing poems and short stories, painting and drawing, as well as designing animations and comics. Any engineering educator will find common ground with the authors, who are all experienced engineering and liberal arts professors, who have taken the step to include creative activities and outlets for students learning engineering. • Demonstrates various methods for returning to the basics of engineering education, which include design and creativity, teamwork and interdisciplinary thinking; • Discusses a timely topic, as higher education puts more attention on the student experience of learning in all disciplines; • Includes actual stude...
Héctor Horacio Murcia Cabra
Full Text Available Modern educational activity requires the application of procedures and methodologies to help its projections to reach all kind of people. One of the aspects that may contribute to this purpose is to include virtual processes. In the second stage of the research project entitled «Application of a creativity model to update the administrative teaching in Colombian agricultural entrepreneurial systems» there was a specific objective aimed at the production of a virtual course as an appropriate complement to the results obtained in the first phase of the project. Thus, a work including the following points was developed: 1. Selection and preparation of contents (the book «Entrepreneurial creativity for agricultural education», produced in the first stage of the project was taken as a reference. 2. Organization of a method to study this book. 3. Definition of the characteristics and conditions of the students at the beginning of this teaching learning process (it wanted to reach all kind of people in two situations: creation of entrepreneurial projects or improvement of existing companies 4. Learning evaluation activities through virtual procedures were designed; additionally different internet links related with creativity were chosen. In all this process technicians associated to the teaching office of the La Salle University constantly participated incorporating New Technologies of Information and Communication (NTIC. The new course was creativity bases to concrete personal and entrepreneurial projects. Its contents have been applied in 2004 and 2005 with undergraduate and graduate students getting excellent results.
Weinstein, Netta; Hodgins, Holley S; Ryan, Richard M
Two studies examined interaction quality and joint performance on two creative tasks in unacquainted dyads primed for autonomy or control orientations. It was hypothesized that autonomy-primed dyads would interact more constructively, experience more positive mood, and engage the task more readily, and as a result these dyads would perform better. To test this, Study 1 primed orientation and explored verbal creative performance on the Remote Associates Task (RAT). In Study 2, dyads were primed with autonomy and control orientation and videotaped during two joint creative tasks, one verbal (RAT) and one nonverbal (charades). Videotapes were coded for behavioral indicators of closeness and task engagement. Results showed that autonomy-primed dyads felt closer, were more emotionally and cognitively attuned, provided empathy and encouragement to partners, and performed more effectively. The effects of primed autonomy on creative performance were mediated by interpersonal quality, mood, and joint engagement.
Zhang, Hui; Zhou, Chunfang; Tanggaard, Lene
, Process, Product, and Press (4Ps) This research question drives to develop a theoretical study bridging two areas of creativity and craftsman’s work. This will further indicate craftsman’s working practice is full of complexity that stimulates creative behavior and that also requires a systematic view...... to understand craftsman’s creativity as involving interaction between 4Ps....
Annelise Norlyk; Pia Dreyer; Anita Haahr; Bente Martinsen
The creative processes of understanding patients’ experiences in phenomenological research are difficult to articulate. Drawing on life philosophy as represented by the Danish philosopher K.E. Løgstrup (1905-1981), this article aims to illustrate Løgstrup’s thinking as a way to elaborate the creation of cognition and understanding of patients’ experiences. We suggest that Løgstrup’s thoughts on sensation can add new dimensions to an increased understanding of the creative process of phenomeno...
Vidal, Rene Victor Valqui
This paper presents some modern and interdisciplinary concepts about creativity and creative processes of special relevance for Operational Research workers. Central publications in the area Creativity-Operational Research are shortly reviewed. Some creative tools and the Creative Problem Solving...... approach are also discussed. Finally, some applications of these concepts and tools are outlined. Some central references are presented for further study of themes related to creativity or creative tools....
Chan, Kara; Hui, Anna; Cheng, Sheung-Tak; Ng, Yu Leung
As the workforce ages it becomes important to examine if there is misperception of creativity and age in work contexts. A laboratory experiment examined perceptions of the creativity of a team with both young and old workers and of a team composed entirely of young workers. Scripted videos portrayed such teams engaged in designing an outdoor…
Glaveanu, Vlad Petre
the role of tradition and creativity in the life of a rural community. Egg decoration is an old custom, with pre-Christian roots, practiced extensively in the historical region of Bucovina, and relying on a complex system of material artefacts and symbolic elements acquired and enacted by artisans usually...... means the opposite of creativity but the actual vehicle of creative activity and its understanding as a stable cultural system ‘engraved’ in collective memory needs to be challenged. The tradition of egg decoration in Romania is a living and evolving social practice that engages the self and community......This paper addresses the question of how folk art can be, simultaneously, a vehicle for cultural memory and cultural creativity. It takes the case of Romanian Easter egg decoration as a practice situated at the intersection between art, folklore, religion and a growing market, it order to unpack...
Jung, Rex E.; Segall, Judith M.; Bockholt, H. Jeremy; Flores, Ranee A.; Smith, Shirley M.; Chavez, Robert S.; Haier, Richard J.
Creativity has long been a construct of interest to philosophers, psychologists and, more recently, neuroscientists. Recent efforts have focused on cognitive processes likely to be important to the manifestation of novelty and usefulness within a given social context. One such cognitive process – divergent thinking – is the process by which one extrapolates many possible answers to an initial stimulus or target data set. We sought to link well established measures of divergent thinking and creative achievement (Creative Achievement Questionnaire – CAQ) to cortical thickness in a cohort of young (23.7 ± 4.2 years), healthy subjects. Three independent judges ranked the creative products of each subject using the consensual assessment technique (Amabile, 1982) from which a “composite creativity index” (CCI) was derived. Structural magnetic resonance imaging was obtained at 1.5 Tesla Siemens scanner. Cortical reconstruction and volumetric segmentation were performed with the FreeSurfer image analysis suite. A region within the lingual gyrus was negatively correlated with CCI; the right posterior cingulate correlated positively with the CCI. For the CAQ, lower left lateral orbitofrontal volume correlated with higher creative achievement; higher cortical thickness was related to higher scores on the CAQ in the right angular gyrus. This is the first study to link cortical thickness measures to psychometric measures of creativity. The distribution of brain regions, associated with both divergent thinking and creative achievement, suggests that cognitive control of information flow among brain areas may be critical to understanding creative cognition. PMID:19722171
Vidal, Rene Victor Valqui
This paper presents an introduction to modern and interdisciplinary concepts related to creativity and creative processes. The selected topics are of special relevance to professionals of any kind in connection with their work as designers. Some useful creative tools and approaches are also...... outlined. Finally, practical recommendations to enhance and apply creative work in design are elaborated....
Full Text Available In contrast to the traditional mindset (TMS—the conscious awareness, controlled mental processes, and analytical-logical manipulation of symbols—an alternative mindset (AMS is viewed as the pre-conscious mental processes (i.e. associative, imaginative, intuitive and holistic thinking. Since Plato, the West has considered TMS as the hallmark of intelligence and simply of any cognition. Yet, in recent decades various research explored complementary and/or alternative to analytical-logical cognition mental. Alternative mindsets were primarily explored for their individual benefits, while our research focuses on organisational benefits. To do this, we used a bi-weekly meditative practice to induce an AMS in organisational actors. We hypothesized that following the shift from TMS to AMS, organisational actors will benefit from enhanced creative production and well-being. Empirical experiments were conducted with 144 self-selected participants within three organisations, measuring well-being and creativity, consisting of eight 20 minute mindfulness meditation sessions, with a “placebo” relaxation technique for control groups. Statistical analysis showed significant increase in well-being and creativity for experimental compared to control groups as of six sessions. As AMS organisational benefits span from enhanced well-being and creative production, as our experiments show, to potentially higher employee engagement, health and relaxation, AMS could potentially aid i
Keiffer, Melanie R
The nursing research class requires faculty to create a spirit of inquiry while integrating technology, flexibility, and responsiveness to student needs. This article discusses new pedagogies to actively engage students in the evidence-based nursing process and the achievement of course learning outcomes. Through course exemplar, the author demonstrates a creative method to engage traditional baccalaureate nursing students in a nursing project that links evidence to improved patient outcomes.
Heilesen, Simon; Helms, Niels Henrik
This article outlines a way of understanding and modelling how it is possible to design for creative processes. The processes in question involve user-driven didactic design in a Danish project for developing e-learning designs to be used at small and medium sized enterprises (the ELYK-project). ......This article outlines a way of understanding and modelling how it is possible to design for creative processes. The processes in question involve user-driven didactic design in a Danish project for developing e-learning designs to be used at small and medium sized enterprises (the ELYK......-project). After briefly discussing the concepts of creativity and innovation, the article outlines three levels of analysis. On a meta-level, a new model of quadruple helix innovation is introduced, providing a framework for interrelations between enterprise, government, knowledge institutions, and users...... (learners). On a meso-level, a four-field model is introduced. It is an operational model for user involvement in creativity and innovation processes, depicting and demarcating the changing roles of users and developers at different stages of the design process. On a micro-level, the design practise...
Puryear, Jeb S.
Recent theoretical work has called for exploration of the moderating effects of cognitive factors on the relationship between creative ideation and creative production. The Cognitive-Creative Sifting model suggests skills in processing and transforming information influence the association. This study used the Runco Ideational Behavior Scale,…
Jonathan Ojo Oke
Full Text Available Creativity is a natural endowment which can easily be displayed by children athome. Children are often seen playing with objects and drawings because of their natural quest and inward disposition to explore and come out with creative ideas or products. It is therefore imperative for parents to encourage and develop children at home to achieve this to greater heights. The aim of this study, therefore was to determine the influence of parents in development andvocational interest of children in Ekiti State, Nigeria. The study was carried outusing 400 Junior Secondary School students of age eleven to thirteen as samples. Specifically, the study sought to identify the types of creative activity the students normally engage in; their vocational interests and the influence their parents had in their creativity development and vocational interest. A Child-Creative Inventory Form (CCIF was used as an instrument for quantitative data collection. Data collected was analysed using both descriptive and inferential statistics. The findings of the study reveal that children in Ekiti State, Nigeria love to engage in creative activities mostly in technical and vocational skills, and that they are motivated by their parents to do so. The study also found that even though the students do engage in creative activities in vocational activities, yet their vocational interest is much more on other disciplines order than vocational subjects as influenced by their parents. It is therefore recommended that parents and teachers should encourage children whenever they are engaged in creative activities at home and in schools and help those to develop their career based on the children’s areas of interest.
, categories and triggers involved in this process. By applying grounded theory to the analysis of the responses, a process-oriented player engagement framework was developed and four main components consisting of objectives, activities, accomplishments and affects as well as the corresponding categories...
René Victor Valqui Vidal
Full Text Available This paper presents some modern and interdisciplinary concepts about creativity and creative processes of special relevance for Operational Research workers. Central publications in the area Creativity-Operational Research are shortly reviewed. Some creative tools and the Creative Problem Solving approach are also discussed. Finally, some applications of these concepts and tools are outlined. Some central references are presented for further study of themes related to creativity or creative tools.
Sørensen, Lene Tolstrup; Vidal, Rene Victor Valqui
This paper focus on how creative thinking, processes and methods can support the strategy development and planning process in organisations. First, several fundamental concepts related to both strategy development and planning are stipulated. In addition, the concept of living organisation...... will be discussed as well as the interaction between strategy and creativity. Then, methodological ideas to support the strategy making process are presented enhancing the use of creative methods and tools. Finally, a case study related to the development of a strategy for organisational development using...... creativity tools is discussed....
Lim, Cheolil; Lee, Jihyun; Lee, Sunhee
Existing approaches to developing creativity rely on the sporadic teaching of creative thinking techniques or the engagement of learners in a creativity-promoting environment. Such methods cannot develop students' creativity as fully as a multilateral approach that integrates creativity throughout a curriculum. The purpose of this study was to…
Phillips, Regina Miecznikoski
Faculty are constantly challenged to find interesting classroom activities to teach nursing content and engage students in learning. Nursing students and graduates need to use research skills and evidence-based practice as part of their professional care. Finding creative and engaging ways to teach this material in undergraduate nursing programs are essential. This article outlines several successful strategies to engage nursing students in research content in the time and space constraints of the classroom.
Full Text Available This paper presents a best-practice model for the redesign of virtual learning environments (VLEs within creative arts to augment blended learning. In considering a blended learning best-practice model, three factors should be considered: the conscious and active human intervention, good learning design and pedagogical input, and the sensitive handling of the process by trained professionals. This study is based on a comprehensive VLE content analysis conducted across two academic schools within the creative arts at one Post-92 higher education (HE institution. It was found that four main barriers affect the use of the VLE within creative arts: lack of flexibility in relation to navigation and interface, time in developing resources, competency level of tutors (confidence in developing online resources balanced against other flexible open resources and factors affecting the engagement of ‘digital residents’. The experimental approach adopted in this study involved a partnership between the learning technology advisor and academic staff, which resulted in a VLE best-practice model that focused directly on improving aesthetics and navigation. The approach adopted in this study allowed a purposive sample of academic staff to engage as participants, stepping back cognitively from their routine practices in relation to their use of the VLE and questioning approaches to how they embed the VLE to support teaching and learning. The model presented in this paper identified a potential solution to overcome the challenges of integrating the VLE within creative arts. The findings of this study demonstrate positive impact on staff and student experience and provide a sustainable model of good practice for the redesign of the VLE within creative disciplines.
In this presentation I argue for a re-conceptualization of “playtime” and the development of playfulness as a useful learning tool to cultivate creativity. “Playful\\ud play facilitates creativity 1 – sometimes immediately and sometimes after a considerable delay” (Bateson and Martin, 2012, p.8-9). Teaching at a University the question I address is why we may wish to engage in “playtime” and how might this be achieved. There are two arguments for including “playtime”. Firstly, the neoliberalis...
Okada, Takeshi; Ishibashi, Kentaro
To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: (a) copying an artist's drawing, then producing an original drawing; (b) producing an original drawing without…
Groenendijk, Talita; Janssen, Tanja; Rijlaarsdam, Gert; van den Bergh, Huub
Previous research has shown that observation can be effective for learning in various domains, for example, argumentative writing and mathematics. The question in this paper is whether observational learning can also be beneficial when learning to perform creative tasks in visual and verbal arts. We hypothesized that observation has a positive effect on performance, process, and motivation. We expected similarity in competence between the model and the observer to influence the effectiveness of observation. Sample. A total of 131 Dutch students (10(th) grade, 15 years old) participated. Two experiments were carried out (one for visual and one for verbal arts). Participants were randomly assigned to one of three conditions; two observational learning conditions and a control condition (learning by practising). The observational learning conditions differed in instructional focus (on the weaker or the more competent model of a pair to be observed). We found positive effects of observation on creative products, creative processes, and motivation in the visual domain. In the verbal domain, observation seemed to affect the creative process, but not the other variables. The model similarity hypothesis was not confirmed. Results suggest that observation may foster learning in creative domains, especially in the visual arts. © 2011 The British Psychological Society.
Andersen, Poul Houman; Kragh, Hanne; Lettl, Christopher
In order to continue to be innovative in the current fast-paced and competitive environment, organizations are increasingly dependent on creative inputs developed outside their boundaries. The paper addresses the boundary spanning activities that managers undertake to a) select and mobilize...... creative talent, b) create shared identity, and c) combine and integrate knowledge in innovation projects involving external actors. We study boundary spanning activities in two creative projects in the LEGO group. One involves identifying and integrating deep, specialized knowledge, the other focuses...... actors, and how knowledge is integrated across organizational boundaries. We discuss implications of our findings for managers and researchers in a business-to-business context...
Scott Shields, Sara
In this paper, I discuss my engagement with a visual journal as a companion to creative research practice during my dissertation research. Grounded in arts based research methodologies; I explore visual journals in relationship to research, reflection and analytic processes. I begin with a discussion of the visual journal as an artifact of…
Rubia Vila, Francisco José
The term 'creativity', meaning to produce something out of nothing, is not accurate. A definition that included the establishment, the founding or the introduction of something anew for the first time would be rather appropiate. The most accurate interpretation of the creativity process is the one proposed by Alfred Rothenberg which establishes the hypothesis that creativity is due to what he calls a 'janusian thinking' characterized by conceiving simultaneously two or more opposed ideas, images or concepts. Two examples illustrate such way of thinking: one is Einstein's General Theory of Relativity and the other is Darwin's Theory of Natural Selection. The overcome of a dualistic thinking while keeping full consciousnees, that is, the utilization of both the primary and the secondary processes postulated by Freud, would be the key to creative thinking. From a neurophysiological point of view, it is very likely that the right hemisphere is rather connected to creativity, given that it is a mental state that requires non-focalized attention, greater right hemisphere activation, and low levels of prefrontal cortical activation allowing cognitive inhibition.
interested in the simultaneous development of persons and social practices. Pathways are created in ordinary life; their formation may involve creativity and the improvisational co-creation of opportunities for action. Studying pathways may therefore direct creativity researchers toward the potentials...... in the mundane processes of everyday life is, however, seldom highlighted by researchers working explicitly on creativity. The premise of the present paper is that a focus on everyday life can help us understand creative processes in broader terms. I “creative pathways” may serve as a useful term for researchers...... of creativity in daily life and shed light of the processes of creativity. Creative pathways are present in existing ways of moving and doing things; they are also created in the here-and-now by persons acting in correspondence with the affordances in social practices. A focus on creative pathways is consistent...
This keynote initiates from an example of engaged research; a Danish software house that made it from maturity level 1 to 5 in eight years. The organizational change implied at each step is discussed and a design theory of process improvement and change derived.......This keynote initiates from an example of engaged research; a Danish software house that made it from maturity level 1 to 5 in eight years. The organizational change implied at each step is discussed and a design theory of process improvement and change derived....
Kozbelt, Aaron; Dexter, Scott; Dolese, Melissa; Meredith, Daniel; Ostrofsky, Justin
We applied computer-based text analyses of regressive imagery to verbal protocols of individuals engaged in creative problem-solving in two domains: visual art (23 experts, 23 novices) and computer programming (14 experts, 14 novices). Percentages of words involving primary process and secondary process thought, plus emotion-related words, were…
Wai Chen, Jason Chi
A cappella is a musical performance genre with a long history. Although many people compose and arrange a cappella works, the connection between a cappella and musical creativity has not yet been considered. This study examines the background of the musical creativities framework [Burnard, P. 2012. "Musical Creativities in Practice."…
Razumnikova, O M; Vol'f, N V
Sex differences in creativity related global-local hemispheric selective processing were examined by hierarchical letter presenting in conditions of their perception and comparison. Fifty-six right-handed males and 68 females (aged 17-22 years) participated in the experiments. Originality-imagery was assessed by a computer-based Torrance 'Incomplete Figures' test software. Verbal creativity was valued by original sentence using of three nouns from remote semantic categories. The results show that irrespectively of the sex factor and the type of creative thinking, its originality is provided by high speed of right-hemispheric processes of information selection on the global level and delay in the interhemispheric communication. Relationships between originality of ideas and hemispheric attentional characteristics are presented mostly in men while verbal creative problem solving, and in women while figurative original thinking. Originality of verbal activity in men is more associated with success of selective processes in the left hemisphere, but in women--with selective functions of both hemispheres. Figurative thinking in men is less related to hemispheric characteristics of attention compared with women. Increase of figurative originality in women is accompanied acceleration of processes of selection of the information in the right hemisphere, and also higher efficiency of local attention as well as speeds ofglobal processing in the left hemisphere.
Biskjaer, Michael Mose
Abstract This dissertation epitomizes three years of research guided by the research question: how can we conceptualize creative self-binding as a resource in art and design processes? Concretely, the dissertation seeks to offer insight into the puzzling observation that highly skilled creative...... practitioners sometimes freely and intentionally impose rigid rules, peculiar principles, and other kinds of creative obstructions on themselves as a means to spur momentum in the process and reach a distinctly original outcome. To investigate this the dissertation is composed of four papers (Part II) framed...... of analysis. Informed by the insight that constraints both enable and restrain creative agency, the dissertation’s main contention is that creative self- binding may profitably be conceptualized as the exercise of self-imposed creativity constraints. Thus, the dissertation marks an analytical move from vague...
Glaveanu, Vlad Petre; Pedersen, Lene Tanggaard
a fragmented and rather static perspective of creativity. Cultural psychology transforms this conception by considering creative persons as Actors, creative processes as forms of Action, creative products as Artefacts and press factors as part of social (Audiences) and material (Affordances) environments......Abstract: For half a century, the psychology of creativity has been using a basic typology proposed by Rhodes (1961) that distinguishes between person, process, product and press in definitions and research. These four P’s, although useful as a conceptual organizer, nevertheless present...
Oriol, Xavier; Amutio, Alberto; Mendoza, Michelle; Da Costa, Silvia; Miranda, Rafael
Emotional creativity (EC) implies experiencing a complex emotional life, which is becoming increasingly necessary in societies that demand innovation and constant changes. This research studies the relation of EC as a dispositional trait with intrinsic motivation (IM) and academic engagement (AE). A sample of 428 university Chilean students, 36.5% men and 63.5% women, with ages from 18 to 45 years-old (M = 20.37; DT = 2.71). Additionally, the mediating function of class-related positive emotions in this relation is explored. The obtained data indicate that developing high levels of dispositional EC enhances the activation of positive emotions, such as gratitude, love and hope, in the classroom. Furthermore, EC predicts IM and AE of university students by the experience of positive emotions. These results compel us to be aware of the importance that university students can understand the complexity of the emotional processes they undergo. A greater control of these emotions would allow students to maintain higher levels of interest in their studies at the different educational stages and to avoid the risk of school failure.
Marius Sebastian RÜCKER
Full Text Available Due to the rapid technological development and a globally competitive business environment, creative marketing methods become increasingly important for a unique value proposition. As a result, the aim of this research paper is to critically evaluate the influence of creative thinking on marketing creativity. In order to evaluate this correlation, examples of creative marketing concepts in traditional marketing and online marketing campaigns are examined and analysed in regards to potentially required creative thinking processes. This evaluation led to the conclusion that creative thinking influences marketing creativity in a holistic way by creating experiences, forming relationships, and addressing large audiences in a cost-efficient way.
Thoring, K.C.; Desmet, P.M.A.; Badke-Schaub, P.G.
This article presents a typology of creative spaces that is relevant to facilitating creative working and learning processes for designers. Drawing on qualitative user research with cultural probes in a design thinking institution, this typology identifies five different types of creative spaces
Beaussart, Melanie L.; Kaufman, Scott Barry; Kaufman, James C.
It has been argued that creativity evolved, at least in part, through sexual selection to attract mates. Recent research lends support to this view and has also demonstrated a link between certain dimensions of schizotypy, creativity, and short-term mating. The current study delves deeper into these relationships by focusing on engagement in…
Strandvad, Sara Malou
This chapter critically questions the strategy of applying the Actor-Network Theory to media studies. Arguing that an application of a fixed ANT-approach fundamentally opposes the ambition of Actor-Network Theory, this chapter outlines a different way of drawing inspiration from ANT. Based...... in the writings of the French cultural sociologist Antoine Hennion, who has been a pioneer in developing a cultural sociology inspired by ANT, and the recent writings of Bruno Latour addressing cultural production, the chapter suggests investigating the “anaphoric trajectories” of creative development processes...
Full Text Available The paper presents the results of a research on the views of teachers about expressing and developing creativity of students at the secondary educational level. The analysis of the discussion with ten grammar school teachers allocated as the most important the teachers' views of the nature of creativity, the capacity of the school to stimulate creativity in students and the conditions for stimulating creativity in school. The majority of teachers saw creativity as a complex phenomenon for whose understanding a multi-perspective approach is needed. Although only few teachers believe in distributivity of creativity, the majority agreed that school should stimulate students' creativity, but that it does not do it sufficiently. Among the factors which support creativity they singled out the teacher's engagement, specificities of certain school subjects, the application of certain teaching techniques and the image of the school. Among the factors that obstruct creativity they stated curricular requirements, selection of students, characteristics of young generations and current social values.
Amabile, Teresa M.
Defining creativity as a process that draws upon talents, education, skills, thinking and working styles, and inherent intelligence, and pinpointing motivation as the single most important ingredient in the creativity recipe, this book provides dozens of concrete, hands-on exercises and techniques that can help a parent or teacher keep creativity…
Malinin, Laura H.
Memoires by eminently creative people often describe architectural spaces and qualities they believe instrumental for their creativity. However, places designed to encourage creativity have had mixed results, with some found to decrease creative productivity for users. This may be due, in part, to lack of suitable empirical theory or model to guide design strategies. Relationships between creative cognition and features of the physical environment remain largely uninvestigated in the scientific literature, despite general agreement among researchers that human cognition is physically and socially situated. This paper investigates what role architectural settings may play in creative processes by examining documented first person and biographical accounts of creativity with respect to three central theories of situated cognition. First, the embodied thesis argues that cognition encompasses both the mind and the body. Second, the embedded thesis maintains that people exploit features of the physical and social environment to increase their cognitive capabilities. Third, the enaction thesis describes cognition as dependent upon a person’s interactions with the world. Common themes inform three propositions, illustrated in a new theoretical framework describing relationships between people and their architectural settings with respect to different cognitive processes of creativity. The framework is intended as a starting point toward an ecological model of creativity, which may be used to guide future creative process research and architectural design strategies to support user creative productivity. PMID:26779087
Malinin, Laura H
Memoires by eminently creative people often describe architectural spaces and qualities they believe instrumental for their creativity. However, places designed to encourage creativity have had mixed results, with some found to decrease creative productivity for users. This may be due, in part, to lack of suitable empirical theory or model to guide design strategies. Relationships between creative cognition and features of the physical environment remain largely uninvestigated in the scientific literature, despite general agreement among researchers that human cognition is physically and socially situated. This paper investigates what role architectural settings may play in creative processes by examining documented first person and biographical accounts of creativity with respect to three central theories of situated cognition. First, the embodied thesis argues that cognition encompasses both the mind and the body. Second, the embedded thesis maintains that people exploit features of the physical and social environment to increase their cognitive capabilities. Third, the enaction thesis describes cognition as dependent upon a person's interactions with the world. Common themes inform three propositions, illustrated in a new theoretical framework describing relationships between people and their architectural settings with respect to different cognitive processes of creativity. The framework is intended as a starting point toward an ecological model of creativity, which may be used to guide future creative process research and architectural design strategies to support user creative productivity.
This paper argues that creative behavior requires an employee to be willing to engage risk. Aside from the discussion of risk propensity as an individual difference, a new situational variable will be developed and tested: willingness to take risks (WTR). WTR captures the employee's willingness to engage risks in their work and is positioned as an…
Ferrando, Mercedes; Soto, Gloria; Prieto, Lola; Sáinz, Marta; Ferrándiz, Carmen
There has been an increasing body of research to uncover the relationship between creativity and intelligence. This relationship usually has been examined using traditional measures of intelligence and seldom using new approaches (i.e. Ferrando et al. 2005). In this work, creativity is measured by tools developed based on Sternberg's successful…
Bourgeois-Bougrine, Samira; Glaveanu, Vlad Petre; Botella, Marion
The present article aims to address a current gap in our understanding of creativity in screenplay writing by focusing on the cognitive, conative, affective, and environmental factors that come into play at different stages in the creative process. It reports a study employing in-depth interviews...... and or treatment), and, finally, intense periods of writing and rewriting the script. These 3 stages, and, in particular, the multiple and concrete decisions to be taken within each one of them, support a vision of the creative process in this domain metaphorically conceptualized as crossing a maze. Creators...
Glaveanu, Vlad Petre
The present article introduces, develops, and illustrates a perspectival framework for the creative process drawing on current developments within the cultural psychology of creativity and the social theory of George Herbert Mead. The creative process is conceptualized as a form of action by which actors, materially and symbolically, alone and in…
Creativity can be considered from different points of view. Afirst possibility is to trace its natural history in mammals, mostly in non human primates. A second one is to consider mental processes, such as analogies, that may result in creative associations as evident in many fields, from arts to sciences. These two approaches lead to a better understanding of cognitive systems at the roots of creative behaviour. A third strategy relies on an analysis of primary and secondary states of mind characterizing flow and creativity. Flow, the mental state of operation in which a person is fully immersed in what he or she is doing, typical of intense problem solving activities, has been explained in terms of reduced prefrontal activity. While it is not difficult to carry out tests of problem solving activity, creativity is much more elusive and it is not easy to measure it. Thus, flow has often been simplistically assimilated to creativity and it has been assumed that also creati ve performance depends on low prefrontal activity. It is instead proposed that creativity involves two consecutive steps: 1. Generation of novelty, mostly in the ventral striatum. 2. Analysis of novelty by the prefrontal cortex that transforms it into creative behaviour. The emergence of creativity has been explained through a Darwinian process based upon the classic variation-selection procedure. Thus, basal ganglia, with their implicit strategies and memories, may be regarded as a mechanism that continuously generates novelty (variation) while the prefrontal cortex, possibly its dorsolateral areas, may be considered as the computational mechanism that transforms novelty (selection) into explicit creative behaviours.
Baas, Matthijs; Roskes, Marieke; Sligte, Daniel; Nijstad, Bernard A.; De Dreu, Carsten K W
To better understand the relation between personality traits and creativity, we invoke the Dual-Pathway to Creativity model (DPCM) that identifies two pathways to creative outcomes: (1) flexible processing of information (cognitive flexibility) and (2) persistent probing, and systematically and
Avasilcăi, S.; Rusu, G.
To foster the development of innovative products and new technologies, nowadays companies use an open innovation system, encouraging stakeholders to contribute, using the companies’ online platforms for open innovation or social media, bringing and sharing creative solutions and ideas in order to respond to challenging needs the company directly expresses. Accordingly, the current research continues the analysis of the LEGO Group innovation efforts, aiming to provide a case study approach based on describing the most important projects and online instruments company uses to interact with customers and other external stakeholders. Thus, by analysing the experience of the company in developing projects of involving stakeholders in the innovation processes, the article emphasizes the objective of these past projects developed by LEGO Group, outlining their objectives regarding the focus on the product or process innovation, the team management and stakeholders involved in the innovation actions and the results they obtained. Moreover, the case study highlights the features of the most important online instruments LEGO Group uses at the moment for engaging LEGO fans, children, parents, and other external stakeholders in developing new LEGO sets. Thus, LEGO online instruments provide the opportunity for customers to be creative and to respond to LEGO management team challenges. Accordingly, LEGO involve customers in bringing innovative ideas for LEGO sets through LEGO Ideas instrument, which aims to engage customers in submitting projects, voting and supporting ideas and also sharing them on social media. Also, the research emphasizes the role of supporting the open dialogue and interaction with customers and other external stakeholders through LEGO.com Create & Share Galleries instrument, using their creativity to upload innovative models in the public galleries. The continuous challenges LEGO launches for their fans create a long-term connection between company and
As museums extend their scope beyond the traditional exhibition space and into everyday practices and institutions it is necessary to develop suitable conceptualisations of how technology can be understood and designed. To this end, we propose that the concept of socio-technical infrastructures...... of a system for cultural heritage engagement for the Danevirke museum covering issues relating to the Danish minority in northern Germany....
