Creativity

The Problem of Cinematic Imagination

by Rafe McGregor

Contemporary Aesthetics 10 (2012).

The purpose of this paper is two-fold: to identify the problem of cinematic imagination, and then to propose a... more The purpose of this paper is two-fold: to identify the problem of cinematic imagination, and then to propose a satisfactory solution.  In part one I analyze the respective claims of Dominic McIver Lopes and Roger Scruton, both of whom question the scope of imagination in film, when compared to other art forms, on the basis of its perceptual character.  In order to address these concerns I develop a hybrid of Gregory Currie’s model of cinematic imagination and Kendall Walton’s theory of make-believe in section two.  Section three offers a reply to Lopes and Scruton, examining the problem in terms of the tension between the normativity of films as props and the employment of the creative imagination by audiences.  I conclude with a solution that admits of two incompatible conceptions of cinematic imagination.

Emergence of Individualism, Entrepreneurialism and Creativity in Turkey's State-run Educational System: Anthropological Contributions to Educational Sciences

by Muge Ayan Ceyhan

published in 'Procedia - Social and Behavioral Sciences', 2009

This paper focuses on a private primary school, which encourages values of individualism, entrepreneurialism and... more This paper focuses on a private primary school, which encourages values of individualism, entrepreneurialism and creativity, and stands in contrast to the state system promoting conformity and obedience. Based on real life experiences and practices on the ground, a discussion on different models of personhood underlying different educational practices forms a key part of the paper and I also discuss the extent to which participants of the school vacillated between different perceptions of personhood. In a broader interdisciplinary context, I will provide a clear example of the way in which anthropology can contribute to educational sciences, and highlight the interrelation between the two disciplines.

The Management of Creativity & Innovation

by Jeff Patmore

Co-authored with: Steve Whittaker (BT Americas), Sam Watkins
(BT), Sue Hessey (BT) 

Industry has made some significant improvements in the management of creativity and innovation over the last decade... more Industry has made some significant improvements in the management of creativity and innovation over the last decade but there are problems in the overall process that still persist. We might assume that on investigation we could expose either a single factor or a small number of key processes which will allow us to resolve this problem, but there are a great many factors and many are sector specific. 
In this paper we focus on the area of Information and Communication Technology (ICT), however we have also identified 'generic factors' which can be applied to all business sectors. 

The transgressive geographies of daily life: socialist pathways within everyday urban spatial creativity

by alastair bonnett

'Transgressions: A Journal of Urban Exploration', 1996, number 2/3, pp.20-37

BCS examination: An afterthought

by Sardar Anwaruddin

Journeys across mindscapes

by Sardar Anwaruddin

« Créativité et réversion conceptuelle » (2005)

by Michel Weber

« Créativité et réversion conceptuelle », in Michel Weber (sous la direction de) et Diane d'Eprémesnil (avec la collaboration de), Chromatikon I. Annuaire de la philosophie en procès — Yearbook of Philosophy in Process, Louvain-la-Neuve, Presses universitaires de Louvain, 2005, pp. 159-174.

ICT for (I)nspiring (C)reative (T)hinking

by Dr Eva Dakich

Northcott, B., Miliszewska, I., & Dakich, E. (2007). ICT for (I)nspiring (C)reative (T)hinking. Paper presented at the ASCALITE 2007, Singapore.

The capacity for creative thinking in the workplace is a generic skill that employers value highly in their employees.... more The capacity for creative thinking in the workplace is a generic skill that employers value highly in their employees. Although creativity is regarded as an important employability skill, it is a quality in which tertiary graduates are often lacking. Thus, the development of creative thought should be promoted as an integral part of tertiary education; Information and Communication Technology (ICT) can assist in accomplishing this task. Research suggests that ICT has the potential to encourage and support creative thinking throughout the learning process. This paper investigates the links between the theories of encouraging creative thinking in an educational context, and the practice of incorporating ICT in the implementation of learning strategies. The paper reviews the constraints and challenges associated with the deployment of ICT as a tool for encouraging creative thinking, and concludes with suggestions for effective implementation.

Paradoxes of Leading Innovative Endeavors: Summary, Solutions, and Future Directions

by Christian Thoroughgood

Psychology of Aesthetics, Creativity, and the Arts (2011)

Leading innovative pursuits requires a unique set of leadership behaviors – behaviors that are frequently at odds with... more Leading innovative pursuits requires a unique set of leadership behaviors – behaviors that are frequently at odds with traditional forms of management and organizational functioning. We have identified 14 of these tensions, or paradoxes, associated with leading innovative endeavors categorizing them into four clusters: internal/localized, team-level, organization-level, and situational. In addition, we consider some industry-derived solutions to these paradoxes, revealing how some highly innovative organizations have been able to successfully manage these tensions. Supplementing these solutions, we offer suggestions on how organizations might approach those remaining paradoxes, concluding with a discussion on necessary future research endeavors. Finally, we argue that the pursuit of innovation requires a unique leadership approach – one that may not be currently captured by traditional views of leadership.

