Creativity Of Others Research Articles

The Impact of Philosophical Literary Stories in the Development of Creativity in Relation to Nature Protection and Sustainable Development

Aim. The paper is focused on the area of philosophical literary stories included in the educational programme Philosophy for Children. The paper aims to identify, reflect and analyse the categories of creative thinking in such stories. Methods. The main method through which we deal with categories of creative thinking is represented by the interpretation of the literary text in several philosophical stories. An additional method is the analysis of documents – individual books containing philosophical literary stories. Results. The analysis of several stories shows that creative thinking in philosophical literary stories is identified in the categories of imagination, applicability, originality, surprise, experimentation, encouragement of the creativity of others and imaginativeness. The major characters are using original solutions to problems, they are able to apply the solved problem to a new situation, ask questions and their thought processes are often surprising. Problematic to determine is the category of imagination, with which the character can think about a possible world or problem solving. Conclusion. In contrast to the classical aesthetic literary text, this specific type of text brings the reader model solutions to many problems of everyday life. The focus of the Philosophy for Children can also aim at ecological and environmental issues and individual participants in the community of inquiry are thus encouraged to stimulate their creativity in the field of nature protection and sustainable development from an early age.

From Fashion Brand to Artwork: Divergent Thinking, Copyright Law, and Branding

The purpose of this study is to explore the interaction between copyright, branding, marketing, and heritage protection with regard to a fashion brand. The authors use analytical-critical and legal-dogmatic methods, supplemented with desk research, a case study approach, and a review of the marketing literature. This paper argues that the top-tier fashion brands use the concept of artification in order to build their brands, mesmerize clientele, and increase revenues. Although design and reference to the arts play a major role in the luxurious and premium end of the fashion business, this analysis proves that the top players do not necessarily observe the appropriate laws in these areas. The reader will see examples of the flouting of basic legal constraints by big players, e.g., copyrights or property rights, including the monetisation of the creativity of others with the expectation of no legal challenge. Offenders capitalise on the likelihood that a legal suit is too demanding for smaller players, such as foundations or museums.

PEER-TO-PEER (POST)AUTHORSHIP

The article conceptualizes (post) authorship in the context of the development of contemporary network technologies. The development and specifics of contemporary information technologies are considered, and their impact on culture is determined. It is noted that contemporary technologies change people, social relations, and the nature of cultural production. It emphasizes the importance of cooperation, the network method of interaction, the importance of free access, the principles of freedom in the use and dissemination of information, technologies provided, in particular, by such network systems as Peer-to-peer (P2P). It is from this technological perspective that P2P (post)authorship is conceptualized. The importance of separating the concepts of copyright and author is emphasized, the nature of the change in their functions is determined in the context of the distinction between autonomy and authority. Acceleration of technology development requires constant interaction, co-authorship, which can be implemented on the basis of free access to information. This requires a change in the concept of copyright, which was formed on the basis of private property, which today only inhibits the development of social relations. Along with this, it is important to review the figure of the author, focusing not only on the significance of co-authorship in the production of cultural products, but also on the conceptualization of a kind of multiple, decentralized author or (post)author. At the same time, it is about the significant role of change in the perception of time, emphasis on timeliness and simultaneity of interaction. In such a perspective, private property and copyright lose their usual meaning. The digital, intellectual, cultural author/product goes beyond material production, virtualized as a co-author. Peer-to-peer (post)author is realized through feeding the creativity of others.

A Freirean interrogation of creativity beliefs

ABSTRACT Creativity is considered here as a universal and diverse capacity that is central to full human agency. This view contrasts with beliefs that negate one’s creativity and that of others. Self-reports of creativity are examined in this paper taking inspiration from the study of oppression and liberation in the praxis of social change by the influential education theorist Paulo Freire. An exploratory survey of one hundred and fifty-nine professionals examines the types of perceptions and beliefs that designers and non-designers have about their own creativity, the creativity of others, and how they explain the nature of creativity. Based on how respondents explain their own creative capacities and those of others, three initial categories are formulated based on theories of social change: oppressive, oppressed, and liberating views of creativity. The findings demonstrate how these categories can be interpreted and implications for future work are discussed in the closing section.