Amabile, Teresa M.
In a test of intrinsic motivation hypothesis of creativity, 60 undergraduate women did an artistic creativity task with either the expectation of receiving a reward or no expectation of reward. Reward was crossed with choice in task engagement, such that half of the reward Ss contracted to do the task in order to receive reward, and half simply…
Full Text Available this paper studies the influence of regular pictorial creativity class and the environment of creative groups on overcoming the adolescent crisis. Each of 60 students was given a battery of tests. Psychological adaptation, self-esteem and level of aspiration, identity, the subjective sense of loneliness and school anxiety have been studied. The data of descriptive statistics, Mann-Whitney U criterion for nonparametric tests for two independent samples has been processed. It is concluded that adolescents in non-permanent creative groups have a reduced level of neuropsychic adaptation and self-esteem and also high levels of subjective loneliness and frustration in achieving success, compared with adolescents from the constant creative and uncreative groups.
Want to know how creative people innovate? This book gives you models and practices that you can use with your team to help you be the innovators of your organisation. Organisations are growing in a complex technology- driven environment and chief executives have expressed the need for more creative employees to steer innovation. Be the Innovators provides readers with ideas for benchmarking best practices in innovation, empowering creative excellence, leveraging collective growth and connecting a spectrum of individual and team ideas. Based on the belief that innovations change peopleas lives, Peter Ling provides insights into innovative individuals, companies and countries. He illustrates how to empower employees to engage in corporate mission, values and vision. This is a practical book for private, public and non-profit organisations to develop and refine leadership skills through innovation. It will trigger new creative connections in readers' minds to help accelerate innovation through team creativity. ...
Full Text Available The United States National Academy of Engineering's seminal work, The Engineer of 2020 – Visions of Engineering in the New Century, was written to prepare industrial, governmental, and academic institutions for the future of engineering. The authors of the report state, "Emphasis on the creative process will allow more effective leadership in the development and application of next-generation technologies to problems of the future." In 2011, 2012, and 2013, engineering undergraduates from the Valparaiso University College of Engineering (Valparaiso, Indiana, USA participated in a four-day off-site course focused on creativity, innovation, teamwork, and leading the creative process. The course was taught by members of the engineering faculty and included sessions and on-location tours (near Orlando, Florida that were led by instructors from an external training organization. Pre- and post-course surveys identify a significant improvement in the students' understanding of the roles of creativity, innovation, and the roles of leadership, communication, and teamwork in the creative process.
Full Text Available The present study reflects upon the identification process for gifted or highly able children through a systematic study of the literature, with the aim of providing them with an adequate and stimulating education beginning at an early age. The identification process requires an adequate diagnostic process of giftedness, and creativity is an important determining factor. Creativity, however, is a very complex construct due to differences in definition in the psychology field. This study aims to make a valuable contribution by discussing how to measure creativity in gifted or highly able children, as well as proving recommendations in the diagnostic process.
Full Text Available The contribution is focused on the conditions which allow the application of creativity in the context of an organization. The aim of the article is to reveal the work environment factors influencing the creativity of the employees. Another aim is to demonstrate how management style of an organization can affect the creativity of employees in order to successfully exploit their creative potential. The contribution also presents the manner how a manager can influence creativity of one’s own employees. Moreover, the article deals with the process of innovation and transmission of creative ideas and solutions into practice.
Full Text Available This article discusses the impact of artificially intelligent computers to the process of design, play and educational activities. A computational process which has the necessary intelligence and creativity to take a proactive role in such activities can not only support human creativity but also foster it and prompt lateral thinking. The argument is made both from the perspective of human creativity, where the computational input is treated as an external stimulus which triggers re-framing of humans’ routines and mental associations, but also from the perspective of computational creativity where human input and initiative constrains the search space of the algorithm, enabling it to focus on specific possible solutions to a problem rather than globally search for the optimal. The article reviews four mixed-initiative tools (for design and educational play based on how they contribute to human-machine co-creativity. These paradigms serve different purposes, afford different human interaction methods and incorporate different computationally creative processes. Assessing how co-creativity is facilitated on a per-paradigm basis strengthens the theoretical argument and provides an initial seed for future work in the burgeoning domain of mixed-initiative interaction.
Full Text Available We sketch a theory of creativity which centres on the framing of activity by repetitive thinking and action, and sees creativity as divergences from these routines which is thereby framed against them. Without a repetitive frame creativity is impossible. Mere repetition is not creative, even if new. Creativity disrupts a frame, purposefully. Socratic Dialogue is an ancient technique of engaging a student in a dialogue by asking non-leading questions, aimed at revealing to the student how much knowledge he or she already has on some topic: Socrates’ demonstration to the slave-boy (and the audience that the boy already knows geometry (without any schooling is the founding example. We aim to illustrate that internalising the Socratic kind of reflective self-questioning and co-questioning is intimately related to the view of creativity as the reframing of routine. Therefore, we have qualitatively analysed primary and secondary school pilots in Greece, Austria and the United Kingdom. The illustrations of facilitated Socratic Dialogues with children and young people have been derived from the analysis of 14 Socratic Dialogues involving a total number of 97 students. This paper outlines the Socratic Dialogue as a method of both researching and teaching creative thinking, and it reveals that the Socratic method dovetails with this conception of co-creativity. As a research method, Socratic Dialogue aims to elicit information concerning reasoning processes and shared experiences. As a teaching method, Socratic Dialogue aims to get students to internalise the public methodology of Socratic Dialogue, and to adopt it across the range of domains they meet. The students’ use of the internalised method towards enabling creative thinking is illustrated by the experiences of the teaching intervention teams in the C2Learn project, using games to provide occasions for co-creativity.
Glaveanu, Vlad Petre; Gillespie, Alex
Human creativity is ubiquitous, occurring in everyday actions and interactions. Accordingly, we suggest, it must be grounded in the most basic processes of human symbolic activity. This presentation seeks to identify the roots of human creativity in the most fundamental cultural psychological...... processes of semiotically mediated activity. Starting with the mediational pyramid of self-other-object-sign, we suggest that creativity arises out of two disjunctions, differences or ‘gaps.’ First there is always a gap between representation, the sign, and the world, or what is signified. Action is guided...... to creativity, we argue, is not any particular ‘gap’ but rather the more dynamic movement between these psychological orientations....
Full Text Available The process of effectively applying techniques for fostering creativity in educational settings is – by nature – multifaceted and not straightforward, as it pertains to several fields such as cognitive theory and psychology. Furthermore, the quantification of the impact of different activities on creativity is a challenging and not yet thoroughly investigated task. In this paper, we present the process of applying the Semantic Lateral Thinking technique for fostering creativity in Creative Stories, a digital storytelling game, via the introduction of the appropriate stimuli in the game’s flow. Furthermore, we present a formalization for a person’s creativity as a derivative of his/her creations within the game, by transitioning from traditional computational creativity metrics over the produced stories to a space that adheres to the core principles of creativity as perceived by humans.
TUISKU, Katinka; VIRTANEN, Marianna; DE BLOOM, Jessica; KINNUNEN, Ulla
This study explored the relationship between cultural leisure activities, recovery experiences and two outcomes among hospital workers. The differences in recovery experiences (detachment, relaxation, mastery and control) and outcomes (work engagement and subjective recovery state) among hospital personnel (N=769) were analysed by the type (receptive or creative) and frequency of cultural activities. The cross-sectional data were collected by a digital questionnaire. Employees who reported both receptive and creative cultural leisure activities on a weekly basis had the highest relaxation, mastery and control experiences during off-job time. In addition, those with weekly creative activities had beneficial mastery experiences. There were no differences in recovery outcomes after adjustment for age, except in work engagement. Cultural leisure activities, and creative activities in particular, play an important role in certain aspects of recovery. PMID:26829973
Sitar, Aleša Saša; Cerne, Matej; Aleksic, Darija; Mihelic, Katarina Katja
Business schools are in need of developing creative graduates. This article explores how creativity among business students can be stimulated. Because a considerable amount of knowledge is required for creative ideas to emerge, the learning process has a significant impact on creativity. This, in turn, indicates that learning style is important…
Spector, J. Michael
The 2016 National Educational Technology Plan mentions fostering creativity, collaboration, leadership, and critical thinking while engaging learners in complex, real-world challenges through a project-based learning approach (see http://tech.ed.gov/netp/learn ing/). The Partnership for 21st Century Learning (P21; see…
Cassotti, Mathieu; Agogué, Marine; Camarda, Anaëlle; Houdé, Olivier; Borst, Grégoire
Developmental cognitive neuroscience studies tend to show that the prefrontal brain regions (known to be involved in inhibitory control) are activated during the generation of creative ideas. In the present article, we discuss how a dual-process model of creativity-much like the ones proposed to account for decision making and reasoning-could broaden our understanding of the processes involved in creative ideas generation. When generating creative ideas, children, adolescents, and adults tend to follow "the path of least resistance" and propose solutions that are built on the most common and accessible knowledge within a specific domain, leading to fixation effect. In line with recent theory of typical cognitive development, we argue that the ability to resist the spontaneous activation of design heuristics, to privilege other types of reasoning, might be critical to generate creative ideas at all ages. In the present review, we demonstrate that inhibitory control at all ages can actually support creativity. Indeed, the ability to think of something truly new and original requires first inhibiting spontaneous solutions that come to mind quickly and unconsciously and then exploring new ideas using a generative type of reasoning. © 2016 Wiley Periodicals, Inc.
Mihov, Konstantin M.; Denzler, Markus; Forster, Jens
In the last two decades research on the neurophysiological processes of creativity has found contradicting results. Whereas most research suggests right hemisphere dominance in creative thinking, left-hemisphere dominance has also been reported. The present research is a meta-analytic review of the literature to establish how creative thinking…
Engagement and deeper learning were enhanced by developing several innovative teaching strategies delivered in Research Methods workshops to Graduate Business Students. Focusing primarily on students adopting a creative approach to formulating a valid research question for undertaking a dissertation successfully. These techniques are applicable to most subject domains to ensure student engagement. Addressing the various multiple intelligences and learning styles existing within groups while...
The strength of the American economy does not rest on its manufacturing prowess, its natural resources, or the size of its market. It turns on one factor--the country's openness to new ideas, which has allowed it to attract the brightest minds from around the world and harness their creative energies. But the United States is on the verge of losing that competitive edge. As the nation tightens its borders to students and scientists and subjects federal research funding to ideological and religious litmus tests, many other countries are stepping in to lure that creative capital away. Ireland, Canada, Australia, New Zealand, Denmark, and others are spending more on research and development and shoring up their universities in an effort to attract the world's best--including Americans. If even a few of these nations draw away just a small percentage of the creative workers from the U.S., the effect on its economy will be enormous. In this article, the author introduces a quantitative measure of the migration of creative capital called the Global Creative-Class Index. It shows that, far from leading the world, the United States doesn't even rank in the top ten in the percentage of its workforce engaged in creative occupations. What's more, the baby boomers will soon retire. And data showing large drops in foreign student applications to U.S. universities and in the number of visas issued to knowledge workers, along with concomitant increases in immigration in other countries, suggest that the erosion of talent from the United States will only intensify. To defend the U.S. economy, the business community must take the lead in ensuring that global talent can move efficiently across borders, that education and research are funded at radically higher levels, and that we tap into the creative potential of more and more workers. Because wherever creativity goes, economic growth is sure to follow.
MF. Arrozi Adhikara
This paper aims to explore the environment and the implementation of creative accounting events related to the context of ethical behavior and find solutions and ways to deal with matters creative accounting. Exploration carried out related to the definition of creative accounting, creative accounting in nature, ethics, reason for doing creative accounting practices, process behavior in creative accounting, as well as some summary results of empirical research about the events of creative acc...
It is shown, that there are two traditions of thought in research as well as in psychotherapy which foster different assumptions about the relationship between a persons creativity and his mental well-being and between his creativity and the child-rearing practice of his parents. One tradition suggests that most creative people have experienced more intense suffering during childhood than others. The other tradition takes the opposite position, that a permissive, non-authoritarian home environment is most conducive for later creativity. Results of empirical research relevant to this questions have been contradictory, partly due to considerable methodological difficulties, and partly due to the ideological biasis of the experimenters and reviewers. Our own research on the child rearing practices and attitudes related to creative/non-creative 12-year old children of both sexes, as measured by questionnaires and observations of mother-child interaction, opposes the latter tradition. We have observed that mothers of high creative children behave more active and evaluating when engaged in dyadic problem solving situations with their children, and this pattern is symmetrically reflected in the behavior of their children. Mothers of low creative children, however, interact in a more guarded and cautious manner, yet with more visible demonstrations of positive affect. Questionnaire data on the fathers' attitudes on child-rearing seems to oppose the belief that creative children have permissive, non-authoritarian fathers.
The purpose of my Bachelor's degree thesis is to analyse creativity and possibilities of development of creativity. The thesis is composed of nine chapters, each of them dealing with different aspect of creativity. Introductory chapter defines term creativity from different points of view as well problems connected with its defining. Then is provided an outline of historical concepts of creativity. Next part of text examines creative personality, deals with concept of creative personality, Gu...
Hansen, Bodil Winther; Morville, Anne-Le
Med, Cinahl, PsychInfo, and the Danish library index. Our inclusion criteria were literature that covered the value and meaning of creative activity in general and/or application of creative activities as intervention tool. Peer-reviewed articles, articles and books in English, and Scandinavian languages were......Introduction: Looking back on the history of occupational therapy, creative activities played a major part in the rehabilitation process, but have been diminished during the last decades. This review looks at the importance and application of creative activities in occupational therapy in the 21st...... century. Objectives: The aim of the review was to describe the value and importance of focusing on creative activities in occupational therapy intervention. Method: This scoping review was done as prequel to a book on creativity in occupational therapy, and based on literature search in the databases Pub...
Did you know that the most creative companies have centralized bathrooms? That brainstorming meetings are a terrible idea? That the color blue can help you double your creative output? From the New York Times best-selling author of How We Decide comes a sparkling and revelatory look at the new science of creativity. Shattering the myth of muses, higher powers, even creative “types,” Jonah Lehrer demonstrates that creativity is not a single gift possessed by the lucky few. It’s a variety of distinct thought processes that we can all learn to use more effectively. Lehrer reveals the importance of embracing the rut, thinking like a child, daydreaming productively, and adopting an outsider’s perspective (travel helps). He unveils the optimal mix of old and new partners in any creative collaboration, and explains why criticism is essential to the process. Then he zooms out to show how we can make our neighborhoods more vibrant, our companies more productive, and our schools more effective. You’ll lear...
Villarreal, Mirta F.; Cerquetti, Daniel; Caruso, Silvina; Schwarcz López Aranguren, Violeta; Gerschcovich, Eliana Roldán; Frega, Ana Lucía; Leiguarda, Ramón C.
Previous studies of musical creativity suggest that this process involves multi-regional intra and interhemispheric interactions, particularly in the prefrontal cortex. However, the activity of the prefrontal cortex and that of the parieto-temporal regions, seems to depend on the domains of creativity that are evaluated and the task that is performed. In the field of music, only few studies have investigated the brain process of a creative task and none of them have investigated the effect of the level of creativity on the recruit networks. In this work we used magnetic resonance imaging to explore these issues by comparing the brain activities of subjects with higher creative abilities to those with lesser abilities, while the subjects improvised on different rhythmic fragments. We evaluated the products the subjects created during the fMRI scan using two musical parameters: fluidity and flexibility, and classified the subjects according to their punctuation. We examined the relation between brain activity and creativity level. Subjects with higher abilities generated their own creations based on modifications of the original rhythm with little adhesion to it. They showed activation in prefrontal regions of both hemispheres and the right insula. Subjects with lower abilities made only partial changes to the original musical patterns. In these subjects, activation was only observed in left unimodal areas. We demonstrated that the activations of prefrontal and paralimbic areas, such as the insula, are related to creativity level, which is related to a widespread integration of networks that are mainly associated with cognitive, motivational and emotional processes. PMID:24069414
Kolmos, Anette; Kofoed, Lise Busk
The paper adresses methods for learning proces competencies and how to emphasise creativity and personal innovation.......The paper adresses methods for learning proces competencies and how to emphasise creativity and personal innovation....
Andersson, P.; Onarheim, Balder
competences in EE . Still it is well known that there is inertia in Engineering Education to develop new structures and traditions in teaching and learning . In the whole education system there is a growing interest in creative engagement of pupils and students, and the body of research in the area...... of Denmark (DTU) a mandatory teacher training program for new faculty has in its present design been successfully held since 2004. Different approaches to fostering teachers? beliefs of creativity and innovation as teaching methods have been explored in the programme, based on approaches like the ones...... described in . Based on qualitative surveys and interviews this paper will discuss how the programme influence teachers? beliefs about 1) creativity in teaching and learning, 2) view on creativity as an important engineering skill, and 3) desire to emphasise creativity in their own teaching. The results...
This paper presents two studies of how the conduct of life in itself can be a creative act. Very often, creativity research is concerned with the study of what enables people to express themselves creatively or aesthetically or to produce creative ideas and products. Creativity as it arises in the mundane processes of everyday life is, however,…
Full Text Available Based on creativity component theory, creativity system theory and creative self-efficacy theory, this study aims to explore the influence of college students’ aesthetics experience and creative self-efficacy on their creativity and the role of creativity instruction as a mediator variable. The participants were 338 college design majors in 50 teams who were working on their graduation exhibitions, and 50 advising professors from departments related to design. Hierarchical Linear Models were applied for analysis. The result showed that instruction on enhancing students’ creative intention positively affect students’ aesthetics experience. Students’ aesthetics experience affects their creativity and creative self-efficacy. Creativity instruction with focus on creativity skills by means of promoting aesthetic attitude, aesthetic understanding, and offering complete experiences had a moderating effect on students’ perception toward creative product. However, there was a negative moderating effect of creative instruction on perceived aesthetic pleasure and students’ perception toward creative product. There was no moderating effect of creative instruction on the relationship between students’ creative self-efficacy and creativity. Accordingly, the study concluded that in order to enhance students’ creativity, universities should stress on the development of students’ aesthetics experiences and re-evaluation of approaches to creativity instruction.
Matthews, Marsha Little
Creativity is the central source of meaning for humans and is inseparable from critical thinking. Creativity and critical thinking are required in the fields of communication, public relations, and advertising. Most college students know the "rules" of the "game" of schooling, but for the majority, creativity has been all but extinguished by the…
The goal of this study is to discover and evaluate both the areas of personal interest and the views of 4th and 5th grade classroom teachers regarding the creative writing process. In this study, one of the qualitative study methods, state study, and related to this, single state design which refers to the whole has been chosen. Research was…
Dul, Jan; Ceylan, Canan
Innovative organisations need creative employees who generate new ideas for product or process innovation. This paper presents a conceptual framework for the effect of personal, social-organisational and physical factors on employee creativity. Based on this framework, an instrument to analyse the extent to which the work environment enhances creativity is developed. This instrument was applied to a sample of 409 employees and support was found for the hypothesis that a creative work environment enhances creative performance. This paper illustrates how the instrument can be used in companies to select and implement improvements. STATEMENT OF RELEVANCE: The ergonomics discipline addresses the work environment mainly for improving health and safety and sometimes productivity and quality. This paper opens a new area for ergonomics: designing work environments for enhancing employee creativity in order to strengthen an organisation's capability for product and process innovation and, consequently, its competitiveness.
Creativity is now an exposed trait. This is due to the high need for innovation, original and useful solutions that serve the development of the organization, their effective market entry and long-term survival. This publication is a collection of papers prepared under The First National Conference “CREATIVE VIBES. Kreatywnością napędzamy gospodarkę”, whose aim was to stir issues concerning the significance of creativity from the point of view of the development of innovative economy, as well...
Prager, Phillip; Thomas, Maureen; Selsjord, Marianne
and storytelling arts combine to create rich, complex, and engaging moving-image based artworks with wide appeal. It examines how dramatist and interactive media artist Maureen Thomas and 3D media artist and conservator Marianne Selsjord deploy creative digital technologies to transpose, transform, and transcend......How can digital media technologies, contemporary theories of creativity, and tradition combine to develop the aesthetics of computer-based art today and in the future? Through contextualised case-studies, this chapter investigates how games, information technologies, and traditional visual...... pre-page arts and crafts for the digital era, making fresh work for new audiences. Researcher in digital aesthetics, creative cognition, and play behaviour Dr. Phillip Prager examines how such work is conducive to creative insight and worthwhile play, discussing its remediation of some...
Full Text Available ttendees will learn about the research and development which will be effected by scientists in the branch of Conscience Society creation in next decades of XXI century. Conscience is usually seen as linked to a morality inherent in all humans, to a beneficent universe and/or to divinity. It is increasingly conceived of as applying to the world as a whole and as a main feature of conscience society. It has motivated its numerous models, characteristics and functions of Conscience for creation the societal intelligent adaptable information systems in Conscience Society. The moral life is a vital part for the world to maintain a Conscience (civilized Society, so always keep in mind to: accept differences in others; respond promptly to others; leave some "free" time; care about others as if they were you; treat everyone similarly; never engage in violent acts; have an inner sense of thankfulness; have a sense of commitment. Creativity is a result of brain activity which differentiates individuals and could ensure an important competitive advantage for persons, for companies, for Society in general, and for Conscience Society in special. Very innovative branches – like software industry, computer industry, car industry – consider creativity as the key of business success. Natural Intelligence’ Creativity can develop basic creative activities, but Artificial Intelligence’ Creativity, and, especially, Conscience Intelligence’ Creativity should be developed and they could be enhanced over the level of Natural Intelligence. The basic idea for present communication represent the research results communicated at the last two annual AESM conferences  .
Marti, Patrizia; Pollini, Alessandro; Rullo, Alessia
tools as well as interactive collaborative environments may represent a unique opportunity for disable children to full engage in play and have fun. The Creative Interactive Play workshop presents a collection of innovative interactive technologies and case studies for inclusive play and discusses...... the challenges and opportunities they can bid to disabled children....
Ibragimkyzy, Shynar; Slambekova, Tolkyn S.; Saylaubay, Yerlan E.; Albytova, Nazymgul
This article provides analysis of research papers by different scholars, dedicated to topical issues of pedagogical creativity development in the educational process. The authors determined that pedagogical creativity could be considered at five levels: information-reproducing, adaptive-prognostic, innovative, research and creative-prognostic. In…
Broega, A. C.; Mazzotti, Karla; Gomes, Luiz Vidal Negreiros
This article describes a practical work experience in a classroom, which deals with aggregating techniques that facilitate the development of creativity, in a process of fashion creation. The method used was adapted to the fashion design, through the use of the concept of "brainstorming" and his approach to generating multiple ideas. The aim of this study is to analyze the creative performance of the students, and the creative possibilities resulting from the use and adaptation of this creati...
Benedek, Mathias; Borovnjak, Barbara; Neubauer, Aljoscha C; Kruse-Weber, Silke
The music genre of jazz is commonly associated with creativity. However, this association has hardly been formally tested. Therefore, this study aimed at examining whether jazz musicians actually differ in creativity and personality from musicians of other music genres. We compared students of classical music, jazz music, and folk music with respect to their musical activities, psychometric creativity and different aspects of personality. In line with expectations, jazz musicians are more frequently engaged in extracurricular musical activities, and also complete a higher number of creative musical achievements. Additionally, jazz musicians show higher ideational creativity as measured by divergent thinking tasks, and tend to be more open to new experiences than classical musicians. This study provides first empirical evidence that jazz musicians show particularly high creativity with respect to domain-specific musical accomplishments but also in terms of domain-general indicators of divergent thinking ability that may be relevant for musical improvisation. The findings are further discussed with respect to differences in formal and informal learning approaches between music genres.
Henriksen, Danah; Mishra, Punya; Mehta, Rohit
Creativity is increasingly viewed as an important 21st century skill that needs to be taught in schools. This emphasis on creativity is often reflected by having students engage in open-ended, project based activities and assignments. A key challenge faced by educators is how such assignments are to be evaluated. An in-depth review of existing…
Glaveanu, Vlad Petre; Lubart, Todd
to themes depicting the interaction between these different others and the creator. Findings reveal both similarities and differences across the five domains in terms of the specific contribution of others to the creative process. Social interactions play a key formative, regulatory, motivational...... and informational role in relation to creative work. From ‘internalized’ to ‘distant’, other people are an integral part of the equation of creativity calling for a de-centring of the creative self and its re-centring in a social space of actions and interactions....
Full Text Available Children and youth often demonstrate resilience and capacity in the face of disasters. Yet, they are typically not given the opportunities to engage in youth-driven research and lack access to official channels through which to contribute their perspectives to policy and practice during the recovery process. To begin to fill this void in research and action, this multi-site research project engaged youth from disaster-affected communities in Canada and the United States. This article presents a flexible youth-centric workshop methodology that uses participatory and arts-based methods to elicit and explore youth’s disaster and recovery experiences. The opportunities and challenges associated with initiating and maintaining partnerships, reciprocity and youth-adult power differentials using arts-based methods, and sustaining engagement in post-disaster settings, are discussed. Ultimately, this work contributes to further understanding of the methods being used to conduct research for, with, and about youth. Keywords: youth, disaster recovery, engagement, resilience, arts-based methods, participatory research
Mayseless, Naama; Aharon-Peretz, Judith; Shamay-Tsoory, Simone
Human creativity is thought to entail two processes. One is idea generation, whereby ideas emerge in an associative manner, and the other is idea evaluation, whereby generated ideas are evaluated and screened. Thus far, neuroimaging studies have identified several brain regions as being involved in creativity, yet only a handful of studies have examined the neural basis underlying these two processes. We found that an individual with left temporoparietal hemorrhage who had no previous experience as an artist developed remarkable artistic creativity, which diminished as the hemorrhage receded. We thus hypothesized that damage to the evaluation network of creativity during the initial hematoma had a releasing effect on creativity by "freeing" the idea generation system. In line with this hypothesis, we conducted a subsequent fMRI study showing that decreased left temporal and parietal activations among healthy individuals as they evaluated creative ideas selectively predicted higher creativity. The current studies provide converging multi-method evidence suggesting that the left temporoparietal area is part of a neural network involved in evaluating creativity, and that as such may act as inhibitors of creativity. We propose an explanatory model of creativity centered upon the key role of the left temporoparietal regions in evaluating and inhibiting creativity. Copyright © 2014 Elsevier Ltd. All rights reserved.
Guastello, Stephen J; Craven, Joanna; Zygowicz, Karen M; Bock, Benjamin R
The process by which an initially leaderless group differentiates into one containing leadership and secondary role structures was examined using the swallowtail catastrophe model and principles of selforganization. The objectives were to identify the control variables in the process of leadership emergence in creative problem solving groups and production groups. In the first of two experiments, groups of university students (total N = 114) played a creative problem solving game. Participants later rated each other on leadership behavior, styles, and variables related to the process of conversation. A performance quality measure was included also. Control parameters in the swallowtail catastrophe model were identified through a combination of factor analysis and nonlinear regression. Leaders displayed a broad spectrum of behaviors in the general categories of Controlling the Conversation and Creativity in their role-play. In the second experiment, groups of university students (total N = 197) engaged in a laboratory work experiment that had a substantial production goal component. The same system of ratings and modeling strategy was used along with a work production measure. Leaders in the production task emerged to the extent that they exhibited control over both the creative and production aspects of the task, they could keep tension low, and the externally imposed production goals were realistic.
Giannakos, Michail N.; Divitini, Monica; Iversen, Ole Sejer
by research- ers to introduce making principles to young students. Making principles enable them foster co-creativity and joy in learning processes and construct knowledge. By involving students in the design decisions they begin to develop technological fluency and the needed competences, in a joyful way....... Make2Learn aims to bring together international researchers, educators, designers, and makers for the ex- ploration of making principles towards the acquisition of 21st Century learning competences, by employing the state art aspects of entertainment technologies, new media, gaming, robotics, toys...... and applications. The main objective is to build a research community around this topical area. In particular, Make2Learn aims to develop a critical discussion about the well-established practices and en- tertainment technologies of the maker movement, and expected outcomes of put- ting them into practice under...
Mathisen, Gro Ellen; Martinsen, Oyvind; Einarsen, Stale
This study investigates the relationship between creative personality composition, innovative team climate, and team innovation based on an input-process-output model. We measured personality with the Creative Person Profile, team climate with the Team Climate Inventory, and team innovation through team-member and supervisor reports of team…
This thesis is devoted to the development of creative thinking. The main objectives of the work are to identify, define and justify the psychological factors, stages and qualitative characteristics of creative thinking. Show through practical experiments that specially organized cognitive activity leads to the development of creative thinking through the development of its qualitative properties. In my work I analyze in detail the concept of creativity, creative thinking, and cognitive activi...
Dul, Jan; Ceylan, Canan
textabstractInnovative organisations need creative employees who generate new ideas for product or process innovation. This paper presents a conceptual framework for the effect of personal, social-organisational and physical factors on employee creativity. Based on this framework an instrument to analyse the extent to which the work environment enhances creativity is developed. We apply this instrument to a sample of 409 employees and find support for the hypothesis that a creative work envir...
Full Text Available This paper is a pioneering attempt to draw attention to the connection between meditation and creativity. The author compares the creative process to the process of meditation. Meditation, just like the creative process, results in a piece of creative work, which informs us about the possibility of using meditation as a creative technique with the aim of improving our creativity. The first part of the paper defines the basic concepts: creativity and meditation. The paper goes on to inform us about the place that meditation takes in contemporary psychology. The author explains that various kinds of meditation techniques can be divided into two groups: concentration meditations and mindfulness (or vipassana meditations. The paper gives special attention to higher states of consciousness or the so called flow that can be described as the optimal state of consciousness in which levels of cognitive functioning are at the maximum. There are also examples illustrating how the skills that help us get into the flow state are developed. The conclusion is that meditation directly increases one’s ability to assess the quality of the content one is dealing with, whether it is by observing, using or creating it. Although this area has not been the subject of scientific studies so far, based on some case studies (involving meditation masters, it can be confidently stated that there is a clear connection between meditation and creativity, meaning that people who meditate regularly are at the same time increasing their creative abilities and creative output.
Computational creativity is the modelling, simulating or replicating of creativity computationally. In examining and learning from these `creative systems', from what perspective should the creativity of a system be considered? Are we interested in the creativity of the system's output? Or of its creative processes? Features of the system? Or how it operates within its environment? Traditionally computational creativity has focused more on creative systems' products or processes, though this ...
Aerila, Juli-Anna; Rönkkö, Marja-Leena
Art-related learning should be the central way of doing and playing in preschool, because the high quality of art-related education has a positive effect on children's well-being, identity development, and creative thinking. In our study we tested an integrated learning process where reading literature and telling stories is combined with the…
Valgeirsdóttir, Dagný; Onarheim, Balder; Li-Ying, Jason
and Cross2001]. Establishing that creativity is important for design and innovation implies that identifying ways of improving creativity is a relevant research area within design studies. Creativity is a basic human skill and multiple studies have been published showing that creativity is a skill that can...... be directed at the individual level by enhancing individual creativity skills, but also improvement at the team level, rendering it important to first improve the understanding of both these levels of creativity in the design process.There are multiple ways to train creativity, although currently most...... optimal way of training creativity is through a combination of (1) educating individuals about creativity, thereby building a solid theoretical understanding, and (2) providing them with a real world case where they are trained in the use of creative tools and processes[Scott et al. 2004]. The latter...
