TOWARD THE PATTERN MODELS OF CREATIVITY: Chaos, Complexity, CreativityToward the Pattern Models of Creativity. Chaos, Complexity, Creativity (original) (raw)
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Toward the Pattern Models of Creativity: Chaos, Complexity, Creativity
"A Critique of Creativity and Complexity. Deconstructing Cliches," Don Ambrose, Bharath Sriraman and Kathleen M. Pierce (Eds.), 2014
This chapter provides a new approach to the study of creativity of adolescents and young adults by combining the idea of self-organization with theories of emotions. To gather data for this qualitative research, hermeneutic phenomenology/ontology linked with the narrative/biography methods was chosen. As a process of interpretation of the data, pattern models of the process of creativity are designed. There are some unique differences between the models of different participants’ creativity, but in general they share common phases such as differentiation/chaos, integration/complexity, and dissipative structures/creativity (products of creativity in the forms of new movements, new writings, and new paintings). Creativity of young people is intertwined with strong emotions of interest, joy, acceptance, which enhance mental activity to global, open, and exploratory modes of attention, stimulate their thinking and enrich their imagination. These cognitive processes then deepen their emotions to complex emotions such as curiosity, enthusiasm, delight, passion, resourcefulness, and love, which, through a reciprocal reinforcement influence their selves. Creative people become more sensitive, more open, and receptive to the internal and external world. They develop into resourceful, imaginative, empathic, and spiritual human beings.
In Veronika Bohac-Clarke (Ed.) Integral theory & transdisciplinary action research in education, IGI Global, 2018
The purpose of this study was to investigate creativity in adolescents and young adults and its role in psychological development. For this qualitative research, a methodology combining hermeneutic phenomenology/ontology with narrative/biography was chosen. To interpret the data, we created pattern models of creativity by applying the concepts of complexity science, especially self-organization, with the Theory of Positive Disintegration and the Psycho-Evolutionary Theory of Emotions. It was discovered that the process of creativity in young people is intertwined with the strong emotions of passion, curiosity, enthusiasm, and delight. These emotions are the driving forces that generate order and complexity not only in the creative process, but also in overall psychological development. The presence of these strong emotions often contributes to lesser tension in young people’s development, including a greater ability to integrate their experiences, to take their psychological development into their own hands, and to find direction for their future.
Creativity as an Order through Emotions
Promontory Press , 2014
The main purpose of this book is to throw light on the role of creativity during the periods of adolescence and young adulthood. I present five life stories of young people who are actively involved in creative pursuits such as music composition, circus arts, painting, journaling, and writing. Then I explore how their creativity helps them to interpret, to understand, and to make meaning out of their internal experiences. The book contains three parts. In the first part, the basic concepts of chaos theory and the idea of self-organization are introduced. Some contemporary approaches to emotions are also discussed. In the second part, the lives of five young people are presented and by applying these theories, their psychological development and creative processes are interpreted and analyzed. Finally, in the third part, a conceptual model of creativity development is discussed. The book encourages parents and educators to look at the creativity of young people much more seriously as a tool for enriching their lives, opening up new possibilities for them, and greatly extending their vision of themselves and the world they live in.
Creativity, chaos, and self renewal in human systems
World Futures, 1991
The findings in the psychology of creativity are shown to be relevant to the study of self-organization and self-renewal in human systems. The characteristics of the creative person, and the nature of the creative process, particularly as they have been elaborated by Barron, are shown to be remarkably congruent with recent findings and theoretical elaborations by Abraham, Jantsch, Laszlo, Prigogine, and others in the fields of evolutionary and chaos theories. The broader and social implications of chaos and evolutionary theories are fleshed out through an understanding of their characteristics in human systems.
Manifolds, Patterns and Transitions in a Creative Life
Masters Thesis, 2010
Abstract Using sculpture and drawing as my primary methods of investigation, this research explores ways of shifting the emphasis of my creative visual arts practice from object to process whilst still maintaining a primacy of material outcomes. My motivation was to locate ways of developing a sustained practice shaped as much by new works, as by a creative flow between works. I imagined a practice where a logic of structure within discrete forms and a logic of the broader practice might be developed as mutually informed processes. Using basic structural components of multiple wooden curves and linear modes of deployment – in both sculptures and drawings – I have identified both emergence theory and the image of rhizomic growth (Deleuze and Guattari, 1987) as theoretically integral to this imagining of a creative practice, both in terms of critiquing and developing works. Whilst I adopt a formalist approach for this exegesis, the emergence and rhizome models allow it to work as a critique of movement, of becoming and changing, rather than merely a formalism of static structure. In these models, therefore, I have identified a formal approach that can be applied not only to objects, but to practice over time. The thorough reading and application of these ontological models (emergence and rhizome) to visual arts practice, in terms of processes, objects and changes, is the primary contribution of this thesis. The works that form the major component of the research develop, reflect and embody these notions of movement and change.