Perceptions Of Creativity Research Articles

Development of a creativity orientation scale using EFA

In a pilot study, an exploratory factor analysis using a minimum rank factor extraction method and an oblique (Promin) rotation of 30 self-report items on a proposed Creativity Orientation Scale (COS) was conducted on a snowball sample (n = 237). The purpose was to gain more in-depth understanding of attitudes toward and perceptions of creativity and creative individuals within the framework of social identity theory. Using the optimal implementation of Parallel Analysis (PA) retention method, a three-factor solution provided the clearest extraction. Factor 1 (creative-averse orientation) accounted for 37.32% of the variance and had seven items. Factor 2 (creative-approach orientation) accounted for 18.76% of the variance and had eight items. Factor 3 accounted for 8.31% of the variance and had only two items and therefore was not considered salient. Following rotation, these three items accounted for 64.40% of the total variance.

Does entrepreneurial factor influence creative identities' perception?

Does entrepreneurial factor influence creative identities' perception?

The study of the epics of the Novgorod cycle in the lessons of Russian literature in high school

In the context of improving school literary education at the present stage, it is of great importance to familiarize students with the spiritual values of world and domestic literature and folklore. In this connection, the study of the epic epos in the school course of literary education is very important. In it, the Russian people poetically correctly portrayed the heroic story of their life, expressed their aspirations, thoughts and hopes, worldly wisdom. Considering the enormous educational and upbringing significance of the epic epos, in the article the author provides methods and techniques tested in the real pedagogical process that contribute to the creative perception of epics, taking into account their genre specificity, the originality of artistic and poetic structures. The ways and methods of work recommended in the article are built taking into account the requirements of modern educational technologies and implemented on the example of studying the epic “Volga and Mikula Selyaninovich”. The author devotes 2 hours to study the epics of the Novgorod cycle. In this regard, the article provides a methodological system of the teacher’s work with a detailed description of the stages of each lesson. The first lesson is devoted to solving the following tasks: to expand the students’ ideas about the epic epic; to determine the thematic difference between Novgorod epics and Kiev ones; to give an overview of the content of the epics about Sadko and Vasily Buslaev. In the process of presenting the material, the teacher widely draws on the texts of the named epics. The second lesson is devoted to the textual study of the epic “Volga and Mikula”. In his introductory remarks, the teacher talks about the time of the formation of the epic, about the problems that worried the people. The lesson ends with work on artistic and poetic means, the originality of epic vocabulary. The relevance of the problem under study is due to the lack of a well-thought-out system for modeling lessons for the study of epics using information technology. The scientific novelty of the work lies in the fact that in it this problem is subjected to methodological comprehension, taking into account the requirements of modern educational technologies.

Practically there? Exploring public relations educators' perceptions of creativity in the curriculum and classroom

PurposeThe purpose of this paper is to identify the position of creativity within Australian public relations courses and explore how academics embed what is often identified by industry as a core skill for future and current practitioners.Design/methodology/approachThe study consists of semi-structured interviews with 15 public relations academics to examine their views on the value and delivery of creativity in the public relations curriculum.FindingsThe findings of this exploratory study indicate creativity is addressed implicitly by educators who rely on personal and internalised knowledge rather than the application of a specific theory or body of knowledge pertaining to creativity. In addition, it identifies a series of challenges educators face including students' lack of confidence when required to be creative and a lack of clarity on how to successfully evaluate creativity in assessment tasks.Originality/valueCreativity has been identified as a vital future workplace skill and highlighted as an important capability in global best practice frameworks for public relations professionals. However, the successes and barriers experienced by educators who are responsible for building and evaluating students’ creative abilities have yet to be specifically explored. In response, this study considers educators' perceptions of their practice with regard to this prominent professional attribute and applies this knowledge to argue for theory-led pedagogies, particularly the use of models that emphasise the social nature of creativity, to demystify creativity and enhance students' work readiness as future practitioners.