Greatest Evolvability: A Place of Chaos, White Rabbits, Fear, Receptivity and Invention

by Jason Wirtz

published in New Writing

Tracing the Images on the Ceiling: Reading as Invention

by Jason Wirtz

published in Writing on the Edge

Is the creative person tough-minded, curious or kind?

by Simon Boag

Milton, A., Saab, P., Wilson, P., & Boag, S. (2008). Is the creative person tough-minded, curious or kind? In S. Boag (Ed.), Personality Down Under: Perspectives from Australia (283-291). New York: Nova Science publishers.

Eysenck (1993) proposes that creativity correlates with the personality construct of Psychoticism (P) in populations... more Eysenck (1993) proposes that creativity correlates with the personality construct of Psychoticism (P) in populations with high intelligence. However, this theory has only, at best, received mixed support, and recently Reuter et al. (2005) found that a biologically-based construct (SEEK), related to curiosity and problem solving, was instead related to creativity rather the P. The present study explored the relationship between personality and creativity further by using a multifaceted assessment approach to creativity, which included a self-report creativity instrument, a convergent thinking measure, and figural and verbal divergent thinking measures, across a population of 75 ‘non-artistic’ degree university students (Non-Art) and 26 College of Fine Arts students (Art). No evidence for Eysenck’s (1993) psychoticism-creativity link was found when comparing the groups, whereas the SEEK construct correlated with self-reported creativity. Of particular interest were the findings for participants without English as their first language, where the SEEK construct positively correlated with both divergent thinking and self-reported creativity. Additionally, a personality construct related to ‘caring’ was unexpectedly the strongest correlate of creativity. Implications of these findings are discussed.

The Privatization of Creativity: The Ruse of "Creative Capitalism"

by Max Haiven

Published with Dissident Voice

Making a face: Graphical illustrations of managerial stances toward customer creativity

by Kirk Plangger

Co-authored with Colin L. Campbell, Pierre Berthon, Leyland Pitt, and Ian McCarthy

Creative consumers – consumers who adapt, modify or transform a proprietary offering – represent an intriguing paradox... more Creative consumers – consumers who adapt, modify or transform a proprietary offering – represent an intriguing paradox for business. On the one hand they can be a black hole for future revenue, with breach of copyright and intellectual property, while on the other hand they represent a gold mine of ideas and business opportunities. This problem is central to business – business needs to both create and capture value; the problem is that creative consumers demand a shift in the mindsets and business models of how firms both create and capture value. We develop a typology of firms’ stances to creative consumers based upon their attitude and action towards customer innovation. We then consider the implications of the stances model for corporate strategy, and examine a three-step approach to dealing with creative consumers, namely, awareness, analysis and response.

Antropologia della creatività: tra genericità e modalità

by Giacomo Pezzano

part II: http://costruttiva-mente.blogspot.it/2012/02/antropologia-della-creativita-tra_22.html#more
part III: http://costruttiva-mente.blogspot.it/2012/03/di-giacomo-pezzano-giacomo.html#more

There is a connection between human nature and creativity: human creativity is paradoxically a biological necessity.... more There is a connection between human nature and creativity: human creativity is paradoxically a biological necessity. i) Human nature is creative because (according to Marx, Scheler, Plessner, Gehlen, Heidegger and Derrida) man is by nature over-natural. Man is not umweltbedungen, he is weltoffen: thus, he has to create his own world and way of life – that is, he is weltbildend. Human nature is neither degender nor genetic, but it is generic: therefore, it is specified in different and creative historical modes. ii) Creation moves from the datum (seen as a dandum) in order to overcome it, first of all catching it as such – its Als (as Heidegger suggests). Consequently, human creativity is not ex nihilo, as shown by the wittgensteinian «paradox of the rule»: creativity is possible only through the ap-plication of a rule, the em-ployment of which is as much a re-plica as a fold, that opens up lots of unexpected ways of using and the institution of a new rule. iii) Creativity itself should be conceived in terms of «genericity»: there is no reason to privilege only one of the dimensions in which it takes shape. Finally, the ancient symbolic dimension of logos can offer a renewed definition of human nature in its «natural unnaturalness» and in its constitutive openness to possibility

The Qualitative, the Quantitative, and the Creative

by Allison Mickel

Mickel, Allison. 2012. "The Qualitative, the Quantitative, and the Creative." Anthropology News 53(5): 11.

