From analysis to modelling : A dynamic and situated approach to creativity (original) (raw)
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Children’s Creativity: A Theoretical Framework and Systematic Review
Review of Educational Research
Within education, the importance of creativity is recognized as an essential 21st-century skill. Based on this premise, the first aim of this article is to provide a theoretical integration through the development of a framework based on the principles of complex dynamic systems theory, which describes and explains children’s creativity. This model is used to explain differing views on the role of education in developing children’s creativity. Our second aim is empirical integration. On the basis of a three-dimensional taxonomy, we performed a systematic review of the recent literature (2006–2017, 184 studies) on primary school students’ creativity. Our results show that creativity is most often measured as a static, aggregated construct. In line with our theoretical model, we suggest ways that future research can elaborate on the moment-to-moment interactions that form the basis of long-term creative development, as well as on the mechanisms that connect different levels of creativ...
Nauki o Wychowaniu. Studia Interdyscyplinarne
The subject of the article is the diagnosis of children’s creativity in its two varieties: diagnosis of creative potential and diagnosis of effectiveness, generally based on psycho- metric measurement. The author briefly characterizes both types of diagnoses, and then goes on to criticize their shortcomings and limitations, which are still the subject of dispute among their supporters. Finally, he proposes to appease these disputes by developing an integrated diagnosis model that combines the study of all aspects of creativity: products, people, the process of creation, and the creative environment, with the use of dialogue and through analyzing children’s narratives. Giving voice to the creative child and the systematic collection and analysis of his or her various achievements in the form of a portfolio is the essence of this model of diagnosis, which is to fulfill an important prognostic and developmental function.
Roeper Review, 2006
Early thinking in the modern era often regarded creativity as a somewhat asocial means of individual expression, self-realization, and selffulfillment. However, it also is a socially influenced phenomenon that serves society. A social approach offers the opportunity of distinguishing between large and small amounts of novelty, as well as between “orthodox” and “radical” novelty. Disciplines, teachers, and students differ from one another on these dimensions. This explains some differences among teachers in the way they see creativity and creative students. The social approach also emphasizes the importance of groups, role models and mentors, and classroom climate, all of which teachers can influence. A social analysis suggests guidelines for instruction and assessment that differ from those derived from cognitive or personal approaches.
At the Core of Creativity: The Conditions of Learning and the Conditions of Connectivity
Abstract The aim of this chapter is to discuss the findings of a longitudinal international study that sought to explore and understand the ‘habitus conditions’ that had the potential to give rise to creative experiences. The notion of habitus was used as a key axiomatic lens as, for us, it carries the sense that the patterns of thinking and predispositions to be creative arise out of deep familial or familial like patterns of ‘connectivity’. Through a series of qualitative-narrative projects young children, adolescents and adults who were either immersed in supposed creative experiences or who had demonstrated creative output were asked to reflect on the sources of these experiences. Emerging out of this ten-year project involving respondents in the United States, Australia and New Zealand, a ‘grounded theory’ of how creativity can be fostered has begun to emerge. While Cambourne’s concept of the Conditions of Learning were a constant set of emergent themes, the data facets in these ongoing investigation suggests that an existential drive lies at the core of each of our respondents and that the Conditions of Learning were the means which facilitated this drive. Indeed, other conditions for learning and creativity emerged from the data, largely related to socio-emotional awareness. This existential or spiritual awareness appears to be process of reflective inquiry, which also becomes empowered through a mentoring relationship. This web of mentoring social support provides access to the development of visualization and understanding the symbolic within their context of situation, which in turn aids in an emancipatory world view.
The Cultural Genesis of Creativity: An Emerging Paradigm
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
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.
On the Nature of the Creative Mind
www.chara.dk, 2012
In educating the creative mind, it becomes imperative to reach a deeper understanding of the creative mind and of creativity itself. A vast number of creativity research studies conducted in recent years indicates that creativity is closely related to art, artistic practice and artistic modes of relating to and communicating with the world around us. Furthermore, creativity researchers in the field generally agree to base their definition of creativity on value and novelty, and they thus agree to presuppose a more or less tacit range of utilitarian and anthropocentric categories. In educating the creative mind, it is therefore also imperative to investigate the teleological basis for our understanding of the creative mind-what is the purpose of creativity and how does creativity relate to and influence our lives, practice, learning and the world around us? This paper examines the nature of the arts and the creative process and proposes a definition of creativity that places the arts and arts-based education as one of the many ways to promote creative thinking and innovation. Finally, the paper argues as one of its main conclusions that any change towards more creative preschools and early elementary schools presupposes a change of the culture of the schools and that this change in its turn presupposes a deep and unfolded understanding of the very culture that we want to enrich.
Creativity is explained in the different perspectives of psychology as a mental and social process. The different dimensions of creativity from available theories were based on influences, description of the task, ability, and characteristics of individuals who experience it. In the present article, creativity is explained in five major themes: (1) attributes of creativity, (2) forms and outlets, (3) factors that stimulate it, (4) situations where it is facilitated, and (5) situations that hinder it. There is a connection between how one conceptualizes creativity and the process involved in stimulating and facilitating it. The connection is explained in some common clusters that come out for each major theme. Creativity is generally explained to have multiple attributes. Creativity is stimulated and facilitated based on one's belief. The self and social factors can hinder creativity.
2011
The principal aim of this edited collection is to offer fresh perspectives on children’s creative narratives and to explore what these reveal about their imagination, their thought processes and how they understand the world. Accordingly, the contributors to the collection draw on detailed ethnographic case studies, naturalistic observations, conversations and playful interactions with children ranging in age from two to eleven years to develop theoretical insights that challenge traditional accounts of creativity and narrative. Our contributors include social scientists and postdoctoral researchers, educators and creative artists who are also academics and educators. A leitmotiv of the collection is that a proper understanding of creative narratives has to be an interdisciplinary endeavour if it is to do justice to the rich, complex, multi-modal and embodied nature of the children’s thought processes as revealed through their drawing and story-telling, music making, dance, drama an...