Various factors-motivation, interest, fatigue, and external stimuli-influence creative mental processes and attention control (AC). Creative thinking (CT) relies on AC and involves coordinated neural networks and pathways. The cognitive function of AC requires the capacity to direct attention toward distinct features of the environment or internal thoughts. Such selectivity is a key to limiting distractions, preserving focus, and assimilating the essential information needed for CT. Despite progress in creativity research, characterization of underlying neural mechanisms remains limited. To address this gap, we identify the obstacles slowing progress in this area and suggest strategies to overcome them. Moving forward, establishing a collaborative research agenda across multiple disciplines is central to continuing the progress made to date. By fostering such an interdisciplinary research agenda can open new therapeutic avenues for attention-deficit/hyperactivity disorder.

This study aims to describe the implementation of the Project-Based Learning (PjBL) model in creative dance learning. It also analyzes the results of creative dance projects produced by grade XI students of SMA Negeri 14 Semarang. This study uses a descriptive qualitative approach with data collection techniques including observation, interviews, and documentation. The research subjects consist of one Cultural Arts teacher and students of grade XI. Data analysis employs the interactive model of Miles and Huberman, including data reduction, data display, and conclusion drawing. The results show that the implementation of PjBL is conducted through seven systematic stages: project determination, planning, scheduling, exploration and movement creation, monitoring, project presentation, and reflection. Students demonstrate active involvement in group discussions, movement exploration, and collaboration. Each group successfully produces creative dance work with diverse themes, reflecting the development of creativity and critical thinking skills. This study highlights students creative processes at each stage of the project, which has not been widely explored in previous studies.

ABSTRACT This paper shares eight artists’ approaches to researching archival, heritage-based and historical research of Geelong, Australia. Situated in a university context and engaging arts-led research, their making, interpretations, presentations and communications through their art practices are shared along with their individual practice-led research outputs. Through their own, relevant choice of materials, imagery, technique and creative process, each artist demonstrated diverse ways that heritage, archival and historical materials can be researched and presented, contributing to new heritage curation processes and archival materials. An important finding from this project was the value this arts-based heritage and archival research had for exploring and addressing gaps between institutional archives and communities. This was demonstrated through the authors’ engagement with the artworks in an open accessible exhibition space at the Geelong waterfront. Many of the visitors to the exhibition expressed delight to hear and see their history being re-presented through art, and contributed additional stories and information about historical topics communicated in this exhibition. Some were quite emotional about the content. The documentation of this project including the exhibition catalogue became a new piece of archival material for the history of Geelong. These new archival contributions were added to the heritage libraries, to show alternative ways to document and experience heritage, history and archival knowledge.

Children invent and play with musical ideas in the same ways they invent and play with all the ideas and processes they experience in life. Music educators can draw on children’s natural generative capacities to foster deep musical engagement and understanding in classroom settings. In this article, I offer some reflections on what music learners and music education scholars have taught me, throughout my 50-year career, about music learners’ creative musical understandings and processes. To arrive at the thematic threads that underlie and frame the article, I engaged in recursive reflection on connections between and among numerous instances that occurred in different times and contexts. I hope these themes might be useful to other practitioners and researchers. Broad themes that emerged reflect the nature of children’s processes of inventing and initiating musical ideas, and that their creative process (a) is holistic, contextual, and intellectual; (b) reflects their musical experience, knowledge, and understanding; (c) is a form of meaning-making and personal expression; (d) is embedded in and influenced by their sociocultural understanding and values; and (e) is rooted in their personal and musical agency. Each theme is explained in relation to the others, supported by salient examples from data collected in a wide range of settings, and connected to the findings of others as reported in the literature.

Aims. This study investigates the effectiveness of Ethno-Project-Based Learning (E-PjBL) integrated with Cirebon Mask Dance (Tari Topeng Cirebon) as an ethnoscience context in enhancing students’ creative thinking skills and science process skills. Methods. Employing a quasi-experimental design with a pretest-posttest control group model, this research involved 72 junior secondary school students (Grade VIII) in Cirebon, West Java, Indonesia, divided into an experimental group (n = 36) receiving E-PjBL instruction and a control group (n = 36) receiving conventional inquiry-based learning. Data were collected using the validated Creative Thinking Skills Test (CTST), which assesses Torrance’s four dimensions (fluency, flexibility, originality, and elaboration), and the Science Process Skills Assessment (SPSA), which encompasses observing, classifying, predicting, hypothesizing, experimenting, and communicating. Statistical analyses using ANCOVA, N-gain scores, and effect size (Cohen’s d) revealed that the experimental group demonstrated significantly higher gains in creative thinking skills (ΔM = 18.73; p < .001; d = 1.42) and science process skills (ΔM = 21.46; p < .001; d = 1.67) compared to the control group. Result. Thematic qualitative analysis of student project artifacts and reflective journals further confirmed that the cultural symbolism embedded in the Cirebon Mask Dance, particularly its philosophical motifs that represent natural phenomena, served as authentic, meaningful stimuli for scientific inquiry and creative ideation. Conclusion. These findings establish E-PjBL as a culturally responsive pedagogical framework that bridges indigenous ecological knowledge with formal science education, offering a replicable model for ethnoscience integration in multicultural science classrooms.

