Model Of Creative Process Research Articles

The free will capacity: A uniquely human adaption.

Herein, I characterize free will (FW) is an evolved functional capacity within the mature human mind, which provides us with numerous adaptive benefits. The FW capacity was selected for because it enables us to respond effectively to momentary contingencies, via on-the-spot deliberation. But FW also extricates us from the present moment, enabling us to generate and decide between imagined long-term futures. Based upon a compatibilist philosophical definition of FW, I present a creative process model of how the FW capacity works, the goal breakthrough model. I show that the goal breakthrough model is consistent with extant neuroscientific research on the brain networks involved in creative cognition and choice. I also show that (a) exercising one's FW is a basic psychological need, as evidenced by the fact that thwarting peoples' autonomy can be harmful, and that (b) the FW process is influenced by peoples' broad goals and narrative identities, providing a way for we conscious people to causally affect our lives and the world. Finally, I show how this framework integrates recent arguments that FW may be a uniquely human adaptation, ranging from neuroscience and cognitive to personality, social, and cultural perspectives. (PsycInfo Database Record (c) 2024 APA, all rights reserved).

How does empowering leadership promote employee creativity? The sequential mediating mechanism of felt obligation for constructive change and job crafting

Integrating the reciprocity lens and the componential model of creative process, we develop novel theoretical insights regarding how and when empowering leadership promotes employee creativity. In a scenario-based experimental study of 198 participants (Study 1), we found that empowering leadership was positively related to employees' felt obligation for constructive change, especially for employees who had a high level of organizational identification. In a three-wave field survey study of 221 employees and their direct supervisors (Study 2), we found that organizational identification strengthened the positive effects of empowering leadership on employees' felt obligation for constructive change. Furthermore, employees' felt obligation for constructive change was positively associated with job crafting behavior, subsequently employee creativity. Our research generates valuable insights into how and when empowering leadership enhances employee creativity.

Creative Teaching STEM Module: High School Students’ Perception

<p style="text-align:justify">This study aimed to investigate the impacts of enrolling in the creative teaching module in science, technology, engineering, and mathematics (STEM) education from high school students’ perspectives. This study applied a case study and qualitative research approach involving 26 Grade 11 students and 31 Grade 8 students. The creative teaching-STEM (CT-STEM) module, which comprised various activities related to energy literacy in real-world situations for the community’s well-being, involved outdoor STEM education activities with the assistance of two science teachers. The CT-STEM module was developed based on the directed creative process model by applying four creative teaching strategies: (i) constructivism learning, (ii) discovery inquiry, (iii) problem-based learning, and (iv) project-based learning. The theme of these out-of-classroom activities is sustainability education, focusing on energy sustainability. The results showed that the planned approaches could positively impact and build students’ creativity and create an exciting learning experience. Furthermore, the findings from the open-ended questionnaire instrument, observations, and analysis of the worksheets have shown enhancements in five themes: the development of problem-solving skills with an emphasis on the element of sustainability education, high-level thinking skills, active learning skills, communication skills, and humanity skills. The students also showed an increased interest in STEM as they learned using the CT-STEM module.</p>

Product Design Strategy Using Nirmana Dwimatra Concept

This article is the result of designed research, and the writing is based on the practice-led research paradigm. This research's case study and background are based on classroom action research, specifically in the practice of 2D visual design. This design-practice study aims to provide models of creativity that can enrich the creative processes of similar designs with processes that are different from the existing ones. This work is created using the applicative approach of the Elementary Drawing Form, also known as Nirmana. To achieve the specified goals, the practice design method was carried out in four stages: understand (object & subject), exploration and experiment, define (point of view), ideate, prototype, and feasibility test. This Nirmana-dwimatra-inspired product design incorporates design fundamentals and principles to produce a valuable and meaningful work of design. This study affords models of creative processes based on a practice-led research instrument and indicator with aesthetic, artistic, and skill as its foundation.

