Performing Collaborative Creativity: Learning from Diverse Experts Interacting in Ireland’s Science Gallery (original) (raw)
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Performing Collaborative Creativity
This paper presents preliminary findings deriving from a larger project investigating the performance of collaborative creativity and is primarily concerned with describing the communication patterns of such performance. Interactions between different domain experts in Ireland's Science Gallery, Trinity College Dublin, were observed and recorded over the course of four months in 2011. The interactions have been loosely transcribed using the basic principles of CA. Preliminary findings include three observations. Firstly, creative performances involve a type of content we call
2014
Discourses of creativity tempt us with promises of treasures from terra incognito (Cox, 2005). Creativity is central to the enterprise culture of our age and there is a dark side to such temptations (O'Rourke, 2010;Osborne, 2003; Rehn & De Cock, 2009). Creativity's role in the enterprise culture may mean that like other aspects of enterprise culture, though many are called, few are chosen (Ainsworth & Hardy, 2008). This paper presents preliminary findings on data deriving from a larger project investigating creativity on the interactions between some special people that might be expected to be particularly creative (discipline experts from different arts and sciences) in a special place that might be expected to privilege creativity (Leadbeater, 2005). Our terra rara of creativity is Ireland's Science Gallery at Trinity College, Dublin, where interactions between different domain experts were observed and recorded over the course of four months in 2011. The interactions have been loosely transcribed using the basic principles of CA. Preliminary findings include three observations. Firstly, creative performances involve a type of content we call 'idea talk'. Secondly, performances of creative collaboration involve variance, not equality, in participation by individual experts. Variance in participation in group creativity is somewhat in tension with findings from the equality of participation celebrated in the brainstorming literature (Osborn, 1979) and reported from research
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Understanding collective creativity is crucial for advancing the general study of human creativity as well as for guiding the design of creativity support tools for small teams and larger collectivities. In this article, we present a qualitative case study of collective creativity online, derived from an analysis of collaborative interactions of virtual teams of students working in the field of mathematics.
Relating Creativity and Imagination: Studying Collective Models of Creative Collaboration
American Journal of Educational Research, 2014
This paper focuses on collective creativity in process design. The purpose of this contribution is to spotlight the factors that play a role in defining students' creativity, with a special emphasis on the relationship between creativity and imagination, studying collective models of creative collaboration. We present two case studies in which we have specifically worked with groups of students to create a collective project proposing methodologies of experimental work. In both cases, the collective creation favoured the development of individual creativity.
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Enhancing group creativity: the search for synergy
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Psychologists have created highly specific and elaborate models of the creative process and the variables affecting creative performance. Unfortunately, much of this research has tended to take either an overanalytical or an underanalytical approach. By overanalytical we mean that researchers have studied single, isolated stages of group creativity, such as idea generation. By underanalytical we mean that researchers have tended to treat ''creative group performance'' as a single, unitary construct. However, we argue that it would be better to approach creativity as a multidimensional sequence of behaviors. In support of this argument, we discuss research on individual as well as group creativity showing that, firstly, there are multiple routes toward creative performance (e.g., flexibility and persistence), which may be pursued 1 alone or in combination. It is likely that these different routes are subject to distinct influences. Secondly, we argue and show that different stages of the creative process (problem finding, idea generation, idea selection, idea implementation) are not necessarily affected by the same variables, or in the same way. We highlight some new questions for research, and discuss implications for the management of groups and teams.
How Creative Groups Structure Tasks Through Negotiating Resources
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Creative collaborations are a complex, yet common phenomenon. In this paper we introduce a model that describes the development of a creative outcome by a group, based on its efforts to structure the task through the exploration and adoption of concepts and artefacts. We use our model as a basis to analyse a collaborative filmmaking study. Through this, we show how the model is an effective tool for describing the actions of the group as its members work towards producing an outcome. We conclude that the model could be utilised as a tool for recognising patterns in creative collaborations, for understanding support needs, and for comparing instances of these tasks.