Intersection Of Creativity Research Articles

Exploring the Intersection of Creativity and Identities

Exploring the Intersection of Creativity and Identities

VIEW: An Assessment of Problem-Solving Style - 20 Years of Progress.

While the ability to solve complex problems creatively is among the most important skills for contemporary jobs, understanding individual differences how people prefer to engage in individual or collaborative problem-solving becomes increasingly important. VIEW an assessment of problem-solving style has been specifically designed to measure these preferences at the intersection of creativity and problem-solving. This article summarizes the progress that has been made in the past twenty years of research since the instrument was launched. The available evidence shows that the instrument meets contemporary standards of reliability and validity justifying its application in research and practice. Looking ahead, we conclude with promising areas for further developing the assessment and future research on problem-solving styles that addresses emerging phenomena such as collaborating across hybrid work environments or using artificial intelligence tools.

The Belmont Report doesn’t need reform, our moral imagination does

In 1974, the United States Congress asked a question prompting a national conversation about ethics: which ethical principles should govern research involving human participants? To embark on an answer, Congress passed the National Research Act, and charged this task to the newly established National Commission for the Protection of Human Subjects of Biomedical and Behavioral Research. The Commission’s mandate was modest however, the results were anything but. The outcome was The Belmont Report: a trio of principles - respect for persons, beneficence, and justice - serving as an ethical compass for scientists, researchers, and institutional review boards (IRBs). Almost 50 years later, the utility, legacy, and ingenuity of The Belmont Report continues to be both admired and challenged. Critics argue that Belmont is not fit for the 21st century, while supporters praise Belmont for its enduring wisdom. The goal of this paper is to equip IRB practitioners with the tools necessary to maximally interpret The Belmont Report and meaningfully engage in ethical analysis that reconsiders outmoded legacy thinking and fixed decision-making. Through historical and contextual reflection, this paper describes how IRB practitioners can contemporize review of ethical human research using their moral imagination – a skill found at the intersection of creativity, deliberation, and empathy.

Shimmering Moments: The creative intersection of place, time, and body

Shimmering Moments: The creative intersection of place, time, and body

The intersection of creativity and precision: Exploring architectural drawing in fine arts

The intersection of creativity and precision: Exploring architectural drawing in fine arts

Por mí como si te operas. Constructional idioms of rejection from a constructionist approach

Abstract The present study explores partially filled idioms that go beyond the limits of the Spanish phraseological tradition, in that it focuses on semi-schematic patterns that had been relegated to the periphery and does not restrict itself to the pairing phraseological expression and lexicalized form. With a corpus comprising 592 instances extracted from the esTenTen18 corpus (Sketch Engine), the objective in the study of the constructional idioms [a PRON como si X] and [por PRON como si X] is twofold. First, to shed light on the “pragmatic point” (Kay and Fillmore 1999) of these discontinuous patterns by describing their rejection illocutionary force, their colloquial dialogic context, and their intensifying speech act; and second, to delve into the lexical variability of the constructions under study in the intersection of creativity and extravagance.

Chance management Creative activities of artists during Covid-19 pandemic Case study druyna mistrzw

This article aims to demonstrate creativity as a key factor in seizing opportunities within the cultural segment, particularly considering other intangible resources of organizations such as network capability and knowledge during the pandemic. The study reveals that by configuring various factors and resources (network capabilities, knowledge, and creativity), a transitional phase for musicians could become an opportunity for reflection and diversification of their existing activities, which are also sustained beyond the pandemic. The research encompasses a systematic literature review on the discussed subject matter, as well as a bibliometric analysis of articles exploring opportunities, the pandemic, and creativity. Additionally, an interview was conducted with one of the pioneers of Polish street hip-hop, the creator of one of the most renowned subcultures in Poland, whose cumulative YouTube views reach hundreds of millions Bosski Roman (FIRMA, Druyna Mistrzw). Despite losing the ability to perform concerts during the pandemic, Bosski Roman implemented a series of innovative solutions that enabled him to survive the lockdown. The first section of the article introduces the concept of chance management and highlights the role of creativity in seizing opportunities during the pandemic. The second section provides an overview of the existing literature on creativity, culture, and pandemics. The research component of the article includes an interview with Bosski Roman, a prominent Polish Hip-Hop artist, who provides insights into how he has adapted to the pandemic and integrated it into his business model. The article presents managerial implications, primarily focused on using creativity to approach problems and create new opportunities. Additionally, it explores the perspectives of an artist who has been significantly impacted by the pandemic. Bosski Roman discusses how he has overcome the challenges brought about by the pandemic using his creativity, and provides insights that may be relevant to other organizations seeking to adapt to the new-old normal. Overall, this article provides a unique perspective on the intersection of creativity, culture, and pandemics, highlighting the potential for chance management during times of crisis. It encourages readers to reflect on how they can leverage their creativity to navigate the challenges of the pandemic and capitalize on the new opportunities it may present in its own unique way, the pandemic and its effects continue to this day.