Onward: The future orientation of constructive memory

ABSTRACT This is an extension of “The Future Orientation of Constructive Memory” published in 2008 (Rossi, Erickson-Klein & Rossi). In a context of neuroscience, questions were raised regarding retrospective functions of dreaming. This paper summarizes the ideas from the original article and provides updates relevant to studies that have been conducted in the interim. The 4-Stage Creative Process model is used to conceptualize the manner in which activity-dependent genomic stimulation contributes to future adaptive behaviors. Neurophysiological constructs are discussed with their relevance to clinical practice. Two case summaries illustrate the application of the 4-Stage Creative Process as a framework for therapeutic hypnosis and permissive suggestion. The collaboration between Ernest Rossi and Milton Erickson offers an increasingly relevant and nuanced understanding about the interface of behavior, genomic expression, and activity-dependent gene expression.

On the Work of the Samara Branch of the RAS Scientific Council on the Methodology of Artificial Intelligence and Cognitive Research

The summary presents the main results of the work of the Samara branch of the RAS Scientific Council for the Methodology of Artificial Intelligence and Cognitive Research, created in 2007 on the basis of S.P. Korolev Samara National Research University (Samara University). The Samara branch of the Council and the Samara University held international conferences on information technology, information society, science fiction, established Artificial Intelligence Center as well as completed interdisciplinary technical and humanitarian research projects in the field of socio-humanitarian cybernetics, digital models of creative processes, computational aesthetics.

PSYCHOLOGICAL NATURE OF THE ART OF AITYS

The main purpose of present research was to investigate the psychological nature of Kazakh Aitys and it’s impact to personal development, ethnocultural values and other skills of Kazakh young People, which required by modern market world. Also the opportunity of creating the communicative and interactive model of creative process of Aitys is considered. According to the results of the present research there are considered that the Aitys is a jont dialogical creative cognitive activity, which psychological structure has communicative-interactive nature and depends on Kazakh ethnic picture of the world. Aitys as a kind of folklore has a change trends. Process of communication in the Kazakh ethnos has it's features. Aitys isn't result and a victory of one person during competition, since Aitys is result of joint creativity of listeners and poets, because they are representatives of the same ethnos. With the influence of an Aitys uniform ethnic integrity of the Kazakh people is created. During an Aitys there is a co-authorship, empathy of the same problems and conditions of the people. Aitys introduces novelty and according to the contents it leads to particular change in human minds. In the intellectual sphere of young people there are the development and flexibility, resourcefulness. In this regard, one more function of Aitys in the process of communication is the development of critical thinking of youth, and also a new creative position in a communication process.

A new master of the cultural domain? Google’s role in the transactive memory systems of advertising copywriters and art directors

Creative practice in advertising is often lauded for its novelty, which is recognised in industry awards and other forms of peer evaluation. However, advertising is commonly required to address broad audiences, which means it needs to reflect popular and common cultural ideas. When developing ideas for a new project, advertising creatives usually undertake a research process that allows them to draw upon popular culture texts and previous advertisements. In the pre-digital era, this activity largely depended on the creative’s relationship to their social milieu, but following the arrival of the Internet and the search engine, the creative research process has expanded in scope and become much faster. However, the idea that search, and we refer particularly to Google search, neutrally supports creative practice requires greater scrutiny. In this article, we explore how Google connects advertising creatives to cultural references by considering research on practitioners’ everyday actions through the lens of transactive memory theory and models of creative process.

Corrigendum

The Journal of Creative BehaviorVolume 52, Issue 4 p. 354-354 CorrigendumFree Access Corrigendum This article corrects the following: Whence Creativity? Robert J. Sternberg Volume 51Issue 4The Journal of Creative Behavior pages: 289-292 First Published online: December 12, 2017 First published: 07 December 2018 https://doi.org/10.1002/jocb.386AboutSectionsPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onEmailFacebookTwitterLinked InRedditWechat In Sternberg (2017), a footnote entitled “Recycling Correction & Notification” has been added to the online version of the article. The note reads: This invited essay contains text that has been previously published by the author. The purpose of this correction is to amend the publication record by providing missing citations and clarify where overlap occurs in this work (per the Committee on Publication Ethics text recycling guidelines). The sections of this article labeled “The Future: A Triangular Theory of Creativity”, “Kinds of Defiance in Creativity”, “Defying the crowd”, “Defying oneself”, and “Defying the Zeitgeist” contain text that is identical or near identical to text that appears in Sternberg, R. J. (2016). A Triangular Theory of Creativity. Psychology of Aesthetics, Creativity, and the Arts. https://doi.org/10.1037/aca0000095; R. J. Sternberg (2017). Creativity from start to finish: A “straight-A” model of creative process and its relation to intelligence. Journal of Creative Behavior. https://doi.org/10.1002/jocb.223; R. J. Sternberg (2018). What's wrong with creativity testing? Journal of Creative Behavior. https://doi.org/10.1002/jocb.237. Reference Sternberg, R.J. (2017). Whence creativity? Journal of Creative Behavior, 51, 289– 292 https://doi.org/10.1002/jocb.199. Wiley Online LibraryWeb of Science®Google Scholar Volume52, Issue4December 2018Pages 354-354 ReferencesRelatedInformation

