Purser, the authors present a timely appraisal of past and present work in social creativity studies, and look ahead to future developments within this field. The authors collectively offer a rigorous examination of the methodological and empirical issues and techniques involved in studying social creativity. They examine the phenomenon as a form of communication and interaction within collaborative relationships; contending that creativity happens not within a vacuum but instead from a nexus of personal, social and contextual influences.
This comprehensive work is organized in three parts, focusing first on the various methodological approaches applicable to the social in creativity studies. It secondly turns to empirical findings and approaches relating to the social nature of creativity. Her scientific research focuses on the determinants of creative development and achievements. He has written extensively on creativity from social, cultural, developmental, critical and political perspectives.
His current work develops a sociocultural theory of the possible in mind and society. Those days when people are creative: Diary methods in creativity research; Marta Czerwonka. Climate for creativity: How to measure it in parent - child relationships? Skinner; Jack Martin. The dynamic display of social creativity: Developing the method of serial reproduction; Brady Wagoner. How do you manage evaluation?
Attentive and affective constituents of creative performance under perceived frustration or success; Sergio Agnoli Laura Franchin, Enrico Rubaltelli, Giovanni Emanuele Corazza. Paulus, Lauren E. Coursey, Jared Kenworthy.
Lost in translation again: Concepts about creativity among Japanese and Polish prospective teachers; Aleksandra Gajda. Behind the scenes: How to research creative processes in multidisciplinary groups; Ingunn Johanne Ness. Reflections on social research into creativity. Creativity as dissent and resistance: Transformative approach premised on social justice agenda; Anna Stetsenko. Engineering moral autonomy: Creativity and innovation in the age of artificial intelligence; Daniel T. Gruner, Mihaly Csikszentmihalyi. Is Creativity Compatible with Educational Accountability?
Creativity and the Social Brain; Anna Abraham. Fun, Foibles and Frustrations; Monika Reuter. Constructing Research Questions. Mats Alvesson. Education and Technology. David W. Contemporary Theories of Learning. Knud Illeris. The Intercultural Dynamics of Multicultural Working. Maria Manuela Guilherme. Innovation and change in English language education. Ken Hyland. Collaborative Practice in Psychology and Therapy. David A Pare. Transforming Schools.
Professor Miranda Jefferson. Geoffrey Peruniak. The Reflective Practitioner in Professional Education. Medical Humanities and Medical Education. Alan Bleakley. Autoethnography as Method. Heewon Chang. Reflexivity in Language and Intercultural Education. Julie S. Byrd Clark. Organizational Change, Leadership and Ethics. Rune Todnem By. Creativity Research. Eric Shiu. Anne Jordan. Cultivating Curious and Creative Minds.
- Learn to Weld: Beginning MIG Welding and Metal Fabrication Basics.
- Account Options.
- The Palgrave Handbook of Social Creativity Research - Google книги?
Cheryl J. Values and Virtues in Higher Education Research. Jean McNiff. Kevin F. Qualitative Research. Sandra G. Critical Perspectives on Language Teaching Materials. Participation, Facilitation, and Mediation. Claudio Baraldi.
Highlight your research
Bion's Legacy to Groups. Franco Borgogno. Borderline Welfare. Andrew Cooper. English Language Teaching Textbooks.
The Palgrave Handbook of Creativity at Work by Lee Martin (ebook)
Ronald C. Ethics Management in the Public Service. Liza Ireni-Saban. Meaning-Centered Education.
The Palgrave Handbook of Creativity and Culture Research
Olga Kovbasyuk. The Meaning Of Anxiety. Rollo May Ph. Existentialism From Dostoevsky To Sartre. Kohlhammer GmbH, By revisiting his concepts, and utilizing his notions of spatial expansion, temporal expansion, and social expansion as lenses, I reconsider folk culture, and the relationships it has with multidimensional topological theories of creativity in a world of digital technology. A secondary aim is to reflect upon how this standpoint promotes identity formation and broader social cohesion. And, finally, how it might in itself represent a folk realpolitik. Why a mystery? The sudden surprises of creative novelty can change lives and alter whole areas of existence.
