Creative Experience Research Articles

The Perceived Improvement in Learning Competencies of Low-achieving College Students through Participation in a Board Game Design and Development Process

The purpose of this study is to examine the extent to which low-achieving college students perceive an improvement in their learning competencies through their experience of participating in the design and development processes of a board games. The research questions are as follows. First, what learning competencies do low-achieving college students perceive to have improved through the board game design and development process? Second, what are the relationships between the keywords of the learning competencies that low-achieving college students perceive to have improved through the board game design and development process? For this study, reflective journals from 97 low-achieving college students who participated in the board game design and development process were analyzed. Specifically, keywords related to the learning competency improvement were derived, and the relationships between these keywords were analyzed. The findings are as follows First, low-achieving college students perceived that their collaboration skills improved the most through the experience of participating in the board game design and development process, followed by problem-solving skills, communication skills, learning transfer, and interaction skills. Second, the keywords related to learning competency improvement perceived by low-achieving college students were found to be significantly interconnected. Collaboration skills were strongly linked to problem-solving skills, communication skills, learning transfer, creativity, and interaction. Problem-solving skills were closely connected to experience of success and creativity. The results of this study provide valuable insights for designing and implementing tailored programs aimed at enhancing the learning competencies of low-achieving college students.

Why the standard definition of creativity fails to capture the creative act

The “standard definition” of creativity holds that a creative idea is one that is novel and useful. This judgement is customarily based on an external frame of reference as it is passed by people who are receiving the idea (the recipient). The internal frame of reference of the person who has generated the idea (the creator) is usually ignored. I make two cases in this paper. First, that employing external frames of reference in assessing creative products has been erroneously applied to understand the creative mind. Second, that any definition of creativity needs to be one that can be reasonably applied whether following an internal frame of reference of the creative experience or an external frame of reference of the creative product. With these aims in mind, I propose the following amendment to the definition of creativity: a creative idea is one that is both novel and satisfying.

Unlocking Potential With Multimodal Learning and Assessment

In the current dynamic education landscape, equipping students with flexible, critical and creative digital literacy skills is essential. Higher education plays a key role in this endeavour, as changes in the use of digital technology and academic practices have created an increasing need for teachers and students to develop multimodal competencies. To develop these skills, educational institutions should embrace and utilise multimodality in both teaching and assessment. Aside from meeting students’ expectations to develop their digital literacy skills, multimodal approaches provide an engaging, interactive and creative experience of education. They also constitute a more inclusive method of learning, as neurodivergent students can access information and demonstrate knowledge in different ways. This article provides a synthesis of research into the barriers and benefits of multimodal learning and assessment. The paper calls for a change in mindset among education stakeholders, advocating for the recognition of learning as multimodal, and the implementation of multimodal assessment.

초등교사의 창의적 체험활동 경험에 관한 질적 메타분석

Objective: Using a qualitative meta-analysis, this study examines whether elementary school teachers' experiences in organizing and operating creative experiential activities are being implemented in actual school sites as intended and proposes ways to internalize the quality of these activities. Methods: Eight domestic qualitative studies on the said experience were analyzed in a larger framework of curriculum organization, implementation, and evaluation according to Novlit and Hare’s (1998) seven-step qualitative meta-analysis approach. Results: Elementary school teachers had conflicting views on teacher autonomy in organizing, managing, and evaluating creative experiential activities. Further, they differed in their experiences in different areas of creative experiential and out-of-school activities. The study also elicited opinions on how to evaluate creative experiential activities and improve professional development related activities. Conclusions: Suggestions were made for improving the creative experiential activity curriculum and follow-up research, such as providing opportunities to cultivate teacher expertise related to creative experiential activities, exploring teacher and student experiences by activity area and alternative creative experience evaluation measures.