Exploring the Flow Experience of Virtual Reality in the Creative Process

VR technology has shown itself to have not only a wide range of applications, but also promising commercial value. Recently, the use of VR in art has caught the eye and since then VR has been considered a tool that may be used in art creation. Spatial presence and flow experience are among the key factors that VR is composed of. As it is not yet clear how VR is linked to the experience of flow, and its association with the creative process and with creativity is unknown, this paper focuses on investigating flow experience. It uses grounded theory and utilizes in-depth interviews conducted with visual artists to examine how VR technology impacts upon flow experience and the process of creating a work of art. The results compare the creative process with and without VR. The experiences of flow within the process are different in the two sets of conditions. The formation of flow experience with the assistance of VR is immediate and more intense than without it. Flow experience may itself be another source of creativity. A theoretical model is proposed, indicating when flow experience arises in art creation both with and without VR. An effect, Pseudo reality, is defined to aid the formation of flow experience with VR. In practice, VR can enhance performance in art, and visual artists can refer to the creative process model that is proposed.

Creation of Conceptual Fashion Design Process Model

In recent decades, the world of fashion and textile design has become increasingly close and reliant on one another. Fashion designers understand that the future of their profession lies to a great extent of the individual’s ideas and meaning, not only depends on forms and materials. High-fashion has been referred to as “idea fashion”, and idea makers have been labeled as “fashion conceptualists” whose work is epitomized by innovation and experimentation. Conceptual fashion design can also defined as a fashion help in “finding yourself, in presenting the authentic nature of your internal and external self. Not reflection on the observation and evaluation of others, but instead personal sensation and enjoyment, and fashion as a medium to achieve this.Although designers have intrinsic talents that may not be bound by rigid rules, a systematic framework should be helpful to provide a more effective and efficient design process. The existing models of creative processes of other design disciplines to tend to illustrate the diversity of the process and provide a broad description of the design process, but no specific framework has been proposed for conceptual fashion design. As there is an obvious knowledge gap between the subjects of conceptual fashion design, this study seeks to identify the dimensions of creative success within this specific domain. A thorough understanding of the dimensions of creativity theories and, creative processes in different design disciplines will help to develop a rich background to the study of creative activities within the domain of conceptual fashion design. The present research attempts on 1) explore the identification of the innovative conceptual fashion design and its creative system, 2) develop a theoretical framework of design process that presents a series of creative actions and 3) develop a model of design process that is generic to both textile design and fashion design, by rationally integrating professional knowledge from different design domains into a systematic conceptual framework. Completed with regard to detailed investigation on design process of conceptual fashion design, these raise my interests on the investigation of the design process of developing conceptual fashion design and the creative thinking within the mind of conceptual designers. Finally, this study documented and tracked the emergence and development of conceptual fashion, exposing interdisciplinary practice at the edges of the fashion discipline.