CONCEPTS OF CREATIVE LEADERSHIP OF WOMEN LEADERS IN 21ST CENTURY

This article presents the subjective perspectives of women leaders working in higher education institutions in the 21st century in South Africa. It focuses in particular on creativity as demonstrated by women leaders working in culturally and gender diverse post-apartheid settings. The aim is to contribute to the discourse on the creativity of women leaders from diverse cultural backgrounds within South Africa higher education institutions by examining how women leaders experience creativity and what creativity means to them from a qualitative perspective. The study reported on assessed the experiences of creativity of 23 women leaders and their views on creativity and creative leadership by means of a research paradigm based on Wilhelm Dilthey’s modern hermeneutics. It used qualitative research methods, such as semi-structured interviews, as well as observations within one selected higher education institution. Data was analysed by means of content analysis. Quality research criteria and ethical considerations were upheld. The findings highlight the creative skills and attitudes of women leaders underlying successful leadership and the types of creative leadership applied. They suggest that women leaders’ creativity manifests in facilitating creativity in higher education institutions by fostering the creativity of others rather than directing their own creative vision through or integrating it in the work of employees.

Expertise in Evaluating Choreographic Creativity: An Online Variation of the Consensual Assessment Technique.

In contemporary dance, experts evaluate creativity in competitions, auditions, and performances, typically through ratings of choreography or improvisation. Audiences also implicitly evaluate choreographic creativity, so dancers’ livelihoods also hinge upon the opinions of non-expert observers. However, some argue that the abstract and often pedestrian nature of contemporary dance confuses non-expert audiences. Therefore, agreement regarding creativity and appreciation amongst experts and non-experts may be low. Finding appropriate methodologies for reliable and real-world creativity evaluation remains the subject of considerable debate within the psychology creativity research field. Although considerably variant in methodological operationalisation, the Consensual Assessment Technique (CAT) asks individuals to use an implicit definition to assess creativity in others’ work. This study aimed to investigate the role of experience and expertise in the evaluation of choreographic creativity, with a secondary aim of testing the feasibility of an online snowballing methodology for large-scale dance-specific research, informed by the methodology of the CAT. We filmed 23 Contemporary Dance students each performing a 3-min peer-choreographed solo and then recruited 850 online evaluators with varying degrees of expertise and experience in dance and creativity. Evaluators viewed at least one randomly selected video and rated creativity, technical ability, appreciation and understanding of the work, each using a seven-point Likert scale. A one-way ANOVA showed a significant difference in creativity ratings across the 23 videos, and creativity correlated significantly with the other variables. We then categorized evaluators on nine aspects of their dance and creative experience and entered the data into a repeated-measures linear mixed model. Two of the fixed effects yielded differences in creativity evaluations: (i) contemporary choreographic experience and (ii) self-reported creative expertise, as did the random effect of the video. The results indicate that personal experience of the choreographic process impacts creativity assessment, above and beyond experience in dance class participation. Implications for creativity assessment within creativity research and practice are discussed.

CONTENT OF MODERN EDUCATION: CHOICE OF THE PATH

Introduction. Modernization of education and formation of its content according to modern realities and the prospects of society development appear to be the most acute issues since the future of the country depends on their decision. The aim of the article is to justify the need to rely on the achievements of pedagogical science, the use of profound and fruitful scientific ideas of outstanding Russian scientists and pedagogues, and the participation of the pedagogical community when carrying out educational reforms. Methodology and research methods. The following theoretical methods were used: analysis of pedagogical and methodical literature, normative documents; historical, comparative, and logical analyses of the content of education; the forecasting. Resultsand scientific novelty. The article identifies two main areas in the choice of strategic goals of education. The future of Russia depends on the chosen direction. The first is the disclosure of the abilities of each student, the development of analytical abilities and critical thinking, the education of a person ready for life in a high-tech, competitive world. The second is to nurture a qualified consumer who can skillfully use the results of the creativity of others and ready for life in the so-called «skilled society». The first direction requires the presence of a fundamental education oriented to strategic perspectives; the second – utilitarian-practical education, oriented to today’s requests. The close interrelation of knowledge and skills is demonstrated on the basis of the concept of education content; wherein the key aspect is the idea of sociocultural experience broadcasting for the new generations. It is stated that a person without knowledge turns into a robot unable to act independently in critical situations. The feasibility of a reasonable combination of conservatism and innovation under the change of the education content and reforms implementation is approved. This highly sensitive and complex educational system requires «careful handling». The most effective management system is possible only through less interference into its internal processes; the imposition of fixed plans and schemes may carry the system destruction, as pointed out in the synergetic methodology thesis. Practical significance. The materials of the present research contribute to forecasting of possible scenarios of education development. The study results may be of interest both for methodologists and specialists of education management, teachers and lecturers of higher schools, i.e. all those who are interested in the prosperous future for the Russian education system, and for the country in general.