The authors combine expertise in business, coaching, and expressive arts with educational psychology, clinical psychiatry, and everyday creativity, plus arts-based and qualitative research methods to explore the mysteries of creative process. We look at the early stages of generating new material and across fields of endeavour.
We explore deeper ways of knowing self, other, and the world through rich subjective methods including qualitative interviewing and arts-based inquiry. Applications to work-based creativity and relationships, expressive arts processes for healing, and potential for the growing field of creativity coaching are presented.
A goal is to reveal and enhance a fuller range and depth of our sensitive, subtle, conscious, and unconscious creative potentialities. We begin with everyday creativity, using the two product criteria of originality and meaningfulness, then turn to process. We posit that human creativity is, first of all, universal but can often be developed much more, and across multiple modalities and other ways of knowing. Further framing draws from chaos and complexity theory—viewing creative phenomena as part of our broader nonlinear functioning as open systems, linked interdependently with a world in flux.
Hence awareness, assessment, and development of creative process—through arts and everyday living—contribute in multiple ways to meaningful work, deeper relationships, life satisfaction, and even our worldview. Affordance theory offers a means to examine the myriad supports and barriers that people face on the way to thinking of themselves as creative. Likewise, emerging models of creative identity accommodate the theory, suggesting a relationship between the two. Mixed-methods research with a variety of makers in the UK and US affirms that, over time, affordances appear to shape experience as well as identity.
This chapter focuses on the vocational narratives of creative graduates. Using qualitative interviews from Australia and the UK, it reflects on how vocational identities are produced by creatives and how they understand the relationship between creative skills and employment more broadly. This chapter outlines the approach of The Learning Connexion TLC , a New Zealand-based school of creativity and art founded on the educational goal of using art-based work to experience creative processes that can be applied in any field.
Since , TLC has been reinventing itself to achieve an optimal blend of organizational and individual creativity. The relationship between TLC and government agencies involves an interplay between the convergent nature of official requirements and the complex, open-ended practice of creativity. The school has had to come to terms with the wide diversity of views on creativity, asking such questions as follows: What is it?
Why does it matter? Is it possible to nurture creativity, both individually and collectively? What if anything constitutes the ethical essentials of creativity? The chapter presents ideas that may be seen as an ongoing challenge to integrate social, practical, economic, environmental and cultural dimensions of creativity. Creativity and the visual arts is a description of an experimental art class conducted in New Zealand from to The programme was in stark contrast to mainstream curricula in terms of both teaching method and content.
Firstly, it was taught in tandem by a painter and an art historian, whose intention was to seamlessly unite their different but related fields of expertise. Secondly, rather than maintaining separation between the various mediums painting, sculpture, photography, drawing, etc. It was also expected that students would bring previous experiences into the studio and be enriched creatively in all future practices outside the class. The focus, above all, was on materials and processes and how they operated towards the success of finished work. The chapter also outlines the main activities studio practice, reading, group critique and the sources of inspiration for the course.
This chapter explores creativity in practice. It provides an insight into the world views of those tasked with developing creativity within a New Zealand-based school for creativity and art, The Learning Connexion TLC. It goes to the heart of creativity theory and raises questions such as how do we account for the intangible practice-based elements of creativity within our work? This chapter looks at how creativity and, implicitly, creative labour can be put to work in humanities research, considering some of the advantages, implications, and barriers that creative approaches can offer in the work of a humanities researcher.
The chapter concludes by discussing some broader considerations about the nature of creative work in research institutions and the value such a centre might offer to the research community. The following decade witnessed a fast development of CWSs around the world. As an innovative workplace concept and practice, co-working is still evolving and expanding.
Therefore, it may turn out to be futile and even misleading to seek for a strict definition. The physical space in which work is undertaken plays a key role in facilitating or inhibiting creativity among workers. The design of the workspace can inspire workers to be creative, facilitate the sharing of knowledge, and support social interaction, which is so important to the creative process.