Artificial Intelligence now is far beyond the scope of the first application as the device that helps humans. The existing AI has the power to compose music, draw, compose stories, create videos, create architecture and even compose computer code. The legal question, which this development raises, is: Who is the author of an AI-generated work? The copyright laws in India were fashioned in a way that could only allow human beings to produce works of creativity. With AI being a significant component of the creativity process, the issues of ownership, rights, and legal protection arise. The notion that humans are the only potential authors provides loopholes in a great majority of jurisdictions, providing that AI-generated works do not fall under the current copyright laws.

This multiphase mixed-methods research aimed to: 1) investigate the components and indicators of creative culture and the active learning management of administrators in secondary schools in Northeastern Thailand; 2) validate the goodness-of-fit of the structural equation model of creative culture influencing administrators’ active learning management against empirical data; and 3) develop a creative culture model that enhances the active learning management of secondary school administrators in the region. The study was conducted in three phases. Phase 1 investigated the components of creative culture that enhance administrators’ active learning management through a comprehensive review of related literature and research. Five experts, selected through purposive sampling, verified the components. Phase 2 examined the model’s structural consistency and harmony with empirical data. The sample consisted of 510 school administrators and teachers. Phase 3: developing the creative culture model by integrating the component weightings, good-practice findings on creative culture in schools, and relevant literature. A draft model was constructed and subsequently validated through a connoisseurship seminar involving nine experts. The revised model was then evaluated for suitability by 20 experts and stakeholders. The findings revealed that: 1) The creative culture comprised five major components and sixteen subcomponents. Administrators’ active learning management consisted of five major components and twelve subcomponents, all of which met prescribed criteria for appropriateness. 2) The developed model demonstrated a good fit with empirical data, with χ²/df = 1.86, p-value = 0.06 (indicating non-significance), RMSEA = 0.03, SRMR = 0.03, CFI = 0.97, and TLI = 0.98. 3) The proposed creative culture model for enhancing administrators’ active learning management in Northeastern Thailand comprised: (1) principles, (2) objectives, (3) components of creative culture, (4) methods and processes for developing creative culture, (5) success factors, and (6) conditions for effective implementation. The model demonstrated the highest levels of suitability, feasibility, and utility.

Communicating designs effectively can be difficult when sketching complex three-dimensional (3D) objects that flow around a circle using linear perspective, such as a watch’s wristband or a bracelet. This study is part of a project which aims to investigate and introduce a new perspective technique. An extensive Systematised Review was conducted to analyse resources, current and alternative methods of teaching perspective drawings, with trends and critical gaps identified. A cross-disciplinary evaluation was carried out to cover the main 3D design fields and detect influences of sketching techniques. None of the gathered methods specifically address sketching complex 3D objects that flow around a circle. From the literature review, a guideline for a circular perspective framework is outlined. Despite the prevalence of Computer-Aided Design (CAD) and Generative Artificial Intelligence (GAI) tools in design, research suggests that sketching remains relevant and valuable in the creative process.