Platform Rhetoric and Fan Labour as the Building Blocks of <em>LEGO Ideas</em>

Platform Rhetoric and Fan Labour as the Building Blocks of <em>LEGO Ideas</em>

В.С. Соловьев и А.Н. Островский: творческие сближения и отталкивания как отражение эпохи перемен

The problem of the influence of the ideas of Vl.S. Solovyov on the theatrical art of the Silver Age was considered in the articles by Y.D. Kuzin, N.O. Osipova, E.S. Shevchenko, N.G. Yurina, O.A. Dashevskaya, O.K. Strashkova, I.B. Rodnyanskaya. The attention of all researchers was focused on the dramatic experiments of Vl.S. Solovyov, in which both elements of the theater of the medieval and the nineteenth century were found. In the synthesis of these elements, the researchers saw the prototype of the early twentieth century theater. In this article, the question of possible creative intersections of Vl.S. Solovyov and A.N. Ostrovsky is asked for the first time. The material for the study was the work of Vl.S. Solovyov of the 1880–1890 and “late” plays by A.N. Ostrovsky. Special attention is paid to the analysis of such texts by Vl.S. Solovyov, as “Readings on God-manhood”, “The General Meaning of Art”, “The Meaning of Love”, and from the plays of A.N. Ostrovsky, in addition to the “late” ones (from “Dowry” to “Not of this world”), the text of “Thunderstorms” is used. With a general ontological approach in understanding the essence of the problem, when carrying out analytical procedures, methods such as historical and cultural (to comprehend the specifics of the era), biographical (to reproduce significant facts from the life of Vl.S. Solovyov and A.N. Ostrovsky), cultural-philosophical (when analyzing texts). The article discusses the specific features of the era of the 1870s in Russia, a response to which became the plays of A.N. Ostrovsky and “Readings on God-Mankin” by Vl.S. Solovyov. The reasons for Vl.S. Solovyov to the elements of theatrical aesthetics are explained, these elements are compared with the theoretical and practical considerations of A.N. Ostrovsky. As a result, the author of the article argues that despite the similarity of views, which was facilitated by the era, there were fundamental differences. These differences are associated with a different approach to the use of elements of theatrical aesthetics: practical in the plays and texts of A.N. Ostrovsky and theoretical and philosophical in the texts of Vl.S. Solovyov. In the “late” plays of A.N. Ostrovsky, questions of a philosophical nature were raised, the answers to which could be found in the texts of Vl.S. Solovyov.

Franco-Iranian cinema

The history of Franco-Iranian cinematic exchanges is long and complex, with its roots stretching back to the earliest days of film. This chapter will explore the evolution of Franco-Iranian cinema, highlighting the significance of the pairing at key moments in a traditional narrative of French film history, as well as examining the ways in which the relationship plays out through funding and festivals, giving voice to a wider set of cultural and political narratives in the late twentieth and early twenty-first centuries. The article seeks to explore the extent to which we can see a sustained pattern of creative intersections emerging and the ways in which ‘Franco-Iranian film’ can meaningfully be understood in the context of twenty-first-century cinéma-monde.