Perceptions of developing creativity in piano performance and pedagogy: An interview study from the Chinese perspective

Although creativity in music is a topic widely considered and studied among global music educators, it has received limited attention in China while quite a number of Chinese pianists have been recognized on the international stage. How do Chinese pianists and professors perceive creativity in piano performance? How would they nurture creativity in the performances of their own and/or their students? Employing the Grounded Theory approach, this study investigated the perceptions of creativity in piano performance of 13 eminent pianists and professors from Beijing, Shanghai and Guangzhou through a series of semi-structured interviews. The interviewees identified several factors related to the development of musical creativity in piano performance, including pianists’ relevant knowledge, their musical and life experiences, imagination and association, reflection and musical judgment, performing environments, and the Chinese cultural elements of holism and dynamism. Implications for teaching include the encouragement of a balance between Western and Chinese epistemologies in both analytical and abstract thinking. In nurturing students’ creativity in piano performances, students should live in culture-related contexts, and understand the world in a holistic epistemology with an abstract imagination. This study has further provided a more holistic understanding of how to nurture musical creativity with an alternative perspective.

Perceptions of Creativity by Elementary School Teachers in Science Gifted Education

본 연구는 초등과학 영재교육 담당교사들의 창의성에 대한 인식을 질적으로 분석하는 데 목적을 두었다. 창의성은, 영재교육에서 핵심적으로 강조하는 교육방향이며, 초등과학 영재교육을 담당하는 교사들이 창의성을 어떻게 이해하고 있는가에 따라 초등과학 영재교육의 성과도 달라질 것이다. 본 연구에서는 2015년 ○○교육청 소속 영재교사들 중 의도적으로 표집한 93명(전체 524명 중 17.7%)을 연구대상으로 선정하였다. 연구대상은 우편 및 e-mail로 창의성의 정의에 대한 개방형 설문문항에 응답하였으며, 수집자료는 내용분석(content analysis)의 질적 연구방법을 적용하여 분석하였다. 창의성의 구성요소를 추출하고 주요 항목들을 범주화하여 분석한 결과, 초등과학 영재교육 담당교사들이 인식하는 창의성 구성요소의 주요 범주에는, 발산적 사고 요소에 독창성, 유창성, 정교성, 유용성, 유연성, 합리성이, 정의적 행위에는 개인이 몰입하거나 호기심을 나타내는 내적 방향과 다른 사람과 협력하는 것, 이타적으로 기여하는 것, 사회적 가치를 추구하는 것, 결과적 행위에 사고하는 것, 실천적으로 만들거나 발명하는 것, 문제를 해결하는 것, 연결적 행위에는 기존에 없던 것을 독립적으로 만들어 내는 것의 독립 발현과 기존의 것을 재구성하는 것의 연결 발현으로 조사되었다. 일부 교사들은 창의성을 발산적 사고 요소의 새로움, 개인적 차원의 몰입, 나아가 사회적 맥락의 가치 등을 포함하여 균형 있게 이해하는 것으로 나타났다. 창의성을 균형 있게 이해하는 교사들은 주로 영재교육원 소속이며 최종학력이 석·박사, 영재교육 연수를 심화 이상 이수한 것으로 나타났다. 본 연구에서 살펴본 초등과학 영재교육 담당교사들의 창의성에 대한 인식 수준은, 향후 초등과학 영재교육 담당교사들의 연수 프로그램 개발에 시사점을 제공할 것으로 기대한다.

Innovative and artistic: Conceptions of creativity among the American public

As the prominence and expressed need for creativity grows across multiple facets of society, so too do interests in understanding and enabling individuals’ own creative potential. These notions extend broadly to individuals living in myriad communities and contexts, highlighting the need to develop insights on creativity within the general population. To provide foundational insights, this study examines the general public's perspectives on what “creativity” is and the prevalence of conceptualizations of creativity from psychology and sociology literatures in these perspectives. We utilize a nationally representative sample of 3,298 adults living in the United States and code their open-ended responses to the question, “When you hear the word ‘creativity’, what do you think of?” Responses relate creativity to the generation of new thoughts and ideas (31.56%) and to art, artistry, and artistic practices (27.5%) with highest frequency, but only weakly correlate these conceptualizations of creativity. For further examination, this study uses logistic regressions to test for differences across socio-demographic characteristics and the degree to which they explain perceptions of creativity as artistic. Perceptions of creativity as artistic are more likely among White adults, women, and individuals with a college education; the strongest predictor is direct engagement in arts-making activities. This study reorients inquiry about creativity toward understanding the meaning that creativity has within the general population and speaks to the prevalence of persistent links between creativity and the arts.