Abstract This study explores the impact of robot–LLM (Large Language Model) integration on collaborative creative writing, focusing on how embodiment and AI creativity influence various aspects of creative output. A total of 150 undergraduate students participated in a structured experimental design with five collaboration conditions: Human–Human (HH), Human–Computer with High‐Creativity LLM (HC), Human–Robot with High‐Creativity LLM (HR), Human–Robot with Low‐Creativity LLM (RL) and Human–Computer with Low‐Creativity LLM (CL). Creativity was assessed through expert ratings and computational analysis of originality, imagery, voice and semantic flow. The results revealed that while the Human–Robot (High‐Creativity LLM) condition significantly enhanced originality, Human–Human and Human–LLM (text‐based) collaborations excelled in imagery and voice. The study identified an ‘embodiment paradox’, where robot embodiment amplified creativity in high‐creativity AI conditions, yet human collaboration remained superior in stylistic expression. Mediation analysis revealed that user engagement acted as a mediator, with embodiment compensating for low‐creativity AI and amplifying the creative process with high‐creativity AI. The findings have important implications for the design of collaborative AI systems, highlighting the need for a balanced integration of embodiment and AI creativity to optimize creative outcomes. This research contributes to our understanding of how human–robot–LLM collaborations can expand creative potential in writing, offering insights for future AI applications in educational and creative industries. Practitioner notes What is already known about this topic? Previous studies have explored the impact of AI in creative collaborations, with a focus on text‐based models like LLMs enhancing writing quality. Embodiment in AI systems, such as humanoid robots, has been shown to affect user engagement and emotional responses, influencing creativity. Human collaboration has traditionally been seen as superior in generating stylistic elements like imagery and voice, while AI excels in originality and idea generation. What this paper adds? This research demonstrates that robot–LLM collaboration significantly boosts originality, particularly when high‐creativity AI is used. The study uncovers the ‘embodiment paradox’, where embodied robots enhance creativity in high‐creativity AI conditions but human collaboration remains superior in stylistic expression. The mediation role of user engagement is explored, showing how embodiment can enhance creative outcomes when AI creativity is low and amplify them when AI creativity is high. Implications for practice and/or policy Educators and trainers can utilize embodied AI systems in creative tasks to increase student or participant engagement and foster more original outputs. Training programmes can be structured to leverage the strengths of both human collaboration and AI, tailoring tasks based on AI's creativity levels for optimal outcomes. Policy around the integration of AI in educational and creative settings should encourage balanced AI systems that combine embodiment and creativity for enhanced collaborative work.

Harnessing a "Spirited Technology": How Working with Generative AI Collapses the Creative Process

This paper investigates the intersection of artificial intelligence and the aging processes through two artistic research projects conducted as part of a practice-based doctorate at École Universitaire de Recherche (EUR) ArTeC. AI is frequently conceived in terms of performance, optimization, and transcending human limits. In other words, in terms of its omnipotence. In this article, however, I suggest considering AI in accordance with its material dependencies, its slowness, its failures, and the bodies it usually marginalizes. I propose placing childhood and old age, often excluded from contemporary technological practices, at the center of a critical and creative process. The projects an·other voice (2023), La Mue (2024) and Quand la parole se mêle à des objets, qui se mêle à l’argile, qui se mêle à la machine (2022-25) took place in two different sites within Paris: the Institute for Research and Coordination in Acoustics/Music (IRCAM), a collaborative research institute bringing together composers and scientists, and the Furtado Heine nursing home, a care facility for people requiring ongoing medical support.

The paper examines the relationship between technological innovations and the labour markets. The entry of AI into general use has shown significant signs of reducing future job opportunities. Drawing on Schumpeterian growth theory, the study affirms that innovation is a creative process with destructive outcomes. Technological progress occurs in a cycle of vertical innovation that generate temporary monopoly rents for entrepreneurs and inevitably render labour redundant, jobs polarized, and skills obsolete. The creative part of innovation expands aggregate demand, lowers, production, creates new occupations, and shifts labour to words service oriented tasks. In contrast, the destructive phase renders skills obsolete, displaces routine jobs, and accelerate labour market polarization. It also creates short-term hardships due to the relative immobility of human capital compared to financial capital. AI innovation represents a qualitative departure in technological disruption by encroaching on non-routine cognitive tasks previous considered exempt from automation. Preliminary evidence shows AI risks compressing entry-level pathways in knowledge work, slowing skills development, limiting human capital adaptability, and increasing inequality. Emerging economies must remodel human capital development to mitigate the harsh reality posed by technological advancement. Keywords: Creative, Destruction, Innovation, Labour, Displacement.

The application of artificial intelligence to creative processes has profoundly changed the modern digital art and illustration processes. Generative Adversarial Networks (GANs) are among many other AI approaches that have become potent in creating quality visual art and assisting the exploration of art. In this paper, the author explores the use of GANs as a creative collaborator in the digital painting and illustration workflow. The paper analyzes the technical principles behind GAN architectures, their use in the artistic image generation, and their role in human-AI creative processes. The most important applications of GAN systems, such as concept generation, style transfer, image-to-image translation, and automated colorization, are examined in order to comprehend how the technologies can support an artist at any phase of visual creation. The examples of major GAN models DCGAN, CycleGAN, StyleGAN, and StyleGAN2 are also compared to discuss the effectiveness of these models in the synthesis of artistic images. According to the results provided, it is seen that advanced architectures are better in image realism, consistency of structures and artistic usability than the previous models. Moreover, the study demonstrates the advantages of GAN-based tools as it promotes quick ideation, experimentation with styles, and design feedback, without taking control of the creative process of artists. The paper also talks of the technical structures of integrating GAN systems in the digital art setting and talks about issues of ethical issues surrounding authorship, originality, and bias in the dataset. All in all, the results indicate that the technologies based on GAN redefine the production of digital art by facilitating the interactive collaboration between human creativity and machine intelligence and creating new opportunities in the realm of innovations in computational creativity and digital illustration practice.