The civic importance of John Dewey’s Art as Experience (1934)

In the Harvard lectures that became Art as Experience (1934) Dewey developed a democratic account of art that not only expanded the range of creative experience (watching a huge digger, the architectonics of a mutually satisfactory conversation, are included in the reach of art) but developed an account of art that was vitally reciprocal, participatory and social. Maker and perceiver are equally interactive creators as they mutually develop new modes of feeling and thinking. For Dewey this relationship necessarily re-makes the experience of community and, just as important, creates a civic space for interrogation and critique. (This article is published in the thematic collection ‘The arts and humanities: rethinking value for today—views from Fellows of the British Academy’, edited by Isobel Armstrong.)

Playing in Time: A Discussion of Smadar Steinbock’s “A Look at Chapter Four of Winnicott’s Playing and Reality Through the Prism of its Modalities of Temporality”

ABSTRACT Winnicott’s paper, “Playing, Creativity, and the Search for the Self,” Chapter 4 of Playing and Reality is the second leg of Winnicott’s two-part opus on play. It is the focus of Smadar Steinbock’s essay on temporality in the work of Winnicott and Loewald. Winnicott’s is a paper fundamentally about play. I suggest that for Winnicott, play always involves time, specifically the actual or feared loss of time or object, namely what I have referred to as the play of mourning. For Winnicott, temporality is inextricably bound with his notion of place. And they are both contained in the analytic setting. This is a setting that allows for the emergence of play and creative experiences of self, in time in general and for the time being. Like so many phenomena in Winnicott’s theory building, time involves both actual or real time and time as incorporated psychically into the realm of illusion. Chapter 4 puts forward the ways that patient and analyst hold the paradox of time as actual and as incorporated into the realm of psychic illusion in order for the patient to be found.

Educational Issues and Tasks of Creative Experience Activities

Educational Issues and Tasks of Creative Experience Activities

An Empirical Study for the Operation of the Curriculum for Career Exploration and Creative Experience Activities in the Free Semester System

An Empirical Study for the Operation of the Curriculum for Career Exploration and Creative Experience Activities in the Free Semester System

Unlocking Marketing Creativity Using Artificial Intelligence

This article examines the role of artificial intelligence (AI) in enhancing marketing creativity by analyzing the synergy between computational and human creative processes. Through two studies, the authors investigate nongenerative and generative AI applications within marketing contexts using a conceptually driven and empirically derived approach. In Study 1, the authors observe how creative individuals, particularly artists, utilize AI and its effects on their creative experiences, revealing AI's role as (1) a new instrumental resource, (2) a tool for exploring possibilities, and (3) a means to deconstruct the creative process. Study 2 assesses 1,036 AI systems (2015–2021) and 241,292 AI models (2022–2024), categorizing them into four clusters and three levels of observed creativity. From these insights, the authors introduce a framework for AI-enabled creativity: (1) inspiring agile methods, (2) augmenting human creativity, and (3) inspiring unconventional thinking. Validated by three workshops, this framework equips marketing leaders with a deeper comprehension of AI's creative potential. The authors advocate for AI integration within agile, augmented, and unconventional marketing approaches, advancing our understanding of AI's contribution to marketing creativity. Additionally, they propose a research roadmap for empirical validation in real-world applications.

Exploring Chinese Characteristics in Science Fiction Films: A Case Study of 'Wandering Earth'

Chinese science fiction films were first created in the 1930s, but few outstanding works appeared until the beginning of the 21st century. With the appearance of Wandering Earth in the 2019 Spring Festival, Chinese science fiction films entered a new stage of development.This paper, using the 'Wandering Earth' series as a blueprint for research, first summarizes the development of Chinese science fiction films. Secondly, it focuses on analyzing why 'Wandering Earth' can be considered a genuinely Chinese hard science fiction film.Finally, through the analysis of the Wandering Earth series, we will summarise the future creative direction of Chinese sci-fi films and the experience that can be learnt from it, so as to accumulate creative experience for building domestic sci-fi film IP in the future.