Two artists and two mélodies

André Caplet (1878-1925) set just two of Baudelaire’s poems: La Cloche fêlée [‘The Cracked Bell’] and La Mort des pauvres [‘The Death of the Poor’]. These mélodies were composed in 1922, just three years before the artist’s death. For a composer with a tendency to shy away from setting poetry of the French giants of literature, the questions of how and why Caplet chose to translate Baudelaire’s poetry into the mélodie are intriguing. This exploration of La Cloche fêlée and La Mort des pauvres considers the ways in which Caplet reflects the poetic imagery of Baudelaire’s texts within musical structures. Caplet’s compositional language is distinctive, and his artistic approach to musically illuminating poetic meaning is perceptive and sensitive. Through viewing the creative intersection of these two artists, this article offers an interpretation that presents a perspective on Caplet’s musical character and reveals insight into his connection to Baudelaire’s poetic language.

Choreographing Creativity: Exploring Creative Centralization in Project Groups

Research at the intersection of creativity and leadership has predominantly focused on how leaders support employees’ creativity. We break new ground by examining how creative project leaders gener...

РЕКОНСТРУКЦИЯ И ВОССТАНОВЛЕНИЕ ИСТОРИЧЕСКИХ ПАМЯТНИКОВ: МЕЖДУНАРОДНЫЙ ОПЫТ

Introduction: In addition to recognizing and taking into account the vital need for the maintenance and repair of historical structures, this study will focus on their inherent design potential at the intersection of the new and the old. Purpose of the study: The study aims to review the approach to restoring such landmarks as the library in Vyborg and the Arsenal building in the Nizhny Novgorod Kremlin. We will also focus on the restoration of more mundane structures. In addition to historical monuments, this study will look at instances when there is no attempt to return the buildings to some idealized version of the past, but instead, the restoration process is used to celebrate the qualities of the buildings’ age in the here and now, and to recognize that they are living, evolving, and constantly changing entities. Methods: The study uses the method of analysis, which we apply to the standard solutions for various purposes and objects, in the form of structural and technological protection of cultural heritage sites during their restoration and adaptation. The use of modern restoration materials and protective structures’ construction technologies will help protect the environment while taking into account LEED, BREEAM, the Energy Star program (the USA), and the GREEN ZOOM standards. Results: We offer selected examples from contemporary practice in Europe, the United States, and Russia to illustrate these approaches to restoration, including two student-led architectural installations that explore the creative intersection between the new and the old. Discussion: Discussing the execution of specific restoration and reconstruction projects reveals the importance of international cooperation in the development of educational strategies and practices in the field of conserving and restoring the cultural heritage. The growing volume of conservation and restoration work is putting pressure on the development of research approaches and methodologies aimed at solving practical problems. At the same time, the restorer must be mindful of continuity with the past when reconstructing the more mundane and utilitarian structures that can benefit from less restrictive approaches to the intersection of the old and the new.

Care, collaboration and critique: The intersection of creativity and wellbeing in older women

In this paper, we investigate the intersection of creativity and wellbeing for older women based on the experience of a group who participated in a photography project in Melbourne, Australia. We draw on interviews with 18 women who participated in the 500 Strong photography project in 2019. This project aimed to raise the visibility and dispel stereotypical portrayals of older women through an exhibition of nude photographs of more than 400 women aged over 50 from Melbourne and regional Victoria. We suggest that, for the participants in this study, creativity and wellbeing are interlinked through the domains of care, collaboration and critique. For some women, the photography experience was an act of care, to liberate themselves from negative images of ageing and celebrate their bodies. For others, participation was a creative venture through which they could collectively acknowledge the contributions of older women. Some women participated in the photography project to raise awareness of, and critique policies detrimental to, older women’s wellbeing. The findings of this qualitative research with older women support the arguments that: 1) wellbeing is understood by the participants within a matrix of personal and structural security; 2) creativity is a critical and under-theorised dimension through which women make these understandings visible. This study contributes to literature on contemporary ageing that contests singular notions of decline and loss and to theorizing the use of creativity in wellbeing frameworks.