The blistering growth of digital technologies has put a major shift in cultural production, distribution, and governance all over the globe. With the advent of digital art, web-based creative platforms, and the use of artistic works by artificial intelligence and generative tools, the process of creating, sharing, and consuming works of art has been re-established. On the one hand, these inventions increase the accessibility, engagement and cultural exchange around the globe, on the other hand, they create issues of governance and policymaking that are complicated by the questions of intellectual property rights, ownership, ethical regulation as well as cultural preservation. This paper discusses the changing culture policy and governance in the digital age of creative processes through the fusion of digital transformation in cultural production and the contribution of the emerging technologies like artificial intelligence on creative processes. The study also explores the national and global policy frameworks to govern the digital cultural ecosystems with a focus on the roles of governments, cultural organisations and technology firms in the development of responsible digital cultural regulation. The major problems of governance such as protection of copyright, regulation of works created by AI, the balance of the cultural maintenance and the technological development are discussed critically. Also, there are select case studies of government-funded digital art projects, cultural heritage digitization projects, and policy reactions to AI-enhanced creative platforms that are being utilized to demonstrate how governance can be applied practically.

Such projects as large-scale visual arts, such as installations in the city, murals, and online exhibitions, require coordination among multidisciplinary design teams as never before. Conventional collaborative operations experience a major challenge in the efforts of ensuring consistency of arts, handling real-time contributions by the distributed workforce, and scaling artistic operations. The presented paper presents a new collaborative AI model which is specifically aimed to assist design teams to create the large-scale visual artworks. The system suggested above combines a multi-layer architecture that includes the data acquisition layer, AI processing layer, collaboration management layer, and immersive visualization layers. We use the most up-to-date generative models such as diffusion transformers and multi-agent artificial intelligences to facilitate the creation of co-creativity between human artists and intelligent agents. The system has built-in high-level synchronization techniques, version control systems, and customized recommendation systems based on creative processes. Experimental analysis indicates that team productivity (42%) and artistic coherence (87% quality score) and workflow efficiency (35 reduction in iteration time) were highly improved over traditional and semi-automated ones. Precision, recall, and F1-score in content generation tasks are found to be 0.91, 0.89, and 0.90 respectively in the quantitative analysis. Scalability tests assure real-time performance of a team with up to 50 concurrent users with under 200ms latency. This study building blocks provides the ground work of human-AI joint creativity in scale-artistic production.

The intersection of digital fabrication technologies and older crafting setting is reshaping the artistic production and creative potential of the contemporary visual arts by broadening the production of materials, experimentation with materials and inter-disciplinary cooperation. The 3D printing, laser cutting, CNC machining, and improved digital modeling software allow artists to create complicated geometries, mechanize fabrication techniques, and quickly model artistic ideas. Meanwhile, the rich material expertise, cultural traditions, and sense of touch, which digital technologies do not have the power to reproduce, are still preserved through the traditional craft methods, such as handcrafted sculpture, textile weaving, ceramics, and woodcraft. The study offers a discussion on how convergence in technology supports hybrid forms of artistic practice that involve the use of computers in the construction of artists and their artworks through manual craftsmanship. It explores how digital fabrication technologies are used in the creative processes of artists, evaluates the importance of conventional craft knowledge systems, and explores new forms of partnership between artists, engineers and artisans. The paper also addresses the strategies of hybrid fabrication in which digital technologies are used to promote accuracy and scale whilst the handcrafted methods add individuality, cultural identity, and material expressiveness. The conceptual analysis and comparative discussion help to present, through the research, the ways in which the combination of the digital and traditional approach results in the new expression of visuals, the methods of sustainable production, and the new ways of creative experimentation.