Oncu, Elif Celebi
The main objective of this study was improving university students' from different faculties creativity thinking through a creativity education process. The education process took twelve weeks' time. As pretest, Torrance test of creative thinking (TTCT) figural form was used. Participants were 24 university students from different faculties who…
Cseh, Genevieve M; Phillips, Louise H; Pearson, David G
Flow (being in the zone) is purported to have positive consequences in terms of affect and performance; however, there is no empirical evidence about these links in visual creativity. Positive affect often--but inconsistently--facilitates creativity, and both may be linked to experiencing flow. This study aimed to determine relationships between these variables within visual creativity. Participants performed the creative mental synthesis task to simulate the creative process. Affect change (pre- vs. post-task) and flow were measured via questionnaires. The creativity of synthesis drawings was rated objectively and subjectively by judges. Findings empirically demonstrate that flow is related to affect improvement during visual creativity. Affect change was linked to productivity and self-rated creativity, but no other objective or subjective performance measures. Flow was unrelated to all external performance measures but was highly correlated with self-rated creativity; flow may therefore motivate perseverance towards eventual excellence rather than provide direct cognitive enhancement.
Glaveanu, Vlad Petre
The psychology of creativity is nowadays a thriving field of investigation, but also a discipline in crisis. This is the premise for the critical reading of past and present work within this area proposed here. The presentation follows the typical headings of a research article, beginning...... in order to help us develop a stronger psychology of creativity in the decades to come. In the end, six main points are placed on a hypothetical agenda for future (creative) creativity re-search. In this sense, a critical reading is actually the first step in the process of being constructive and calling...
Cassotti, Mathieu; Agogué, Marine; Camarda, Anaëlle; Houdé, Olivier; Borst, Grégoire
Developmental cognitive neuroscience studies tend to show that the prefrontal brain regions (known to be involved in inhibitory control) are activated during the generation of creative ideas. In the present article, we discuss how a dual-process model of creativity--much like the ones proposed to account for decision making and reasoning--could…
McCraw, Stacey; Parker, Gordon; Fletcher, Kathryn; Friend, Paul
Bipolar (BP) disorder has been linked to creativity following investigation of prominent artists and controlled trials of creativity in BP disorder patients. However, it is unclear whether creativity is differentially expressed across the BP I and BP II subtypes. 219 patients (aged 19-63 years) diagnosed with BP disorder by clinical interview and DSM-IV criteria were asked whether they tended to be more creative during hypo/manic episodes, and answered five questions about personality styles associated with creativity. Qualitative analyses were performed on a smaller subset of 69 BP patients (n=19 BP I, n=50 BP II) who provided written responses of the types of creative activities engaged in when hypo/manic and any perceived advantages or disadvantages of their creative pursuits. 82% of BP patients affirmed being creative when hypo/manic, with comparable results for the BP I and BP II subtypes (84% and 81% respectively). Both BP subtypes engaged mostly in writing, painting, work or business ideas and 'other' forms of art; however BP II patients were more likely to draw and be musical. Both subgroups reported the consequences of feeling good, being productive or quitting their project. BP I patients were more likely to overspend during their creative highs while BP II patients were more likely to experience improved focus and clarity. BP patients affirming creative highs were significantly more likely to report creative personality styles more generally outside of a mood episode. BP patients' self-reported creative activities were not retrospectively judged for quality or originality and so may reflect common creative abilities rather than exceptional quality. The impact of depressive episodes on creativity was not assessed. Uneven sample sizes in the BP I and BP II subgroups may have compromised statistical power. Creativity during hypo/manic episodes was extremely common in both BP subtypes. While some nuances in activity type and outcomes were observed, no
Full Text Available Creativity refers to the capability to catch original and valuable ideas and solutions. It involves different processes. In this study the extent to which visual creativity is related to cognitive processes underlying visual mental imagery was investigated. Fifty college students (25 women carried out: the Creative Synthesis Task, which measures the ability to produce creative objects belonging to a given category (originality, synthesis and transformation scores of pre-inventive forms, and originality and practicality scores of inventions were computed; an adaptation of Clark’s Drawing Ability Test, which measures the ability to produce actual creative artworks (graphic ability, aesthetic and creativity scores of drawings were assessed and three mental imagery tasks that investigate the three main cognitive processes involved in visual mental imagery: generation, inspection and transformation. Vividness of imagery and verbalizer-visualizer cognitive style were also measured using questionnaires. Correlation analysis revealed that all measures of the creativity tasks positively correlated with the image transformation imagery ability; practicality of inventions negatively correlated with vividness of imagery; originality of inventions positively correlated with the visualization cognitive style. However, regression analysis confirmed the predictive role of the transformation imagery ability only for the originality score of inventions and for the graphic ability and aesthetic scores of artistic drawings; on the other hand, the visualization cognitive style predicted the originality of inventions, whereas the vividness of imagery predicted practicality of inventions. These results are consistent with the notion that visual creativity is domain- and task-specific.
Chemi, Tatiana; Jensen, Julie Borup; Hersted, Lone
, asking the question: how do artists create, learn, and organise their work? This book explores these questions by means of original empirical data (interviews with 22 artists) and theoretical research in the field of the arts and creativity from a learning perspective. Findings shed an original light...... on how artists learn and create, and how their creative learning and change processes come about, for instance when facilitating and leading creative processes....
This paper aims to further conceptualize the creative potential of the physical work environment by identifying and exploring the various relationships between creativity, creative work processes, and the physical workplace. Furthermore it proposes a model to position the relations, as well as the
Diamond, Shira; Shrira, Amit
Although evidence demonstrates that engagement in art promotes favorable coping with trauma, this subject is underexplored among Holocaust survivors. Thus, the present study explored whether Holocaust survivors engaged in art differed from survivors not engaged in art in various markers of psychological vulnerability and resilience. The study further included non-Holocaust survivor comparisons, some engaged in art and some not, in order to assess whether engagement in art among Holocaust survivors relates to a unique psychological profile beyond art engagement in general. A sample of 154 community-dwelling older adults (mean age = 81.67, SD = 5.33, range = 73-97) reported exposure to the Holocaust, current engagement in art, posttraumatic stress disorder (PTSD) symptoms, general psychological distress, resilience and subjective perceptions of age and aging. Holocaust survivors (regardless of whether they engaged in art or not) reported higher PTSD symptoms relative to comparisons. However, Holocaust survivors who engaged in art reported higher resilience than all other groups (survivors not engaged in art and comparisons engaged and not engaged in art). To the best of our knowledge, these findings are the first quantitative evidence pointing toward a link between engagement in art and positive coping with the Holocaust. These findings have important implications for clinicians working with Holocaust survivors. Copyright © 2018 Elsevier B.V. All rights reserved.
Gong, Yaping; Wu, Junfeng; Song, Lynda Jiwen; Zhang, Zhen
Intrinsic and extrinsic motivational orientations often coexist and can serve important functions. We develop and test a model in which intrinsic and extrinsic motivational orientations interact positively to influence personal creativity goal. Personal creativity goal, in turn, has a positive relationship with incremental creativity and an inverted U-shaped relationship with radical creativity. In a pilot study, we validated the personal creativity goal measure using 180 (Sample 1) and 69 (Sample 2) employees from a consulting firm. In the primary study, we tested the overall model using a sample of 657 research and development employees and their direct supervisors from an automobile firm. The results support the hypothesized model and yield several new insights. Intrinsic and extrinsic motivational orientations synergize with each other to strengthen personal creativity goal. Personal creativity goal in turn benefits incremental and radical creativity, but only up to a certain point for the latter. In addition to its linear indirect relationship with incremental creativity, intrinsic motivational orientation has an inverted U-shaped indirect relationship with radical creativity via personal creativity goal. (PsycINFO Database Record (c) 2017 APA, all rights reserved).
Andersen, Poul Houman; Kragh, Hanne
Purpose – External inputs are critical for organisational creativity. In order to bridge different thought worlds and cross-organisational barriers, managers must initiate and motivate boundary spanning processes. The purpose of this paper is to explore how boundary spanners manage creativity...... and observation. Findings – Three meta-practices used by managers to manage boundary-spanning creative projects are presented: defining the creative space, making space for creativity and acting in the creative space. These practices are detailed in seven case studies of creative projects. Research limitations...
Mihov, K.M.; Denzler, M.; Förster, J.
In the last two decades research on the neurophysiological processes of creativity has found contradicting results. Whereas most research suggests right hemisphere dominance in creative thinking, left-hemisphere dominance has also been reported. The present research is a meta-analytic review of the
Full Text Available A creative approach to the implementation of the Federal state standard of general education implies a supportive psychologically safe learning environment, professional readiness of educators to teaching, expressed in creativity, emotional stability, as well as reflection. The teachers’ creativity and psychological stability level can be improved by the use of certain forms of work: training and creative poetry workshops. The results of the author's research suggest that participation in the poetry workshops stimulates reflection, increases stress resistance and creativity of teachers. Our approach allows us to consider the problem of stimulating the development of teachers’ personality as members of creative poetic process in theoretical and practice oriented perspective.
This book looks at causative reasons behind creative acts and stylistic expressions. It explores how creativity is initiated by design cognition and explains relationships between style and creativity. The book establishes a new cognitive theory of style and creativity in design and provides designers with insights into their own cognitive processes and styles of thinking, supporting a better understanding of the qualities present in their own design. An explanation of the nature of design cognition begins this work, with a look at how design knowledge is formulated, developed, structured and utilized, and how this utilization triggers style and creativity. The author goes on to review historical studies of style, considering a series of psychological experiments relating to the operational definition, degree, measurement, and creation of style. The work conceptually summarizes the recognition of individual style in products, as well as the creation of such styles as a process before reviewing studies on cr...
Tsai, Kuan Chen
The purpose of the present study is to explore to what extent the use of a more structured mode of assessing creative products--specifically, the CPAM--could beneficially influence design students' product creativity and creative processes. For this qualitative inquiry, following our CPAM-based intervention, students wrote reflective papers in…
Wood, Richard M.; Bauer, Steven X. S.; Hunter, Craig A.
A review of the linkage between knowledge, creativity, and design is presented and related to the best practices of multidisciplinary design teams. The discussion related to design and design teams is presented in the context of both the complete aerodynamic design community and specifically the work environment at the NASA Langley Research Center. To explore ways to introduce knowledge and creativity into the research and design environment at NASA Langley Research Center a creative design activity was executed within the context of a national product development activity. The success of the creative design team activity gave rise to a need to communicate the experience in a straightforward and managed approach. As a result the concept of creative potential its formulated and assessed with a survey of a small portion of the aeronautics research staff at NASA Langley Research Center. The final section of the paper provides recommendations for future creative organizations and work environments.
Full Text Available Today, not only diverse design-related disciplines are required to actively deal with the digitization of information and its potentials and side effects for education processes. In Germany, technology didactics developed in vocational education and computer science education in general education, both separated from media pedagogy as an after-school program. Media education is not a subject in German schools yet. However, in the paper we argue for an interdisciplinary approach to learn about computational modeling in creative processes and aesthetic contexts. It crosses the borders of programming technology, arts and design processes in meaningful contexts. Educational scenarios using smart textile environments are introduced and reflected for project based learning.
Fitchett, George; Altenbaumer, Mary L; Atta, Osofo Kwesi; Stowman, Sheryl Lyndes; Vlach, Kyle
Revisions to the processes for training and certifying supervisors continue to be debated within the Association for Clinical Pastoral Education (ACPE). In 2012 Ragsdale and colleagues published, "Mutually engaged supervisory processes," a qualitative research study utilizing grounded theory based on interviews with 19 recently certified Associate CPE Supervisors, of nine components that facilitate the development of CPE supervisory education students. In this article we critically engage this theory and the research upon which it is based. We also reflect on three issues highlighted by the theory: personal transformation in CPE supervisory education, how CPE supervisory education students develop theoretical foundations for their work, and engaging multicultural issues in supervisory education. We conclude that this theory offers ACPE the possibility of using research to guide future modifications to its practice of Supervisory education. © 2014 Journal of Pastoral Care Publications Inc.
Full Text Available The present study was designed to examine secondary school students' information processing characteristics during learning and their relationship with the students' academic averages, internal motivation for learning and cognitive abilities, such as intelligence and creativity. Although many studies have previously focused on this issue, we are now studying this topic from the perspective of the IPOO-model, which is a new theoretical approach to school learning (note: IPOO is an acronym of Input, Process, Output, Organizing. This study featured 815 participants (secondary school students who completed the following tests and questionnaires: Raven's Advanced Progressive Matrices (APM intelligence test, the "Unusual Uses" creativity test (UUT, the 2nd version of the Jupiterbolha-próba (Jupiter Flea test – JB2 to test the information processing method of learning, and the Learning Attitude Questionnaire (LAQ. In our analysis we took the gender, school grade and academic average of participants into account. According to our results, the quality of information-processing methods of learning is at a low level, and there are no significant strong correlational relationships among the tests and questionnaire results (except in the cases of fluency, originality, and flexibility. There were no significant differences between genders or classes. These findings are consistent with the findings of previous studies.
Anita Kolnhofer Derecskei
Full Text Available The aim of this study is to identify the individual and contextual factors that facilitate or hinder employees’ creativity. However, in this paper the literature is also referring to critical factors that impact employees’ creativity. According to the creativity’s state of the art, we focused on factors based on creativity’s 4P, choosing Person (characteristics of creative persons and Place (environmental factors that influence creativity. Considerable research efforts have been invested to explore the possible connections between these two domains by investigating the Hungarian labour market. We found that the probability that a creative person works in a creative workplace is twice greater than that of the case of a non-creative person. This study presents the requisites of a creative workplace so that employees’ creativity can be developed and a kind of work environment which facilitates organizational creativity can be created. First, we have collected and presented the best practices of recruitment-tools which help managers to hire the most creative applicants. With these two components, i.e. finding creative workers and securing them a creative friendly environment, the business success is guaranteed.
Yuan-Cheng Chang; Chia-Chun Hsiao
Based on creativity component theory, creativity system theory and creative self-efficacy theory, this study aims to explore the influence of college students’ aesthetics experience and creative self-efficacy on their creativity and the role of creativity instruction as a mediator variable. The participants were 338 college design majors in 50 teams who were working on their graduation exhibitions, and 50 advising professors from departments related to design. Hierarchical Linear Models were ...
Nichols, Amanda J.; Stephens, April H.
Science and the arts might seem very different, but the processes that both fields use are very similar. The scientific method is a way to explore a problem, form and test a hypothesis, and answer questions. The creative process creates, interprets, and expresses art. Inquiry is at the heart of both of these methods. The purpose of this article is…
Full Text Available Intelligence assessment is often viewed as a narrow and ever-narrowing field, defined (as per IQ by the measurement of finely distinguished cognitive processes. It is instructive, however, to remember that other, broader conceptions of intelligence exist and might usefully be considered for a comprehensive assessment of intellectual functioning. This article invokes a more holistic, systems theory of intelligence—the theory of successful intelligence—and examines the possibility of including in intelligence assessment a similarly holistic measure of creativity. The time and costs of production-based assessments of creativity are generally considered prohibitive. Such barriers may be mitigated by applying the consensual assessment technique using novice raters. To investigate further this possibility, we explored the question: how much do demographic factors such as age and gender and psychological factors such as domain-specific expertise, personality or self-perceived creativity affect novices’ unidimensional ratings of creativity? Fifty-one novice judges from three undergraduate programs, majoring in three disparate expertise domains (i.e., visual art, psychology and computer science rated 40 child-generated Lego creatures for creativity. Results showed no differences in creativity ratings based on the expertise domains of the judges. However, judges’ personality and self-perception of their own everyday creativity appeared to influence the way they scored the creatures for creativity.
Sørensen, Lene Tolstrup; Olesen, Henning
Traditional requirements engineering focuses mainly on analysis and elicitation. However, current trends in new system, device and software are towards involving all stakeholders in the early stages of the engineering process to define the user requirements. Creativity is here seen as a major...... keystone in this process in order to open up stakeholder's mind to new technologies, which do not yet exist. This paper dis-cusses the application of creativity in the requirements process and illustrate through cases from the MAGNET and MAGNET Beyond projects....
Svejenova, Silviya; Højgaard Christiansen, Lærke
This study explores how creative leadership unfolds in the pursuit of social purpose. Drawing on the case of an architectural firm’s development of novel social housing model, we identify claims of three creative leadership processes and of scaling up for social impact. The study expands...... the conceptualization of creative leadership to the context of social change. It also adds to the understanding of creative industries by suggesting social purpose as a distinctive, yet underexplored driver of innovation and a source of different balancing act, as well as an important frontier for research...
Friis, Silje Alberthe Kamille
This paper offers a theoretical framework for how to think about and understand creativity – and how to work with the development of creative competencies in design education. Most design students experience recurrent, individual challenges in design work, which have to do with their personal......, psychological configuration. The objective of the present research is to provide new insight into the dynamics underlying our individual strengths and challenges, and develop approaches to help design students come full circle in creative work processes. The paper builds on contemporary theory and techniques...... from the field of psychology, as well as research-in-practice with students at the Kolding School of Design and presents the outline of a model for how to work with and facilitate the development of creative competencies. While the research is still in its early phases, response from participants...
Akcay, Behiye B.
A class activity has been designed to help fourth grade students to identify basic insect features as a means of promoting student creativity while making an imaginary insect model. The 5Es (Engage, Explore, Explain, Extend [or Elaborate], and Evaluate) learning cycle teaching model is used. The 5Es approach allows students to work in small…
The current study aims to observe whether individuals who engaged in table-top role playing game (TRPG) were more creative. Participants total 170 (52 TRPG players, 54 electronic role playing game (ERPG) players and 64 Non-players) aged from 19 to 63. In the current study, an online questionnaire is used, adopting the verbal subtests of…
This paper analyzes the thought process involved in problem solving and its categorization as creative thinking as defined by psychologist R. Weisberg (2006). Additionally, the notion of insight, sometimes present in unconscious creative thinking and often leading to creative ideas, is discussed in the context of geometry problem solving. In…
The purpose of this study is to examine children's cognition within the creative process in dance and to examine how dance making affects cognitive development in children. Data on children's thinking were gathered from fifth graders participating in an artist-in-residence program in a public school in Pennsylvania. Both the inquiry and the data…
Sak, Ugur; Oz, Ozge
A research study using one-group pretest-posttest design was carried out on the effectiveness of the Creative Reversal Act (CREACT) on creative thinking. The CREACT is a new, teaching technique developed based on the theory of the janusian process. The research participants included 34 students who were attending 10th grade at a social studies…
In transdisciplinary projects, the roles of researchers change. In addition to being a source of knowledge, they are required to engage in knowledge exchange processes. This results in an alteration at project level: researchers need to creatively manage projects as group processes.
Enquist, C.; Jackson, S. T.; Garfin, G. M.
Translational ecology is an approach by which ecologists, stakeholders, and decision-makers work collaboratively to develop and deliver ecological research that, ideally, results in actionable science that leads to improved environmental decision-making. We analyzed a diverse array of real-world case studies and distilled six principles that characterize the practice of translational ecology: communication, commitment, collaboration, engagement, process, and decision-framing. In this talk, we highlight a subset of the case studies that illustrate these principles. Notably, we found that translational ecology is distinct from both basic and applied ecological research. As a practice, the approach deliberately extends research beyond theory or opportunistic applications, motivated by a search for outcomes that directly serve the needs of natural resource managers and decision-makers. Translational ecology is also distinct from knowledge co-production in that it does not require deep engagement between collaborators, although incorporating differing modes of co-production relative to the decision context, associated time frame, and available financial resources can greatly enhance the translational approach. Although there is a need for incentives to pursue in this type of work, we found that the creativity and context-specific knowledge of resource managers, practitioners, and decision-makers informs and enriches the scientific process, helping shape actionable science. Moreover, the process of addressing research questions arising from on-the-ground management issues, rather than from the top-down or expert-oriented perspectives of traditional science, can foster the long-term trust and commitment that is critical for long-term, sustained engagement between partners. Now, perhaps more than ever, the climate and environmental issues facing society are complex, often politicized, and value-laden. We argue that ecological science should play a key role in informing
Fernald, Lloyd W., Jr.; Nickolenko, Pam
This study reports creativity policies and practices used by Central Florida corporations. Survey responses (n=105) indicated that businesses are using a variety of creativity techniques with usage greater among the newer companies but that these techniques are not yet a formal part of business operations. (DB)
Carroll, Erin Ashley
Creativity is understood intuitively, but it is not easily defined and therefore difficult to measure. This makes it challenging to evaluate the ability of a digital tool to support the creative process. When evaluating creativity support tools (CSTs), it is critical to look beyond traditional time, error, and other productivity measurements that…
Nielsen, Christian; Byrge, Christian; Lund, Morten
, the key proposition of the paper is that entrepreneurs can enhance their development processes through training their competences in creativity and opportunity spotting. The paper presents the key training methods identified in this study including an embodied creativity training program for daily......This paper explores the processes of creating new companies with original and useful business models from a conceptual perspective. Based on data from large-scale creativity training programs and business model development studies in Denmark encompassing over 100 companies and 200 entrepreneurs...
Zachos, K.; Maiden, N.; Levis, S.
This paper reports the development and deployment of digi-tal support for human creativity in a domain outside of the creative industries -- health-and-safety management in man-ufacturing plants. It reports applied research to extend a risk detection and resolution process at a world-class manufac-turing plant that produces tractors with creativity techniques and new digital support for the plant employees to use these techniques effectively as part of the risk detection and reso-lution proce...
López de Mántaras Badia, Ramon
Full Text Available New technologies, and in particular artificial intelligence, are drastically changing the nature of creative processes. Computers are playing very significant roles in creative activities such as music, architecture, fine arts, and science. Indeed, the computer is already a canvas, a brush, a musical instrument, and so on. However, we believe that we must aim at more ambitious relations between computers and creativity. Rather than just seeing the computer as a tool to help human creators, we could see it as a creative entity in its own right. This view has triggered a new subfield of Artificial Intelligence called Computational Creativity. This article addresses the question of the possibility of achieving computational creativity through some examples of computer programs capable of replicating some aspects of creative behavior in the fields of music and science.Las nuevas tecnologías y en particular la Inteligencia Artificial están cambiando de forma importante la naturaleza del proceso creativo. Los ordenadores están jugando un papel muy significativo en actividades artísticas tales como la música, la arquitectura, las bellas artes y la ciencia. Efectivamente, el ordenador ya es el lienzo, el pincel, el instrumento musical, etc. Sin embargo creemos que debemos aspirar a relaciones más ambiciosas entre los ordenadores y la creatividad. En lugar de verlos solamente como herramientas de ayuda a la creación, los ordenadores podrían ser considerados agentes creativos. Este punto de vista ha dado lugar a un nuevo subcampo de la Inteligencia Artificial denominado Creatividad Computacional. En este artículo abordamos la cuestión de la posibilidad de alcanzar dicha creatividad computacional mediante algunos ejemplos de programas de ordenador capaces de replicar algunos aspectos relacionados con el comportamiento creativo en los ámbitos de la música y la ciencia.
Full Text Available This article investigates how neuroscience in general, and neuroscience of creativity in particular, can be used in teaching 'applied creativity' and the usefulness of this approach to creativity training. The article is based on empirical data and our experiences from the Applied NeuroCreativity (ANC program, taught at business schools in Denmark and Canada. In line with previous studies of successful creativity training programs the ANC participants are first introduced to cognitive concepts of creativity, before applying these concepts to a relevant real world creative problem. The novelty in the ANC program is that the conceptualization of creativity is built on neuroscience, and a crucial aspect of the course is giving the students a thorough understanding of the neuroscience of creativity. Previous studies have reported that the conceptualization of creativity used in such training is of major importance for the success of the training, and we believe that the neuroscience of creativity offers a novel conceptualization for creativity training. Here we present two sets of empirical data, suggesting that principles from neuroscience can contribute effectively to creativity training and produce measurable results on creativity tests: 1 an experiment demonstrating how an ANC lecture on the neurobiology of creativity significantly decreased the number of fixations in a creative task, 2 pre/post-training tests showing that ANC students gained more fluency in divergent thinking (a traditional measure of trait creativity than those in highly similar courses without the neuroscience component. The evidence presented indicates that the inclusion of neuroscience principles in a creativity course can in 8 weeks increase divergent thinking skills with an individual relative average of 28.5%.
J. Dul (Jan); C. Ceylan (Canan)
textabstractInnovative organisations need creative employees who generate new ideas for product or process innovation. This paper presents a conceptual framework for the effect of personal, social-organisational and physical factors on employee creativity. Based on this framework an instrument to
Biskjaer, Michael Mose; Dalsgaard, Peter; Halskov, Kim
This paper contributes an analytical framework to improve understanding of the composition of recognized creativity methods used in design. Based on an extensive literature review, our framework synthesizes key concepts from design and particularly creativity research, and is further supported...... by significant experience with creativity methods in design. We propose that nine concepts are relevant for analyzing creativity methods in design: process structure, materials, tools, combination, metaphor, analogy, framing, divergence, and convergence. To test their relevance as components of an analytical...... are composed, how and why they work, and how they potentially may be tweaked or refined for enhanced deployment in design....
Obenshain, Kathryn; Biskin, Donald
The research attempted to determine if there are creative processes which are independent of intelligence, as generally measured, and to describe these processes. An original test battery was designed and administered to 102 college music majors. The subjects were separated into the categories of a 2 x 2 x 2 factorial design by high or low…
Selmer, Jan; Jonasson, Charlotte; Lauring, Jakob
In educational studies much attention has been directed to engagement as a precondition for positive student outcomes. Very few studies, however, have focused on the engagement of the faculty members. This is a regrettable omission because engagement has been argued to lead to more satisﬁed, more...... – and faculty engagement. Our hypotheses are based on social learning theory and social exchange theory predicting that increased knowledge sharing activities could facilitate an environment in which faculty engagement thrives. In order to test our hypotheses we use multiple regression analysis. We assessed...... indicators of behavioural, cognitive and emotional engagement. Results showed consistent positive associations between group knowledge processing and all the studied faculty engagement indicators. Implications and suggestions for future research are discussed in detail....
Hennessey, Beth A.; Amabile, Teresa M.
The pamphlet reviews research on creativity and applies it to the learning process. After discussing the definition and measurement of creativity, the components of creative performance are outlined, including domain-relevant skills, creativity-relevant skills, and intrinsic task motivation. Factors which destroy students' creativity are noted,…
Baas, M.; Koch, S.; Nijstad, B.A.; de Dreu, C.K.W.
To examine laypeople’s beliefs about the conception of creativity, we asked people (N = 891) to indicate the extent to which they believed that certain cognitive processes, mind states, and circumstances were conducive to creativity (Studies 1-3). We further examined whether these beliefs are in
Lund, Morten; Byrge, Christian; Nielsen, Christian
, the key proposition of the paper is that entrepreneurs can enhance their development processes through training of their competences in creativity and in business modeling. The paper presents a set of key skill variables of creativity and of business modeling that need to be trained in order to enhance......This paper explores the processes of creating new companies with original and useful business models from a conceptual perspective. Based on data from large-scale creativity training programs and business model development studies in Denmark encompassing over 100 companies and 200 entrepreneurs...
Onarheim, Balder; Friis-Olivarius, Morten
This article investigates how neuroscience in general, and neuroscience of creativity in particular, can be used in teaching “applied creativity” and the usefulness of this approach to creativity training. The article is based on empirical data and our experiences from the Applied NeuroCreativity (ANC) program, taught at business schools in Denmark and Canada. In line with previous studies of successful creativity training programs the ANC participants are first introduced to cognitive concepts of creativity, before applying these concepts to a relevant real world creative problem. The novelty in the ANC program is that the conceptualization of creativity is built on neuroscience, and a crucial aspect of the course is giving the students a thorough understanding of the neuroscience of creativity. Previous studies have reported that the conceptualization of creativity used in such training is of major importance for the success of the training, and we believe that the neuroscience of creativity offers a novel conceptualization for creativity training. Here we present pre/post-training tests showing that ANC students gained more fluency in divergent thinking (a traditional measure of trait creativity) than those in highly similar courses without the neuroscience component, suggesting that principles from neuroscience can contribute effectively to creativity training and produce measurable results on creativity tests. The evidence presented indicates that the inclusion of neuroscience principles in a creativity course can in 8 weeks increase divergent thinking skills with an individual relative average of 28.5%. PMID:24137120
Susan A. Reedijk; Susan A. Reedijk; Anne eBolders; Anne eBolders; Bernhard eHommel; Bernhard eHommel
Human creativity relies on a multitude of cognitive processes, some of which are influenced by the neurotransmitter dopamine. This suggests that creativity could be enhanced by interventions that either modulate the production or transmission of dopamine directly, or affect dopamine-driven processes. In the current study we hypothesized that creativity can be influenced by means of binaural beats, an auditory illusion that is considered a form of cognitive entrainment that operates through st...
Eubanks, Dawn L.; Palanski, Michael E.; Swart, Juani; Hammond, Michelle M.; Oguntebi, Joy
The freedom to try new things plays a vital role for employees engaging in creative endeavors. This freedom can be influenced by one's relationship with her supervisor, relationship with her team, and various work pressures. One of the first steps to reaching creative output is to have a playful attitude toward work where there is encouragement…
Glaveanu, Vlad Petre; Lubart, Todd
interact with a series of ‘gatekeepers’ specific for their domains while more distant others – the general public – are decisive in the case of music as a performance art. Conclusions: Others play a key formative, motivational, informational and regulatory role in the creative process. From internalised...... on a creator’s activity, and (b) what is the contribution others make to creative outcomes. Design: The study included 60 professional creators in France from the following domains: art, design, science, screenplay writing, and music composition. Methods: Participants were selected using convenience sampling...
Bilа Iryna Mykolayivna
Full Text Available The research is devoted to studying the specificity of creative designing at the preschool age. The author identifies the systematic approach on the design work and creative designing, knowledge adjustment, as well as the assessment criteria and performance indicators of creative designing by children at the preschool age. The article considers the psychological structure of the design activity, clarifies its characteristics and defines the role of each component of creative designing process at the preschool age. As a result of the empirical study it was proved that in the process of understanding the challenges pre-schoolers’s mind makes mental acts of comparison predominant. Their creative intention is determined by the focus on the structural and structural-functional characteristics of the subjects. The whole structure of the pre-schooler’s solution in the process of working with creative tasks on designing is integrated with the individual and regulatory aspect of creative designing that appears in the subjective mental actions, trends, and practice.
Borum, Nanna; Petersson, Eva; Frimodt-Møller, Søren
This paper discusses the use of digital and analog tools, respectively, in a creative industry. The research was done within the EU-funded research project IdeaGarden, which explores digital platforms for creative collaboration. The findings in a case study of LEGO® Future Lab, one of LEGO Group......’s largest innovation departments, show a preference for analog tools over digital in the creative process. This points towards a general need for tangible tools in the creative work process, a need that has consequences for the development of new digital tools for creative collaboration....
