Collaborative creativity (original) (raw)
Related papers
Collective Creativity: Where We Are and Where We Might Go
2012
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 networks. We conclude by suggesting how systems that generate collective creativity can be improved and how new systems might be constructed.
Group creativity in interaction: Collaborative referencing, remembering, and bridging
2008
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.
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.
Distributed Creativity: How Collective Creations Emerge From Collaboration
Psychology of Aesthetics Creativity and The Arts, 2009
Creativity is often considered to be a mental process that occurs within a person's head. In this article, we analyze a group creative process: One that generates a creative product, but one in which no single participant's contribution determines the result. We analyze a series of 5 theater performances that were improvisationally developed in rehearsal by a theater group; over the course of these 5 performances, a collaborative creation emerged from the improvised dialogues of the group. We argue that in cases of creativity such as this one, it is inaccurate to describe creativity as a purely mental process; rather, this case represents a nonindividualistic creative process that we refer to as distributed creativity. We chose this term by analogy with studies of distributed cognition, which are well established in cognitive science, but have not yet had a substantial impact on creativity research. Our study demonstrates a methodology that can be used to study distributed creative processes, provides a theoretical framework to explain these processes, and contributes to our understanding of how collaboration contributes to creativity.
CILECT News, November 2007, pp. 17-24
My main focus is the influence of social psychological factors on creativity. Educational institutions and industrial organisations have become increasingly dependent on the individuals and groups of people who work in a complex social environment to create useful and novel products, processes, procedures, and services. Empirical data and theory indicate that both individual and group creativity are highly dependent on social factors in the environment. I will first consider the impact of the social context on individual creativity, and then I will discuss some of the factors that facilitate or inhibit creativity in groups and teams.
2013 46th Hawaii International Conference on System Sciences, 2013
In organizations, creative work is predominantly approached in groups. They develop new services or products like advertising campaigns or movie scripts. Group creativity support systems (GCSS) can have a positive impact on the creative performance of these groups. However, current literature on GCSS design requires system designers to consider a magnitude of aspects when constructing systems that support the creative group process. In a literature review we identify recurring topics in design recommendations, drawing both on design-oriented and experimental research, and develop an integrated set of design principles. We apply these design principles to generic GCSS components, resulting in an integrated GCSS framework, which provides guidance in system implementation. Future research directions that could complement the field are indicated.
Social Creativity: A Comparison of Individual Versus Group Performance on a Creative Task
International Journal of Social Science and Economic Research, 2020
Creativity is the ability to transcend ideas, rules, relationships, patterns to form meaningful ideas, forms, methods, interpretations, etc. Society often thinks of creative individuals as working in isolation, and much research has been conducted to identify personality and other traits that lead to though intelligence and creativity result in large part from interaction and collaboration with other individuals. Much human creativity is social, arising from activities that take place in a context in which interaction with other people and the artifacts that embody collective knowledge are essential contributors. The purpose of the present paper is to identify whether people work more creatively as individuals or in groups. 33 middle and high school students worked either individually or in groups of two to create ideas for television shows to be aired on a social media platform. Entries were judged on their creativity and a $100 prize for most creative entry was offered to motivate the participants. Results showed that television show ideas created by pairs of students were judged as more creative than those created by individual students.
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.
Enhancing group creativity: the search for synergy
Research on Managing Groups and Teams, 2009
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.