This research examines the influence of the Webtoon platform on the creativits and literary marketing of Gen – Z in Indonesia, with a focus on the increasingly common trasition of digital content to physical books. The research background is grounded in the rapid growth of Webtoon as a platform for illustrated stories accessed by millions of young users via mobile devices, enabling affordable creative expression, but often encountering adaptation challenges to print formats due to differences in distribution and monetization. The primary objective is to analyze how Webtoon shapes the creative processes of young writers and their literary marketing strategies. The research method is qualitative, involving in-depth analysis of 10 popular Webtoons on the Webtoon platform that have been adapted into physical books, with emphasis on narrative elements, visuals, community interactions, and marketing patterns. Findings reveal that Webtoon fosters creativity through collaboration features and instant feedback, resulting in more dynamic original stories, while the transition to physical books enhances market visibility by 20-30% via digital promotion, although hindered by copyright complexities and production costs. The implications of this research underscore the importance of collaboration between traditional publishers and Webtoon to establish a hybrid literary ecosystem that sustainably supports Generation Z talent.

The concept of big data visualization has become a revolutionary artistic form of expression that has fulfilled the void between computational analytics and artistic expression in the modern scientific studies. This paper examines the ways in which massive datasets (defined in terms of volume, velocity, variety, veracity and value) are transforming the art creative process as it allows the conversion of dense information into attractive visual stories. Combining new technologies (e.g., real-time data streaming, machine learning, interactive visualization platforms, etc.) enables artists and researchers to establish dynamic, immersive, and participatory experiences. Processing, D3.js, and Tableau are the tools that can help to transform raw data into aesthetic representations and encourage data scientists, designers, and artists to work together interdisciplinarily. Moreover, the big data visualization is applied in the context of such fields as climate science, genomics, urban analytics, and so forth, where data-driven visual artworks convey important information and social issues. Interactive installations and digital exhibitions improve the level of participation of the audience and provide an opportunity to interact in real-time with changing datasets. The findings suggest that big data visualization does not only increase the interpretability of visual data, but it amplifies the limits of artistic creativity and allows new means of narration and perception. This study identifies the increased importance of data as a material and as a medium in the modern art that will contribute to the development of new creative and analytical paradigms.

The whole process of sculpture has been transformed significantly with the invention of the 3D printing technology, and has re-evaluated the relation of art, material or digital innovation and provided more significance to the contemporary visual culture. The paper examines how additive manufacturing affects the traditional sculpture in that it presents new ways of creativity, precision and effectiveness in production. It begins with discussing the transformation of old methods of sculpture and integration with digital fabrication technology such as Computer-Aided Design (CAD) and 3D printing technology (Fused Deposition Modeling (FDM) and Stereolithography (SLA)). A comprehensive literature review describes the current trends of the digital art practices, material innovation and composite creative processes. This paper derives an idea of a hybrid form of traditional craftsmanship and the digital act of creation with the emphasis on the hybrid sculptural process. A case-implementation is used in the paper to illustrate the practical implementation and effectiveness of the framework. The standard sculpture and 3D sculpture are compared based on the factors such as the time efficiency, cost, precision and creativity. The findings reveal that 3D printing enhances precision, repeatability and more intricacy of designs, yet the conventional methods offer a richness of touch and a depth of expression. The study also addresses limitation issues including material constraints and consideration of the artistic authenticity.

ABSTRACT Background Creative expression transforms imaginative landscapes into tangible realities. Music-making in particular sets perceptions into motion that both creator and appreciator can experience. This innovative act establishes one’s identity within the community, and engaging in the creative process with others further emphasizes one’s voice within the collective. Group-based music-making’s ability to foster agency and belonging might be especially advantageous for those experiencing isolation and alienation. This investigation examines song-making in a group’s impact on people experiencing psychosis. Methods Twenty participants with psychosis engaged in four sessions during which they wrote and recorded songs with four other participants and a music facilitator. This study builds on music therapy research in psychosis by incorporating symptom specific measures and adding linguistic analyses as objective measures of mental states. Symptom changes were assessed by administering paranoia and hallucination questionnaires before and after the music intervention. Fluctuations in the language participants use to describe experiences were quantitatively captured using Linguistic Inquiry and Word Count 2022. Results Although a decrease in hallucinations was not observed, paranoia decreased in participants who experience less severe hallucinations as compared to those who experienced them more frequently. Linguistic findings revealed a significant reduction in the usage of the first-person pronoun “I” and significant increases in the plural pronoun “we,” accomplishment, agentic, cognitive processing, and positive emotion language. Discussion Suggestions regarding how these language shifts reflect the song-making activity and translate into participants’ lives outside of the song-writing workshop are discussed. Overall, this study highlights the potential of group-based song-making in promoting recovery from psychosis.