Общее и различное в творчестве черкесских художников Адыгеи и черкесов Турции [Similarities and Differences in the Creativity of Circassian Artists of Adygea and Turkey

Исследуется общее и различное в творчестве черкесских художников Адыгеи и черкесов Турции на основе анализа тематики и художественных образов; общественной функции мастеров живописи, проживающих в разных социокультурных условиях; цели их творчества; изучения приоритетных жанров и техник. Показаны амплуа российских живописцев как представителей художественной элиты этноса; направленность их творчества на сохранение мифопоэтических образов и этнической идентичности; а амплуа черкесских художников Турции как представителей страны проживания, основными целями которых становится показ их творчества на мировой арене. Различия в творческих целях объясняются разностью социокультурных условий становления художников и неодинаковыми условиями получения профессионального образования. Точки творческого пересечения находятся в плоскости этнических ценностей, знаков и символов, одинаково декодируемых черкесами метрополии и диаспоры; а также в плоскости оценки исторического прошлого, особенно Кавказской войны, в особо почитаемом отношении к природе и красотам Кавказа.

From Brains to Music: a Multi-Faceted Discussion of Creativity with Dr. Anthony Brandt

This article is part of an ongoing series by the authors and the Deep Play Research Group, which focuses on the intersection of creativity and technology in education. In this article, Dr. Anthony Brandt, professor of composition and theory at Rice University shares his thoughts about the study of creativity. He uses his experiences as a musician and composer to highlight the important role that creativity plays in our lives, providing examples that illustrate multiple understandings of creativity. His work with neuroscientist David Eagleman is highlighted and serves to illustrate how our understanding of the brain has influenced our knowledge about the way that humans have evolved to engage in creative acts. Dr. Brandt shares his excitement about opportunities that the future will bring as researchers collaborate with scientists and use ground-breaking technological advancements to study creativity. He further offers implications for education and technology.

More than a quarter century of Creativity and Innovation Management: The journal's characteristics, evolution, and a look ahead

When this journal was founded in 1992 by Tudor Rickards and Susan Moger, there was no academic outlet available that addressed issues at the intersection of creativity and innovation. From zero to 1,163 records, from the new kid on the block to one of the leading journals in creativity and innovation management has been quite a journey, and we would like to reflect on the past 28 years and the intellectual and conceptual structure of Creativity and Innovation Management (CIM). Specifically, we highlight milestones and influential articles, identify how key journal characteristics evolved, outline the (co‐)authorship structure, and finally, map the thematic landscape of CIM by means of a text‐mining analysis. This study represents the first systematic and comprehensive assessment of the journal's published body of knowledge and helps to understand the journal's influence on the creativity and innovation management community. We conclude by discussing future topics and paths of the journal as well as limitations of our approach.

The cultural dialogue of two masterminds — P. I. Tchaikovsky and D. D. Shostakovich

The study conceptualizes the cultural dialogue of the Great Composers of the 19th and 20th centuries — P. I. Tchaikovsky and D. D. Schostakovich . Regarding the cultural aspect, various facets of creative intersections of geniuses are studies — such as philosophical, aesthetic, genre, musical and stylistic. The conclusion is drawn about existence of many analogies and parallels in the cultural dialogue of composers from the different eras. This refers to the field of symphony, opera and music and theatre genres. The authors also marks out the presence of innovative artistic solutions to philosophical problems: life, death and immortality, “Russian Hamletianism” and others, in accordance with sociocultural and the musical realities of the time.

