Creativity studies

The Creative Process

by Maggie Wood

Paper I wrote as a freshman about creativity. Not relevant to me at this point in my studies, but could be of interest to someone, I suppose.

Paper I wrote as a freshman about creativity. Not relevant to me at this point in my studies, but could be of interest... more Paper I wrote as a freshman about creativity. Not relevant to me at this point in my studies, but could be of interest to someone, I suppose.

Creativity and folk art: A study of creative action in traditional craft

by Vlad Glaveanu

Forthcoming in Psychology of Aesthetics, Creativity, and the Arts

The present article aims to explore creativity in craftwork using the case of Easter egg decoration, a folk art chosen... more The present article aims to explore creativity in craftwork using the case of Easter egg decoration, a folk art chosen for its traditional roots and diversity of artistic outcomes. The research presented here contributes to the literature at: a) a theoretical level, by conceptualising a pragmatist-inspired framework of creative activity, b) a methodological level, by using, beside observation and interview, subjective cameras to record activity, and c) at an empirical level, considering the fact that creativity in folk art has often been a neglected topic. The two studies included in the article employed the participation of 20 different egg decorators of various ages from the village of Ciocӑneşti in northern Romania. The first research was concerned with general stages of traditional egg decoration and their characteristics, while the second investigation took a closer look at variations associated with the activity path, the generalities and specificities of work and how they could be accounted 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 summarises them with reference to processes of combination and change, copying and translation, personal style and creative identity. In the end, an understanding of “micro” moments of creativity in craft is achieved, one that can help us rethink the relation between tradition and creativity, between folk and fine art.

Keywords: folk art, Easter egg decoration, creative activity, pragmatism, subjective cameras

What can be done with an egg? Creativity, material objects and the theory of affordances

by Vlad Glaveanu

Forthcoming in Journal of Creative Behavior

The present article offers a reflection on the role of material objects in the creative process and explores the... more The present article offers a reflection on the role of material objects in the creative process and explores the potential links between creativity and the theory of affordances (Gibson, 1986), conceptualized from a socio-cultural perspective. From this standpoint creativity can be defined as a process of perceiving, exploiting and “generating” novel affordances during socially and materially situated activities. Illustrations are offered for each of the above from a research project investigating traditional Easter egg decoration activities in rural Romania. This brief case study exemplifies the discovery of existing action potentials, the generation of objects with novel affordances and the transgression of conventional procedures, all resulting in creative forms of expression. In the end some conclusions are drawn regarding the ways in which an affordance theory of creativity can enrich our understanding of the phenomenon and contribute to the development of a new program of research concerned with situated and distributed creative acts.

Keywords: material objects, affordance, intentionality, normativity, Easter egg decoration 

From Dichotomous to Relational Thinking in the Psychology of Creativity: A Review of Great Debates

by Vlad Glaveanu

Lead article in the April 2013 edition of Creativity and Leisure: An Intercultural and Cross-disciplinary Journal

This article invites us to think about the role of dichotomies in the psychology of creativity and how they can... more This article invites us to think about the role of dichotomies in the psychology of creativity and how they can sometimes lead to a misrepresentation of the phenomenon. Especially when turned into oppositions, which is often the case with dichotomies, distinctions such as those between individual and society, Big C and little c, domain generality and domain specificity, evolutionary and revolutionary creation, product and process, can have detrimental effects on our understanding of the nature and characteristics of creative expression. In contrast, the article advocates for a relational type of logic that encourages us to observe the inter-dependence between categories and the ways in which they are embedded into each other. Examples are given from the five ‘debates’ mentioned above and some consequences of adopting a new way of thinking about creativity discussed towards the end.

Keywords: creativity, dichotomous logic, relational logic, categories, great debates.