Music Teachers' Perceptions of, and approaches to, Creativity in the Greek‐Cypriot Primary Education

AbstractThe purpose of this study was to explore music teachers' perceptions of, and approaches to, creativity in Primary education. Even though teachers' perceptions on creativity have been investigated broadly and extensively, qualitative research on music teachers' beliefs nurturing the students' creativity in Primary education are less common. In the present paper, data were collected through in‐depth interviews with 10 individuals in the Greek‐Cypriot Primary Education. The results of this exploratory study indicated that activities should include the promotion of the students' self‐action and autonomy, and the pedagogical initiatives that enable students to come up with original outputs in order to be creative. This understanding, in turn, provided the researchers with access to the teacher participants' perceptions of creativity: a multifaceted concept related to students' autonomy, initiative, and the application of imagination and unrestrained thinking to any musical activity. These findings offer some initial insights and are discussed with respect to their implications for policy and practice. Suggestions for future research are also made.

The “Evil Genius”: Examining the Relationship Between Perceived Competence and Unethical Behavior

Given the importance that perceptions of competence play in the workplace, a field of research has emerged identifying predictors of competence. One variable that has been identified is unethicality, with greater unethical behavior indicating lower competence. However, across three experiments (N = 602), we challenge this potentially misleading notion and present evidence that this relationship only holds when the unethical behavior is simple (e.g., stealing items from a storage closet), but not complex (e.g., computer hacking). Drawing on the stereotype content model, we explore the “evil genius” archetype in more detail. We find that the interaction between unethicality and complexity on perceptions of creativity and leadership is mediated by perceptions of competence. However, when the perpetrator is caught for complex unethical behavior, it acts as a leveling agent, thereby removing any heightened perceptions of competence. While expected, we did not find evidence that getting caught influences perceptions of the perpetrator’s social intelligence. We believe these findings offer a significantly more accurate picture of the connection among unethical behavior in the workplace, competence, and being caught for one’s immoral actions.

АРТПЕДАГОГИЧЕСКА ВАРИАЦИЯ НА ПОПУЛЯРЕН ИГРОВИ МОДЕЛ

The purpose of this article is to present an experimental art pedagogical variation of a popular game model. The creative techniques used in the model aim to stimulate children’s creativity and creative imagination. A connection is sought between the figurative perception of the artistic image and the development of logical and associative thinking in children. The game model is expected to assist as a pedagogical resource in the learning process. The proposed author’s art pedagogical pedagogical model seeks to influence children’s creative perception. Its application is possible in the context of tasks related to child development, increasing interest and learning motivation.

Creativity in Higher Education: the Case of Portugal VS. Lithuania

This study was intended to evaluate the creativity perception in the context of higher education by analyzing its different sub-components: - activities during classes; - students’ involvement during the classes; - evaluation of the degree of creativity in the classroom; and - the creativity understanding. The researchers designed a questionnaire to understand the different insights of students related to creativity. The study was focused on two target groups: - 1 st: students from Vilnius University of Applied Sciences - Group 2: students from Porto Accounting and Business School. For a better analysis and evaluation of the results obtained in the questionnaire, the Lewis Model was used to understand in which cultural categories the countries under study would be inserted and its impact on creativity. The statistical analysis results demonstrate that Lithuanian students show higher average results in the different sub-components of perceived creativity in higher education. However, the results indicate that the view of the concept understanding is close between Portuguese and Lithuanian students. The research that is presented in this paper is the first research related to creativity in education comparing Portugal and Lithuania and it could be a good base for further research of two economically similar yet culturally different countries

Der Mutterleib als erste Philharmonie – psychoanalytische Mutmaßungen über Herkunft, Aufbruch und Entwicklung der menschlichen Kreativität

This paper attempts to address some of the issues that Ludwig Janus (2021) has raised concerning the question of the renewal of psychoanalysis. This will involve taking a look at the conditions of »creative perception« in psychoanalytic work, particularly concerning the interplay between free association and free-floating attention. The main focus of the paper is on the relationship between the psychoanalytic and the prenatal situation and on the difficulties around conceptualising this relationship. Extracts from a child analysis exemplify how an 8-year-old boy created elements of the intrauterine world as a starting point for a new beginning.