Creativity from Start to Finish: A “Straight‐A” Model of Creative Process and Its Relation to Intelligence

AbstractThis article describes a “straight‐A” model of the creative process. It characterizes the creative process in five overlapping phases, with the variables most affecting those phases characterized as: (1) activators, (2) abilities, (3) amplifiers, (4) appeal to audience, and (5) assessment by audience. The creative process does not complete itself often, in part because all five phases rarely work in the right direction. For example, at Phase 1, there are deactivators as well as activators and at Phase 3, there are attenuators of creativity as well as amplifiers. I further discuss in the article the implications of the model for the relation between creativity and intelligence. In particular, whereas aspects of intelligence (according to the triarchic theory of successful intelligence) involve some degree overlap among creative, analytical, and practical skills, true creativity involves a true conjunction of these skills and is therefore much rarer.

Designing the Workshop Process for Generating Innovative Ideas: Theoretical and Empirical Approach

Generating new ideas is exceedingly important in today’s rapidly changing environment. Although numerous academic institutes provide workshop programs to generate innovative ideas, little theoretical or empirical research exists which investigates the thinking processes of idea generation for enhancing the appropriateness of ideas generated through workshop facilitation. This study reviewed existing models of creative process and found that incubation and deliberation process is crucial for generating a new idea. Thus, we propose a workshop process and effective tasks that encourage participants to generate appropriate ideas. We conducted two different types of workshops: with deliberation session and without it. As a result, we observed a slightly but statistically significant relationship between having a deliberation session and generating an appropriate idea. This paper proposes a workshop design method based on theoretical and empirical supports to enhance thinking skills of participants in new idea generation.

Design process model in transportation design

This article describes the historical analysis of design methods that allowed creating an original design model of creative process, consists of three different layers of factors that influence design- er’s work - environmental, basic and shaping factors.

Neural Basis of Creative Thinking during Four Stages

Wallas put forward an important creative process model and defined four stages of creativity as follows: preparation,incubation,illumination,and verification. The investigations of brain state before the presentation of a creative problem show that the neural activity of the preparation stage is associate with medial PFC/ACC and temporal areas. The neuroscientific researches on presentation of a hint during incubation,delayed insight and mind-wandering reflect the neural correlates of incubation,and the main active brain regions during this stage include hippocampus and ventrolateral PFC. The last two stages are associated with a neural network consisting of several brain regions including PFC,ACC,superior temporal gyrus,hippocampus,precunes,cunes,lingual gyrus and cerebellum et al. The PFC and ACC are involved in different kinds of insight problem solving; the superior temporal gyrus is responsible for the formation of remote associations; the hippocampus is associated with the process of mental set breaking and formation of novel associations; the lateral prefrontal cortex is responsible for mental set shifting; the precunes,left middle/inferior frontal gyrus and lingual gyrus participate in the process of prototype activation. In addition,the verification of the details of solution is found to rely on the left lateral prefrontal cortex. Future studies can be improved in the aspects of research subjects,contents and methods,so that the process of creative thinking can be investigated systematically.

Five Facets Model of Creative Process

Abstract Josiah Hincks is a Focusing Trainer, now based in Italy, who has worked for many years with artists and performers helping them develop their creative processes. He wrote the ‘Five Facets Model of Creative Process’ originally in 2000 and then offered it to a group of artists and makers in a series of workshops called ‘Lark Rise to Beacon’ (Bath, UK) in 2003. The model intends to support individuals stuck in their creative process who found that this model enabled a significant shift in their working practice and outcomes. It is offered for publication in its original (draft) format with the understanding that, although the model has never been published or developed, Hincks work with artists has developed. Hincks writes that if he were to work on it again today (ten years after originally writing it) he would most probably develop and alter Outwarding. However, it is offered here as a tool for makers and as a stimulus for others wondering about the value of models for the articulation of creative process.

Social Networks and Creativity: A Sequential Model of Creative Process

Although creativity has long been regarded as an individual trait or behavior, it is in fact a complex social phenomenon that emerges from interpersonal relationships. To explore the relational aspects of creativity from a social network perspective, we adopt a sequential model of the creative process, suggesting that different network characteristics of individuals (global brokerage, local brokerage, and local embeddedness) have distinctive effects on three sequential stages in the creative process (knowledge search, integration, and validation) and consequently affect creative outcomes. The results from empirical analyses of 133 employees in one research organization reveal that global brokerage positively affects knowledge search. Also, local embeddedness is positively related to both knowledge integration and knowledge validation. Finally, these two processes, knowledge integration and knowledge validation mediate the relationships between local embeddedness and individual creativity. These findings s...