The nature of creativity in craft: Insights from Easter egg decoration

by Vlad Glaveanu

Forthcoming in International Journal of Creativity & Human Development

The present article explores the nature of creativity in craft and does so with the help of a case study of... more The present article explores the nature of creativity in craft and does so with the help of a case study of traditional Easter egg decoration. It starts by positioning the domain of folk art in relation to fine art and within a larger category of everyday life forms of creative expression. Then a cultural psychology approach to creativity is introduced and its framework used to unpack the actors and processes involved in craftwork. Analysing what is characteristic for folk art uses these particular lenses and requires paying attention to externalisation, integration, internalisation, and social interaction aspects. Findings reveal fundamental features of craft such as its materiality, the presence of a strong traditional background, the importance of continuous learning, and the role of family and community relations. Towards the end connections are made with the existing literature and final reflections offered on whether the characteristics above say something about creativity more generally, beyond the context of craft.

Key words: folk art, Easter eggs, everyday life, cultural psychology.

The standard definition of creativity

by Garrett Jaeger

ENSINO DE PROJETO BIOCLIMÁTICO: O PAPEL DOS PROBLEMAS E RESTRIÇÕES NO PROCESSO CRIATIVO

by Doris Kowaltowski

Educational researchers' personal explicit theories on creativity and its development: a qualitative study

by Jelena Pavlovic

co-authored with Slavica Maksic, PhD
Published in High Ability Studies, 2011

ONE OF THE MOST READ ARTICLES IN HIGH ABILITY STUDIES
IN MARCH 2012
http://www.tandfonline.com/action/showMostReadArticles?journalCode=chas20

The aim of this paper is to investigate implicit theories of educational researchers on creativity and the potential... more The aim of this paper is to investigate implicit theories of educational researchers on creativity and the potential to support creativity in schools. We used qualitative thematic analysis of material produced by 27 educational experts from Serbia. Personal explicit theories about manifestations of creativity are mainly based on qualities and behavior of a creative person, while there are notable differences in manifestations of creativity at different ages. There is a prevalent belief that the school can contribute to the development of creativity to a large extent. The paper broadens the field of investigation into implicit theories on creativity, from exploring the creative personality to a developmental dimension of creativity and to the possibilities of supporting creativity in the school setting

Methods that may stimulate creativity and their use in architectural design education

by Doris Kowaltowski

Thinking, Making, Doing, Solving, Dreaming: conceptions of creativity in higher education. (2007)

by Paul Kleiman

Conference paper. Creativity of Conformity? Building cultures of creativity in higher education UWIC, Cardiff

The ‘New’ Bohemians of the Creative Industries: An American Perspective on the Czech Republic’s Cultural Exports.

by Selena Anguiano

Keywords Bohemianism, Export, Culture, Creativity, Marketing, Branding

Abstract

I intended to discuss the Czech New Wave in the context of bohemianism, how the subject matter of... more Abstract

I intended to discuss the Czech New Wave in the context of bohemianism, how the subject matter of the movies produced during that time and subsequently, informed bohemianism as a characteristic of national identity in cultural and creative products. I thought this would be interesting and informative given my distinct perspective-an American participating in the Lions of Czech Film Series, a community engagement initiative of the Embassy of the Czech Republic in Washington, DC.

However my vantage point has been informed by almost seven years of experiencing the country's cultural exports ergo what manifested was a more comprehensive analysis of Czech cultural and creative production that exemplified a new interpretation of bohemianism versus the traditionally accepted definition. I chose several activities presented by the Embassy in Washington, DC which met my determined characteristic of Czech National Identity. From this evolved several questions about general knowledge and perceptions about Czech culture.

Suffice to say, the evolution of this discussion was bohemian in nature. Personal and professional experiences involving activities through the Czech Embassy in Washington, DC provided the primary foundation for this article. Secondary materials included both unconventional and conventional sources such as online and print reference materials; a series of questions submitted to and answered by the Embassy of the Czech Republic in Washington were included in the discussion. And finally, In order to develop the conclusion beyond the answers provided by the Embassy, I conducted an informal survey online to determine the impact of the Czech Republic current identity on a foreign, particularly American, consciousness.

Psychoanalysis & Art: Unconscious Automatic Watercolour Painting and Analysis

by Ayla Michelle Demir

Creativity and ease of ambiguous figural reversal

by George Georgiou

Wiseman, R., Watt, C., Gilhooly, K. & Georgiou, G.

Published in the British Journal of Psychology (2011) Volume 102, Issue 3, Pages: 615–622.