Willett, Rebekah, Ed.; Robinson, Muriel, Ed.; Marsh, Jackie, Ed.
Recent work on children's digital cultures has identified a range of literacies emerging through children's engagement with new media technologies. This edited collection focuses on children's digital cultures, specifically examining the role of play and creativity in learning with these new technologies. The chapters in this book were contributed…
Full Text Available This article analyses Mad Men’s relationship to creativity. Considering popular, industry-specific and scholarly understandings, it uses close readings of the show and its narratological techniques to demonstrate how these potentially contradictory concepts and practices of creativity overlap in the show’s fourth season. The points at which these understandings collide become sources of tension between characters and are marked by narrative gaps that conceal deceptive creativity. The conflicts centre on three primary debates: a the role of alcohol in the creative process, b industry-specific norms of creativity, and c the popular perception that creativity is about expression. Consequently, this article approaches questions about creativity using the show’s own partially elided debates and undermines widely-held romantic beliefs about the creative ‘type’ and the what exactly it means to sell creativity in a corporate setting.
Koukourikos, Antonis; Karampiperis, Pythagoras; Panagopoulos, George
The process of identifying techniques for fostering creativity, and applying these theoretical constructs in real-world educational activities, is, by nature, multifaceted and not straightforward, pertaining to several fields such as cognitive theory and psychology. Furthermore, the quantification of the impact of different activities on…
Titus, Philip A.
Despite the increasing importance of personal creativity in today's business environment, few conceptual creativity frameworks have been presented in the marketing education literature. The purpose of this article is to advance the integration of creativity instruction into marketing classrooms by presenting an applied creative marketing…
Top, Elif; Akil, Mustafa
The present study investigated the correlation between the personality traits of the university students who were engaged in sports and the ones who were not engaged in sports, and their domains of creativity. A total number of 593 students studying in the faculty of sports sciences and in other departments were included the study. As the data…
To remain competitive, companies must regularly offer new products to consumers. A major challenge for designers is therefore to come up with design solutions and define products that are both new and adapted to future users and usages. Although classic methods and ergonomic recommendations are useful in most run-of-the-mill design contexts, they are of limited benefit when the design situation requires greater creativity. This paper therefore addresses issues related to product design by pursuing a triple objective: (1) highlight the difficulties encountered by designers in imagining and conceiving new products, (2) find out which conditions could help designers come up with creative ideas for innovative products, and (3) suggest methods and tools to support designers' creative process and help them take other stakeholders' needs and expectations into consideration.
Sørensen, Jannick Kirk
Creative collaboration via online tools offers a less ‘media rich’ exchange of information between participants than face-to-face collaboration. The participants’ freedom to communicate is restricted in means of communication, and rectified in terms of possibilities offered in the interface. How do...... these constrains influence the creative process and the outcome? In order to isolate the communication problem from the interface- and technology problem, we examine via a design game the creative communication on an open-ended task in a highly constrained setting, a design game. Via an experiment the relation...... between communicative constrains and participants’ perception of dialogue and creativity is examined. Four batches of students preparing for forming semester project groups were conducted and documented. Students were asked to create an unspecified object without any exchange of communication except...
Novelty Goals,” Motivation and Emotion 35, no. 2 (June 2011): 141-142. 24 Mihaly Czikszentmihalyi, Creativity: The Psychology of Discovery and Invention...34 Motivation and Emotion (Springer Science and Business Media, LLC), no. 2 (February 2011): 135-143. Logan, Brian, and Tim Smither. "Creativity and Design...Army values creativity and extolls individuals to employ creative thinking in problem solving and planning. This reflects an understanding of the
Kaufman, James C.; Sternberg, Robert J.
Creativity is sometimes seen as irrelevant to educational practice. With an increased focus on standardized test scores, creative teachers and those who encourage creativity in the classroom often are accused of being idealists or missing the big picture. But the authors believe instead that creativity brings valuable benefits to the classroom. In…
Glaveanu, Vlad Petre
Creativity and culture are inherently linked. Society and culture are part and parcel of creativity’s process, outcome, and subjective experience.Equally, creativity does not reside in the individual independent of culture and society. Vlad Petre Glăveanu’s basic framework includes creators and c...
Elliott, Steven; Combs, Sue; Huelskamp, Amelia; Hritz, Nancy
Creative K-12 health teachers can engage students in large classes by utilizing active learning strategies. Active learning involves engaging students in higher-order tasks, such as analysis and synthesis, which is a crucial element of the movement toward what is commonly called "learner-centered" teaching. Health education teachers who…
Ricciardiello, Luciana; Fornaro, Pantaleo
How brain processes translate into creativity is still an unsolved puzzle in science. Although a number of conceptual models of creativity has been proposed to date, the exact nature of the process is still unknown. Recent findings support the idea that creativity may reside upon a continuum with psychopathology. If creativity is meant as "the capability of generating novel and appropriate ideas to solve problems", the missing pieces of the puzzle might be nested in the link between creativity and Bipolar Disorder. The existence of such a link is widely accepted by the Scientific Community. What still remains unknown is the nature of this link. An unconventional perspective is adopted during the investigation. Starting from the observation that depression in Bipolar Disorder might possibly trace back to ancient survival strategies in extreme climatic conditions - i.e. hibernation - the paper analyses old and recent findings in different disciplines: paleo-anthropology, information technology, neurobiology. Hints from the related research fields are linked together. The unified framework that emerges, still as a set of hypotheses, is reported in the conclusions. A novel key of interpretation of both creativity and Bipolar Disorder is thus provided. The core result is that normal people, creative individuals and patients affected by Bipolar Disorder share the same mind mechanism for problem-solving. The mechanism consists of two specific components, which are described in detail in the paper. Dysfunctions in brain myelination, making signal interference possible, hold a big role. The conclusions of the paper are in agreement with reports by patients affected by Bipolar Disorder concerning their subjective experience during mania, which is traditionally described as prone to creativity. To make readers aware of such an experience, a synthesis was elaborated by the first author, in the unusual shape of a short story. The short story is the narrative version of a real
The challenge of teaching AP Human Geography to high school students is to make geography relevant, engaging and "real world." Often the pace of teaching AP classes constrains the ability of teachers to do creative projects and truly engage students until after the exam is over in May. In this lesson plan, the author suggests using "Petites…
In this essay several virtues are discussed that are needed in people who work in participatory design (PD). The term PD is used here to refer specifically to an approach in designing information systems with its roots in Scandinavia in the 1970s and 1980s. Through the lens of virtue ethics and based on key texts in PD, the virtues of cooperation, curiosity, creativity, empowerment and reflexivity are discussed. Cooperation helps people in PD projects to engage in cooperative curiosity and cooperative creativity. Curiosity helps them to empathize with others and their experiences, and to engage in joint learning. Creativity helps them to envision, try out and materialize ideas, and to jointly create new products and services. Empowerment helps them to share power and to enable other people to flourish. Moreover, reflexivity helps them to perceive and to modify their own thoughts, feelings and actions. In the spirit of virtue ethics-which focuses on specific people in concrete situations-several examples from one PD project are provided. Virtue ethics is likely to appeal to people in PD projects because it is practice-oriented, provides room for exploration and experimentation, and promotes professional and personal development. In closing, some ideas for practical application, for education and for further research are discussed.
Hansen, Lone Hersted
We have inherited a strongly individualistic view of creativity from Western culture and psychologists studying creativity are typically taught to study the individual mind and behavior focusing on cognitive processes and behavioral actions. Much attention has been paid to people who are consider...... of the lone genius or the misunderstood, “antisocial” outsider working within a solitary venue. Instead of seeing the artist as an isolated individual, my paper focuses mainly on the impact of relational factors that seem conducive to creativity....
Andreasen, Nancy C; Ramchandran, Kanchna
The study of creativity is characterized by a variety of key questions, such as the nature of the creative process, whether there are multiple types of creativity, the relationship between high levels of creativity ("Big C") and everyday creativity ("little c"), and the neural basis of creativity. Herein we examine the question of the relationship between creativity in the arts and the sciences, and use functional magnetic resonance imaging to explore the neural basis of creativity in a group of "Big C" individuals from both domains using a word association protocol. The findings give no support for the notion that the artists and scientists represent "two cultures. " Rather, they suggest that very gifted artists and scientists have association cortices that respond in similar ways. Both groups display a preponderance of activation in brain circuits involved in higher-order socioaffective processing and Random Episodic Silent Thought /the default mode.
This paper unpacks the notion of imagination presented in the I5-system of knowledge creation along several theoretical contributions and process models from “knowledge science”, creativity research and design studies. It aims at conceptual clarification and integration around the key notion...... of “insight moments” across various levels of abstraction from system perspectives through foci on groups and individuals to mental activity. This work is meant to serve as a conceptual foundation for micro-analyses of in-vivo data of creative design processes based on protocols of participatory ethnographic...
This paper unpacks the notion of imagination presented in the I5-system of knowledge creation along several theoretical contributions and process models from “knowledge science”, creativity research and design studies. It aims at conceptual clarification and integration around the key notion...... of “insight moments” across various levels of abstraction from system perspectives through foci on groups and individuals to mental activity. This work is meant to serve as a conceptual foundation for micro-analyses of in-vivo data of creative design processes based on protocols of participatory ethnographic...
Creativity has been defined as the ability to produce output that is novel, useful, beneficial, and desired by an audience. But what is musical creativity, and relatedly, to what extent does creativity depend on domain-general or domain-specific neural and cognitive processes? To what extent can musical creativity be taught? To answer these questions from a reductionist scientific approach, we must attempt to isolate the creative process as it pertains to music. Recent work in the neuroscience of creativity has turned to musical improvisation as a window into real-time musical creative process in the brain. Here, I provide an overview of recent research in the neuroscience of musical improvisation, especially focusing on multimodal neuroimaging studies. This research informs a model of creativity as a combination of generative and reactive processes that coordinate their functions to give rise to perpetually novel and aesthetically rewarding improvised musical output. © 2018 New York Academy of Sciences.
Brinkman, David J.
This article provides a brief review of generally accepted ideas about creativity, followed by examples of music teachers teaching creatively and teaching their students to be more creative. Implications for teacher education and policy recommendations for music education are discussed.
Nugroho J. Setiadi
Full Text Available The study aims to identify Creativity-relevant Personal Characteristics among creative workers in Indonesia’s creative industry. Identification of the constituent elements of the nature of the changes needs to be measured. Researchers have advocated replacing creativity-relevant personal characteristics based on the five-factor model to investigate how individual differences stimulate creativity. This study presents data supporting reliability (internal consistency and validity (criterion and construct of the instrument. Validity of the instrument is based on the content validity involving art and design experts. The 220 creative workers from several creative industry firms in Indonesia participated as samples in this research. Results of a factor analysis indicated a five factor solution of creative characteristics and behavior. Discussion of findings and the most important ways in which individuals differ in their enduring emotional, interpersonal, experiential, attitudinal, and motivational styles for stimulating creativity are presented.
Onarheim, Balder; Biskjær, Michael Mose
Constraints play a vital role as both restrainers and enablers in innovation processes by governing what the creative agent/s can and cannot do, and what the output can and cannot be. Notions of constraints are common in creativity research, but current contributions are highly dispersed due to n...
Challenging the image of theoretical physics as a dry discipline, The Beautiful Invisible shows that this highly abstract science is in fact teeming with beautiful concepts, and the task of imagining them demands profound creativity, just as creative as the work of poets or magical realist novelists such as Borges and Musil. "A good scientific theory is like a symbolic tale, an allegory of reality," writes Giovanni Vignale, as he uncovers the unexpected links between theoretical physics and artistic creativity. In engaging and at times poetic prose, and with ample quotations from many of the writers he admires, Vignale presents his own unorthodox accounts of fundamental theoretical concepts such as Newtonian mechanics, superconductivity, and Einstein's theory of relativity, illuminating their profound implications. Throughout, the author treats readers to glimpses of physics as "exercised in the still night, when only the moon rages." Indeed, as we delve behind now-familiar concepts such as "electron spin" an...
Modelling the creativity that takes place in social settings presents a range of theoretical challenges. Mel Rhodes's classic "4Ps" of creativity, the "Person, Process, Product, and Press," offer an initial typology. Here, Rhodes's ideas are connected with Elinor Ostrom's work on the analysis of economic governance to generate several "creativity design principles." These principles frame a survey of the shared concepts that structure the contexts that support creative work. The concepts are ...
Shahsavari Isfahani, Sara; Hosseini, Mohammad Ali; Fallahi Khoshknab, Masood; Peyrovi, Hamid; Khanke, Hamid Reza
Recently, global nursing experts have been aggressively encouraging nurses to pursue creativity and innovation in nursing to improve nursing outcomes. Nurses' creativity plays a significant role in health and well-being. In most health systems across the world, nurses provide up to 80% of the primary health care; therefore, they are critically positioned to provide creative solutions for current and future global health challenges. The purpose of this study was to explore Iranian nurses' perceptions and experiences toward the expression of creativity in clinical settings and the outcomes of their creativity for health care organizations. A qualitative approach using content analysis was adopted. Data were collected through in-depth semistructured interviews with 14 nurses who were involved in the creative process in educational hospitals affiliated to Jahrom and Tehran Universities of Medical Sciences in Iran. Four themes emerged from the data analysis, including a) Improvement in quality of patient care, b) Improvement in nurses' quality of work, personal and social life, c) Promotion of organization, and d) Unpleasant outcomes. The findings indicated that nurses' creativity in health care organizations can lead to major changes of nursing practice, improvement of care and organizational performance. Therefore, policymakers, nurse educators, nursing and hospital managers should provide a nurturing environment that is conducive to creative thinking, giving the nurses opportunity for flexibility, creativity, support for change, and risk taking.
Doshi, Aalap; Clay, Christina
Space matters. We read space like we read people's faces. Space is an instrument of collaboration and innovation. At the University of Michigan's Institute for Clinical and Health Research (MICHR), a team was created to creatively and economically enhance our operating space into a flexible workspace that supports privacy, innovation, creativity, and most important, a culture of collaboration. The team used a human-centered design process to creatively engage the staff at large into analyzing our existing space, identifying latent needs, proposing solutions, generating feedback, and economically building the rethought process. The redesigned workspace embraces the differences among MICHR's teams while encouraging collaboration and teamwork and keeping costs at a minimum. It has resulted in a flexible space that includes co-located teams, spaces dedicated to different work goals, an open area for collaboration, quiet zones for focused work, and better wayfinding. Through our Rethink Space project, we hope to have demonstrated that, by initiating the project internally and by engaging the users of the space themselves in an empathetic, visual, and human-centered way, a space redesign can be undertaken economically while also leading to improved levels of employee and team satisfaction.
Zeng, Liang; Proctor, Robert W; Salvendy, Gavriel
This article investigates the role of creativity in ergonomic design and the generic process of developing creative products and services. Creativity is gaining increased emphasis in both academia and industry. More than 50 years of research in creativity indicates that creativity is key to product and service innovation. Nevertheless, there is scarcely any comprehensive review dedicated to appraising the complex construct of creativity, the underlying cognitive process, and the role of creativity in product and service development. We review relevant literature regarding creativity, creative cognition, and the engineering design process to appraise the role of creativity in ergonomic design and to construct a conceptual model of creative product and service development. A framework of ergodesign creativity is advanced that highlights the central role of creativity in synergistically addressing the four dimensions of ergonomic design: functionality, safety, usability, and affectivity. A conceptual model of creative design process is then constructed that is goal oriented and is initiated by active problem finding and problem formulating. This process is carried out in a recursive and dynamic way, facilitated by creative thinking strategies. It is proposed that ergodesign creativity can add supplemental value to products and services, which subsequently affects consumer behavior and helps organizations gain competitive advantage. The proposed conceptual framework of ergodesign creativity and creative design process can serve as the ground for future theory development. Propositions advanced in this study should facilitate designers generating products and services that are creative and commercially competitive.
Rauwers, F.; van Noort, G.; Verlegh, P.; Voorveld, H.; Eisend, M.
Consumers are exposed to a large volume of advertising messages on a daily basis. This excess of commercial messages is called advertising clutter. Marketers are searching for new innovative advertising strategies to break through this clutter and creative media advertising is considered as one of
Goodwin, Sarah; Dykes, Jason; Jones, Sara; Dillingham, Iain; Dove, Graham; Duffy, Alison; Kachkaev, Alexander; Slingsby, Aidan; Wood, Jo
We enhance a user-centered design process with techniques that deliberately promote creativity to identify opportunities for the visualization of data generated by a major energy supplier. Visualization prototypes developed in this way prove effective in a situation whereby data sets are largely unknown and requirements open - enabling successful exploration of possibilities for visualization in Smart Home data analysis. The process gives rise to novel designs and design metaphors including data sculpting. It suggests: that the deliberate use of creativity techniques with data stakeholders is likely to contribute to successful, novel and effective solutions; that being explicit about creativity may contribute to designers developing creative solutions; that using creativity techniques early in the design process may result in a creative approach persisting throughout the process. The work constitutes the first systematic visualization design for a data rich source that will be increasingly important to energy suppliers and consumers as Smart Meter technology is widely deployed. It is novel in explicitly employing creativity techniques at the requirements stage of visualization design and development, paving the way for further use and study of creativity methods in visualization design.
Gregory James J.
Full Text Available Creativity is an increasing scholarly focus for urban and economic geographers. The aim in this paper is to contribute to what is so far mainly a Northern literature around the locational characteristics of creative industries. The results are analysed from a comprehensive audit undertaken of creative industries in Johannesburg, South Africa’s leading economic hub. In common with certain other investigations of creative industries the largest component of enterprises in Johannesburg is creative services involving the production of goods or services for functional purposes. An aggregate picture emerges of the geography of creative industries in Johannesburg as strongly focused in suburban areas rather than the inner-city and its fringe areas. Nevertheless, certain differences are observed across the eight categories of creative industries. The evidence concerning the spatial distribution of creative industries in Johannesburg provides a further case for re-positioning the suburbs in post-Fordist debates around creative city economies and for re-examining neo-liberal cultural policies that preference inner-city areas.
Glaveanu, Vlad Petre
This article explores creativity in craftwork using the case of Easter egg decoration, a folk art chosen for its traditional roots and diversity of artistic outcomes. This research contributes to the literature at (a) a theoretical level, by conceptualizing a pragmatist-inspired framework...... of creative activity; (b) a methodological level, by using, beside observation and interview, subjective cameras to record activity; and (c) an empirical level, considering the fact that creativity in folk art has often been a neglected topic. A total of 20 egg decorators of various ages from the village...... for, particularly in terms of expert–novice differences. These studies revealed the many ways in which creativity is intrinsic to Easter egg decoration, and the final discussion of the article summarizes them with reference to processes of combination and change, copying and translation, personal...
Kennedy, Emily B.; Miller, Derek J.; Niewiarowski, Peter H.
The objective of this study was to test the effect of far-field industrial (i.e., man-made) versus biological analogies on creativity of business professionals from two organizations engaged in the idea generation phase of new product development. Psychological effects, as reflected in language use, were measured via computerized text analysis of…
Champa, Martha Marie
Creativity is an aspect of the human condition that eludes a common definition, description, and experience. When trying to make sense of creativity, some describe creative behavior while others describe creative products. There are those who are curious about the process of creativity and others who want to understand what inspires that process.…
Onarheim, Balder; Friis-Olivarius, Morten
This article investigates how neuroscience in general, and neuroscience of creativity in particular, can be used in teaching "applied creativity" and the usefulness of this approach to creativity training. The article is based on empirical data and our experiences from the Applied Neuro...... in the ANC program is that the conceptualization of creativity is built on neuroscience, and a crucial aspect of the course is giving the students a thorough understanding of the neuroscience of creativity. Previous studies have reported that the conceptualization of creativity used in such training...... is of major importance for the success of the training, and we believe that the neuroscience of creativity offers a novel conceptualization for creativity training. Here we present pre/post-training tests showing that ANC students gained more fluency in divergent thinking (a traditional measure of trait...
Kowaltowski, Doris C. C. K.; Bianchi, Giovana; Teixeira de Paiva, Valeria
The architectural design process is based on a creative phase where creativity is highly valued. Although the literature on creativity is rich in ways to stimulate the decision-making process, these tools are rarely formally present in the building design process. To further the discussion on creativity and design education this paper presents a…
Amabile, T M
In today's knowledge economy, creativity is more important than ever. But many companies unwittingly employ managerial practices that kill it. How? By crushing their employees' intrinsic motivation--the strong internal desire to do something based on interests and passions. Managers don't kill creativity on purpose. Yet in the pursuit of productivity, efficiency, and control--all worthy business imperatives--they undermine creativity. It doesn't have to be that way, says Teresa Amabile. Business imperatives can comfortably coexist with creativity. But managers will have to change their thinking first. Specifically, managers will need to understand that creativity has three parts: expertise, the ability to think flexibly and imaginatively, and motivation. Managers can influence the first two, but doing so is costly and slow. It would be far more effective to increase employees' intrinsic motivation. To that end, managers have five levers to pull: the amount of challenge they give employees, the degree of freedom they grant around process, the way they design work groups, the level of encouragement they give, and the nature of organizational support. Take challenge as an example. Intrinsic motivation is high when employees feel challenged but not overwhelmed by their work. The task for managers, therefore, becomes matching people to the right assignments. Consider also freedom. Intrinsic motivation--and thus creativity--soars when managers let people decide how to achieve goals, not what goals to achieve. Managers can make a difference when it comes to employee creativity. The result can be truly innovative companies in which creativity doesn't just survive but actually thrives.
Vezzali, L.; Gocłowska, M.A.; Crisp, R.J.; Stathi, S
We conducted an experimental study with the aim of testing certain conditions under which engaging with cultural diversity increases creativity among schoolchildren. Results obtained from a sample of 149 Italian elementary schoolchildren revealed that engaging with cultural diversity,
Giovacchini, P L
The innate talents that are the essence of creativity are associated with a particular type of character structure. The child's creative potential has to be supported by the infantile milieu, which also happens to have a characteristic stamp. Within this context of personality configurations and developmental antecedents associated with creative ability, there can be considerable variation. I am not postulating a specific or stereotypic creative character. There are, however, certain qualities that can be found in various character types (and can even exist alongside psychopathology) that are often found in creative scientists and perhaps artists as well. I believe the maverick often possesses these character traits and many of the scientists I have had the opportunity of treating proudly considered themselves mavericks. The creative personality is characterized by paradoxes; these cast it in the maverick mold. Possessors of this personality belong and do not belong. They do not break the rules but bend them a little. They are nonconformists but not rebels. They display many features that do not seem to belong together. The paradoxical qualities that dominate the creator's personality and behavior are the outcome of a certain fluidity of character and ego boundaries. The creative process involves a broad range of functioning and traverses various levels of the psyche, frequently reaching down to the very earliest, primary-process-oriented parts of the self. Ego boundaries, in turn, can become quite fluid and permeable, even though they are ordinarily firmly established and well structured. It is this broad spectrum, a prominent feature of the creative process (Giovacchini, 1965, 1971, 1981), that has been often confused with psychopathology. These paradoxical elements are the outcome of an infantile environment that has provided considerable gratification. Again the early milieu of creative personalities may be extremely varied, but there has always been some
Blevins, Dean G.
This article introduces a relationship between neuroscience and creativity for the sake of religious education. Citing creativity as a process that involves both originality and value, the writing articulates Howard Gardner's interplay between the talent of the person, the internal demands of a discipline, and the quality judgment of the field.…
Jiang, Mingming; Thagard, Paul
Social innovations are creative products and changes that are motivated by social needs and bring value to society by meeting those needs. This article uses case studies to investigate the cognitive and social processes that contribute to creativity in social innovation. The cases are: Wendy Kopp with Teach For America in education, Cicely…
Romein, A.; Trip, J.J.; Zonneveld, W.A.M.
Report written in the context of the INTERREG IVB project Creative City Challenge. Based on a series of international expert meetings the report discusses various themes in relation to creative city policy, and analyses the process of transnational learning itself.
Andersen, Poul Houman; Kragh, Hanne
The guest editors' introduction to the Special Issue on managing creativity in business market relationships positions the topic at the intersection between interorganizational research and creativity research. It introduces three paradoxes that managers of such processes face: a) the tension...
Consciousness is creative. That creativity expresses in myriad ways – as moments in time in which decades of progress can be achieved overnight, as organizational innovations of immense power for social accomplishment; as creative social values that further influence the evolution of organizations and society; as the creativity of individuality in the leader, genius, artist and inventor; as social creativity that converts raw human experience into civilization; as cultural creativity that tra...
This chapter explores links between psychostimulants and creativity in the arts. These links are set in the context of an overview of the association between mind-altering drugs in general and specific branches of the arts, particularly literature. The economic impact of the psychostimulants both historically and in today's world has been substantial and this is mirrored in the culture of the countries involved with the trade in these special commodities. As with other families of addictive drugs, the psychostimulants are sought out more frequently than is the norm by creative individuals who then may represent the drugs in their art or associate the drugs with their creativity. The creative process is outlined and it is noted that if a drug helps at all with creativity then the specific properties of the drug may link it to a particular stage of the creative process. Stimulants are particularly associated with the evaluation and elaboration stage of the creative process and in particular nicotine and caffeine have been used in this way by writers when putting words on paper. The ability of psychostimulants to boost convergent thinking is the main mechanism at work but this is at a cost as divergent thinking is diminished. The other findings of note in this review are that particular venues based around the consumption of a psychostimulants can act as a creative hub-café culture in Paris and Vienna and early modern Europe-and that particular drugs can come to define an artistic grouping as with the Beats and the group around Warhol who had a preference for amphetamine. © 2015 Elsevier Inc. All rights reserved.
Glaveanu, Vlad Petre
For the past 5 decades the psychology of creativity has been influenced by what is known as the 4 P's of creative expression: person, process, product, and press. This conceptual schema, initially proposed by Rhodes (1961), helped researchers structure their thinking about the phenomenon. However......, it also supported an individualistic, static, and oftentimes disjointed vision of creativity. The present article aims to rewrite this fundamental language of the discipline by using terms that explicitly endorse a systemic, contextual, and dynamic approach. The 5 A's framework—actor, action, artifact...
In my Master´s thesis I have researched teaching of creative writing for high school students. I have also created the concept called the Essential Understanding of Creative Writing, which I think is the base and the starting point of teaching creative writing. The term is hypothesis and it roughly means the subjectively understood essence of creative work and writing process, as well as the strengthening the inner motivation and author identity by writer. Collaboration seems to support the E...
Kauffmann, Lene Teglhus
making drew on ideologies, norms and values central to the field and thereby the strategies employed by the informants as well as by the researcher could be seen as wayfaring strategies; creating the paths in the field as they go along. Such an approach to interviews opens up the creative character...... of knowledge production and points out the role of the researcher as an active participant in the creative process....
In this article, Eliza Pitri states, "when allowed to make and explain their own choices, students develop invaluable creative problem-solving skills." Opportunities for such critical thinking abound in the art classroom. The importance of identifying how skills and dispositions related to creative problem solving are expressed in a…
Full Text Available Globalization and neoliberalism strongly affect education reforms in our country. Changes involving the three processes have conditions that can promote or inhibit the development of creativity. We can use one or the other with the development of our own creativity.
Harms, Rainer; Van Der Zee, Karen
Paul Paulus is Distinguished Professor of Psychology at the Department of Psychology, University of Texas at Arlington. Paul Paulus's research interests revolve around Group Creativity: On the one hand, creative processes are often conceptualized as individual-level phenomena. On the other hand,
Harms, Rainer; van der Zee, Karen
Paul Paulus is Distinguished Professor of Psychology at the Department of Psychology, University of Texas at Arlington. Paul Paulus's research interests revolve around Group Creativity: On the one hand, creative processes are often conceptualized as individual-level phenomena. On the other hand,
Ritter, S.M.; Dijksterhuis, A.J.
Creativity is one of the most important assets we have to navigate through the fast changing world of the 21st century. Anecdotal accounts of creative individuals suggest that oftentimes, creative discoveries result from a process whereby initial conscious thought is followed by a period during
Full Text Available Previous research suggests that creativity training can be effective in academic settings and that teachers in particular can have an impact on creativity. Furthermore, creativity is one of many transferable skills in higher education that will benefit students when they enter the workforce. This study extends research on creativity training and transferable skills in higher education, using data from the Senior Transitions topical module of the National Survey of Student Engagement (NSSE. Responses from over 48,000 seniors at 227 different U.S colleges and universities were used to explore curricular differences across disciplinary fields as well as how exposure to creative coursework can predict confidence in numerous skills and abilities. Exploratory and confirmatory factor analysis provided support for a measure of exposure to creative coursework, and an ANOVA suggested significant differences by major fields, with arts majors showing a distinct advantage. Results from ordinary least squares regression models found that even after controlling for several demographic and institutional characteristics, creative coursework is a significant positive predictor of confidence in several different skills and abilities that are important for adapting to traditional and non-traditional work settings, including creative thinking, critical thinking, entrepreneurial skills, and networking abilities. Potential reasons for these patterns of results are discussed. These findings can help to inform curricular and programming enhancements for college students across all major fields, helping to better prepare them for their futures in various workplace settings.
Waller, David R.
This study used a mixed methods approach to develop a broad and deep understanding of students’ perceptions towards creativity in engineering education. Studies have shown that students’ attitudes can have an impact on their motivation to engage in creative behavior. Using an ex-post facto independent factorial design, attitudes of value towards creativity, time for creativity, and creativity stereotypes were measured and compared across gender, year of study, engineering discipline, preference for open-ended problem solving, and confidence in creative abilities. Participants were undergraduate engineering students at Queen’s University from all years of study. A qualitative phenomenological methodology was adopted to study students’ understandings and experiences with engineering creativity. Eleven students participated in oneon- one interviews that provided depth and insight into how students experience and define engineering creativity, and the survey included open-ended items developed using the 10 Maxims of Creativity in Education as a guiding framework. The findings from the survey suggested that students had high value for creativity, however students in fourth year or higher had less value than those in other years. Those with preference for open-ended problem solving and high confidence valued creative more than their counterparts. Students who preferred open-ended problem solving and students with high confidence reported that time was less of a hindrance to their creativity. Males identified more with creativity stereotypes than females, however overall they were both low. Open-ended survey and interview results indicated that students felt they experienced creativity in engineering design activities. Engineering creativity definitions had two elements: creative action and creative characteristic. Creative actions were associated with designing, and creative characteristics were predominantly associated with novelty. Other barriers that emerged
Simonton, Dean Keith
Because the cognitive neuroscientists have become increasingly interested in the phenomenon of creativity, the issue arises of how creativity is to be optimally measured. Unlike intelligence, which can be assessed across the full range of intellectual ability creativity measures tend to concentrate on different sections of the overall spectrum. After first defining creativity in terms of the three criteria of novelty, usefulness, and surprise, this article provides an overview of the available measures. Not only do these instruments vary according to whether they focus on the creative process, person, or product, but they differ regarding whether they tap into "little-c" versus "Big-C" creativity; only productivity and eminence measures reach into genius-level manifestations of the phenomenon. The article closes by discussing whether various alternative assessment techniques can be integrated into a single measure that quantifies creativity across the full spectrum.