Enhancing senior high school students' visual imagery creativity in geometry through Geoboard

This study examines innovative learning tools to enhance students' understanding of geometry subjects. The research aims to describe the use of Geoboards in fostering the visual imagery creativity of 12th-grade students in geometry learning. The method used is descriptive qualitative, with subjects consisting of six students selected through purposive sampling. The results show that students with high visual imagery creativity possess good abilities in fluency, diversity, originality, and detail aspects. Students with moderate creativity still require guidance, while students with low creativity experience difficulties and need intensive practice. Using Geoboards has proven effective in enhancing visual imagery creativity, making learning more interesting and meaningful, and facilitating understanding of three-dimensional geometric concepts. The implications of this research suggest that Geoboards can be an effective learning tool in mathematics education.

Intelligent Immersion: The current landscape of AI tools in the Mixed Reality development pipeline for creative experiences

Among the technologies that hold immense potential to revolutionize how we interact with information and digital content, Mixed Reality (MR) offers unique immersive experiences that seamlessly integrate virtual objects into the user's physical environment. This groundbreaking fusion of the physical and digital worlds has a complex development process which is a fertile ground for applications of Artificial Intelligence (AI). This article aims to provide a comprehensive overview of AI tools and their applications, in all stages of the development of MR experiences for the creative sector. It also discusses the challenges and opportunities of incorporating them in the development pipeline and offer some use guidelines as a compass to navigate this rapidly changing landscape.

Формирование творческого опыта хореографа в системе профессионального образования

The modern system of training specialists in the field of choreography prepares a creative person who constantly strives for professional self-improvement and strives to teach and train others (children and adults). Since choreographic art is the art of beauty and health of the human body. Therefore, many teachers around the world strive to study, analyze and develop their own innovative teaching methods. Since they have a positive effect on (1) the manifestation of creative abilities in future specialists; (2) development of various forms of thinking; (3) expand worldviews in general, and (4) help to see the interconnectedness of dance art with biology and other sciences. It is precisely these qualities that future teachers and choreography teachers need and must be developed in the learning process. Therefore, in many educational institutions, the development of art education is noted through updating its content, associated with rethinking the social purpose of the profession of a choreography teacher, since it is he who is able to creatively introduce socially significant innovations and flexibly respond to the cultural demands of the time. The necessity is substantiated not only for the teacher to develop the subject and practical skills of a dancer, but also for the synthesis of knowledge, abilities and skills that allow the effective implementation of professional training of future choreographers with relevant competencies. The article emphasizes that the formation of artistic and creative experience is associated (1) with the need to get acquainted with works of art through perception and performing interpretation; (2) with the motivation to acquire knowledge in the field of expressive means as the basis for creating choreographic images; (3) with the development of the ability to perceive artistic images in the field of choreographic art for in-depth mastery of the art of reproducing choreographic works. Taking into account the listed features requires the effective use of creative tasks in the educational process through means of improving and optimizing educational activities. It has been proven that professional training in modern choreography requires the teacher’s ability to integrate his knowledge when teaching specific disciplines in order to appropriately update the educational process.

Mentoring-values and profiles in primary and preschool education

Because few schools consistently provide a sustainable preparation for the school of the future and for life, it takes a person to make us see, learn and apply what we cannot see, learn, apply on our own. More precisely, an experienced person, willing to share real personal creative experience, for the benefit of other people, of the institution in which he integrates through a relationship based on management, on respect and trust, on superior knowledge, on existing legislation, on intuition and self-created opportunities. This person is the leader, the coach and even the mentor. The field is naturally called leadership, and on a managerial and didactic professional level it is called mentoring. A quality mentoring activity has an important role in anticipating and reducing the difficulties that could intervene in the teaching career of future teachers. I will reflect on the training and career development of teachers from the perspective of the importance of mentoring, in order to ensure a quality education for children through adequate training of teachers. In order to achieve performance, it is necessary to combine theory and practice harmoniously and to acquire the ability to use the knowledge gained in new learning contexts. The study will identify solutions for improving the quality of education by introducing the role of mentoring in the development of the teaching career. After carrying out the research, I will know the degree of satisfaction of the actors involved, with special reference to their activity in kindergarten and school and to the real and harmonious progress of preschoolers and students.