Two studies examined the relationships between self-rated and objectively measured creative ability and ease of... more Two studies examined the relationships between self-rated and objectively measured creative ability and ease of perceiving alternative interpretations of the ambiguous Duck–Rabbit figure. The studies found empirical support for what has previously been a largely analogical connection between figural reversal and creativity, using both self-rated trait creativity and objectively scored creative productivity. We discuss the hypothesis that executive functioning is the likely common cognitive factor linking perception of ambiguous figures and creative ability.

User-Generated Content: Cultural Practices and Creativity in the Digital Era

by Enza Maria Paolino

Creativity in Heterogeneous Groups: The Shared Representational Resources Model

by Vlad Glaveanu

Revista de Psihologie Organizationala, 2010, X (1-4), 25-38

The present article starts with a discussion of group creativity and especially of creativity in heterogeneous,... more The present article starts with a discussion of group creativity and especially of creativity in heterogeneous, multicultural groups. It is argued that creativity in a group situation is a reality that needs to be compared less with individual creativity but understood in its complexity as an emergent phenomenon. This is particularly the case when group members have different socio-cultural backgrounds although increased diversity can be detrimental for creativity. In this context, the theoretical framework within which group creativity is conceptualised is offered by the cultural psychology of creativity and the theory of social representations. From a socio-cultural perspective creativity is understood as an intricate process of artefact generation and group creative dynamics is described in terms of representational resources. The Shared Representational Resources Model (SRRM) suggests that groups that share “unique representational resources” into the “common representational space” are more creative than other groups or individuals alone. The practical expression of this model is The Columbus Window, a four quadrant image of the SRRM. In the end theoretical and practical implications of this cultural approach are briefly considered as well as perspectives for future research.

Key-words: heterogeneous groups, cultural psychology of creativity, Shared Representational Resources Model, representational space, Columbus Window.

Is the lightbulb still on? Social representations of creativity in a Western context

by Vlad Glaveanu

The International Journal of Creativity & Problem Solving, 2011, 21(1)

The present article aims to explore the social representations of creativity in a Western cultural context. In doing... more The present article aims to explore the social representations of creativity in a Western cultural context. In doing so it starts by addressing the theoretical bases for such an investigation and especially the more developed literature on implicit theories of creativity. Contributions of the social representations approach are discussed, in particular the mechanisms of anchoring and objectification and processes of thematisation. The empirical research was based on an on-line survey and the analysis included 106 responses, mainly from participants living in the US and the UK. The questionnaire employed both closed and open-ended questions concerning: a) common creativity symbols; b) existing dichotomies about the nature of creativity, and c) self-evaluations of creativity. Participants were first asked to think of what would be the best creativity symbol for them and to rate and comment on eight symbols emerging out of a pre-study of Google Images. Findings indicate that current representations of creativity are complex and multifaceted and the strongest association present was between creativity and the arts (especially symbols like paintbrush and colour, children’s drawings, etc.). This has several important practical implications for how creativity is understood, recognised and legitimated in everyday contexts.

Keywords: creativity, social representations, implicit theories, symbols, art

How Are We Creative Together? Comparing Sociocognitive and Sociocultural Answers

by Vlad Glaveanu

Forthcoming in Theory & Psychology, 2010, 21(4);
pre-review copy available

The present article aims to distinguish between a sociocognitive and a sociocultural approach to forms of ‘collective’... more The present article aims to distinguish between a sociocognitive and a sociocultural approach to forms of ‘collective’ creativity. While the first is well-illustrated in studies of group or team creativity the second has generally supported investigations of collaborative creativity, most of them performed in the last few decades. The comparison between these two fields takes different levels into account, from the epistemological position adopted to issues concerning the theories and methods used. Special attention is given to reviewing models of creativity from each perspective. While the literature on group creativity contains several cognitive models, there is little work yet towards building a model for collaborative creativity. This is why a secondary aim of this material is to introduce and discuss a sociocultural framework: the Shared Representational Resources Model. In the end the similarities and differences between the two paradigms are examined with reference to both theory and research and arguments are given for why it would be beneficial for sociocognitivists and socioculturalists to engage in a more consistent dialogue.

Key-words: group creativity, social psychology, social cognition.