Simone M. eRitter
Full Text Available Creativity is one of the most important assets we have to navigate through the fast changing world of the 21st century. Anecdotal accounts of creative individuals suggest that oftentimes, creative discoveries result from a process whereby initial conscious thought is followed by a period during which one refrains from task-related conscious thought. For example, one may spend an embarrassing amount of time thinking about a problem when the solution suddenly pops into consciousness while taking a shower. Not only creative individuals but also traditional theories of creativity have put a lot of emphasis on this incubation stage in creative thinking. The aim of the present article is twofold. First, an overview of the domain of incubation and creativity is provided by reviewing and discussing studies on incubation, mind-wandering, and sleep. Second, the causes of incubation effects are discussed. Previously, little attention has been paid to the causes of incubation effects and most findings do not really speak to whether the effects should be explained by unconscious processes or merely by consequences of a period of distraction. In the latter case, there is no need to assume active unconscious processes. The findings discussed in the current article support the idea that it is not merely the absence of conscious thought that drives incubation effects, but that during an incubation period unconscious processes contribute to creative thinking. Finally, practical implications and directions for future research will be discussed.
Taras Bozhydarnik; Nataliya Vasylyk
The article deals with the approaches to interpret the notion of creative management. The essence of creative management, its aim, objectives, tasks, principles, objects and subjects are defined. The main external and internal prerequisites of creative management establishment are revealed, the factors stimulating or restraining its development are defined. The interconnection of factors of creative management establishment and development is determined and the process stages of creative mana...
People have always valued and appreciated creativity, and art is a medium for expressing one's individuality and creativity. Creativity can be reflected in the products a person makes. For young children though, creativity is a road of trial and errors; it's a process. Adults nurture or inhibit children's creativity in their design of the physical…
Zhu, Wenfeng; Chen, Qunlin; Tang, Chaoying; Cao, Guikang; Hou, Yuling; Qiu, Jiang
Although creativity is commonly considered to be a cornerstone of human progress and vital to all realms of our lives, its neural basis remains elusive, partly due to the different tasks and measurement methods applied in research. In particular, the neural correlates of everyday creativity that can be experienced by everyone, to some extent, are still unexplored. The present study was designed to investigate the brain structure underlying individual differences in everyday creativity, as measured by the Creative Behavioral Inventory (CBI) (N=163). The results revealed that more creative activities were significantly and positively associated with larger gray matter volume (GMV) in the regional premotor cortex (PMC), which is a motor planning area involved in the creation and selection of novel actions and inhibition. In addition, the gray volume of the PMC had a significant positive relationship with creative achievement and Art scores, which supports the notion that training and practice may induce changes in brain structures. These results indicate that everyday creativity is linked to the PMC and that PMC volume can predict creative achievement, supporting the view that motor planning may play a crucial role in creative behavior. Published by Elsevier Inc.
Diana Valerievna Zhuina
Full Text Available Purpose of conduct theoretical and methodological analysis of the problem of creative thinking subjects of the educational environment; generalization of the results of an empirical study of creative thinking of students of pedagogical high school; formulation of conclusions and recommendations based on the results of empirical research.Methodology of work in the article used the following me-thods of psycho-pedagogical studies: theoretical analysis of psychological and pedagogical literature on research; empirical methods, «Torrance Test of creativity»; quantitative method of data processing (percent.Results for Beginning Students (1st and 2nd pedagogical university have a level of creativity lower than normal. Du-ring training, under the influence of modern psychological and pedagogical technologies, through participation in research and training activities of a creative nature (competitions, contests and so on. Level of creativity senior students increases. However, you need a specially organized system of work aimed at improving the efficiency of the learning process at the university, to develop the necessary professional competencies of students (including the development of creative thinking, contributing to the formation of highly qualified professionals in demand in the labor market.Practical implications of the study results have both theoretical and practical focus is to enhance the knowledge about the features of creative thinking of students about the factors and conditions of development of creative thinking techniques in the teaching process at the university. In addition, the results of empirical research, you can use a high school teacher, se-condary vocational institutions in order to organize educatio-nal activities aimed at improving the creative (creative thin-king subjects of education.
Kar, Nilamadhab; Barreto, Socorro
Relation between mental illness and creativity is intricate. While many creative people show signs of mental illness, persons with severe mental illness occasionally have creative output beyond the ordinary. We are presenting a patient with psychotic illness whose creative potential took a positive turn during the illness phase and grew further following symptomatic improvement and helped in her recovery process. Observing the contrast related to creative productivity pre and post psychotic phase raises the probability of whether psychotic illness or process might enhance creative potential. The case additionally illustrates how creativity can be a useful method supporting recovery from severe mental illnesses. © BMJ Publishing Group Ltd (unless otherwise stated in the text of the article) 2018. All rights reserved. No commercial use is permitted unless otherwise expressly granted.
Goodale, Timothy A.; Hughes, Claire E.
For over 50 years, science educators have been calling for increased opportunities for students to engage with science in creative manners, but teachers are still reliant on packaged materials that promote single and 'correct' responses with cookbook approaches. This article suggests five strategies that teachers can use to enhance constructed…
Kaufman, Allison B; Butt, Allen E; Kaufman, James C; Colbert-White, Erin N
We propose a cognitive and neurobiological framework for creativity in nonhuman animals based on the framework previously proposed by Kaufman and Kaufman (2004), with additional insight from recent animal behavior research, behavioral neuroscience, and creativity theories. The additional information has lead to three major changes in the 2004 model-the addition of novelty seeking as a subcategory of novelty recognition, the addition of specific neurological processing sites that correspond to each of the processes, and the transformation of the model into a spectrum in which all three levels represent different degrees of the creative process (emphasis on process) and the top level, dubbed innovation, is defined by the creative product. The framework remains a three-level model of creativity. The first level is composed of both the cognitive ability to recognize novelty, a process linked to hippocampal function, and the seeking out of novelty, which is linked to dopamine systems. The next level is observational learning, which can range in complexity from imitation to the cultural transmission of creative behavior. Observational learning may critically depend on the cerebellum, in addition to cortical regions. At the peak of the model is innovative behavior, which can include creating a tool or exhibiting a behavior with the specific understanding that it is new and different. Innovative behavior may be especially dependent upon the prefrontal cortex and/or the balance between left and right hemisphere functions. PsycINFO Database Record (c) 2011 APA, all rights reserved.
3Dme are creative 3D digital story-tellers with a passion for making complex health and medical information comprehensible. They have an enviable ability to understand a broad range of health and medical topics and present them in an accurate and visually engaging manner. '3Dme - A Look Inside' is a privately owned 3D visualisation and multimedia company established by Luke and Sonya Brannelly in 2006. 3Dme are passionate about creating beautiful, scientifically accurate, relevant, high definition, full 3D visualisation presentations to take a look inside the human body to communicate a health or medical education message via engaging, creative digital story-telling. 3Dme's primary objective is to 'improve global health and education outcomes'. Winning a number of local and international awards for their work, they are well on their way to achieving this. 3Dme's vision is simply to use their scientific and artistic skills along with the reach of the internet and digital technology, to captivate, engage and inspire everyone from primary school students, teachers and parents, through to university undergraduates, academics and medical specialists, to improve their understanding of complex health and medical topics. The digital output of their 3D presentations is suitable for a variety of delivery platforms and includes e-learning modules, blended learning, interactive learning modules and Apps. 3Dme has made, and continues to make, significant investments in technology based hardware and software, boasting one of the largest in-house, fully equipped animation render farms in Queensland, Australia.
Full Text Available With more organizations looking for employees who take initiative and respond creatively to the challenges of the job, engagement becomes important at both individual and organizational levels. Engaged employees are generally more satisfied with their work, committed and effective at work. According to the JDR model (Schaufeli & Bakker, 2004, engagement may be produced by two types of working conditions: job demands (i.e., role stress and job resources (i.e., self-efficacy. This study examines the role of role stress (role ambiguity and role conflict and work engagement as antecedents of job satisfaction. A cross sectional study using online questionnaires was conducted. The sample consisted of 312 Portuguese workers. Hierarchical multiple regressions analyses have revealed that job satisfaction was significantly predicted by role conflict and work engagement. Results support JDR model by showing that positive outcomes, such as job satisfaction, may be predicted by motivational process and job demands. On a practical level, JDR model provides a framework for understanding motivating workplaces and engaged and satisfied employees.
Shin, Yuhyung; Eom, Chanyoung
Despite the growing body of research on creativity in team contexts, very few attempts have been made to explore the team-level antecedents and the mediating processes of team creative performance on the basis of a theoretical framework. To address this gap, drawing on Paulus and Dzindolet's (2008) group creativity model, this study proposed team…
Liew, Sook-Lei; Dandekar, Francesco
Although creativity has been called the most important of all human resources, its neural basis is still unclear. In the current study, we used fMRI to measure neural activity in participants solving a visuospatial creativity problem that involves divergent thinking and has been considered a canonical right hemisphere task. As hypothesized, both the visual creativity task and the control task as compared to rest activated a variety of areas including the posterior parietal cortex bilaterally and motor regions, which are known to be involved in visuospatial rotation of objects. However, directly comparing the two tasks indicated that the creative task more strongly activated left hemisphere regions including the posterior parietal cortex, the premotor cortex, dorsolateral prefrontal cortex (DLPFC) and the medial PFC. These results demonstrate that even in a task that is specialized to the right hemisphere, robust parallel activity in the left hemisphere supports creative processing. Furthermore, the results support the notion that higher motor planning may be a general component of creative improvisation and that such goal-directed planning of novel solutions may be organized top-down by the left DLPFC and by working memory processing in the medial prefrontal cortex. PMID:22349801
Green, Michael J; Myers, Kimberly; Watson, Katie; Czerwiec, M K; Shapiro, Dan; Draus, Stephanie
What is the value of having medical students engage in creative production as part of their learning? Creating something new requires medical students to take risks and even to fail--something they tend to be neither accustomed to nor comfortable with doing. "Making stuff" can help students prepare for such failures in a controlled environment that doesn't threaten their professional identities. Furthermore, doing so can facilitate students becoming resilient and creative problem-solvers who strive to find new ways to address vexing questions. Though creating something new can be fun, this is not the main outcome of interest. Rather, the principle reason we recommend devoting precious curricular time to creative endeavors is because it helps medical students become better doctors.
O. Y. Sakalo
Full Text Available In the article one of the modern approaches to the social structure of the society is considered. The creative class is determined as the main driving force and as a leading social class of modern society. The author studies the history of the concept of creative class, and R. Florida’s concept in particular, and determines its characteristics and peculiarities. The influence of the creative class on the society, on its transformation processes, and the system of social values is analyzed. The role of creative class in developing creative and innovative economy of the postindustrial society era is found out. The author considers the relationship between the creative class and the other social classes of modern society. The essence of the concept of creativity is defined, and one of the most important problems of the modern era that is a constant conflict between creativity and organization is examined. The comparative historical analysis of the socalled «institutional»/ «industrial» and «creative»/ «postindustrial» era is made. The role of the creative class in developing and social changing the modern American society is studied. The questions of forming and developing creative class in modern Ukrainian society are analyzed, and the peculiarities and problems of this process are figured out. The need of state support for forming national creative class, for its strengthening and growth is emphasized.
Full Text Available The article explores some of the effects of a creative meditation centered on a natural element (fire on different aspects of cognitive functioning, commonly associated with well-being, either positively (self-esteem, or negatively (automatic negative thinking and thought suppression. The results showed that while self-esteem improves after the creative meditation, automatic negative thinking and thought suppression do not decrease significantly. The conclusion is that the creative meditation helps in getting in touch with Self, supporting a healthy self-esteem when taking into consideration the social standards, but this also means accepting both positive and negative aspects of self, including the automatic negative thinking and thought suppression. This recommends the technique as a useful tool for psychotherapeutic and personal development use, as the vulnerabilities may become the focus without unnecessary self-blame, but with an intuitive solution in mind to turn them into personal resources.
Full Text Available This paper asks what beginning design learning experiences best support the remainder of design education. It is a conjecture of brain-based learning theory that a student’s direct, concrete primary experiences are responsible for the construction of fundamental structures of neural processing as “hard wired” pathways. These structures then form the ground of and set into play patterns of later more abstracted learning experiences. Pedagogy of basic design courses that seeks introduction of creative processes as a foundation for design education must recognize these experiential, biologically developmental relationships as basic to developmentally appropriate beginning design curriculum. This paper models a beginning design pedagogy on developmental relationships between concrete and abstract processes of learning as a basis for transformative creative thinking that enables student self-development that progresses up the curriculum. Aligning with developmental learning theories (Piaget and others, a basic tenant of this approach is that learning at the primary level of direct experience self initiates brain changes where students form their own structure of learning. Thus, initial learning experiences will be those that best enable decision-making consistent with the biological interactivity between body and mind, between, respectively, the concrete and the abstract. This is important because the designed environment in which we all live is grounded in the development of abstract content experientially based in concrete material physicality. Experiential learning theories (Kolb and others, following Piaget identify concrete and abstract learning as fundamental poles for acquiring and acting on knowledge: Concrete learning involves direct experiential engagement through heuristic discovery and reflection and abstract learning involves indirect representational cues in acts of conceptualization, synthesis, and experimentation. The
Full Text Available The main objective of this work is to review some of the present perspectives and outstanding contributions that examine the relationship between creativity, psychopathology and psychological well-being. We know that creativity is a psychological process, which involves and integrates cognitive, volitional and emotional aspects of human behavior. In addition, creativity is associated with a greater flow of ideas, cognitive flexibility, ability to solve problems and originality (Guilford, 1956, 1968; Torrance, 1966, all qualities that lead to think of a better quality of life. Many of the humanist psychologists and others from the psychoanalytic stream stress that creativity is an element linked to sublimation, play, symbolic thought, transcendence and self-realization (Maslow, Rogers, Winnicott, Frankl, Freud, among others. However, many empirical studies show that highly creative individuals are more vulnerable to mental disorders, especially in the spectrum of mood disorders. Some current studies attempt to clarify the issue of creativity and psychopathology, taking into account different perspectives, which may explain the possible links between these two conceptual entities. The perspectives or contributions, which are considered in the present article to address this problem, are: (a the historical-social perspective, (b the contributions of psychometric studies and cognitive psychology, in relation to personality traits and cognitive styles, (c the “systemic” perspective or contributions from fractal geometry, and (d the contributions from positive psychology.
Anderson, Theresa Dirndorfer
Introduction: Examines implications of research suggesting fast access to information may reduce the time needed for creative thinking and reflection. To support human thought through information provision, more opportunities to experience and work with imperfect information and to engage with ambiguities are needed. Method: Four linked arguments…
While most organizations react to economic downturns by downsizing and cutting training and educational "costs," a few others thrive under adversity by engaging in innovative practices supported by extensive and creative uses of educational technology. This article examines how diverse organizations benefit from the cycles of "creative…
There are differences as well as similarities between mourning occurring after the loss of a single individual under ordinary civilized conditions, and mourning after multiple losses under traumatic conditions. A brief review of the psychoanalytic theory of mourning articulated by Freud in 1917 and modified in the 1960s is followed by an equally brief review of the relationship between artistic creativity and mourning. Because survivors of major disasters who suffer multiple losses need time to recover before they can engage the emotionally demanding task of mourning, the mourning process in these cases is frequently delayed. "Memorial spaces" appear to facilitate delayed mourning because such spaces are responsive to a deeply felt need by survivors of major tragedies to articulate what they experience as unspeakable and unshareable. The memories and the pain associated with them are then welcome because mourning is not about forgetting; mourning is about remembering, a process that may take a lifetime.
Fasnacht, Patsy H
This paper seeks to remove some of the ambiguity surrounding the conceptual meaning of creativity using techniques of concept refinement to advance the concept. Creativity is an essential component of nursing practice that occurs daily in nurse's interactions with clients, families and other nurses. Failure to acknowledge and encourage creativity in beginning nurses may hinder future development and innovations in nursing practice and in nursing science. In order to promote the development of creativity it is first necessary to clarify and refine the concept as it applies to nursing. A comprehensive review of a variety of computer and online databases resulted in thousands of articles on creativity between the years 1966 and 1999. The final sample (n = 48) was obtained using both stratified random and purposive sampling techniques. A content analysis of the literature was conducted using methods identified by Morse and illustrated in the work of Hupcey et al. Having determined the concept to be partially mature, the concept was advanced using techniques of concept refinement. Content analysis of the literature yielded three differing definitions for creativity: revelation, birth and reincarnation. Creativity occurs in the presence of intrinsic motivation and a nurturing environment. While value is often used to identify whether a product is creative, the value of the product cannot determine whether the process has occurred. The product produced determines evidence of the process of creativity. Limitations of this investigation are the use of secondary sources and the relatively small sample size (n = 48). Refinement of the concept of creativity indicates that it is a process that may be developed and influenced by the environment and is recognized by the product produced. Further investigation is needed to explore methods and techniques for developing creativity in nursing.
Full Text Available Consciousness is creative. That creativity expresses in myriad ways – as moments in time in which decades of progress can be achieved overnight, as organizational innovations of immense power for social accomplishment; as creative social values that further influence the evolution of organizations and society; as the creativity of individuality in the leader, genius, artist and inventor; as social creativity that converts raw human experience into civilization; as cultural creativity that transforms human relationships into sources of rich emotional capacity; and as value-based educational creativity that can awaken and nurture young minds to develop and discover their own inherent capacity for knowledge in freedom. Through such moments do society and humanity evolve. Education is society’s most advanced institution for conscious social evolution. Values are the essence of society’s knowledge for highest accomplishment. Education that imparts values is an evolutionary social organization that can hasten the emergence of that creative consciousness.
Huang, Xu; Hsieh, J J Po-An; He, Wei
In this study, we investigated whether team-level knowledge sharing moderates the effects of individual-level expertise dissimilarity on individual employees' creativity in research and development (R&D) project teams. Expertise dissimilarity--defined as the difference in expertise and knowledge between a focal team member and her or his fellow team members--was operationalized in terms of the research department to which each member belonged. In Study 1, multilevel analyses of data collected from 200 members of 40 R&D project teams in a telecommunications company revealed that a team member with expertise dissimilar to that of her or his teammates was more likely to exhibit creativity when the project team as a whole engaged in higher levels of tacit, rather than explicit, knowledge sharing. In contrast, a member whose expertise was similar to that of her or his teammates was more likely to exhibit creative behavior when the team engaged in higher levels of explicit, rather than tacit, knowledge sharing. These findings were largely replicated in Study 2 using data collected from 82 members of 25 project teams from another telecommunications company. PsycINFO Database Record (c) 2014 APA, all rights reserved.
María Luisa Sanz de Acedo Lizarraga
Full Text Available The primary objective of this study was to investigate the possible links between metacognition and narrative (or verbal and graphic creative potential as well as the contribution of the former variable to creativity. The second objective was to study the effect of gender on these variables. This study was conducted with 360 men and women students from the Public University of Navarra enrolled in applied sociology, social work, and specialising in infant and primary education. Participants were given the Adult Creative Imagination Test and the Creative Metacognition Scale during their regular school schedule and during a single session. The results showed that the relationships between the assessed variables were significant and positive. Furthermore, metacognition moderately predicted narrative creativity; thus, cognitive processes do not operate in isolation because they affect and are affected by other factors. The findings also revealed that students obtained different results with regard to verbal and graphic creativity, and men and women differed only in narrative creative potential. The most important conclusion to be drawn from this research is that creative and metacognitive skills should be explicitly involved in higher education to stimulate the creative potential of future professionals
Haslam, S Alexander; Adarves-Yorno, Inmaculada; Postmes, Tom; Jans, Lise
Prevailing approaches to individual and group creativity have focused on personal factors that contribute to creative behavior (e.g., personality, intelligence, motivation), and the processes of behaving creatively and appreciating creativity are understood to be largely unrelated. This article uses social identity and self-categorization theories as the basis for a model of creativity that addresses these lacunae by emphasizing the role that groups play in stimulating and shaping creative acts and in determining the reception they are given. We argue that shared social identity (or lack of it) motivates individuals to rise to particular creative challenges and provides a basis for certain forms of creativity to be recognized (or disregarded). Empirical work informed by this approach supports eight novel hypotheses relating to individual, group, and systemic dimensions of the creativity process. These also provide an agenda for future creativity research.
Turskyj Ihor V.
Full Text Available The article is aimed at generalizing the international experience of regional development of creative industries and defining directions of its implementation in Ukraine. The experience of the world countries on regional development of creative industries has been generalized, tendencies and specificity of these development processes have been identified. The interrelation of the process of development of creative industries with innovation development of regions has been defined. Prospects for development of creative industries in regions of Ukraine have been identified and directions of implementation of foreign experience have been suggested. Thus, strategic measures for the development of creative clusters can be the corresponding priorities of cultural policy in the regions, the development of specific projects and programs, the opening of art-incubators, the creation of a favorable investment climate, financial and tax incentives as conditions for interaction between creativity and business. The scale and dynamics of the world’s creative sector, which has a significant potential for growth and less vulnerability in financial-economic crises compared to the traditional sector, gives chance to high expectations for the development of creative industries in Ukraine as well.
Gottschalk, L A
This paper describes the major characteristics of the concept of creativity: (1) originality and uniqueness, (2) comprehensibility to others, (3) utility, (4) generalizability to allied and other fields, (5) a capacity for continued and repeated creative outputs in similar and/or different fields, and (6) a capacity to stimulate others to artistic, literary, or scientific originality. Consideration is given to out limited current knowledge of hereditary factors contributing to creativity, in contrast to familial factors which are likely to include environmental contributions. A review follows of psychiatric and psychoanalytic observations on the enhancement or inhibition, during child development, of the innate capacity to be creative in children and adults. In regard to the development of creative prowess, emphasis is placed on the importance of preserving and encouraging the use of primary-process thinking in children so that this mental activity can be called upon at will. Emphasized also is the importance of the availability of examples of creative ability in parental behavior as well as in the kinship and social networks to which the child is exposed. The encouragement of analogical thinking and imagination in children and the development of the ability to turn on and off such mental activity by secondary-process thinking is stressed. Hence, in the enhancement of the creative process in children, catalytic parent-child rearing and exposure to creative people are key elements. Three brief case examples are given in which the creative potential was blocked or inhibited and later released by psychoanalytic psychotherapy.
Zenasni, Franck; Lubart, Todd
To examine the impact of emotion on creative potential, experimental studies have typically focused on the impact of induced or spontaneous mood states on creative performance. In this report the relationship between the perceived pleasantness of tasks (using divergent thinking and story writing tasks) and creative performance was examined.…
Sociocultural theory focuses on group processes through time, and argues that group phenomena cannot be reduced to explanation in terms of the mental states or actions of the participating individuals. This makes sociocultural theory particularly useful in the analysis of group creativity and group learning, because both group creativity and group…
van der Velde, Frank; van der Velde, Frank; Wolf, Roger A.; Schmettow, Martin; Nazareth, Deniece; Toivonen, Hannu; Colton, Simon; Cook, Michael; Ventura, Dan
We present a semantic map of words related with creativity. The aim is to empirically derive terms which can be used to rate processes or products of computational creativity. The words in the map are based on association studies performed by human subjects and augmented with words derived from the
The following article is about the problem of insufficient number of drawing and painting lessons delivered in the process of architectural education. There is a comparison between the education of successful architects of the past and modern times. The author stands for the importance of creative subjects being the essential part of development and education of future architects. Skills achieved during the study of creative subjects will be used not only as a mean of self-expression but as an instrument in the toolkit of a professional. Sergei Tchoban was taken as an example of a successful architect for whom the knowledge of a man-made drawing is very important. He arranges the contests of architectural drawings for students promoting creative development in this way. Nowadays, students tend to use computer programs to make architectural projects losing their individual approach. The creative process becomes a matter of scissors and paste being just a copy of something that already exists. The solution of the problem is the reconsideration of the department’s curriculum and adding extra hours for creative subjects.
Klieger, Aviva; Sherman, Guy
Creativity can be viewed from different perspectives, such as the creative thinking process, the product, the creative environment and the individual. The physics domain, which is based on experiments, research, hypotheses and thinking outside the box, can serve as an excellent grounding for creativity development. This article focuses on creative…
Tang, Jessica Janice; Maroothynaden, Jason; Bello, Fernando; Kneebone, Roger
Recently, the literature has emphasized the aims and logistics of public engagement, rather than its epistemic and cultural processes. In this conceptual article, we use our work on surgical simulation to describe a process that has moved from the classroom and the research laboratory into the public sphere. We propose an innovative shared immersion model for framing the relationship between engagement activities and research. Our model thus frames the public engagement experience as a participative encounter, which brings visitor and researcher together in a shared (surgical) experience mediated by experts from a range of domains.
Storme, Martin; Lubart, Todd; Myszkowski, Nils; Cheung, Ping Chung; Tong, Toby; Lau, Sing
This study provides new evidence concerning task specificity in creativity--examining through a cross-cultural perspective the extent to which performance in graphic versus verbal creativity tasks (domain specificity) and in divergent versus convergent creativity tasks (process specificity) are correlated. The relations between different…
Glaveanu, Vlad Petre
This book challenges the standard view that creativity comes only from within an individual by arguing that creativity also exists ‘outside’ of the mind or more precisely, that the human mind extends through the means of action into the world. The notion of ‘distributed creativity’ is not commonly...... used within the literature and yet it has the potential to revolutionise the way we think about creativity, from how we define and measure it to what we can practically do to foster and develop creativity. Drawing on cultural psychology, ecological psychology and advances in cognitive science......, this book offers a basic framework for the study of distributed creativity that considers three main dimensions of creative work: sociality, materiality and temporality. Starting from the premise that creativity is distributed between people, between people and objects and across time, the book reviews...
Madsen, Jacob Østergaard; Josephsson, Staffan
the situatedness of occupation from the perspective of how situation and occupation work together. We argue that this approach can provide a theoretical understanding of engagement in occupation as a natural inquiry process. Viewing occupation from this perspective, we suggest, reveals its transformative capacity...
Vessey, William B.; Mumford, Michael D.
Studies of creative thinking skills have generally measured a single aspect of creativity, divergent thinking. A number of other processes involved in creative thought have been identified. Effective execution of these processes is held to depend on the strategies applied in process execution, or heuristics. In this article, we review prior…
Aberg, Kristoffer Carl; Doell, Kimberly C; Schwartz, Sophie
The idea that creativity resides in the right cerebral hemisphere is persistent in popular science, but has been widely frowned upon by the scientific community due to little empirical support. Yet, creativity is believed to rely on the ability to combine remote concepts into novel and useful ideas, an ability which would depend on associative processing in the right hemisphere. Moreover, associative processing is modulated by dopamine, and asymmetries in dopamine functionality between hemispheres may imbalance the expression of their implemented cognitive functions. Here, by uniting these largely disconnected concepts, we hypothesize that relatively less dopamine function in the right hemisphere boosts creativity by releasing constraining effects of dopamine on remote associations. Indeed, participants with reduced neural responses in the dopaminergic system of the right hemisphere (estimated by functional MRI in a reward task with positive and negative feedback), displayed higher creativity (estimated by convergent and divergent tasks), and increased associative processing in the right hemisphere (estimated by a lateralized lexical decision task). Our findings offer unprecedented empirical support for a crucial and specific contribution of the right hemisphere to creativity. More importantly our study provides a comprehensive view on potential determinants of human creativity, namely dopamine-related activity and associative processing. © The Author 2016. Published by Oxford University Press. All rights reserved. For Permissions, please e-mail: firstname.lastname@example.org.
Rocío BERENGUER SÁNCHEZ
Full Text Available In primary education is essential to know and develop methodologies using the development of creativity and laterality in the process of teaching and learning in our student. It is an ideal place to study the relationship between these variables period. As we understand creativity as an integral part of all the languages in which student in early childhood education (verbal and written language, plastic body… are expressed, for all languages represent a creative process, a way to communicate with others, either verbal or written form, plastic. All these forms of communication is also related to another concept as laterality. It is essential to identify and examine the importance of laterality and dominations in kindergarten because all these processes are required before accessing other languages such as literacy. The objective of this study is to describe the relationship between creativity and laterality in Early Childhood Education. This has been evaluated 60 children in the second cycle of Infant Education and creativity variables defined and undefined laterality. In the development of this research test Torrance Creative Thinking (1974 of figurative expression and the test of laterality of the neuropsychological test (2011 it was applied. The results show that most of the student have defined laterality with 75%. These student earn higher average scores on each component of creativity, the group with undefined laterality and more creativity than the group with undefined laterality.
Todd Lael Siler
Full Text Available Understanding the creative process is essential for realizing human potential. Over the past four decades, the author has explored this subject through his brain-inspired drawings, paintings, symbolic sculptures, and experimental art installations that present myriad impressions of human creativity. These impressionistic artworks interpret rather than illustrate the complexities of the creative process. They draw insights from empirical studies that correlate how human beings create, learn, remember, innovate, and communicate. In addition to offering fresh aesthetic experiences, this metaphorical art raises fundamental questions concerning the deep connections between the brain and its creations. The author describes his artworks as embodiments of everyday observations about the neuropsychology of creativity, and its all-purpose applications for stimulating and accelerating innovation.
Šlahova, Aleksandra; Volonte, Ilze; Cacka, Maris
Creative imagination is a psychic process of creating a new original image, idea or art work based on the acquired knowledge, skills, and abilities as well as on the experience of creative activity. The best of all primary school learners' creative imagination develops at the lessons of visual art, aimed at teaching them to understand what is…
Uszkoreit, Hans; Callmeier, Ulrich; Eisele, Andreas; Schäfer, Ulrich; Siegel, Melanie
The research performed in the DeepThought project (http://www.project-deepthought.net) aims at demonstrating the potential of deep linguistic processing if added to existing shallow methods that ensure robustness. Classical information retrieval is extended by high precision concept indexing and relation detection. We use this approach to demonstrate the feasibility of three ambitious applications, one of which is a tool for creativity support in document production and collective brainstormi...
Sushko, Anastasiya Viktorovna
The universal general theory of creativity does not exist. Creativity has been analyzed by scientists for hundreds years. The term "creativity" in translation from Latin (creatio) means "creation". "Creativity" is a process of creative activity of a person. This activity is resultants a new innovative product. Creativity is manifestation of the creator. The creator is the person who induces creative activity. The creator is responsible for the product he has created. The most well- known rese...
The Science, Technology, Engineering, Arts, and Mathematics (STEAM) movement argues that broad-based education that promotes creativity recognizes student learning diversity, increases student engagement and can potentially enhance Science, Technology, Engineering, and Mathematics (STEM) learning by embracing cross-cutting translational skills…
Gruber, H E; Wallace, D B
The evolving systems approach (ESA) addresses the need for direct study of the creative process in recognized creators at work, in contrast to indirect methods, such as those used in psychometric studies. The ESA emerged from H. E. Gruber's prolonged study of Charles Darwin's manuscripts, especially the notebooks he kept after the Beagle voyage. Gruber's interviews with J. Piaget about the latter's creative processes, as well as many doctoral dissertations, also helped shape the authors' approach. Using Gruber's (1974/1981) study of Darwin, the authors describe some facets of creative work identified in the course of their work. Among these are networks of enterprise, ensembles of metaphors, insights, and evolving belief systems. Although the ESA emphasizes cognitive processes, social, affective, and esthetic aspects of the case are not neglected. Each creative case is unique, otherwise the individual would not meet the criterion of originality. Uniqueness does not mean isolation; people who differ must and do work together. The integration of all these facets into a plausible system for each creator remains the authors' central task.