Creativity and Chaos in Waking and Dreaming States

Dynamics of creative mental activity are examined in waking and dreaming processes which manifest beyond normative waking consciousness. Some consider such phenomena to be pathological or meaningless. Alternatively they may be viewed in new and healthier ways, in the context of adaptive mental controls, using nonlinear dynamical/chaos theory. The first example involves the innovativeness reported with mild mood elevation in bipolar mood disorders, linked to a compensatory advantage model of everyday creativity. With adequate controls, such mood elevation may open adaptive creative mental possibilities (in fact, for all of us). Tension between divergent and convergent thinking—as noted by J.P. Guilford, and common to many models of creative process—can further “edge of chaos” states and raise the odds of bifurcation to new and creative chaotic attractors. The second example involves REM sleep and dream phenomena, where the self-organizing brain coordinates the dream’s component parts to generate unusual dream narratives. However fanciful, such divergent and condensed dream content may lead to creative insights and adaptive narratives (there are famous examples) in the light of day, when interpreted or further developed, by bringing convergent processing to divergent processing. In each case, one finds the abnormal is not necessarily pathological—and sometimes can be usefully exceptional. One consequence of a dynamical view and these examples is the need, in all of us, for greater openness to experience, and acceptance of a greater divergence of expression and behavior (vs. conformity) in ourselves, our culture, and our world. NeuroQuantology | June 2012 | Volume 10 | Issue 2 | Page 164-176

A BIO-EXPERIENTIAL MODEL FOR LEARNING CREATIVE DESIGN PRACTICES THAT SUPPORTS TRANSFORMATIVE DEVELOPMENT IN BEGINNING DESIGN STUDENTS

This paper asks what beginning design learning experiences best support the remainder of design education. It is a conjecture of brain-based learning theory that a student’s direct, concrete primary experiences are responsible for the construction of fundamental structures of neural processing as “hard wired” pathways. These structures then form the ground of and set into play patterns of later more abstracted learning experiences. Pedagogy of basic design courses that seeks introduction of creative processes as a foundation for design education must recognize these experiential, biologically developmental relationships as basic to developmentally appropriate beginning design curriculum. This paper models a beginning design pedagogy on developmental relationships between concrete and abstract processes of learning as a basis for transformative creative thinking that enables student self-development that progresses up the curriculum. Aligning with developmental learning theories (Piaget and others), a basic tenant of this approach is that learning at the primary level of direct experience self initiates brain changes where students form their own structure of learning. Thus, initial learning experiences will be those that best enable decision-making consistent with the biological interactivity between body and mind, between, respectively, the concrete and the abstract. This is important because the designed environment in which we all live is grounded in the development of abstract content experientially based in concrete material physicality. Experiential learning theories (Kolb and others, following Piaget) identify concrete and abstract learning as fundamental poles for acquiring and acting on knowledge: Concrete learning involves direct experiential engagement through heuristic discovery and reflection and abstract learning involves indirect representational cues in acts of conceptualization, synthesis, and experimentation. The pedagogical model of this paper proposes a cycling of concrete material experiences and abstract learning experiences into an interactive transformational interdependence as a model of creative design processes that engages student self-development toward maturation. In addition to explication of this theoretical background, an introductory design course sequence following this model will be demonstrated.

A FREUDIAN PSYCHOLOGICAL ISSUE OF WOMEN CHARACTERS IN DAPHNE DU MAURIER’S NOVEL REBECCA

A literary work can be appreciated through some ways. A psychological literary approach is made within the work. A creative process model is discussed in this subject since a work of literature often be considered as writer’s creation which is sometimes related to psychological symptoms such as obsession, contemplation, sublime and some neurosis. A determination of Sigmund Freud theory mostly occurs in psychological approach applied to literature. By identifying human unconsciousness, it can be found through Du Maurier’s novel, Rebecca, that Id, Ego and Super Ego as personality theory appeared to be psychological aspects in fictional women characters. It reflects how those characters react to conflicts through the story. Keyword: psychology, unconsciousness, personality theory, women characters