Children and Creativity: A Most (Un)likely Pair?

by Vlad Glaveanu

Thinking Skills and Creativity, 2011, online view available

This article addresses the question of whether children are or are not creative by exploring the assumptions... more This article addresses the question of whether children are or are not creative by exploring the assumptions underlying each possible answer. It is argued that our position regarding children’s creativity steams from larger systems of representation concerning children on the one hand, and creativity on the other. Arguments for and against the idea that children can be creative are then considered from four different perspectives: the product, process, person and press factor. On the whole, children’s creativity is accounted for in terms of a particular ‘reading’ of children as active and interactive beings and of creativity as a social and cultural phenomenon. In contrast, children’s lack of creative expression is linked with a passive and receptive image of the child and with theorising creativity through the lenses of the genius and of great creations. In the end, the benefits of acknowledging children’s creativity are considered for child and developmental psychology, for creativity research and for educational practices.

Key-words: children, creativity, culture, development

The Cultural Genesis of Creativity: An Emerging Paradigm

by Vlad Glaveanu

Presented at Creative Engagements conference 2008

Included as a chapter in Exploring Interdisciplinary Trends in Creativity & Engagement, 2010, edited by Barbra McKenzie & Phil Fitzsimmons, Inter-disciplinary Press, Oxford: UK

Updated as article in Revista de Psihologie Scolara, 04/2009

The aim of this paper is to discuss different approaches to creativity and underline the cultural nature of its... more The aim of this paper is to discuss different approaches to creativity and underline the cultural nature of its genesis. Biological genius (the “He-paradigm”) and psychological-individualistic (the “I-paradigm”) standpoints are contrasted with social and cross-cultural ones (the “We-paradigm”) and the cultural psychology of creativity is introduced and positioned. This emerging paradigm, drawing from both social accounts of creativity and the latest developments in cultural psychology and the theory of social representations, emphasises the contextual and generative nature of creative acts and employs a person (creator) – other (community) – object (artefacts) model. Creativity is conceptualized as a complex process that leads to the generation of new artefacts by working with “culturally-impregnated” materials within a representational space. This particular viewpoint highlights the meaning-oriented nature of creativity, its link to personal and group identities, and also calls for ecological research and situational interventions. One of the central issues addressed by the cultural psychology of creativity is the problem of “genesis” or how creativity is developed and manifested within cultural settings. The pioneer in this field is undoubtedly D.W. Winnicott who asserted at the beginning of the 70’s that creativity and cultural experience are twin-born. Children experiment culture creatively and they do so in the “third” or “potential” space, one that we can identify today with the social world of representations. In his view of ontogenesis the origins of creativity are found in the first forms of playing and are shaped by the nature of the mother – child relationship. The final part of the paper will develop further this account and show how creativity emerges from early childhood within a symbolic space where children “play” with artefactual resources, a space of dialogue between self and significant others, constantly alimented by social and collective systems of beliefs and practices, life experiences and communication.

Key-words: creativity paradigms, the cultural psychology of creativity, representational space, genetic account, culture, artefacts, play

Creativity in Context: The Ecology of Creativity Evaluations and Practices in an Artistic Craft

by Vlad Glaveanu

Psychological Studies, 2010, 55(4), 339-350

The present article reports on the use of a multiple feedback methodology for the study of creativity evaluations in... more The present article reports on the use of a multiple feedback methodology for the study of creativity evaluations in the case of Romanian Easter eggs. Four groups of evaluators have been chosen – ethnographers, priests, art teachers and folk artists – all members of professional communities relevant for this particular folk art. Respondents almost unanimously appreciated ‘traditional’ wax decorated eggs as highly creative for their designs, aesthetics and the hard work and talent they require but opinions diverged when commenting on the creativity of other types of Easter eggs. At a more general level, two broad evaluation patters were found, corresponding to whether respondents participate or not in decoration practices. Identifying these patterns comes to reinforce the idea that creativity evaluations, as well as creative activity, are rooted in the social and cultural contexts of the participants and these contexts share important similarities but also marked differences.

Keywords: creativity, evaluation, practice, multiple feedback method, cultural psychology, Easter eggs, Romania