Hansen, Louise Ejgod
frameworks for the way in which children and youngsters engage in creative practices emphasizing collective co-creation. Theoretically, the article is based on the concept of engaged scholarship (Van de Ven 2007), Practice as Research (Nelson 2013), and types of partnership (King 1998) all of which......The article is a case study of three different applied research projects analyzing and discussing the relationship between practice and research. The three projects are all arts projects occupied with participation in different forms: Theatre Talk is an audience development project conducted...... contribute to the analysis of the relationship, purpose, and outcomes of the relationship between practice and research....
This book contains an evidence-based pedagogic guide to enable any motivated teaching/training professional to be able to teach effectively and creatively. It firstly summarises the extensive research field on human psychological functioning relating to learning and how this can be fully utilised in the design and facilitation of quality learning experiences. It then demonstrates what creativity actually 'looks like' in terms of teaching practices, modelling the underpinning processes of creative learning design and how to apply these in lesson planning. The book, having established an evidence-based and pedagogically driven approach to creative learning design, extensively focuses on key challenges facing teaching professionals today. These include utilising information technologies in blended learning formats, differentiating instruction, and developing self-directed learners who can think well. The main purpose of the book is to demystify what it means to teach creatively, explicitly demonstrating the pr...
Saggar, Manish; Quintin, Eve-Marie; Bott, Nicholas T; Kienitz, Eliza; Chien, Yin-Hsuan; Hong, Daniel W-C; Liu, Ning; Royalty, Adam; Hawthorne, Grace; Reiss, Allan L
Creativity is widely recognized as an essential skill for entrepreneurial success and adaptation to daily-life demands. However, we know little about the neural changes associated with creative capacity enhancement. For the first time, using a prospective, randomized control design, we examined longitudinal changes in brain activity associated with participating in a five-week design-thinking-based Creative Capacity Building Program (CCBP), when compared with Language Capacity Building Program (LCBP). Creativity, an elusive and multifaceted construct, is loosely defined as an ability to produce useful/appropriate and novel outcomes. Here, we focus on one of the facets of creative thinking-spontaneous improvization. Participants were assessed pre- and post-intervention for spontaneous improvization skills using a game-like figural Pictionary-based fMRI task. Whole-brain group-by-time interaction revealed reduced task-related activity in CCBP participants (compared with LCBP participants) after training in the right dorsolateral prefrontal cortex, anterior/paracingulate gyrus, supplementary motor area, and parietal regions. Further, greater cerebellar-cerebral connectivity was observed in CCBP participants at post-intervention when compared with LCBP participants. In sum, our results suggest that improvization-based creative capacity enhancement is associated with reduced engagement of executive functioning regions and increased involvement of spontaneous implicit processing. © The Author 2016. Published by Oxford University Press. All rights reserved. For Permissions, please e-mail: email@example.com.
Amabile, Teresa M; Khaire, Mukti
In today's innovation-driven economy, understanding how to generate great ideas has become an urgent managerial priority. Suddenly, the spotlight has turned on the academics who've studied creativity for decades. How relevant is their research to the practical challenges leaders face? To connect theory and practice, Harvard Business School professors Amabile and Khaire convened a two-day colloquium of leading creativity scholars and executives from companies such as Google, IDEO, Novartis, Intuit, and E Ink. In this article, the authors present highlights of the research presented and the discussion of its implications. At the event, a new leadership agenda began to take shape, one rooted in the awareness that you can't manage creativity--you can only manage for creativity. A number of themes emerged: The leader's job is not to be the source of ideas but to encourage and champion ideas. Leaders must tap the imagination of employees at all ranks and ask inspiring questions. They also need to help their organizations incorporate diverse perspectives, which spur creative insights, and facilitate creative collaboration by, for instance, harnessing new technologies. The participants shared tactics for enabling discoveries, as well as thoughts on how to bring process to bear on creativity without straitjacketing it. They pointed out that process management isn't appropriate in all stages of creative work; leaders should apply it thoughtfully and manage the handoff from idea generators to commercializers deftly. The discussion also examined the need to clear paths through bureaucracy, weed out weak ideas, and maximize the organization's learning from failure. Though points of view varied, the theories and frameworks explored advance the understanding of creativity in business and offer executives a playbook for increasing innovation.
Zmigrod, Sharon; Zmigrod, Leor; Hommel, Bernhard
While recent studies have investigated how processes underlying human creativity are affected by particular visual-attentional states, we tested the impact of more stable attention-related preferences. These were assessed by means of Navon's global-local task, in which participants respond to the global or local features of large letters constructed from smaller letters. Three standard measures were derived from this task: the sizes of the global precedence effect, the global interference effect (i.e., the impact of incongruent letters at the global level on local processing), and the local interference effect (i.e., the impact of incongruent letters at the local level on global processing). These measures were correlated with performance in a convergent-thinking creativity task (the Remote Associates Task), a divergent-thinking creativity task (the Alternate Uses Task), and a measure of fluid intelligence (Raven's matrices). Flexibility in divergent thinking was predicted by the local interference effect while convergent thinking was predicted by intelligence only. We conclude that a stronger attentional bias to visual information about the "bigger picture" promotes cognitive flexibility in searching for multiple solutions.
Full Text Available Because of its fundamental relevance to scientific innovation, artistic expression, and human ingenuity, creativity has long been the subject of systematic psychological investigation. Concomitantly, the far-reaching effects of stereotypes on various cognitive and social processes have been widely researched. Bridging these two literatures, we show in a series of two studies that stereotypes related to creativity can both enhance and diminish individuals' performance on a divergent thinking task. Specifically, Study 1 demonstrated that participants asked to take on a stereotypically uninhibited perspective performed significantly better on a divergent thinking task than those participants who took on a stereotypically inhibited perspective, and a control group. Relatedly, Study 2 showed that the same effect is found within-subjects, with divergent thinking significantly improving when participants invoke an uninhibited stereotype. Moreover, we demonstrate the efficacy of Latent Semantic Analysis as an objective measure of the originality of ideas, and discuss implications of our findings for the nature of creativity. Namely, that creativity may not be best described as a stable individual trait, but as a malleable product of context and perspective.
Dumas, Denis; Dunbar, Kevin N
Because of its fundamental relevance to scientific innovation, artistic expression, and human ingenuity, creativity has long been the subject of systematic psychological investigation. Concomitantly, the far-reaching effects of stereotypes on various cognitive and social processes have been widely researched. Bridging these two literatures, we show in a series of two studies that stereotypes related to creativity can both enhance and diminish individuals' performance on a divergent thinking task. Specifically, Study 1 demonstrated that participants asked to take on a stereotypically uninhibited perspective performed significantly better on a divergent thinking task than those participants who took on a stereotypically inhibited perspective, and a control group. Relatedly, Study 2 showed that the same effect is found within-subjects, with divergent thinking significantly improving when participants invoke an uninhibited stereotype. Moreover, we demonstrate the efficacy of Latent Semantic Analysis as an objective measure of the originality of ideas, and discuss implications of our findings for the nature of creativity. Namely, that creativity may not be best described as a stable individual trait, but as a malleable product of context and perspective.
Full Text Available Creativity in the learning process by teachers is very important in order to support the task at school. Teacher creativity allows teachers to apply various learning methods that encourage students' interest to learn from the classroom. Besides, creativity for teachers is needed to support student development. This study aims to determine the level of creativity of teachers through group guidance services. Subjects in this study involved 10 teachers at Gemma Insani Indonesia Depok. Data analysis used a quantitative approach with pre-test and post-test control group of one design. The results show effective group guidance to improve teacher creativity at Gemma Insani Indonesia Depok.
Darsø, Lotte; Ibbotson, Piers
In this article we argue that leaders facing complex challenges can learn from the arts, specifically that leaders can learn by examining how theatre directors direct creativity through creative constraints. We suggest that perceiving creativity as a boundary phenomenon is helpful for directing it....... Like leaders, who are caught in paradoxical situations where they have to manage production and logistics simultaneously with making space for creativity and innovation, theatre directors need to find the delicate balance between on one hand renewal of perceptions, acting and interaction...... and on the other hand getting ready for the opening night. We conclude that the art of directing creativity is linked to developing competencies of conscious presence, attention and vigilance, whereas the craft of directing creativity concerns communication, framing and choice....
Lustenberger, Caroline; Boyle, Michael R.; Foulser, A. Alban; Mellin, Juliann M.; Fröhlich, Flavio
Creativity, the ability to produce innovative ideas, is a key higher-order cognitive function that is poorly understood. At the level of macroscopic cortical network dynamics, recent EEG data suggests that cortical oscillations in the alpha frequency band (8 – 12 Hz) are correlated with creative thinking. However, whether alpha oscillations play a fundamental role in creativity has remained unknown. Here we show that creativity is increased by enhancing alpha power using 10 Hz transcranial alternating current stimulation (10Hz-tACS) of the frontal cortex. In a study of 20 healthy participants with a randomized, balanced cross-over design, we found a significant improvement of 7.4% in the Creativity Index measured by the Torrance Test of Creative Thinking, a comprehensive and most frequently used assay of creative potential and strengths. In a second similar study with 20 subjects, 40Hz-tACS was used in instead of 10Hz-tACS to rule out a general “electrical stimulation” effect. No significant change in the Creativity Index was found for such frontal gamma stimulation. Our results suggest that alpha activity in frontal brain areas is selectively involved in creativity; this enhancement represents the first demonstration of specific neuronal dynamics that drive creativity and can be modulated by non-invasive brain stimulation. Our findings agree with the model that alpha recruitment increases with internal processing demands and is involved in inhibitory top-down control, which is an important requirement for creative ideation. PMID:25913062
and creativity. But the relational dependence between the physical space, pedagogics and organisation is widely overlooked when designing these new learning environments as a new spatial design in itself is expected to change the way we teach and learn. Simply changing the space is not enough (Imms & Byers, 2017......) and the intentions of the space can only be fully realised if the inhabitants of the schools completely understand and support the pedagogical principles informing the provision of these spaces (Burke, 2016). This is why three things should be aligned in order for an ILE to work intendedly: creative teaching (the...... teacher), space (the designer) and organisation (management). With my research, I would like to contribute to the understanding of the relationship between the physical learning environment and creative learning processes and the potential of the space as a tool to stimulate creativity. In my poster...
This article reports on a practitioner research study exploring how creative thinking activities can be designed and integrated into high school English classes. It delineates the process of developing a metaphorical creativity workshop for year 11 students in Taiwan and demonstrates the students' workshop experiences and learning outcomes.…
Alexandre Anderson Romeiro
Full Text Available The theme of creativity has gained prominence among practitioners and academics, and the emergence of creative industries, which combine creativity and commercial logic, has rendered the topic even more relevant. Creativity is frequently associated with the existence of flexible organizational structures and organizational cultures that favor autonomy and freedom of action. However, organizations commonly impose limits on the actions of creative professionals because of the timescales, budgets, and business and customer demands inherent to the organizational context. Knowledge of creativity in academia has advanced considerably in recent decades. However, empirical studies investigating the restrictions imposed on creative work in organizations are lacking. This study addresses this gap in the literature. Our objective was to investigate creativity within advertising agencies, a creative industry sector. The results reveal that creativity in such environments is marked by collective work, conditioned by time pressures for performing tasks, and influenced by the tension that originates from the interaction between two dimensions: the search for originality and the need for acceptance. On the basis of this research, we propose the concept of bounded creativity, which reflects the weakening of the creative experience in organizations.
Donald J. Treffinger; Edwin C. Selby
Critical thinking and creative thinking are proposed as determinants to cope with the constant change society, and basically children are experiencing nowadays. Moreover, tools for the development of critical and creative thinking are discussed, and the creative problem solving toolbox is presented, involving tools for generating options, as well as tools for focusing options. The importance of the tools as significant basis for the learning process, as well as for the management of changes i...
Bin Hassan, Isham Shah; Ismail, Mohd Arif; Mustafa, Ramlee
The purpose of this research is to examine the effect of integrating the mobile and CAD technology on teaching architectural design process for Malaysian polytechnic architectural students in producing a creative product. The website is set up based on Caroll's minimal theory, while mobile and CAD technology integration is based on Brown and…
Managing for creativity has proven to be one of the most important drivers in IS and IS development, providing competitive advantages for strong companies as Google, SAS Institute and LEGO. The continuous changing market environment drives companies to focus on creativity as an increasing necessity...... when competing through sustained innovations. However, creativity in the IS environment is a challenge for most organizations - primarily caused by the lack of knowledge in strategizing creative processes in relation to the IS strategies - causing companies to act ad hoc in their creative endeavors....... In this paper, I address these organizational challenges in creativity and IS. Grounded in a literature review conducted previously and a rigorous selection process, I have identified and presented a model of seven important factors for the creative context in IS organizations. From these factors, 21 common...
Donald J. Treffinger
Full Text Available Critical thinking and creative thinking are proposed as determinants to cope with the constant change society, and basically children are experiencing nowadays. Moreover, tools for the development of critical and creative thinking are discussed, and the creative problem solving toolbox is presented, involving tools for generating options, as well as tools for focusing options. The importance of the tools as significant basis for the learning process, as well as for the management of changes in the creative problem solving solution, as well as its application from infancy to adulthood is discussed. Finally, recommendations about teaching and application of thinking tools are considered.
Wilson, Rebecca C; Butters, Oliver W; Clark, Tom; Minion, Joel; Turner, Andrew; Murtagh, Madeleine J
ECOUTER ( E mploying CO ncept u al schema for policy and T ranslation E in R esearch - French for 'to listen' - is a new stakeholder engagement method incorporating existing evidence to help participants draw upon their own knowledge of cognate issues and interact on a topic of shared concern. The results of an ECOUTER can form the basis of recommendations for research, governance, practice and/or policy. This paper describes the development of a digital methodology for the ECOUTER engagement process based on currently available mind mapping freeware software. The implementation of an ECOUTER process tailored to applications within health studies are outlined for both online and face-to-face scenarios. Limitations of the present digital methodology are discussed, highlighting the requirement of a purpose built software for ECOUTER research purposes.
Phelan, Sherry; Young, Angela M.
Creative Self-Leadership and Creative Confidence were examined in relation to Creative Style Preference and Training. It was hypothesized that perceptions of Creative Self-Leadership and Creative Confidence were related to personal Creative Style Preferences and that Training would be associated with higher levels of Creative Self-Leadership and…
Wisdom, Jennifer P.; Hoffman, Kim; Rechberger, Elke; Seim, Kay; Owens, Betta
Behavioral health treatment agencies often struggle to keep clients engaged in treatment. Women clients often have additional factors such as family responsibilities, financial difficulties, or abuse histories that provide extra challenges to remaining in care. As part of a national initiative, four women-focused drug treatment agencies used process improvement to address treatment engagement. Interviews and focus groups with staff assessed the nature and extent of interventions. Women-focused drug treatment agencies selected relational-based interventions to engage clients in treatment and improved four-week treatment retention from 66% to 76%. Process improvement interventions in women-focused treatment may be useful to improve engagement. PMID:20046914
Full Text Available The present paper outlines an action theory of creativity and substantiates this approach by investigating creative expression in five different domains. We propose an action framework for the analysis of creative acts built on the assumption that creativity is a relational, inter-subjective phenomenon. This framework, drawing extensively from the work of Dewey (1934 on art as experience, is used to derive a coding frame for the analysis of interview material. The article reports findings from the analysis of 60 interviews with recognised French creators in five creative domains: art, design, science, scriptwriting, and music. Results point to complex models of action and inter-action specific for each domain and also to interesting patterns of similarity and differences between domains. These findings highlight the fact that creative action takes place not ‘inside’ individual creators but ‘in between’ actors and their environment. Implications for the field of educational psychology are discussed.
Christine Winstinindah Sandroto
Full Text Available The creative economy is being increasingly encouraged by the Indonesian government, the existing entrepreneurs are mostly engaged in the culinary industry. This study aims to describe the role of competencies and education in increasing entrepreneurial intention in the creative economy. Three hundred and five questionnaires were distributed to creative entrepreneurs, consisting of 162 respondents in Jakarta and 143 in Balikpapan using convenience sampling. Research findings show that there is no difference between the mean scores of entrepreneurial competencies in Jakarta and Balikpapan. Furthermore, the level of education has a positive effect on (i entrepreneurial intention, (ii entrepreneurial professional attraction, and (iii entrepreneurial networking support. There is a positive relationship between education level and monthly revenue, as well as between entrepreneurial competencies and monthly revenue. The findings of this research would suggest government and education institution to further develop entrepreneurship education and train them with various methods and to cultivate interests in other creative sub-sectors.
THAT SOME MANAGERS MUST BE ABLE TO HELP EMPLOYEES DEVELOP OR APPLY CREATIVITY. IN THIS CONFERENCE PAPER WE WILL ANALYSE A CASE STUDY IN ORDER TO PRODUCE A THEORETICAL FRAMEWORK FOR IDENTIFYING WHEN AND HOW EMPLOYEES BECOME CREATIVE AT WORK. AN ESSENTIAL ASPECT OF THIS CONFERENCE PAPER WILL BE ANALYZING......PREVIOUS STUDIES (e.g. Hertel, 2015) HAS SHOWN THAT SOME CLEANING INDUSTRIES ARE ACTUALLY REQUIRING CREATIVE EMPLOYEES. HUMAN BEINGS ARE (c.f. Richards, 2010) BY DEFINITION CREATIVE BUT NOT ALL EMPLOYEES ARE USED TO OR ACTUALLY ALLOWED TO APPLY CREATIVITY IN EVERYDAY ORGANIZATIONAL LIFE. THIS MEANS...... THE CREATIVITY PRODUCED BY EMPLOEES. ANALYZING THE CREATIVITY PRODUCED WILL HELP US DEVELOP A THEORETICAL FRAMEWORK FOR UNDERSTANDING HOW CREATIVE THE EMPLOYEES ACTUALLY BECOMES....
Full Text Available Creativity is a concept that we encounter every day. We do hear about creative people, admire original art objects or read original books.However, in spite of our capacity to admit, there is a high level of confusion pertaining to the meaning of creativity. The rapid growth of competitionin business and industry is often used as a motivation of the desire to better understand the creative process. Thus, many organizations are forced to improve their old system and products. Managers in Romania must also find new methods and better problem solving ways. An even greater number of problems have little or no precedent, hence the conclusion that there are less tested methods of approach, in this way some positive results being anticipated. Therefore, having a creative ability is an essential skill of each leader. In other words, the creative leaders look for new problems and are successful especially in approaching new challenges.
Stine-Morrow, Elizabeth A L; Payne, Brennan R; Roberts, Brent W; Kramer, Arthur F; Morrow, Daniel G; Payne, Laura; Hill, Patrick L; Jackson, Joshua J; Gao, Xuefei; Noh, Soo Rim; Janke, Megan C; Parisi, Jeanine M
While a training model of cognitive intervention targets the improvement of particular skills through instruction and practice, an engagement model is based on the idea that being embedded in an intellectually and socially complex environment can impact cognition, perhaps even broadly, without explicit instruction. We contrasted these 2 models of cognitive enrichment by randomly assigning healthy older adults to a home-based inductive reasoning training program, a team-based competitive program in creative problem solving, or a wait-list control. As predicted, those in the training condition showed selective improvement in inductive reasoning. Those in the engagement condition, on the other hand, showed selective improvement in divergent thinking, a key ability exercised in creative problem solving. On average, then, both groups appeared to show ability-specific effects. However, moderators of change differed somewhat for those in the engagement and training interventions. Generally, those who started either intervention with a more positive cognitive profile showed more cognitive growth, suggesting that cognitive resources enabled individuals to take advantage of environmental enrichment. Only in the engagement condition did initial levels of openness and social network size moderate intervention effects on cognition, suggesting that comfort with novelty and an ability to manage social resources may be additional factors contributing to the capacity to take advantage of the environmental complexity associated with engagement. Collectively, these findings suggest that training and engagement models may offer alternative routes to cognitive resilience in late life. (PsycINFO Database Record (c) 2014 APA, all rights reserved).
Aside from possession of the relevant knowledge, skills, and intelligence, what seems to characterize the creative scientist is his imagination, originality, and ingenuity in combining existing knowledge into a new and unified scheme. This creativity frequently emerges from an aesthetic, poetic sense of freedom derived from work, an uninhibited playful activity of exploring a medium for its own sake. We speculate thus: With a preference for irregularities and disorder, the creative scientist temporarily takes leave of his senses, permitting expression of unconfigurated forces of his irrational unconscious. This amounts to a kind of internal "wagering," in which the scientist pits himself against uncertain circumstances, a situation in which his individual effort can be the deciding factor. When working on a difficult problem, there frequently occurs a "creative worrying" in which the problem is consciously and unconsciously carried around while doing other tasks. This period is attended by frustrations, tensions, and false inspirations. Dream and reality are wedded in a largely unconscious process of undefined emotional turmoil. When a uniquely gratifying association is realized, the unconscious deposits its collection of insights into the fringe consciousness, whereupon the full consciousness seizes on it and releases it as a flash of insight. Because the creative scientist possesses a strong and exacting self-concept, he can organize, integrate, and even exploit the conflict within himself. By compensating in fantasy for what is missing in reality, creativeness can be an expressive outlet ameliorating the universal, annoying split between a man's inner unconscious world and his outer conscious world. Although there is a divergence of opinion as to whether creativity can be taught, there is agreement that it can be fostered. However, parents, teachers, and institutions must display considerably more flexibility and tolerance towards individually minded persons who
Dawes, Nickki Pearce; Larson, Reed
For youth to benefit from many of the developmental opportunities provided by organized programs, they need to not only attend but become psychologically engaged in program activities. This research was aimed at formulating empirically based grounded theory on the processes through which this engagement develops. Longitudinal interviews were conducted with 100 ethnically diverse youth (ages 14–21) in 10 urban and rural arts and leadership programs. Qualitative analysis focused on narrative accounts from the 44 youth who reported experiencing a positive turning point in their motivation or engagement. For 38 of these youth, this change process involved forming a personal connection. Similar to processes suggested by self-determination theory (Ryan & Deci, 2000), forming a personal connection involved youth's progressive integration of personal goals with the goals of program activities. Youth reported developing a connection to 3 personal goals that linked the self with the activity: learning for the future, developing competence, and pursuing a purpose. The role of purpose for many youth suggests that motivational change can be driven by goals that transcend self-needs. These findings suggest that youth need not enter programs intrinsically engaged--motivation can be fostered--and that programs should be creative in helping youth explore ways to form authentic connections to program activities.
Przysinda, Emily; Zeng, Tima; Maves, Kellyn; Arkin, Cameron; Loui, Psyche
Creativity has been defined as the ability to produce work that is novel, high in quality, and appropriate to an audience. While the nature of the creative process is under debate, many believe that creativity relies on real-time combinations of known neural and cognitive processes. One useful model of creativity comes from musical improvisation, such as in jazz, in which musicians spontaneously create novel sound sequences. Here we use jazz musicians to test the hypothesis that individuals with training in musical improvisation, which entails creative generation of musical ideas, might process expectancy differently. We compare jazz improvisers, non-improvising musicians, and non-musicians in the domain-general task of divergent thinking, as well as the musical task of preference ratings for chord progressions that vary in expectation while EEGs were recorded. Behavioral results showed for the first time that jazz musicians preferred unexpected chord progressions. ERP results showed that unexpected stimuli elicited larger early and mid-latency ERP responses (ERAN and P3b), followed by smaller long-latency responses (Late Positivity Potential) in jazz musicians. The amplitudes of these ERP components were significantly correlated with behavioral measures of fluency and originality on the divergent thinking task. Together, results highlight the role of expectancy in creativity. Copyright © 2017 Elsevier Inc. All rights reserved.
Cummings, Karen L.
A wonderful way to engage high-school students in sketchbook activities is to have them create journals that combine images with words to convey emotions, ideas, and understandings. Visual journaling is a creative way for them to share their experiences and personal responses to life's events in visual and written form. Through selecting and…
Sri Wahyu Lelly Hana Setyanti
Full Text Available The creative industry in Indonesia has contributed positively to the national economic growth. Creative industry grows from the creativity and innovation performance of the business actors. The challenge of creative industry is how to completely understand the creative and innovative processes in business management. Therefore it requires an approach that combines the synergy between academicians entrepreneurs government and society in a quadruple helix model. The objective of this research is to develop a creativity model through a quadruple helix model in improving innovation performance of the creative industry.
Full Text Available Since the turn of the century, mystic researchers have pointed to the similarities between mystics on the one hand, and artists, poets, mathematicians, musicians, in short, all those who are involved in creative activity. One common denominator, using the terminology of the day, is a state of inspiration, a sort of creative ecstasy, an immediate insight of some form. However, the question of what psychological processes can activate "inspiration" seemed to be unanswerable. The word inspiration says something of the suddenness and unexpectedness of the creative process. This process can be understood as a daily phenomenon, albeit on a lower level of intensity. A crucial question is whether there exists a common model for understanding the similarities which many researchers have hinted at, between religious and profane creativity. This question is intimately linked with another extremely central but little discussed problem within mystic research: with which psychological concepts should one describe the special knowledge and experiences which mystics say they have? Various researchers believe that the experience of the suprahuman cannot occur via "ordinary perceptive processes", via the senses, but only immediately, intuitively. It therefore seems clear that mystic research, if it is to progress, is in need of a model for different (unconscious perceptual and cognitive processes including insight into how they are activated.
Angeler, David G.; Sundstrom, Shana M.; Allen, Craig R.
BackgroundMajor scientific breakthroughs are generally the result of materializing creative ideas, the result of an inductive process that sometimes spontaneously and unexpectedly generates a link between thoughts and/or objects that did not exist before. Creativity is the cornerstone of scientific thinking, but scientists in academia are judged by metrics of quantification that often leave little room for creative thinking. In many scientific fields, reductionist approaches are rewarded and new ideas viewed skeptically. As a result, scientific inquiry is often confined to narrow but safe disciplinary ivory towers, effectively preventing profoundly creative explorations that could yield unexpected benefits.New informationThis paper argues how apparently unrelated fields specifically music and belief systems can be combined in a provocative allegory to provide novel perspectives regarding patterns in nature, thereby potentially inspiring innovation in the natural, social and other sciences. The merger between basic human tensions such as those embodied by religion and music, for example the heavy metal genre of deathcore, may be perceived as controversial, challenging, and uncomfortable. However, it is an example of moving the thinking process out of unconsciously established comfort zones, through the connection of apparently unrelated entities. We argue that music, as an auditory art form, has the potential to enlighten and boost creative thinking in science. Metal, as a fast evolving and diversifying extreme form of musical art, may be particularly suitable to trigger surprising associations in scientific inquiry. This may pave the way for dealing with questions about what we don´t know that we don´t know in a fast-changing planet.
Haslam, S. Alexander; Adarves-Yorno, Inmaculada; Postmes, Tom; Jans, Lise
Prevailing approaches to individual and group creativity have focused on personal factors that contribute to creative behavior (e.g., personality, intelligence, motivation), and the processes of behaving creatively and appreciating creativity are understood to be largely unrelated. This article uses
Flor Rivera Lopez
Full Text Available The integration of creative arts–based methods into scientific research offers a host of advantages, including the ability to capture the complex texture of lived experience, explore interconnections between nature and culture, support nonhierarchical relations, and communicate insights in engaging and empowering new ways. In this article, we describe a new method—CreativeVoice—integrating the creative arts and qualitative research, which we developed and applied in a context of pursuing community-based conservation of agricultural biodiversity. We developed CreativeVoice as an integrative method to help us understand the local contexts, cultures, and perspectives from community members of different ages and genders, in two contrasting farming communities in Oaxaca, Mexico. CreativeVoice effectively adapts and extends the Photovoice method so as to retain its benefits but address some of its limitations. This includes allowing participants to choose a genre of artistic expression connected to their own specific individual or cultural contexts and providing the capacity to move beyond capturing present-day realities to directly bring in connections to the past and visions for the future. This article describes both the CreativeVoice approach and the significant value of integrating arts-based methods into research for advancing sustainability.
Gomes, Joan Julieanne Mariani
The importance of thinking and problem-solving skills, and the ability to integrate and analyze information has been recognized and yet may be lacking in schools. Creativity is inherently linked to problem finding, problem solving, and divergent thinking (Arieti, 1976; Csikszentmihalyi, 1990; Milgram, 1990). The importance of early childhood education and its role in the formation of young minds has been recognized (Caine & Caine, 1991; Montessori, 1967a, 1967b; Piaget, 1970). Early childhood education also impacts creativity (Gardner, 1999). The features of brain-based learning (Caine & Caine, 1991; Jensen, 1998; Sousa, 2001; Wolfe, 2001) have a clear connection to nurturing the creative potential in students. Intrinsic motivation and emotions affect student learning and creativity as well (Hennessey & Amabile, 1987). The purpose of this study was to discern if a creativity-focused science curriculum for the kindergarteners at a Montessori early learning center could increase creativity in students. This action research study included observations of the students in two classrooms, one using the creativity-focused science curriculum, and the other using the existing curriculum. The data collected for this interpretive study included interviews with the students, surveys and interviews with their parents and teachers, teacher observations, and the administration of Torrance's (1981) Thinking Creatively in Action and Movement (TCAM) test. The interpretation of the data indicated that the enhanced science curriculum played a role in enhancing the creativity of the children in the creativity-focused group. The results of the TCAM (Torrance, 1981) showed a significant increase in scores for the children in the creativity-focused group. The qualitative data revealed a heightened interest in science and the observation of creative traits, processes, and products in the creativity-focused group children. The implications of this study included the need for meaningful
Wendrich, Robert E.
Playgrounds (real or virtual) are universal areas where most people learn to play, interact, engage, immerse to unlearn and relearn repeatedly in order to get more fundamental understanding and insights on their creativity, communication and collaboration patterns with others. Consequently, finding
Zabelina, Darya; Saporta, Arielle; Beeman, Mark
Creativity has been putatively linked to distinct forms of attention, but which aspects of creativity and which components of attention remains unclear. Two experiments examined how divergent thinking and creative achievement relate to visual attention. In both experiments, participants identified target letters (S or H) within hierarchical stimuli (global letters made of local letters), after being cued to either the local or global level. In Experiment 1, participants identified the targets more quickly following valid cues (80% of trials) than following invalid cues. However, this smaller validity effect was associated with higher divergent thinking, suggesting that divergent thinking was related to quicker overcoming of invalid cues, and thus to flexible attention. Creative achievement was unrelated to the validity effect. Experiment 2 examined whether divergent thinking (or creative achievement) is related to "leaky attention," so that when cued to one level of a stimulus, some information is still processed, or leaks in, from the non-cued level. In this case, the cued stimulus level always contained a target, and the non-cued level was congruent, neutral, or incongruent with the target. Divergent thinking did not relate to stimulus congruency. In contrast, high creative achievement was related to quicker responses to the congruent than to the incongruent stimuli, suggesting that real-world creative achievement is indeed associated with leaky attention, whereas standard laboratory tests of divergent thinking are not. Together, these results elucidate distinct patterns of attention for different measures of creativity. Specifically, creative achievers may have leaky attention, as suggested by previous literature, whereas divergent thinkers have selective yet flexible attention.