The impact of the built environment on creativity in public spaces of Dutch university campuses and science parks

ABSTRACT Studies on university campuses public spaces have recognized that there is a significant relationship between the built environment and people’s perceptions of creativity. There is, however, little empirical evidence to support this claim. This research quantifies and measures this relationship, defined as ‘spatial affordances for creativity’, using two types of Dutch university campuses as case studies: inner-city campuses and science parks (SPs). This study found statistical associations that locations of built environment features influenced creativity between people. Moreover, spatial affordances for creativity must be considered in the planning and design of campuses, as a suite of spatial and perceptual conditions.

Curriculum Experience and Learning Outcomes for Creativity Competence: Empirical Survey of Undergraduates in the Engineering Domain

In the last decades, creativity has been advocated as a key learning process in the engineering domain to advance college students’ abilities in technology and science. Creative education becomes a mantra which is enhanced by educators, politicians, employees, teachers, professors, and students. Creativity competency is viewed as a crucial solution to face the challenges of industrial promotion, human capital investments, and future societal strategies and overcome the social, economic, and educational problems. College students’ competency on creativity represent a series of attributes, behaviors, knowledge, and abilities required for successful learning performance in the engineering domain. This paper discusses on the results of an empirical study on college students’ competences in the engineering domain and their self-evaluation on their perception of creativity and creativity performance. Universities are strongly expected to provide learning opportunities that foster and nurture creativity for students, hence creative education in engineering is an ongoing critical mission for both educational institutes and learners. The research was conducted through a testing questionnaire by theoretical literature review and focus group interviews with experts in engineering and education fields. The samples are tested by the instrument and there were 307 valid samples for analysis. The statistical method includes means, , and the structural equation model. The curriculum experience is the strongest correlation value (r=.55) to affect creativity achievements. The learning styles have an obvious influence on school environments (r=.44), and school environments are shown the same value (r=.45) to curriculum experience. The self-evaluation by students demonstrates that school environmental improvement remains a key agenda for universities to be aware of in developing creative plans and managements for students. The engineering domain is specialized though its professions in the logics of learning along side of maker spirits, and this study leads us to have a clear observation among the various factors which influenced the educational plan or projects for college students. The conclusion provides suggestions for future empirical study and educational plans.

Korelasi Persepsi Siswa Tentang Kreativitas Guru PAI dengan Hasil Belajar Siswa di SMP Negeri 1 2 X 11 Enam Lingkung

Many educational institutions still do not pay attention to the development of learning media, the impact of learning is not effective. This condition certainly demands the creativity of teachers for the development of learning media. This study aims to determine the correlation of students' perceptions of the creativity of PAI teachers with student learning outcomes in PAI lessons. The method used is quantitative, using a descriptive approach and correlational design. The population of this study amounted to 242 students in class VIII. The results of this study can be stated that (1) Students' perceptions of the creativity of PAI teachers vary widely, meaning that there are students who say that the majority of students think that PAI teachers are creative, this is indicated by the number of student participants getting a score of 75.02 (42.30%) in moderate level. (2) Based on the data of PAI learning outcomes, students vary widely, but most students have high learning outcomes with an average of 77.13. The correlation between students' perceptions of PAI teacher creativity and student learning outcomes is 0.502, which means that students' perceptions of PAI teacher creativity and student learning outcomes have a significant relationship.

Embodiment in 18th Century Depictions of Human-Machine Co-Creativity.

Artificial intelligence has a rich history in literature; fiction has shaped how we view artificial agents and their capacities in the real world. This paper looks at embodied examples of human-machine co-creation from the literature of the Long 18th Century (1,650–1,850), examining how older depictions of creative machines could inform and inspire modern day research. The works are analyzed from the perspective of design fiction with special focus on the embodiment of the systems and the creativity exhibited by them. We find that the chosen examples highlight the importance of recognizing the environment as a major factor in human-machine co-creative processes and that some of the works seem to precede current examples of artificial systems reaching into our everyday lives. The examples present embodied interaction in a positive, creativity-oriented way, but also highlight ethical risks of human-machine co-creativity. Modern day perceptions of artificial systems and creativity can be limited to some extent by the technologies available; fictitious examples from centuries past allow us to examine such limitations using a Design Fiction approach. We conclude by deriving four guidelines for future research from our fictional examples: 1) explore unlikely embodiments; 2) think of situations, not systems; 3) be aware of the disjunction between action and appearance; and 4) consider the system as a situated moral agent.