Exploring the link between creative tourist experiences and intentions among Gen Z: a sequential mediation modeling approach in creative tourism

Purpose This study aims to explore the influence of creative tourist experiences (CTE) on tourists’ recommendation intentions (RCI) toward creative tourist destinations. This study examines the roles of tourist engagement and satisfaction in this relationship, proposing a sequential mediation model based on the cognitive-affective-conative model. Design/methodology/approach The research surveyed travelers to Kinnaur, Himachal Pradesh, India, using a structured questionnaire. Through purposive sampling data were collected from 413 generation Z (Gen Z in short) tourists. The study used exploratory factor analysis, confirmatory factor analysis and sequential mediation analysis. The present research used Model 6 by Andrew Hayes in the SPSS process macro to test the serial mediation. Findings The findings emphasize the importance of active engagement in creative tourism and its potential to transform cultural heritage into enriching experiences, thereby influencing tourists’ recommendation behaviors. Results of sequential mediation analysis show that there is a significant and positive impact of CTE on tourist’s RCI. Further, results showed the sequential mediation effect of tourist engagement and satisfaction on the relationship between CTE and RCI. Practical implications The findings offer valuable insights for destination managers and policymakers in creative tourism. Enhancing tourist engagement and satisfaction through creative experiences can effectively increase RCI, contributing to the sustainable management of cultural resources and preventing the over-commercialization of cultural heritage. Originality/value This research contributes to the literature on creative tourism by empirically testing the sequential mediation model and highlighting the pivotal role of tourist engagement and satisfaction in transforming creative experiences into positive behavioral outcomes. This study provides a nuanced understanding of the factors influencing tourists’ RCI in creative tourism contexts.

The Hummingbird

ABSTRACT As Jungian analysts, we rarely discuss our medical conditions, especially chronic illness and disability and their effects on our work and lives. The sense of being judged by our colleagues and being forced to give up our practices by prevailing cultural and societal norms can create fear and apprehension in a disabled analyst, who may not feel able to discuss the depths that can also emerge from serious physical conditions. These apprehensions may also be connected to the overused and often misused concept of psychosomatic illness, a reductive and causal approach that may stifle a more creative experience emerging from illness and disability. C. A. Meier brings a different understanding and approach to the links between soma and psyche, connecting the two at the psychoid level, where synchronistic experiences may emerge. Furthermore, through the myth of Inanna’s journey to the death world of Ereshkigal, this paper includes a personal account of illness and disability, connecting it to a wider conversation concerning the Jungian approach to ourselves as analysts, to our colleagues, and to our clients.

RECEPTION OF AUBREY BEARDSLEY’S WORK IN THE NOVEL “THE APES OF GOD” BY WYNDHAM LEWIS

The article is devoted to the study of Wyndham Lewis’s perception of Aubrey Beardsley’s graphic and literary works. We apply an aesthetic-poetological method and historical-literary method and biographical method. The comparison of Beardsley’s novels «Under the Hill» and Lewis’s «The Apes of God» is associated with the experience of graphic creativity of the authors, with their interest in Catholicism, with parody and the grotesque. An analysis of direct references to Beardsley in the context of “table talk” and aphorisms of Wilde, Beardsley and Whistler shows that Lewis does not completely deny the experience of the 1890s. Rather Lewis pays a lot of attention to them in the form of reminiscences, following the aesthetics of objectivity. If the era of 1890s is characterized in Lewis’s novel with the help of food metaphors, then the pictures of modernity are created with the help of battle, military vocabulary. Lewis characterizes fictional heroes of the 20th century through the artists of the nineties of the 19th century – Beardsley, Wilde, Whistler, Leverson. If Wilde and Whistler are recognized by Lewis in the artistic world of the novel through Pierpoint, Zagreus and Osmund, then the name of Aubrey Beardsley is more associated with the image of Sib. The heroine of the novel (whose prototype is Ada Leverson) is created through characteristics reminiscent of Beardsley’s drawings, which combine masses of black and white and which are associated with the tradition of the «Fetes Galantes».