Mûller, Sune Dueholm; Ulrich, Frank
In today’s hypercompetitive environment in which markets change rapidly and competitive advantages are difficult to sustain, companies are forced to innovate and identify new business opportunities. However, innovation requires ingenuity and creativity. Product and service development depends...... on the creativity of employees, but harvesting and bringing novel ideas to fruition is often a chaotic process, which underscores the importance of creativity management within organizations. In this article, we review the literature on creativity in an effort to summarize state-of-the-art knowledge on how...... to stimulate creativity and spur innovation in modern organizations. For that purpose, we use Rhodes’ 4-Ps model (1961) distinguishing between creative environments (called press), people, products, and processes. Through a review of 110 journals on the AIS journal list, this article offers insights...
Full Text Available The article is devoted to the actual problem of teaching creative writing at the English lessons. The value of writing in the process of teaching English language is revealed. The principles and peculiarities of evaluation of creative writing are analyzed. The strategy of choosing methods in teaching creative writing is identified. The benefits of creative writing for learner and teachers are considered.
Xiao Deng; Zhishuang Guan
As leader creativity is found to be effective at promoting outcomes for organizations,more and more organizations select creative individuals as leaders.However,the influence of leader creativity has not received enough attention.Thus,this research seeks to focus on the potential influences of leader creativity in organizations.Based on social cognitive theory,we explore the relationship between leader creativity and subordinate organizational citizenship behavior (OCB).We find that leader creativity is positively related to subordinate OCB,and perceived team creative efficacy mediates the relationship.Moreover,creative self-efficacy moderates the relationships between perceived team creative efficacy and subordinate OCB.We then discuss implications and limitations,and suggest directions for future research.
Mayasari, Tantri; Kadarohman, Asep; Rusdiana, Dadi; Kaniawati, Ida
Creativity is an important capability that should be held to competitive standards in the 21st century in entering the era of information and knowledge. It requires a creative generation that is able to innovate to meet the challenges of an increasingly complex future. This study examines the student's creativity level by integrating STEM (Science, Technology, Engineering, and Mathematics) knowledge to make creative products in renewable energy (solar energy). Total respondents in this study were 29 students who take applied science course. This research used qualitative and quantitative method (mixed methods), and used "4P" dimension of creativity to assess student's creativity level. The result showed a creative product is influenced by STEM knowledge that can support student's creativity while collaborating an application of knowledge, skills, and ability to solve daily problems associated with STEM.
Hartley, Kylie A.; Plucker, Jonathan A.
The purpose of these exploratory studies was to examine Chinese and American elementary teachers' perceptions of how various classroom activities contribute to student creativity, and how often teachers report engaging their students in these activities. Third, fourth, and fifth grade teachers in the Midwestern United States (N = 51) and in…
study we investigated how learners demonstrate creativity whilst en- gaging in the technological process employing a qualitative research strategy, with observation and focus group interviews as the methods of data collection. From this data, indicators of creativity emerged. Schools must encourage learners to be creative ...
Ambrose, Laura; Machek, Greg R.
The process of identifying students as creatively gifted provides numerous challenges for educators. Although many schools assess for creativity in identifying students for gifted and talented services, the relationship between creativity and giftedness is often not fully understood. This article reviews commonly used methods of creativity…
Dalsgaard, Peter; Inie, Nanna; Hansen, Nicolai Brodersen
The aim of the workshop is to examine and discuss how computers can support, enrich, and transform collaborative creative processes. By exploring and combining methodological, theoretical, and design- oriented perspectives, we wish to examine the implications, potentials, and limitations of diffe......The aim of the workshop is to examine and discuss how computers can support, enrich, and transform collaborative creative processes. By exploring and combining methodological, theoretical, and design- oriented perspectives, we wish to examine the implications, potentials, and limitations...... of different approaches to providing digital support for collaborative creativity. Participation in the workshop requires participants to actively document and identify salient themes in one or more examples of computer- supported collaborative creativity, and the resulting material will serve as the empirical...
Zabelina, Darya L; O'Leary, Daniel; Pornpattananangkul, Narun; Nusslock, Robin; Beeman, Mark
Creativity has previously been linked with atypical attention, but it is not clear what aspects of attention, or what types of creativity are associated. Here we investigated specific neural markers of a very early form of attention, namely sensory gating, indexed by the P50 ERP, and how it relates to two measures of creativity: divergent thinking and real-world creative achievement. Data from 84 participants revealed that divergent thinking (assessed with the Torrance Test of Creative Thinking) was associated with selective sensory gating, whereas real-world creative achievement was associated with "leaky" sensory gating, both in zero-order correlations and when controlling for academic test scores in a regression. Thus both creativity measures related to sensory gating, but in opposite directions. Additionally, divergent thinking and real-world creative achievement did not interact in predicting P50 sensory gating, suggesting that these two creativity measures orthogonally relate to P50 sensory gating. Finally, the ERP effect was specific to the P50 - neither divergent thinking nor creative achievement were related to later components, such as the N100 and P200. Overall results suggest that leaky sensory gating may help people integrate ideas that are outside of focus of attention, leading to creativity in the real world; whereas divergent thinking, measured by divergent thinking tests which emphasize numerous responses within a limited time, may require selective sensory processing more than previously thought. Copyright © 2015 Elsevier Ltd. All rights reserved.
Patterson, Fiona; Zibarras, Lara Dawn
The ability to innovate is an important requirement in many organisations. Despite this pressing need, few selection systems in healthcare focus on identifying the potential for creativity and innovation and so this area has been vastly under-researched. As a first step towards understanding how we might select for creativity and innovation, this paper explores the use of a trait-based measure of creativity and innovation potential, and evaluates its efficacy for use in selection for healthcare education. This study uses a sample of 188 postgraduate physicians applying for education and training in UK General Practice. Participants completed two questionnaires (a trait-based measure of creativity and innovation, and a measure of the Big Five personality dimensions) and were also rated by assessors on creative problem solving measured during a selection centre. In exploring the construct validity of the trait-based measure of creativity and innovation, our research clarifies the associations between personality, and creativity and innovation. In particular, our study highlights the importance of motivation in the creativity and innovation process. Results also suggest that Openness to Experience is positively related to creativity and innovation whereas some aspects of Conscientiousness are negatively associated with creativity and innovation. Results broadly support the utility of using a trait-based measure of creativity and innovation in healthcare selection processes, although practically this may be best delivered as part of an interview process, rather than as a screening tool. Findings are discussed in relation to broader implications for placing more priority on creativity and innovation as selection criteria within healthcare education and training in future.
Mullen Raymond, Stephanie
When considering the importance of the human cognitive function of creativity, we often overlook the fact that it is due to human creativity and to the constant search for new sensory stimuli that our world has, throughout the years, been one of innovation in every aspect of our existence -in the sciences, the humanities, and the arts. Almost everything that surrounds us is the result of human creativity, therefore it is not difficult to understand that although neuroscientific research has led to valuable perceptions into the probable underpinnings of this multifaceted ability, the precise neurological substrates that underlie creativity are yet to be determined. Despite the establishment of a strong link between creativity and divergent thinking, other brain networks have been implicated in this mental process. The following review underlines recent studies on the neural foundations of creativity. A comprehensive analysis of the upmost important facts will be presented, with emphasis on concepts, tests, and methods that have been used to study creativity, and how they have outlined a pathway to the key understanding of this unique human ability. Copyright © 2016 Asociación Colombiana de Psiquiatría. Publicado por Elsevier España. All rights reserved.
Full Text Available The general objective of this study was to reexamine two views of creativity, one positing that there is a general creative capacity or talent and the other that creativity is domain-specific. These two views were compared by (a testing correlations among measures of domain-general and domain-specific creativity and (b examining how the general and the specific measures was each related to indices of knowledge, motivation, and personality. Participants were 147 college students enrolled in a foreign language course. Data were collected on participants’ domain knowledge, motivation, and creative personality, as well as four measures representing “General or Domain-Specific Creative Ideation” or “Creative Performance and Activity”. Results indicated that the four measures of creativity were correlated with one another, except for “General Performance and Activity” and “Domain-Specific Ideation.” A canonical correlation indicated that knowledge, motivation, and personality were significantly correlated with the four creativity measures (Rc = .49, p < .01. Multiple regressions uncovered particular relationships consistent with the view that creativity has both general and domain-specific contributions. Limitations, such as the focus on one domain, and future directions are discussed.
Full Text Available Investments into communications mix are specific because besides significant financial resources it also involves creative marketing ideas that are a result of imagination and experience. However, the application of direct marketing communication mix is like 'a cave on iceberg'. The visible aspect presented through promotional content is only a small part of the whole process including experts from different fields. The process of creation a new communication mix of direct marketing must fully use all the challenges posed by sophisticated technology. Direct marketing depicted by new technology (cable television, telemarketing and the Internet can substantially increase the competitive advantage of enterprises in attracting their customer's attention and creating their loyalty as well. The companies use the mentioned media more frequently in order to create such offers that will lead towards strengthening loyalty of the existing customers, while simultaneously attracting those customers who were previously making purchases with our direct competitors. Hence, an offer as a creatively designed marketing vehicle proposes a number of potential benefits to a client. However, the client will be able to claim those benefits only in the case when a customer takes action as suggested by a communicated message. Basically, those are 'the rules of the game' that regulate relationship between company and client in direct marketing. Creating offers which guide the process of direct marketing is in the domain of customer relations management. Without an attractive offer, consumers will not create any type of measurable response to a company and therefore relations with clients would never emerge. On the other hand, if a company fails to continuously follow client's needs and wants, those engaged in direct sales will not be able to create adequate offers that would satisfy clients and motivate them to repeat purchases. .
Alhusaini, Abdulnasser Alashaal F.
The Real Engagement in Active Problem Solving (REAPS) model was developed in 2004 by C. June Maker and colleagues as an intervention for gifted students to develop creative problem solving ability through the use of real-world problems. The primary purpose of this study was to examine the effects of the REAPS model on developing students' general creativity and creative problem solving in science with two durations as independent variables. The long duration of the REAPS model implementation lasted five academic quarters or approximately 10 months; the short duration lasted two quarters or approximately four months. The dependent variables were students' general creativity and creative problem solving in science. The second purpose of the study was to explore which aspects of creative problem solving (i.e., generating ideas, generating different types of ideas, generating original ideas, adding details to ideas, generating ideas with social impact, finding problems, generating and elaborating on solutions, and classifying elements) were most affected by the long duration of the intervention. The REAPS model in conjunction with Amabile's (1983; 1996) model of creative performance provided the theoretical framework for this study. The study was conducted using data from the Project of Differentiation for Diverse Learners in Regular Classrooms (i.e., the Australian Project) in which one public elementary school in the eastern region of Australia cooperated with the DISCOVER research team at the University of Arizona. All students in the school from first to sixth grade participated in the study. The total sample was 360 students, of which 115 were exposed to a long duration and 245 to a short duration of the REAPS model. The principal investigators used a quasi-experimental research design in which all students in the school received the treatment for different durations. Students in both groups completed pre- and posttests using the Test of Creative Thinking
Brem, Alexander; Puente-Diaz, Rogelio; Agogue, Marine
Creativity is a vibrant field of scientific research with important applied implications for the management of innovation. In this article, we argue that the proliferation of creativity research has led to positive and less positive outcomes and discuss five relevant research themes. We first...... introduce our readers to the different proposed dimensions of a creative object. Next, we explain recent developments on the level of the creativity magnitude issue. Based on that, we review how researchers currently operationalize creativity. After discussing how creativity is conceptualized...... and operationalized, we outline how it might be enhanced. Finally, we present an overview of the wide variety of methodological approaches currently used in creativity research. We close by calling for more interdisciplinary research and offering other suggestions for future directions....
Brem, Alexander; Puente-Diaz, Rogelio; Agogue, Marine
Creativity is a vibrant field of scientific research with important applied implications for the management of innovation. In this article, we argue that the proliferation of creativity research has led to positive and less positive outcomes and discuss five relevant research themes. We first...... and operationalized, we outline how it might be enhanced. Finally, we present an overview of the wide variety of methodological approaches currently used in creativity research. We close by calling for more interdisciplinary research and offering other suggestions for future directions....... introduce our readers to the different proposed dimensions of a creative object. Next, we explain recent developments on the level of the creativity magnitude issue. Based on that, we review how researchers currently operationalize creativity. After discussing how creativity is conceptualized...
Rauni Jandé Roama Alves
Full Text Available This study aimed to verify if the creativity of children with Developmental Dyslexia (CG; n = 13 differs from children without difficulties in reading and writing (NG; n = 13. Furthermore, we sought to verify how creativity could be related to intelligence. The Raven Colored Progressive Matrices Test and the Child Figural Creativity Test were applied in both groups. High correlations were found between intelligence and creativity in both groups, and variable correlations for the same type of analysis were found in the literature. There were no significant intergroup differences for creativity, although the NG had a higher overall average in creativity and the CG, the highest averages in most evaluated creative characteristics. The possible involvement of psychological/neuropsychological constructs with creativity, such as spatial processing and emotion, was discussed.
Hvidtfeldt, Dan Lund
The purpose of this article is to explore how the basic conception of 'emergence' informs the study of creativity as a socio-material practice. Initially, the article explicates how creative processes, products and performances involve not only tangible, but also intangible and social elements. Secondly, the theoretical conception of creativity as socio-material and the general philosophical notion of emergence are introduced. Inspired by the idea that a 'whole' is other than the sum of its 'parts' and by examples primarily from the world of music, the article argues that the relationship between subject and object - the main analytical focus of studies on creativity as a socio-material practice - is fundamentally embedded in an emergent process. The article concludes by highlighting how emergence theory acknowledges the performance or product as an intangible material for creative processes of musicians, and that studies of the socio-materiality of creative practices clearly involving tangible, intangible and social elements must refer to the emergent process through which the creative product or performance evolves meaning. The theoretical framework suggested is relevant for researchers interested in exploring how materials, social settings and physical environments are involved in creative processes.
Cho, Seokhee; Lin, Chia-Yi
Predictive relationships among perceived family processes, intrinsic and extrinsic motivation, incremental beliefs about intelligence, confidence in intelligence, and creative problem-solving practices in mathematics and science were examined. Participants were 733 scientifically talented Korean students in fourth through twelfth grades as well as…
Muhammad Ibrahim Abdullah
Full Text Available Corporate social responsibility (CSR is an emerging and fast-growing concept for both academic research and organizations. In recent years, the far-reaching influence of CSR practices on stakeholders has made both researchers and practitioners pay heed to this dimension. Employees are one of the most important stakeholders influenced by CSR practices. CSR brings in many ideas, concepts, and techniques. In the past, different antecedents and consequences of corporate social responsibility have been studied, but there is still a deficit in regard to whether employee creative performance is an outcome of corporate social responsibility, and the interlinked variables that might enhance this relationship. The main objective of this study is to examine how CSR practices enhance employee performances within the organization, and which other variables may enhance this relationship. The literature suggests that employees who value CSR campaigns and other practices identify with their company to a greater degree, work with more devotion and loyalty, and show more creativity in their work performance. In this study, organizational identification has been taken as the mediator, and creative self-efficacy has been taken as the moderator. The hypotheses were tested within the sample of companies engaging in CSR practices in Pakistan. A questionnaire survey was conducted using simple random sampling. Simple linear regression, hierarchical regression, and Barron and Kenny tests were applied through SPSS (Statistical Package for the Social Science for data analysis, and results were found according to the proposed model of the study.
This article identifies and examines a digital arm of creative writing studies and organizes that proposal into four categories through which to theorize the "craft" of creative production, each borrowed from Tim Mayers's "(Re)Writing Craft: Composition, Creative Writing, and the Future of English Studies": process, genre, author, and…
McAllister, Margaret; Davis, Susan; Brien, Donna Lee; Rogers, Irene; Flanagan, Wendy; Howie, Virginia; Dargusch, Jo
There is a large body of work that documents the history of the nursing profession and the experiences of nurses during significant historical eras such as the First World War. Yet learning about nursing history is commonly a tiny, or absent, component in the undergraduate nursing curriculum. This paper discusses an innovative project that had multiple aims. A primary aim was to engage nursing students and educators in a project that valued nursing history by integrating it into an event to celebrate International Nurses Day. As the paper will explain, other aims were in organising the event so that it capitalised on particular creative arts strengths within the faculty, offering cross-disciplinary connections, engagement and appreciation. A Readers' Theatre event, involving academics and students in nursing, creative arts and education, was conceived, developed and performed for the community. The theme was the experiences of First World War nurses and how they encapsulated values important to nursing today - the 6 Cs - which guide high standards of nursing. The 6 Cs are care, compassion, competence, communication, courage and commitment. We called the Readers' Theatre "The Courage to Care", and this involved a 4month process of script development, event planning and a performance. This process and outcomes were evaluated, prompting a reflection on the strengths and challenges of working in this creative way to engage a wide group of stakeholders to advance the profession of nursing. Copyright © 2015 Elsevier Ltd. All rights reserved.
Kilgour, Mark; Sasser, Sheila; Koslow, Scott
Given the creativity inherent in advertising, one useful measure of creativity may be the advertising creativity award. Although creativity awards have been used by academics, agencies, and clients as indicators of exemplary creative work, there is surprisingly little research as to what creative elements they actually represent. Senior agency…
Lyudmila M. Andryukhina
Full Text Available Introduction: the article is concerned with the topical problem of extending intercultural communicative competence in the educational process. Materials and Methods: the authors made a theoretical and empirical analysis of domestic and foreign research and analytical reports prepared in the framework of international projects, the activity of non-governmental organisations, in particular the activities of Sverdlovsk regiona l public organisation “Friends of France”. Results: it is proven that intercultural competence cannot be fully developed by traditional forms of education, and even the existing current innovative experience in this area is insufficient. The integration of education becomes a crucial factor. The article describes the creative educational practices of such integration as the conditions for broadening intercultural communicative competence. The basic characteristics of creative practices are described. Сreative practices being integrated fo rm a creative platform. Discussion and Conclusions: the system of conditions and means for broadening intercultural communicative competence is in constant development. The authors propose to consider the communicative competence as a system of creative practices transformed in the course of elaboration into creative platforms, expanding in the process of intercultural dialogue. This is a promising way to achieve the comprehensive result – completeness of integrated multi-component structure of the intercultural co mmunicative competence.
Maiden, N.; Jones, S.; Karlsen, I. K.; Neill, R.; Zachos, K.; Milne, A.
This vision paper frames requirements engineering as a creative problem solving process. Its purpose is to enable requirements researchers and practitioners to recruit relevant theories, models, techniques and tools from creative problem solving to understand and support requirements processes more effectively. It uses 4 drivers to motivate the case for requirements engineering as a creative problem solving process. It then maps established requirements activities onto one of the longest-esta...
The effective management of innovation is integral to the development of any business. This book provides a collection of articles dealing with creativity in the context of innovation management from an interdisciplinary perspective of business, psychology and engineering. It takes papers from......, creativity reduction in avoidance- and approach-oriented persons, creativity techniques and innovation, and the interplay between cognitive and organisational processes....
Adam B Weinberger
Full Text Available Humans have an impressive ability to augment their creative state (i.e., to consciously try and succeed at thinking more creatively. Though this "thinking cap" phenomenon is commonly experienced, the range of its potential has not been fully explored by creativity research, which has often focused instead on creativity as a trait. A key question concerns the extent to which conscious augmentation of state creativity can improve creative reasoning. Although artistic creativity is also of great interest, it is creative reasoning that frequently leads to innovative advances in science and industry. Here, we studied state creativity in analogical reasoning, a form of relational reasoning that spans the conceptual divide between intelligence and creativity and is a core mechanism for creative innovation. Participants performed a novel Analogy Finding Task paradigm in which they sought valid analogical connections in a matrix of word-pairs. An explicit creativity cue elicited formation of substantially more creative analogical connections (measured via latent semantic analysis. Critically, the increase in creative analogy formation was not due to a generally more liberal criterion for analogy formation (that is, it appeared to reflect "real" creativity rather than divergence at the expense of appropriateness. The use of an online sample provided evidence that state creativity augmentation can be successfully elicited by remote cuing in an online environment. Analysis of an intelligence measure provided preliminary indication that the influential "threshold hypothesis," which has been proposed to characterize the relationship between intelligence and trait creativity, may be extensible to the new domain of state creativity.
Weinberger, Adam B; Iyer, Hari; Green, Adam E
Humans have an impressive ability to augment their creative state (i.e., to consciously try and succeed at thinking more creatively). Though this "thinking cap" phenomenon is commonly experienced, the range of its potential has not been fully explored by creativity research, which has often focused instead on creativity as a trait. A key question concerns the extent to which conscious augmentation of state creativity can improve creative reasoning. Although artistic creativity is also of great interest, it is creative reasoning that frequently leads to innovative advances in science and industry. Here, we studied state creativity in analogical reasoning, a form of relational reasoning that spans the conceptual divide between intelligence and creativity and is a core mechanism for creative innovation. Participants performed a novel Analogy Finding Task paradigm in which they sought valid analogical connections in a matrix of word-pairs. An explicit creativity cue elicited formation of substantially more creative analogical connections (measured via latent semantic analysis). Critically, the increase in creative analogy formation was not due to a generally more liberal criterion for analogy formation (that is, it appeared to reflect "real" creativity rather than divergence at the expense of appropriateness). The use of an online sample provided evidence that state creativity augmentation can be successfully elicited by remote cuing in an online environment. Analysis of an intelligence measure provided preliminary indication that the influential "threshold hypothesis," which has been proposed to characterize the relationship between intelligence and trait creativity, may be extensible to the new domain of state creativity.
’Don’t block the road of inquiry” was the motto of Peirce and also Dewey situated inquiry in its ideal version in a democratic and cooperative community. Abduction became the key concept for the pragmatic and creative research process where the lonely engineer is substituted with intelligent...... collaborations of the many. Thus, inquiry is from a pragmatic understanding rather a social than a purely cognitive task. The paper will firstly give a sketch of this understanding of inquiry and creativity on the background of the theories of Peirce and Dewey and will draw some parallels to recent...... of Thevenot’s critical pragmatism this understanding might be naïve – not because this is an idealistic rather than a real-life scenario but because the idea of collaborative creativity and self-realization has actually become the driving force in a marked dominated organization of science and production...
Fjællegaard, Cecilie Bryld
The degree of transferability of skills and knowledge from an creative occupation in the creative industries to the wider economy is a great point of discussion within research in the arts and cultural and creative industries. By applying human capital theory on the labor market for creatives...
Thys, E; Sabbe, B; De Hert, M
The possible link between creativity and psychopathology has been a long time focus of research up to the present day. However, this research is hampered by methodological problems, especially the definition and assessment of creativity. This makes interpretation and comparison of studies difficult and possibly accounts for the contradictory results of this research. In this systematic review of the literature, research articles in the field of creativity and psychopathology were searched for creativity assessment tools. The tools used in the collected articles are presented and discussed. The results indicate that a multitude of creativity assessment tools were used, that many studies only used one tool to assess creativity and that most of these tools were only used in a limited number of studies. A few assessment tools stand out by a more frequent use, also outside psychopathological research, and more solid psychometric properties. Most scales used to evaluate creativity have poor psychometric properties. The scattered methodology to assess creativity compromises the generalizability and validity of this research. The field should creatively develop new validated instruments.
Mardia Hi. Rahman
Full Text Available Creative thinking ability development is needed to be implemented by every educator including lecturers to their students. Therefore, they need to seriously act and design their learning process. One of the ways to develop student’s creative thinking is using discovery learning model. This research is conducted in physics education study program in 2016 with students who took learning and teaching class as research subject. From the research analysis result and discussion, it can be concluded that discovery learning model can encourage students’ creative thinking ability in learning and teaching strategy subject.
Yue, Xiao Dong; Hui, Anna Na
Humor is found to be an essential element of creative thinking in Western culture. In Eastern culture, however, the relationship between creativity and humor is ambivalent. This study examined the relationship among humor styles, creative personality traits, and creative thinking abilities. A sample of 118 Chinese undergraduates in Hong Kong was recruited to complete the Humor Styles Questionnaire, the three Creative Personality subscales of the Chinese Personality Assessment Inventory-2 (CPAI-2), and the Verbal Test of the Wallach-Kogan Creativity Tests. Results show that humor styles are uncorrelated with creative thinking abilities of flexibility, fluency, and originality, but affiliative humor and aggressive humor are correlated with creative personality traits of novelty and diversity. A hierarchical multiple regression shows that both humor styles and creative personality traits of novelty and diversity account for non-significant variance on creative thinking abilities. These findings largely support a hypothesized non-association between humor styles and creative measures. They also pose a sharp contrast to findings obtained in the West, in which humor styles are typically correlated with both creative thinking abilities and creative personality traits.
Cowen, Virginia S; Kaufman, Diane; Schoenherr, Lisa
The act of writing offers an opportunity to foster self-expression and organisational abilities, along with observation and descriptive skills. These soft skills are relevant to clinical thinking and medical practice. Medical school curricula employ pedagogical approaches suitable for assessing medical and clinical knowledge, but teaching methods for soft skills in critical thinking, listening and verbal expression, which are important in patient communication and engagement, may be less formal. Creative and expressive writing that is incorporated into medical school courses or clerkships offers a vehicle for medical students to develop soft skills. The aim of this review was to explore creative and expressive writing as a pedagogical tool in medical schools in relation to outcomes of medical education. This project employed a scoping review approach to gather, evaluate and synthesise reports on the use of creative and expressive writing in US medical education. Ten databases were searched for scholarly articles reporting on creative or expressive writing during medical school. Limitation of the results to activities associated with US medical schools, produced 91 articles. A thematic analysis of the articles was conducted to identify how writing was incorporated into the curriculum. Enthusiasm for writing as a pedagogical tool was identified in 28 editorials and overviews. Quasi-experimental, mixed methods and qualitative studies, primarily writing activities, were aimed at helping students cognitively or emotionally process difficult challenges in medical education, develop a personal identity or reflect on interpersonal skills. The programmes and interventions using creative or expressive writing were largely associated with elective courses or clerkships, and not required courses. Writing was identified as a potentially relevant pedagogical tool, but not included as an essential component of medical school curricula. © 2016 John Wiley & Sons Ltd.
Creativity plays a very important role in education. Most of educational systems support creativity as relevant competence for the 21st century. According to the findings of experts, teachers' creativity is important for the development of students' creativity. We introduce a theoretical base of creativity and styles of creativity. Based on our…
is an interactive approach to learning that involves students in collaborative, creative problem solving in meaningful contexts. A R&D project in Danish schools has studied how the curriculum for grades 6-10 can be embedded in immersive narrative roleplay scenarios, and the implications for the learners’ motivation...... engaging the learners in narrative educational role-play. These include how the learners engagement in role-play can afford emotionally encoded memory, socially and contextually anchored interactions with the learning material as well as empathy and self-regulation.Based on the findings from the R...
When multicultural educators and archivists collaborate to design projects that engage students with multicultural history through archival research, students can learn in-depth research skills with primary source documents, creatively share their knowledge, and, on a broader level, engage with their local community history. The projects shared in…
Murtagh, Madeleine J; Minion, Joel T; Turner, Andrew; Wilson, Rebecca C; Blell, Mwenza; Ochieng, Cynthia; Murtagh, Barnaby; Roberts, Stephanie; Butters, Oliver W; Burton, Paul R
Because no single person or group holds knowledge about all aspects of research, mechanisms are needed to support knowledge exchange and engagement. Expertise in the research setting necessarily includes scientific and methodological expertise, but also expertise gained through the experience of participating in research and/or being a recipient of research outcomes (as a patient or member of the public). Engagement is, by its nature, reciprocal and relational: the process of engaging research participants, patients, citizens and others (the many 'publics' of engagement) brings them closer to the research but also brings the research closer to them. When translating research into practice, engaging the public and other stakeholders is explicitly intended to make the outcomes of translation relevant to its constituency of users. In practice, engagement faces numerous challenges and is often time-consuming, expensive and 'thorny' work. We explore the epistemic and ontological considerations and implications of four common critiques of engagement methodologies that contest: representativeness, communication and articulation, impacts and outcome, and democracy. The ECOUTER (Employing COnceptUal schema for policy and Translation Engagement in Research) methodology addresses problems of representation and epistemic foundationalism using a methodology that asks, "How could it be otherwise?" ECOUTER affords the possibility of engagement where spatial and temporal constraints are present, relying on saturation as a method of 'keeping open' the possible considerations that might emerge and including reflexive use of qualitative analytic methods. This paper describes the ECOUTER process, focusing on one worked example and detailing lessons learned from four other pilots. ECOUTER uses mind-mapping techniques to 'open up' engagement, iteratively and organically. ECOUTER aims to balance the breadth, accessibility and user-determination of the scope of engagement. An ECOUTER
Chan, Zenobia C Y
This systematic review aimed to identify the types of nursing course structure that promotes students' creative thinking and creativity. Systematic review. Five electronic databases: The British Nursing Index, CINAHL, PsycINFO, Scopus and Ovid Medline. The databases were systematically searched to identify studies that discussed the concept of creative thinking in nursing education or reported a strategy that improved students' creative thinking. Qualitative studies or studies that included qualitative data were included. After reading the full content of the included studies, key themes and concepts were extracted and synthesized. Eight studies were identified. Four main themes relating to the course structure in teaching creativity were developed: diversity learning, freedom to learn, learning with confidence and learning through group work. To promote creative thinking in nursing students, educators themselves need to be creative in designing courses that allow students to learn actively and convert thoughts into actions. Educators should balance course freedom and guidance to allow students to develop constructive and useful ideas. Confidence and group work may play significant roles in helping students to express themselves and think creatively. Copyright © 2012 Elsevier Ltd. All rights reserved.
, symbolic and social world of culture. It brings together eminent social and cultural psychologists who study dynamic, transformative and emergent phenomena, and invites them to conceptualise creativity in ways that depart from mainstream definitions and theoretical models existing in past and present...... and the lives of those around them. It will be of key interest to both social and cultural psychologists, as well as to creativity researchers and those who, as part of their personal or professional life, try to understand creativity and develop creative forms of expression....
Full Text Available Creativity is a complex process that invites to action, both the conscious and the unconscious mind. The work proposed by us puts into question a new aspect of the process of creativity: finding and solving problems, inserting the cognitive and ideational elements into the artistic creative process. Artistic personality represents a complex interaction between diverse psychological factors: intellectual (lateral, creative-thinking and convergent thinking and nonintellectual factors (temperament, character, motivation, affectivity, abyssal factors, special aptitudes. To these are added also, the biological factors (heredity, age, gender, mental health and social factors (economical condition, historical epoch, socio-cultural conditions. In the same time, the artist's success also appears to be linked to his ability to find and solve new problems in artistic themes, to his ability to correctly formulate questions, and then to find original, genuine answers. This paper explains the link between the multitude of solved problems and the artistic success.