Assessment of creativity evaluation skills: A psychometric investigation in prospective teachers

An accurate judgement of the creativity of ideas is seen as an important component underlying creative performance, and also seems relevant to effectively support the creativity of others. In this article we describe the development of a novel test for the assessment of creativity evaluation skills, which was designed to be part of an admission test for teacher education. The final test presents 72 ideas that have to be judged as being common, inappropriate, or creative. Two studies examined the psychometric quality of the test, and explored relationships of creativity evaluation skills with cognitive ability and personality. In the first study, we observed that creativity evaluation skills are positively correlated with divergent thinking creativity and creative achievement, which suggests that evaluation skills are relevant for creative ideation as well as creative accomplishment. Across both studies, people tended to underestimate the creativity of ideas. Openness, intelligence and language competence predicted higher creativity evaluation skills, and this effect was partly mediated by a less negative evaluation bias. These findings contribute to our understanding of why people sometimes fail to recognize the creativity in others.

Creativity Motivated: New Investigations of Creativity's Motivational Antecedents and Consequences

Creativity, the generation of novel and useful ideas, is central to organizational activity and performance. When trying to encourage creativity in others, a common piece of advice is to “think out...

A Study on Creative Climate Barriers in Egypt and their Impact on Advertising Designer

Creativity is a mixture of capabilities, preparations and personal characteristics of the individual, which, if found in a stimulating climate, can interact with its elements and promote mental processes to lead to authentic and beneficial products in relation to the experiences of the individual, institution, society, or the world, so the need for creating an innovative climate that helps to create and develop creative capabilities increases And it helps to create a general acceptance of creative expression in the Egyptian society, for every moment of life for a person is required to be creative and to accept the creativity of others and encourage and motivate it without constructive criticism .. and because of the problem of not knowing the shape and type of obstacles of the creative climate to which the advertising designer is exposed in Egypt, the research attempts to shed light on some of these factors and attitudes that impede the creative climate of the advertising designer, which may break his ambition to continue and look for broader creations in advertising design, and when the advertising designer avoids these obstacles, the appropriate creative climate is available for the advertising process, so the creativity of his spirit grows, and his confidence increases. Himself and his capabilities to implement a creative declaration characterized by originality and can storm the noise of competition and leave the desired impression on the target audience. Obstacles to the creative climate depend on two main axes. The first is the designer with his various cognitive and emotional qualities, his own motivations, psychological orientations and personal characteristics .... and the other .. The second axis is the surrounding environment and life situations in its various forms, such as the family, society, cultural institutions, educational, economic, media and others. In all its different levels and types. Some local and international advertising models that have some creative elements are available, so that we can emphasize the importance of creativity and how to use it in advertising in different ways that suit the main goal of advertising. The results of the research indicated that the creativity process may be individual in relation to the personality of the creator, but it is closely related to its society, if it does not embrace it in all its categories, institutions and systems, and provides them with the necessary care and care, and provides them with the appropriate climate and health conditions necessary for their development, weakened, diminished and ended. It is the responsibility of any nation seeking civilization and progress to search for the creators of its people, not to wait for them until they search for them.

A Field Study on the Traditional Clothes of Al-Mikhlaf Al-Sulaymani

Creativity is a mixture of capabilities, preparations and personal characteristics of the individual, which, if found in a stimulating climate, can interact with its elements and promote mental processes to lead to authentic and beneficial products in relation to the experiences of the individual, institution, society, or the world, so the need for creating an innovative climate that helps to create and develop creative capabilities increases And it helps to create a general acceptance of creative expression in the Egyptian society, for every moment of life for a person is required to be creative and to accept the creativity of others and encourage and motivate it without constructive criticism .. and because of the problem of not knowing the shape and type of obstacles of the creative climate to which the advertising designer is exposed in Egypt, the research attempts to shed light on some of these factors and attitudes that impede the creative climate of the advertising designer, which may break his ambition to continue and look for broader creations in advertising design, and when the advertising designer avoids these obstacles, the appropriate creative climate is available for the advertising process, so the creativity of his spirit grows, and his confidence increases. Himself and his capabilities to implement a creative declaration characterized by originality and can storm the noise of competition and leave the desired impression on the target audience. Obstacles to the creative climate depend on two main axes. The first is the designer with his various cognitive and emotional qualities, his own motivations, psychological orientations and personal characteristics .... and the other .. The second axis is the surrounding environment and life situations in its various forms, such as the family, society, cultural institutions, educational, economic, media and others. In all its different levels and types .. And some local and international advertising models that have some creative elements are available, so that we can emphasize the importance of creativity and how to use it in advertising in different ways that suit the main goal of advertising. The results of the research indicated that the creativity process may be individual in relation to the personality of the creator, but it is closely related to its society, if it does not embrace it in all its categories, institutions and systems, and provides them with the necessary care and care, and provides them with the appropriate climate and health conditions necessary for their development, weakened, diminished and ended. It is the responsibility of any nation seeking civilization and progress to search for the creators of its people, not to wait for them until they search for them.