A Proposed Methodology to Achieve the Unit Design of Interior Spaces in Light of the Principles of Morphological Analysis

The methodology of design morphological analysis is characterized by the ability to create an inferential design model characterized by unity and complete harmony of all its design elements, because it is a planned and effective methodology in analyzing and creating design solutions and alternatives for a multi-dimensional idea or design elements by breaking them into simple parts and then re-installing them into formally coherent combinations that facilitate Evaluate it to exclude inconsistent ones. The basic essence of the methodology is to unleash the capabilities of creative perception to the maximum limits of innovation to establish through it a balance and a total link between logical and philosophical sense and freedom of thought and creativity to create designs that have a logical and systematic dimension for the strategic planning stages of the design process as it strengthens the link between its stages and provides logical answers to questions related to planning the formative and formative body of design . This research paper seeks to prove that there is a close relationship between the foundations of achieving the design unit of the interior and methodological spaces that form a formative planning for the design idea (a design scenario) that appears as a fertile planning field in which knowledge is integrated with the aim of analyzing and evaluating the plastic developments in an objective way that gives room for design creativity in a systematic and systematic way to propose All solutions to generate innovative and fully interconnected design ideas.

Teacher evaluation of the impact of The Imagineerium education project on the creativity of individual students: The Trowsdale Index of teacher observation of student creativity

In order to evaluate the impact of The Imagineerium a 10-week educational project, teachers were asked to observe and rate the behaviour of a pilot sample of 135 participating students both at the beginning and at the end of the 10-week period. Scores recorded on the seven-item Trowsdale Index of Teacher Observation of Student Creativity (TITOSC) showed a significant increase between time one and time two. In order to test the reproducibility of these findings the same index was employed a year later in a replication study among 139 students. On this occasion also, scores recorded on the seven-item Trowsdale Index of Teacher Observation of Student Creativity showed a significant increase between time one and time two. These data support the effectiveness of educational experience in enhancing teacher perception of creativity displayed by individual students.

Problem framing and cognitive style: Impacts on design ideation perceptions

Designers' engagement in ideation is impacted by their perceptions of the parameters of the design task. Whereas expert designers actively interrogate and reframe given problems, novice designers tend to solve them as given. We investigated novice designers' perceptions of their ideas relative to problem frames and their cognitive styles. We found that innovative styles and framings corresponded to higher perceptions of idea diversity and creativity, whereas adaptive framings corresponded to lower perceptions of idea creativity and perceptions of greater difficulty generating ideas. Novice designers may hold implicit theories of creativity that undervalue adaptive creativity. However, problem frames that misalign with a novice's preferred cognitive style can impact their ideation, and so hold promise for challenging their initial interpretations and approaches. • Ideation is impacted by cognitive style and problem framing. • Innovative styles related to higher perceptions of idea diversity and creativity. • Innovative framings related to higher perceptions of idea diversity and creativity. • Adaptive framings linked to lower perceptions of creativity and ideation difficulty. • Design approaches could consider cognitive style and problem frame.

The Role of the Mirror System in Influencing Musicians' Evaluation of Musical Creativity: A tDCS Study.

Evidence reported in the literature suggests that the mirror system not only plays a role in recognizing motor action but also fosters a better understanding of other people because it helps an individual assume another’s perspective. This led to the idea, supported by research findings, that people with higher empathy scores should show higher activation of the mirror system. Recently, it has been hypothesized that a purely auditory mirror system exists. In this study, we aimed to explore the possibility that this system might play a particular role for musicians. Specifically, this system would impact their response to a new piece of music by using non-invasive brain stimulation to modulate the activation of the mirror system. A sample of 40 young musicians was involved in this study. Half of the participants were randomly assigned to a cathodal stimulation condition, while the other half was used as a control. After listening to a new piece of music, participants were asked to rate the creativity of the piece (by focusing on how interesting, innovative, and exciting the piece was) as well as their general emotional response to it. Their empathy levels were also assessed using the Interpersonal Reactivity Index (IRI). Results showed that the cathodal stimulation of the mirror system negatively affected both the perception of creativity (level of innovation) and the emotional response to the music. There was no significant difference in the ratings of how interesting the piece was perceived. The effect was mediated by the individuals’ level of empathy. Specifically, empathic concern and fantasy dimensions increased the evaluation of creativity. Results also showed that participants reported less emotion with a negative valence in the cathodal stimulation condition.