Exploring Liminality in Cyprus: Spaces, Voices, and means of Expression

This exposition explores concepts of liminality, access, and means of expression using the divided island of Cyprus as a main case study for analysis and reflection. The exposition is structured in sections or liminal means of expression, which are punctuated, interrupted and / or interrogated by normative voices such as historical facts, definitions, museum displays, etc. published by voices of authority or agency: Poetic dialogues: These are descriptive letters, Coffee Letters, co-authored by Susan Brind & Jim Harold, written while travelling and in a state of liminality. The letters have no direct addressee nor any formal signing-off. They are intended as fragments of letters, and moments of time passing from an unidentified “I” to and un-named “you”. Photographic essay on the Buffer Zone, Caesura, part of an ongoing series of images by Jim Harold that document the landscape along and within the demarcation lines of the UN-brokered Buffer Zone (established 45 years ago). These photographs are intentionally understated images that touch upon the zone’s state of disruption and dislocation (physical, social political, and cultural) and that of a returning, if misshapen, appearance of idyll within the uninhabited landscape. Exploring the role of the 'self' and the 'other': Part 1, by Ana Souto, questions the role of the 'other' and the 'self', the outsider educator negotiating postcolonial tensions around agency and access with local students, open to interpretative quotes from established authors, reflections through texts and images. Exploring the role of the 'self' and the 'other': Part 2, by Susan Brind and Jim Harold, reflects on the use of Travelling Colloquia and Nomadic Dialogues as methods to enable meaningful exchanges with people with local knowledge. This is exemplified by the CCFT Nicosia Colloquium, 2016; Timeless Encounters: 'Place of Barley', Agios Sozomenos, 2018; and the Buffer Fringe 2019, Nicosia, in addition to conversations in the space of the City. Three other sections reflect a multiplicity of observations, facts and voices that, collaged together, reflect the complexity of place, and the processes and methods used to explore these ideas.The main methodology of this submission is practice-led and phenomenological in nature, moving from visual, textual, and reflexive ethnography to autoethnographic scenarios, explored and analysed through dialogue and exchange. This collaboration between the authors sits under the umbrella of the Creative Centre for Fluid Territories (CCFT), an international research centre which interrogates how interdisciplinary artistic research practices contribute to and share critical insights about place making, belonging and occupation. The core participants in CCFT are a group of artistic researchers, architects, designers and cultural theorists from England, Scotland, Norway and Cyprus whose practices, individually and collectively, seek to consider the role of artistic research in shaping narratives of place. Attention has been given to the diversity of each creative and academic practice to allow for the expression of difference as a dynamic aspect of interaction. CCFT’s working methods build on an established mutual respect; track record and insight, rooted in a continued collaborative relationship that has emerged through trust and dialogue. The collaboration focuses on practice-based research methods, exploiting the creative intersection between image and text, presented as performance, publication, installation, architectural and design interventions, and spatial practices. CCFT’s key methods are the use of Travelling Colloquia and Nomadic Dialogues as strategies to explore the meaning(s) of ‘place’ from different locations, perspectives, and across time. This exposition, focusing on Cyprus as a case study, offers a multidisciplinary collage of contrasting voices which does not aim to resolve the question of liminality, but add liminal voices and spaces to the debate. Note: The descriptive text about CCFT, its membership, focus and approach is extracted from the group's aims and objectives and is part of an introductory text in a forthcoming publication Fluid Territories, University of Bergen, 2020.

Track 5.b Introduction

In Hong Kong of the year 2017, a new academic community convened to attend to pressing issues regarding design as source of innovation. The inaugural Academy for Design Innovation Management Conference (nee Design Management Academy) attended to a sense of urgency regarding the adoption of design capabilities within organisations as source of innovation. The title of the conference, Research perspectives on creative intersections was therefore pertinent, with papers exploring how design and designers were intersecting with new business challenges. Two years later in London (2019), rhetoric has notably shifted from matters of adoption to strengthening design capabilities within organisations, thereby enabling those organisations to unlock the possibilities and subsequent benefits of design. These possibilities include but are not limited to strategic and cultural renewal, design of new processes and meaningful engagement with hard-to-reach stakeholders.
 To address the complex nature of today’s societal and economic problems, professional organisations now recognize that traditional tools and approaches may not provide the required solutions. To address complex challenges, many managers and business leaders have consciously turned to design approaches over the past decade, including both public and private sectors. To increase design capabilities, these organisations have established innovation labs with designers, have recruited designers in strategic positions, and/or have started building the design competence of existing staff through educational programs, often provided by design consultancies. Yet to date, describing the resultant impact of teaching. Individual design competencies on organisational design capabilities has proven elusive.