AN EDUCATIONAL CLIMATE FOR INNOVATION AT THE U.S. ARMY WAR COLLEGE

AN EDUCATIONAL CLIMATE FOR INNOVATION AT THE U.S. ARMY WAR COLLEGE

Creativity from a systems perspective: bridging theory and practice

Purpose – This paper aims to sketch the outline of a systems framework for creativity. It involves several levels of analysis and addresses researchers and practitioners. When improving creative climates in work settings, it is necessary to have a better understanding of the various mechanisms of creativity and what strengthens or diminishes them. Design/methodology/approach – Creativity research is fragmented and involves multiple aspects, levels and disciplines, ranging from biology to psychology and sociology. Concepts from systems science have particular value in understanding creativity, as they provide a transdisciplinary language of how systems work and adapt. This conceptual paper makes use of the language and concepts from the systems field to connect often disparate perspectives and clarify key mechanisms of creativity. Findings – The core of this paper is a newly developed multilevel model of the creative mind. The proposed concepts provide a starting point for integrating further theoretical findings. Practical implications – Improved understanding of creativity could help leaders more effectively use their creativity while facilitating the creativity of others for successful cooperation and problem-solving. Originality/value – The visual models introduced here help bridge theory and practice while creating a stronger link between creativity research and studies in systems, cybernetics and complexity.

To a T

This article focuses on breadth and depth of skills needed by candidates for engineering jobs. Adaptability—that is, the ability to keep up with the rapid pace of change—and practical skills rank high with today’s employers. Recruiters are finding that breadth of knowledge and experience trumps depth in the form of overspecialization in engineering; in recruitment, this means finding the engineer who fits a job opening ‘to a T.’ The best jobs are won by candidates who demonstrate a breadth of knowledge and experience in their own discipline and the disciplines related to it. According to the experts, systems engineers are specialists in simplifying complexity, resolving ambiguity, and focusing the creativity of others—but they are not generalists. The present day’s engineering students learn to define system boundaries, goals, and functions. They also learn to anticipate failure modes, to plan for mitigation and recovery, and to define and manage interfaces. Engineers with multidisciplinary skills are much more adaptable, and more in demand; but in engineering, there still are more specialists than generalists. The demands of today’s competitive business environments tilt the balance toward breadth. As technologies mature, the balance will tilt back toward depth.

Creativity in an Online Community as a Response to the Chaos of a Breast Cancer Diagnosis

Creativity in an Online Community as a Response to the Chaos of a Breast Cancer Diagnosis

Editorial: Your leadership style – how are you working to achieve a preferred future?

Editorial: Your leadership style – how are you working to achieve a preferred future?

Developing Leaders in Anesthesiology

Developing Leaders in Anesthesiology

To be human is to be creative

We will assert than in the era of Ubiquitous Technology to be human is to be creative. Small children are experimental and creative actors. The socialisation process in modern societies, both at home and at educational institutions, does not enhance and develop their creativity. On the contrary, their creativity is discouraged in many ways. We conceptualise creativity developmentally: It is possible to use activities, teaching methods, motivation and procedures to enhance and develop creativity, even in older people. This paper gives some guides that can be used both at home and at work to explore, enhance and develop ones own creativity and the creativity of others. Each suggestion is presented from a practical viewpoint and then related to some of the tools and concepts that scientists and artists use in their creative endeavours.

The creativity of social action: A composite account from art, philosophy, and political science

The pursuit of innovation depends on creativity as a competency, yet creativity-especially in organizational settings — is difficult to understand, let alone manage. By consulting works of Maurice Merleau-Ponty (art), Martin Heidegger (philosophy), and Hannah Arendt (political science), this article offers a composite account of creativity that suggests the aggressive pursuit of creativity in an organizational setting should include an expenditure of effort by leaders to create a social environment where participants can reflect upon and accept their own inner creativity, known as natality, as well as the creativity of others as a collective response to aspects of a reality we ordinarily overlook.

Measuring gifted adolescents' implicit theories of creativity

This paper examines the structure of implicit theories of creativity in a sample of gifted adolescents and describes the development and use of the Creative Self Checklist and the Creative Individual Checklist, adjective checklists designed to assess endorsement of creativity‐related personality and behavioral attributes. Findings indicate that the gifted rate aspects of risk‐taking and inquisitiveness as primary facets of their own creativity while defining artistic abilities and energy and motivation as important parts of creativity in others. This study also assessed the role that these implicit theories play in the display of creative behaviors with regard to both performance on creativity tests and participation in creative hobbies. Findings indicate that while performance on creativity measures is predictive of creative hobby participation, greater self‐endorsement of beliefs that are positively related to creativity also significantly predict creative behaviors.