The main aim of this study was to gain a deeper understanding of the effect of intrinsic motivation on affect, subjective evaluation, and the creative process of young artists. Relations between motivation, affect, and evaluation were treated as a dynamic process and measured several times. The unique contribution of this study is that it…
Aslan, Clare E; Pinsky, Malin L; Ryan, Maureen E; Souther, Sara; Terrell, Kimberly A
Conservation practitioners and scientists are often faced with seemingly intractable problems in which traditional approaches fail. While other sectors (e.g., business) frequently emphasize creative thinking to overcome complex challenges, creativity is rarely identified as an essential skill for conservationists. Yet more creative approaches are urgently needed in the effort to sustain Earth's biodiversity. We identified 4 strategies to develop skills in creative thinking and discuss underlying research and examples supporting each strategy. First, by breaking down barriers between disciplines and surrounding oneself with unfamiliar people, concepts, and perspectives, one can expand base knowledge and experiences and increase the potential for new combinations of ideas. Second, by meeting people where they are (both literally and figuratively), one exposes oneself to new environments and perspectives, which again broadens experiences and increases ability to communicate effectively with stakeholders. Third, by embracing risk responsibly, one is more likely to develop new, nontraditional solutions and be open to high-impact outcomes. Finally, by following a cycle of learning, struggle, and reflection, one can trigger neurophysiological changes that allow the brain to become more creative. Creativity is a learned trait, rather than an innate skill. It can be actively developed at both the individual and institutional levels, and learning to navigate the relevant social and practical barriers is key to the process. To maximize the success of conservation in the face of escalating challenges, one must take advantage of what has been learned from other disciplines and foster creativity as both a professional skill and an essential component of career training and individual development. © 2013 Society for Conservation Biology.
Hatchimonji, Danielle R.; Linsky, Arielle V.; DeMarchena, Sarah; Nayman, Samuel J.; Kim, Sarah; Elias, Maurice J.
In response to school environments in which teachers and students feel disconnected from the learning process, we developed a three-part curriculum feedback system with the goal of creating a school-wide culture of engagement through participatory feedback processes. Here we describe the barriers to participation and ownership that are addressed…
Biskjaer, Michael Mose; Halskov, Kim
‘decisive constraints’ based on a review of current, but dispersed, studies into creativity constraints. We build decisive constraints on two definitional conditions related to radical decision-making and creative turning points. To test our concept analytically and ensure its relevance to creative practice......, we apply the two definitional conditions to three media façade installation projects in which our interaction design research lab has been involved. In accord with insights from these case analyses, we argue that decisive constraints may inform current research into design processes and act......This article explores the observation that highly limiting, creative decisions of voluntary self-binding that radically prune the design solution space may in fact fuel and accelerate the process toward an innovative final design. To gain insight into this phenomenon, we propose the concept...
Iszaj, Fruzsina; Ehmann, Bea; Griffiths, Mark D; Demetrovics, Zsolt
Psychoactive substance use has often been claimed to help generate and facilitate the artistic creative process. This study explored the role of artists' substance use in their creative processes and their efforts to balance between enhancement and relaxation. Semistructured interviews concerning the artistic creative process and the role of psychoactive substance use were recorded with 72 artists and analyzed using content analysis. The participants were classified according to their substance use in three groups (Cannabis Group, Alcohol Group, and Control Group). Results show that both alcohol and cannabis were used to facilitate creativity and the emotional states that are necessary for the artistic creative process. Participants in the Control group reported that listening to music might function as a mind-altering tool. It was also found that for some artists, substance use is not only characteristic to creation, but it is also part of their everyday lives. Artists are aware of the balancing phenomenon during the artistic creative process. Whether psychoactive substance(s) or other environmental stimuli (such as music) are used to reach the required effect appears to depend upon the individual.
Jensen, Tine Wirenfeldt; Dankl, Kathrina
Introduction Peer feedback has been proven to significantly strengthen students’ academic writing skills as well as foster meta-cognitive awareness on learning processes (Gibbs et al. 2004, Nicol et. al 2006). In order to unleash this potential, a collaborative and trusting ethos is required...... disciplinary-specific teaching formats and using these as “bridges” to enable students’ active engagement and unlock student’s co-creation skills. Method The proposed method has been applied at the Design School in Kolding at a course initiated as a part of the Master’s thesis supervision. As a method...... for a synopsis, and peer feedback was introduced for ‘shaping and co-creating’ first drafts of a synopsis. Both peer feedback and the concept of creative constraints (see freewriting format), are commonly used in design as methods to spur creativity. Results According to students own written evaluations (fifteen...
This edited book will address creativity and innovation among the two cultures of science and art. Disciplines within science and art include: medicine (neurology), music therapy, art therapy, physics, chemistry, engineering, music, improvisation, education and aesthetics. This book will be the first of its kind to appeal to a broad audience of students, scholars, scientists, professionals, practitioners (physicians, psychologists, counsellors and social workers), musicians, artists, educators and administrators. In order to understand creativity and innovation across fields, the approach is multidisciplinary. While there is overlap across disciplines, unique domain specific traits exist in each field and are also discussed in addition to similarities. This book engages the reader with the comparison of similarities and differences through dialog across disciplines. Authors of each chapter address creativity and innovation from their own distinct perspective. Each chapter is transdisciplinary in approach. T...
Tierney, Pamela; Farmer, Steven M.
Building from an established framework of self-efficacy development, this study provides a longitudinal examination of the development of creative self-efficacy in an ongoing work context. Results show that increases in employee creative role identity and perceived creative expectation from supervisors over a 6-month time period were associated…
Wu, Jing-Jyi; Albanese, Dale
This commentary looks at the contributions and future research implications of the four articles in this Special Issue of "Thinking Skills and Creativity" to the fields of creativity and creativity education, both in culture-specific and culture-general terms. The articles included in this Special Issue draw attention to issues of…
Xue, Hua; Lu, Kelong; Hao, Ning
This study aimed to investigate which type of group (e.g., consisting of less-creative or highly-creative individuals) would perform better in solving creativity problems, and explore the underlying inter-brain neural correlates between team members. A preliminary test (an alternative-uses task) was performed to rank individuals' level of creativity, and divide participants into three types of dyads: high-high (two highly-creative individuals), low-low (two less-creative individuals), and high-low (one highly-creative and one less-creative individual). Dyads were then asked to solve a realistic presented problem (RPP; a typical creativity problem) during which a functional near-infrared spectroscopy (fNIRS)-based hyperscanning device was used to record the variation of interpersonal brain synchronization (IBS). Results revealed that less-creative individuals, while working together, would perform as well as highly-creative individuals. The low-low dyads showed higher levels of cooperation behaviour than the other two types of dyads. The fNIRS results revealed increased IBS only for low-low dyads at PFC (prefrontal cortex) and rTPJ (right temporal-parietal junction) brain regions during RPP task performance. In the rDLPFC (right dorsolateral prefrontal cortex), the IBS in the low-low dyads was stronger than that of high-high and high-low dyads. In the rTPJ, the IBS in the low-low dyads was only stronger than that of the high-low dyads. Besides, the IBS at rDLPFC and rTPJ regions in the low-low dyads was positively correlated with their cooperation behaviour and group creative performance. These findings indicated when two less-creative individuals worked on a creativity problem together, they tended to cooperate with each other (indicated by both behaviour index and increased IBS at rDLPFC and rTPJ), which benefited their creative performance. Copyright © 2018 Elsevier Inc. All rights reserved.
Luria, Sarah R; O'Brien, Rebecca L; Kaufman, James C
Many federal definitions and popular theories of giftedness specify creativity as a core component. Nevertheless, states rely primarily on measures of intelligence for giftedness identification. As minority and culturally diverse students continue to be underrepresented in gifted programs, it is reasonable to ask if increasing the prominence of creativity in gifted identification may help increase balance and equity. In this paper, we explore both layperson and psychometric conceptions of bias and suggest that adding creativity measures to the identification process alleviates both perceptions and the presence of bias. We recognize, however, the logistic and measurement-related challenges to including creativity assessments. © 2016 New York Academy of Sciences.
Meyer, Allison Antink
Science teachers are often content to leave creativity to the arts and humanities classes. Fostering creativity in science, if attempted at all, is a challenge often relegated to the gifted classroom. But not just the privileged few have the capacity to be creative. Simply restructuring existing lessons can help promote creativity in all science…
Báez, Juan Miguel; Bergua, José Angel; Pac, David
This article describes an application in Spain of Florida's model (2002/2010, 2005) about creativity, economy and growth. Creativity is an indicator that measures and combines technology, talent, and tolerance. Each of these is composed of three subindices. The most important conclusion from the data reported here is that creativity in particular,…
King, Robert; Neilsen, Philip; White, Emma
There is evidence that creative writing forms an important part of the recovery experience of people affected by severe mental illness. In this paper, we consider theoretical models that explain how creative writing might contribute to recovery, and we discuss the potential for creative writing in psychosocial rehabilitation. We argue that the rehabilitation benefits of creative writing might be optimized through focus on process and technique in writing, rather than content, and that consequently, the involvement of professional writers might be important. We describe a pilot workshop that deployed these principles and was well-received by participants. Finally, we make recommendations regarding the role of creative writing in psychosocial rehabilitation for people recovering from severe mental illness and suggest that the development of an evidence base regarding the effectiveness of creative writing is a priority. © 2012 The Authors; International Journal of Mental Health Nursing © 2012 Australian College of Mental Health Nurses Inc.
Kim, Sharon H; Vincent, Lynne C; Goncalo, Jack A
Eminently creative people working in fields as disparate as physics and literature refer to the experience of social rejection as fuel for creativity. Yet, the evidence of this relationship is anecdotal, and the psychological process that might explain it is as yet unknown. We theorize that the experience of social rejection may indeed stimulate creativity but only for individuals with an independent self-concept. In 3 studies, we show that individuals who hold an independent self-concept performed more creatively after social rejection relative to inclusion. We also show that this boost in creativity is mediated by a differentiation mind-set, or salient feelings of being different from others. Future research might investigate how the self-concept--for example, various cultural orientations-may shape responses to social rejection by mitigating some of the negative consequences of exclusion and potentially even motivating creative exploration. PsycINFO Database Record (c) 2013 APA, all rights reserved.
Full Text Available In the present research we explored the presence of schizotypal traits in painters. Furthermore, the relations of schizotypy and creativity-related variables (intelligence, creativity and creative productivity were analyzed. Study participants were divided into the criterion (132 students of art academy and art high school and control group (119 psychology students and members of grammar school. Two hypotheses were set: 1 schizotypal traits are more pronounced in painters than in control group; 2 schizotypy is more closely associated with the creativitylinked variables in the criterion than in control group. Schizotypy was operationalized by Disintegration construct and measured via DELTA 10 inventory. Intelligence was assessed by Advanced Progressive Matrices-18; creativity was measured by the same labeled scale from HEXACO-PI-R inventory and creative productivity was explored by a set of questions regarding the frequency of creative behavior. Results showed that Magical thinking, Enhanced awareness, Somatoform Dysregulation, Perceptual distortions and Social anhedonia were the schizotypal traits which were more pronounced in painters as compared to the control group. Factor analyses performed in each group separately revealed a latent component loaded both with schizotypal traits, creativity and creative productivity, but only in the group of painters: schizotypy and creativity were not so closely related in the control group. Thus, the study hypotheses were largely confirmed. Results provide a more detailed understanding of the relations between schizotypy and creativity.
Ion Gh. Rosca; Dumitru Todoroi
Creativity is a result of brain activity which differentiates individuals and could ensure an important competitive advantage for persons, for companies, and for Society in general. Very innovative branches – like software industry, computer industry, car industry – consider creativity as the key of business success. Natural Intelligence Creativity can develop basic creative activities, but Artificial Intelligence Creativity, and, especially, Conscience Intelligence Creativity should be devel...
Pétervári, Judit; Osman, Magda; Bhattacharya, Joydeep
Both intuition and creativity are associated with knowledge creation, yet a clear link between them has not been adequately established. First, the available empirical evidence for an underlying relationship between intuition and creativity is sparse in nature. Further, this evidence is arguable as the concepts are diversely operationalized and the measures adopted are often not validated sufficiently. Combined, these issues make the findings from various studies examining the link between intuition and creativity difficult to replicate. Nevertheless, the role of intuition in creativity should not be neglected as it is often reported to be a core component of the idea generation process, which in conjunction with idea evaluation are crucial phases of creative cognition. We review the prior research findings in respect of idea generation and idea evaluation from the view that intuition can be construed as the gradual accumulation of cues to coherence. Thus, we summarize the literature on what role intuitive processes play in the main stages of the creative problem-solving process and outline a conceptual framework of the interaction between intuition and creativity. Finally, we discuss the main challenges of measuring intuition as well as possible directions for future research. PMID:27703439
Hasan, B.; Hasbullah; Purnama, W.; Hery, A.
Creative industry development areas of software by using Free Open Source Software (FOSS) is expected to be one of the solutions to foster new entrepreneurs of the students who can open job opportunities and contribute to economic development in Indonesia. This study aims to create entrepreneurial coaching model based on the creative industries by utilizing FOSS software field as well as provide understanding and fostering entrepreneurial creative industries based field software for students of Universitas Pendidikan Indonesia. This activity phase begins with identifying entrepreneurs or business software technology that will be developed, training and mentoring, apprenticeship process at industrial partners, creation of business plans and monitoring and evaluation. This activity involves 30 UPI student which has the motivation to self-employment and have competence in the field of information technology. The results and outcomes expected from these activities is the birth of a number of new entrepreneurs from the students engaged in the software industry both software in the world of commerce (e-commerce) and education/learning (e-learning/LMS) and games.
Glaveanu, Vlad Petre; Lubart, Todd; Bonnardel, Nathalie
The present paper outlines an action theory of creativity and substantiates this approach by investigating creative expression in five different domains. We propose an action framework for the analysis of creative acts built on the assumption that creativity is a relational, inter......, science, scriptwriting, and music. Results point to complex models of action and inter-action specific for each domain and also to interesting patterns of similarity and differences between domains. These findings highlight the fact that creative action takes place not “inside” individual creators but “in...
Sangkakorn, Korawan; Chakpitak, Nopasit; Yodmongkol, Pitipong
An innovative creative class drives creative cities, urban areas in which diverse cultures are integrated into social and economic functions. The creative city of Chiang Mai, Thailand is renowned for its vibrant Lan Na culture and traditions, and draws new migrants from other areas in Thailand seeking to become part of the creative class. This…
Lee, Seung Hwan; Hoffman, K. Douglas
Based on the popular television show the "Iron Chef," an innovative marketing activity called the "Iron Inventor" is introduced. Using the creative problem-solving approach and active learning techniques, the Iron Inventor facilitates student learning pertaining to the step-by-step processes of creating a new product and…
N. Nazlı Ozdemir
Full Text Available In this study, an investigation was carried out to explore if there were any gender differences in scientific creativity and its components. Par-ticipants included 704 sixth grade students who applied to the Education Programs for Talented Students (EPTS at Anadolu University in the City of Eskişehir in Turkey. Of the total sam-ple, 345 were female and 359 were male. Stu-dents’ scientific creativity was measured using the Creative Scientific Ability Test (C-SAT. It measures fluency, flexibility and creativity and hypothesis generation, hypothesis testing and evidence evaluation. The analysis showed that male students scored significantly higher on fluency and creativity and hypothesis genera-tion components of scientific creativity. Alt-hough male students had higher scores on flex-ibility, hypothesis testing and evidence evalua-tion components too, the differences between the groups were not significant. The findings shows that gender differences in scientific crea-tivity in childhood and adolescence might re-sult from differences in some particular pro-cesses.
Li, Wenfu; Li, Xueting; Huang, Lijie; Kong, Xiangzhen; Yang, Wenjing; Wei, Dongtao; Li, Jingguang; Cheng, Hongsheng; Zhang, Qinglin; Qiu, Jiang; Liu, Jia
Creativity is crucial to the progression of human civilization and has led to important scientific discoveries. Especially, individuals are more likely to have scientific discoveries if they possess certain personality traits of creativity (trait creativity), including imagination, curiosity, challenge and risk-taking. This study used voxel-based morphometry to identify the brain regions underlying individual differences in trait creativity, as measured by the Williams creativity aptitude test, in a large sample (n = 246). We found that creative individuals had higher gray matter volume in the right posterior middle temporal gyrus (pMTG), which might be related to semantic processing during novelty seeking (e.g. novel association, conceptual integration and metaphor understanding). More importantly, although basic personality factors such as openness to experience, extroversion, conscientiousness and agreeableness (as measured by the NEO Personality Inventory) all contributed to trait creativity, only openness to experience mediated the association between the right pMTG volume and trait creativity. Taken together, our results suggest that the basic personality trait of openness might play an important role in shaping an individual's trait creativity. © The Author (2014). Published by Oxford University Press. For Permissions, please email: firstname.lastname@example.org.
Lustenberger, Caroline; Boyle, Michael R; Foulser, A Alban; Mellin, Juliann M; Fröhlich, Flavio
Creativity, the ability to produce innovative ideas, is a key higher-order cognitive function that is poorly understood. At the level of macroscopic cortical network dynamics, recent electroencephalography (EEG) data suggests that cortical oscillations in the alpha frequency band (8-12 Hz) are correlated with creative thinking. However, whether alpha oscillations play a functional role in creativity has remained unknown. Here we show that creativity is increased by enhancing alpha power using 10 Hz transcranial alternating current stimulation (10 Hz-tACS) of the frontal cortex. In a study of 20 healthy participants with a randomized, balanced cross-over design, we found a significant improvement of 7.4% in the Creativity Index measured by the Torrance Test of Creative Thinking (TTCT), a comprehensive and most frequently used assay of creative potential and strengths. In a second similar study with 20 subjects, 40 Hz-tACS was used instead of 10 Hz-tACS to rule out a general "electrical stimulation" effect. No significant change in the Creativity Index was found for such frontal 40 Hz stimulation. Our results suggest that alpha activity in frontal brain areas is selectively involved in creativity; this enhancement represents the first demonstration of specific neuronal dynamics that drive creativity and can be modulated by non-invasive brain stimulation. Our findings agree with the model that alpha recruitment increases with internal processing demands and is involved in inhibitory top-down control, which is an important requirement for creative ideation. Copyright © 2015 Elsevier Ltd. All rights reserved.
Bjørner, Thomas; Kofoed, Lise B.
We will present a case study result from a cross-disciplinary education called Medialogy, which is taught in the Technical and Science Faculty at Aalborg University. The aim of Medialogy is to facilitate creativity within technical solutions. The intention of this paper is to answer the following......: how do the Medialogy teachers perceive creativity and how do they facilitate it? Many of the answers point to the pedagogical approach used in problem-based learning, which are perceived as an important element for the creative process. In this paper we will also argue the importance of including...
Martin, Michael J.; Leuci, Mary; Stewart, Mark
The University of Missouri Extension needed to develop an annual program review process that collaboratively engaged county-level stakeholders. The results from the first 2 years highlight the results, challenges, and implications of the design process. The annual review process needs to be adaptive, responsive, and reflective from year to year…
Manssour, Ana Beatriz Benites
Man and work histories are interlaced to tell us how the interaction among different human groups have helped in the development of intellectual capacities of our species. Creativity is mostly seen as a gift or an individual quality, for whose bloom and exercise there are internal and external factors, understood as stimulants of the creative process. Research for a master's thesis had, as its principal aim, the analysis of the subjective impact of telework on the workers personal satisfaction. Our second category authenticates the importance of interpersonal communication among fellow workers as incentive to personal creativity. The study was developed with columnists of a great newspaper with a big circulation in the south of Brazil, because telework is a tool of the press media, and creativity is a requirement for journalistic employment.
Mayer, Jennifer; Mussweiler, Thomas
Intuitively, as well as in light of prior research, distrust and creativity appear incompatible. The social consequences of distrust include reluctance to share information, a quality detrimental to creativity in social settings. At the same time, the cognitive concomitants of distrust bear resemblance to creative cognition: Distrust seems to foster thinking about nonobvious alternatives to potentially deceptive appearances. These cognitive underpinnings of distrust hold the provocative implication that distrust may foster creativity. Mirroring these contradictory findings, we suggest that the social versus cognitive consequences of distrust have diverging implications for creativity. We address this question in Study 1 by introducing private/public as a moderating variable for effects of distrust on creativity. Consistent with distrust's social consequences, subliminal distrust (vs. trust) priming had detrimental effects on creative generation presumed to be public. Consistent with distrust's cognitive consequences, though, an opposite tendency emerged in private. Study 2 confirmed a beneficial effect of distrust on private creative generation with a different priming method and pointed to cognitive flexibility as the mediating process. Studies 3 and 4 showed increased category inclusiveness versus increased remote semantic spread after distrust priming, consistent with enhanced cognitive flexibility as a consequence of distrust. Taken together, these results provide evidence for the creativity-enhancing potential of distrust and suggest cognitive flexibility as its underlying mechanism.
Full Text Available Engagement and deeper learning were enhanced by developing several innovative teaching strategies delivered in Research Methods workshops to Graduate Business Students. Focusing primarily on students adopting a creative approach to formulating a valid research question for undertaking a dissertation successfully. These techniques are applicable to most subject domains to ensure student engagement. Addressing the various multiple intelligences and learning styles existing within groups while ensuring these sessions are student centred and conducive to a collaborative learning environment. Blogs, interactive tutorials, online videos, games and posters, are used to develop student’s cognitive and metacognitive abilities. Using novelty images appeals to a groups’ intellectual curiosity, acting as an interpretive device to explain the value of adopting a holistic rather than analytic approach towards a topic.
Weinberger, Adam B.; Iyer, Hari; Green, Adam E.
Humans have an impressive ability to augment their creative state (i.e., to consciously try and succeed at thinking more creatively). Though this “thinking cap” phenomenon is commonly experienced, the range of its potential has not been fully explored by creativity research, which has often focused instead on creativity as a trait. A key question concerns the extent to which conscious augmentation of state creativity can improve creative reasoning. Although artistic creativity is also of great interest, it is creative reasoning that frequently leads to innovative advances in science and industry. Here, we studied state creativity in analogical reasoning, a form of relational reasoning that spans the conceptual divide between intelligence and creativity and is a core mechanism for creative innovation. Participants performed a novel Analogy Finding Task paradigm in which they sought valid analogical connections in a matrix of word-pairs. An explicit creativity cue elicited formation of substantially more creative analogical connections (measured via latent semantic analysis). Critically, the increase in creative analogy formation was not due to a generally more liberal criterion for analogy formation (that is, it appeared to reflect “real” creativity rather than divergence at the expense of appropriateness). The use of an online sample provided evidence that state creativity augmentation can be successfully elicited by remote cuing in an online environment. Analysis of an intelligence measure provided preliminary indication that the influential “threshold hypothesis,” which has been proposed to characterize the relationship between intelligence and trait creativity, may be extensible to the new domain of state creativity. PMID:26959821
Full Text Available Aims: Showing a meta-cognitive aspect, creativity is related to higher mental processes such as thinking, intelligence, imagination, and information process. There are many studies on the physiological bases of creativity. The aim of this study was to investigate the effects of creative thinking on the heart rate signal. Materials & Methods: In this semi-experimental study, 52 medical engineering, electrical, and control students of Sahand University were studied in 2012. The subjects were selected via accessible sampling method. To assess the level of the students’ creative thinking, Torrance Tests of Creative Thinking (B form; figural was used. Before and during creative thinking test, heart signal in the rest position was recorded by 1000Hz sampling frequency. Data was analyzed using Wilcoxon non-parametric test. Findings: There was an increase in the mean heart power amplitude during creative thinking than the rest position. However, passing time and conducting the last sessions of the creativity test, it showed a reduction. There was an increase in the heart rate in persons with high creativity than those with low creativity. In addition, based on the test scores, there was a higher creativity level in females and three-lingual persons than males and bi-lingual persons, respectively. There was an increase in the heart rate in females than males (p=0.0398. Nevertheless, there was no significant difference between three-lingual and bilingual persons (p>0.05. Conclusion: Creative thinking results in an increase in the heart rate in persons with high creativity than persons with low creativity. Therefore, the creativity level can be detected via heart signal.
Heilman, Kenneth M; Acosta, Lealani Mae
Creativity is the development of a new or novel understanding--insight that leads to the expression of orderly relationships (e.g., finding and revealing the thread that unites). Visual artistic creativity plays an important role in the quality of human lives, and the goal of this chapter is to describe some of the brain mechanisms that may be important in visual artistic creativity. The initial major means of learning how the brain mediates any activity is to understand the anatomy and physiology that may support these processes. A further understanding of specific cognitive activities and behaviors may be gained by studying patients who have diseases of the brain and how these diseases influence these functions. Physiological recording such as electroencephalography and brain imaging techniques such as PET and fMRI have also allowed us to gain a better understanding of the brain mechanisms important in visual creativity. In this chapter, we discuss anatomic and physiological studies, as well as neuropsychological studies of healthy artists and patients with neurological disease that have helped us gain some insight into the brain mechanisms that mediate artistic creativity. © 2013 Elsevier B.V. All rights reserved.
Al-Balushi, Sulaiman M.; Al-Abdali, Nasser S.
This study describes a distance learning professional development program that we designed for the purpose of training science teachers to teach for creativity. The Moodle platform was used to host the training. To ensure that trainees would benefit from this distance learning program, we designed the instructional activities according to the Community of Inquiry framework, which consists of three main elements: cognitive presence, teaching presence and social presence. Nineteen science teachers in Oman engaged in the training, which lasted for 36 working days. To measure the effectiveness of the training program on science teachers' instructional practices related to teaching for creativity, we used a pre-post one-group quasi-experimental design. An observation form was used to assess and document participants' practices. Paired t test results showed that there was a statistically significant improvement in science teachers' practices related to teaching for creativity. During the implementation of the training program, we observed that cognitive presence and teaching presence were the two most successful elements of the program. The training program involved participants in different instructional activities which were designed to help them understand the role of creativity in science; a wide range of instructional techniques designed to nurture students' creativity was discussed. The program also provided participants with opportunities to relate their practices to teaching for creativity and to design and implement lesson plans geared toward teaching for creativity. However, the social presence element was not satisfying. Participants' virtual interactions with each other and their engagement in online discussion forums were limited. This paper provides some recommendations to overcome such pitfalls.
Borum, Nanna; Kristensen, Kasper; Petersson, Eva
This paper reports on an exploratory study that investigates 16 elementary school children’s interaction with two different mediums for creativity, LEGO® bricks and paper collages, drawing on the previous creativity assessment test carried out by Amabile . The study is based in a playful...... on labor when working with LEGO bricks. It was also evident that the children assigned preconceived affordances to the two mediums. The results from this study should feed into to a technology enhanced playful learning environment and these are the initial steps in the design process....
Astrid Gynnild, PhD.
Full Text Available The theory of creative cycling emerged from my PhD study of news professionals in Norway. The study was carried out according to classic grounded theory principles (Glaser and Strauss 1967, Glaser 1978, 1998, 2001, 2005, and the area of interest was the performance of news journalism in the multimedia age. The theory runs counter to widespread tendencies of industrial age thinking in news media. It emphasizes news professionals’ search for meaning in their daily work, and suggests that their main concern is self-fulfillment through original contribution. The dilemma and resolution, creative cycling, is a basic social process continuously going within inner and outer framings. It consists of three interrelated dimensions: productive processing, breaks and shifts and inspirational looping.
Trnka, Radek; Zahradnik, Martin; Kuška, Martin
The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. This study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure…
McPherson, Malinda; Limb, Charles J
Creativity is a fundamental and remarkable human capacity, yet the scientific study of creativity has been limited by the difficulty of reconciling the scientific method and creative processes. We outline several hurdles and considerations that should be addressed when studying the cognitive neuroscience of creativity and suggest that jazz improvisation may be one of the most useful experimental models for the study of spontaneous creativity. More broadly, we argue that studying creativity in a way that is both scientifically and ecologically valid requires collaboration between neuroscientists and artists. © 2013 New York Academy of Sciences.
Леся Василівна Старовойт
Full Text Available The article deals with a topical problem of artistic and creative development of junior schoolchildren during labor process. There were considered the diverse aspects of problem of personal creative activity. The special attention was paid to importance of combining labor, creation and artistic activity in educational process. On the base of experimental research there was considered the modern state of artistic and creative development of pupils in elementary school. By analysis of the theory and practice of artistic and creative development of junior schoolchildren during labor education there was determined inexpediency of excessive reproductive approach to the labor activity of children that impedes emotional, spiritual and esthetic development transforming the work of children into the boring and ineffective one. There was determined the criteria of artistic and creative development of junior schoolchildren during the labor education. During the study there were defined principles that reveal content, essence and nature of creation. There were defined peculiarities of artistic and creative development of junior schoolchildren at the lessons of labor education and distinguished the main sings that characterize mechanism of creative activity of junior schoolchildren. There was grounded pedagogical expediency of artistic and creative approach to the work with junior schoolchildren
Lee, Sohui; Carpenter, Russell
In this article, the authors explore the corpus of literature on creative thinking and applied creativity in higher education to help composition teacher-scholars and writing center practitioners improve the application of creativity in written, visual, and multimodal composing practices. From studies of creative thinking investigated across…
鄧宗聖 Tzong Sheng Deng
Full Text Available 本研究以臺灣教育脈絡為始、個人心智乃社會產物的前提下，將個人創作學習視為教育創新的途徑。研究者以G. Kress的素養論為基礎，運用多模態溝通觀點，進一步理解，創作者學習者如何描繪實務經驗與意義的轉化。本研究招募20位藝術創作碩士生，以分組團體（媒體藝術、表演藝術、視覺藝術）進行創作學習的自我敘說，以相似性原則分別從「前備經驗」、「時間醞釀」、「團體心智」與「創造連結」四個面向做討論。研究發現，自我探索特別重要，故能為作品忍受未知的境遇，並善用積極等待的狀態，在意圖中找到作品中的歧義性、聯想與探索的自由度，意圖則交織在表現中，在自我分析中轉化為創作材料。建議未來教育能將創作視為培養獨創性與社會心智的媒介，深度認識自我與世界關係的行動。 Set within the context of Taiwanese education, and based on the premise of individual mentality being a social consequence, this study poses individual creative learning as an approach to educational creativity. Based on Gunther Kress’s theory of literacy, the perspective of multimodality was employed to gain better understanding of how creative learners portray practical experience and recognize meaning in transformation. The study recruited 20 master’s students studying creative arts. They were divided into discussion groups (media arts, performance arts and visual arts, in which they engaged in self-narratives related to creative learning. Then, the similarity principle was used in the paper to identify four dimensions: “preparatory experience,” “the brewing of ideas through time,” “group mentality,” and “creative association”. The research results revealed that self-exploration was particularly important, as was enduring uncertainty in the creative process and making productive use of the