THE CULTURAL TRADITION AS A STYLISTIC FACTOR IN THE CHORAL MUSIC OF YU. ISHCHENKO

The author investigated the choral work by Yuriy Ishchenko in the context of the cultural processes of Ukrainian composers' creativity of the second half of the 20th - beginning of the 21st centuries. The research has proposed subject-content levels of studying the individual author's creative dialogue of the composer with the traditions of Ukrainian and European musical culture. It was found that the choral works of Yuriy Ishchenko are built according to traditional principles, but at the same time they carry new ideas and meanings. The dialogical nature of the composer's creative consciousness as a creative personality existing in the cultural space of modernity is described. An attempt was made to determine the stylistic specificity of Yuriy Ishchenko's choral work in the aspect to actualize its representativeness against the background of the functioning of the cultural tradition in the space of further artistic practice. The organic connection between the creative practice of this outstanding representative of the Ukrainian school of composers and the structural levels of tradition as a special form of culture is substantiated. It was established that the choral work of Yuryi Ishchenko demonstrates a new vision, understanding and individual creative reproduction of the cultural tradition as a fundamental basis of the composer's practice. It is noted that tradition acts as the main "regulator" of the dynamic ratio of "old" and "new" in musical culture. The principles of interaction of dynamic (individual-functional-creative) and static (objective-content) complexes of cultural tradition in the space of musical creativity are traced. It has been proven that the choral works of Yuryi Ishchenko are the genre-stylistic "core" of the composer's creative experience, in which the genetic links between the musical art of the 20th century and the traditions of European and Ukrainian culture were actualized. The neo-folkloric and neo-romantic stylistics of the choral works of the Ukrainian composer are personified, as well as their musical and stylistic orientation towards the aesthetics of the "new sacredness".

Considering Opportunities for Mathematical Magic

Mathematical magic, or experiences of beauty and creativity for K-12 mathematics students, can contribute to deepened content understanding. However, creating opportunities for mathematical magic. in mathematics classrooms has been a challenge for classroom practitioners. To support development of these experiences in classrooms, we deployed a bi-directional support program between a college-level mathematician and an early-career secondary teacher. Based on data collected from this project, we have identified four principles that will promote mathematical magic. We conclude that mathematicians and early career teachers can work together to a) leverage understandings of the nature of mathematics, b) apply meta-mathematical reasoning, c) share knowledge of content and students across contexts, and d) recognize students’ mathematical development to design learning experiences for mathematical magic.

Self-perceived relations between artistic creativity and mental illness: a study into lived experiences.

To explore the self-perceived relationships between experiences of creativity and mental illness and to understand the meanings behind these relationships. The idea that mental illness and artistic creativity are somehow related dates back to ancient times. There is some evidence for an actual correlation, but many questions remain unanswered on the nature and direction of the relationship. Qualitative contributions to the debate are scarce, and mainly focus on the potential benefits of participation in the arts for people with mental illness. An explorative, interpretive study. Twenty-four professional and semi-professional artists with self-reported experience with mental illness, were recruited purposively. Unstructured in-depth interviews were conducted and transcripts were subjected to interpretive analysis, guided by a hermeneutic phenomenological frame. Participants experience a range of interactions between artistic creativity and mental illness. Three constitutive patterns describe what these interactions look like: "flow as a powerful force"; "ambiguous self-manifestation"; and "narrating experiences of suffering." The findings show that both the concept of creativity and the concept of mental illness, as well as their interrelationships, are layered and complex phenomena that can take on different meanings in people's lives. The findings provide starting points for further research that goes beyond the polarized academic debate. Understanding the experiences of artists with mental illness can help shape the role of art in public mental health and mental health care.