Contribution to the Anthropology News issue on Methods. Contribution to the Anthropology News issue on Methods.

Gregoriadis, A., Zachopoulou, E., Konsantinidou, E. (2011). Early Childhood Educators' Perceptions of Creativity in Education. In: Conference Proceedings OMEP European Conference "Perspectives of Creativity and Learning in Early Childhood", pp. 120-128. Nicosia, Cyprus, 2011.

by Athanasios Gregoriadis

It is commonly accepted that teachers can play a crucial role in the development of students' creative potential in... more It is commonly accepted that teachers can play a crucial role in the development of students' creative potential in either a positive or a negative way. Therefore, it is of high importance that teachers comprehend the notion of creativity and that they can identify the characteristics and traits of a creative student and use the appropriate strategies and teaching methods to enhance children's creativity. Towards this direction, several studies have addressed questions such as "what are the teachers' conceptions of creativity", "do they know how to facilitate students' creative potential", "which variables seem to contribute to students' creativity", etc. Especially in early childhood, educators are considered as important gatekeepers of fostering creative development in young children. However, very few studies have placed these questions in early childhood teachers and they pointed out a contradiction among teachers' self-reports according to which, they value creativity in theory but they do not appreciate personality traits associated with creativity, such as impulsivity and independence. The purpose of the current study was to examine early childhood teachers' perceptions and conceptualizations regarding (a) the nature of creativity, (b) the characteristics of a creative child, and (c) the teaching strategies that promote children's creativity. A total of 279 early childhood teachers participated in the study from childcare centers and kindergarten schools, by completing the questionnaire 'Perceptions of Creativity in Education' (POCE), (2008). Results showed that the majority of early educators have an adequate theoretical knowledge of the notion of creativity and its various cognates. Teachers also acknowledged efficiently certain characteristics and personality traits of the creative student, but displayed a lack of training and awareness concerning the strategies and the teaching methods that can promote a child's creative potential. This could mean the existence of a relative gap in teachers' perceptions and implicit theories regarding creativity in theory and in the process itself, in the praxis. This finding can be considered important especially if we take under consideration that the ecology of creative teaching is strongly associated with the ecology of creative learning.

The trouble with creatives: Negotiating creative identity in advertising agencies. Hackley, C., Kover, A.

by Chris Hackley

Hackley, C., Kover, A. (2007) The trouble with creatives: Negotiating creative identity in advertising agencies.International Journal of Advertising 26(1), pp. 63–78

Advertising creatives are often characterised in terms of stereotypes such as genius or maverick. Relatively few... more Advertising creatives are often characterised in terms of stereotypes such as genius or maverick. Relatively few studies have focused on the complexities and contradictions
that face creatives in their professional role. In this paper we draw on depth interviews conducted with a small sample of senior-level creatives working in a cross-section of New
York agency settings to explore the ways in which they negotiate and resolve their senses of personal and professional identity. We find that ad agencies are a site of conflict and
insecurity for these creatives, yet also of potential fulfilment. We suggest that these creatives may be complicit in the conflict because their sense of professional identity has a
substantial investment in it. We suggest that the advertising industry has not evolved working practices that fully assimilate those creatives who experience such dilemmas of
identity.

Rethinking Creativity. Between Art and Philosophy

by Alessandro Bertinetto

Turning Rebellion into Money

by Stephen Linstead

Linstead, S. A.  (2010) “Turning Rebellion into Money: The Clash, Creativity and Resistance to Commodification” in Townley, B. and Beech, N. eds. Organizing Creativity  Cambridge: Cambridge University Press ISBN: 9781107403734 pp 125-148.

In this chapter I pursue the dilemma of commodification that creative artistes working in a commercial system... more In this chapter I pursue the dilemma of commodification that creative artistes working in a commercial system experience, explored through critical themes in the work of UK punk band The Clash (Topping 2003 ). The critical themes present in their work are music as cultural resistance/revolutionary form; work, employment and opportunity; domestic fascism; urban dispossession and multiculturalism; and global politics and postcolonialism. The pursuit is ultimately inconclusive,
as we might expect, but illuminates some of the dynamic and
often excruciating tensions involved in commercializing creative
resistance whilst producing perhaps the most musically complex, professionally influential, politically energized, commercially successful and artistically enduring body of work by any of the punk bands.