The promotion of creativity in team ball sports has captured the interest of many researchers and practitioners, but no studies have explored how coaches perceive and apply creativity-nurturing ...activities. The purpose of this study was to examine the personal and cultural conditions that enable or obstruct the design and application of creativity exercises (CE) to facilitate elite youth soccer players' exploration of novel action potentials during soccer training. This examination was conducted in an action research (AR) process where a researcher and a soccer coach applied a selection of creativity concepts as tools to experiment with when designing new CEs. The data comprised audio recordings of design meetings and video observations of practice experiments during AR cycles. Further, the researcher used freewriting to reflect on the process and the coach participated in a semi-structured interview. Thematic analysis showed that facilitation of creativity was envisioned to foster curios, sovereign, de-robotized, playful, and process-oriented players with unique trademarks. However, many ideas were rejected due to beliefs about quality coaching, demands for transferable situations and solutions, and the coach's conception of creativity. While some ideas were incompatible with established practice, others were rejected since they were perceived to involve unrealistic situations and match-irrelevant solutions. Moreover, the soccer-specific curriculum and match preparation in a tight tournament program left little time to diverge, and the pressure to perform intensified the demand for quality coaching when facing bad results. Avenues for future research are outlined by discussing conceptual, pedagogical, cultural, and political tensions in the results.
Lay summary: This study identifies several potentials for conducting creativity exercises during which the players solve novel challenges and explore solutions they do not usually try during training. However, result orientation and traditional views of quality coaching may limit what is seen as appropriate and therefore limit the exploitations of these potentials.
Implications for practice
Portrays several creativity exercises and outlines principles for designing new ones.
Provides resources to interrogate own and others' beliefs about creativity and its development.
Offers key arguments and considerations for coaches who wish to promote creativity.
This paper reports on the development of the Humanities Networked Infrastructure (HuNI), a service which aggregates data from thirty Australian data sources and makes them available for use by ...researchers across the humanities and creative arts, and more widely by the general public. The initial plan for HuNI envisaged that all the incoming data would be mapped to a detailed and sophisticated ontology - assembled from such sources as CIDOC-CRM (Comité International pour la Documentation - Conceptual Reference Model), FOAF (Friend of a Friend) and FRBR-OO (Functional Requirements for Bibliographic Records - Object Oriented). ...the HuNI Data Model is deliberately restricted to six core entities, defined as follows. Researchers who tested the initial version of HuNI prototype commented on the benefits of this approach in enabling them to make "serendipitous discoveries through identifying points of commonality between data" and to "cross-search a significant amount of data in a single software environment and see networks of relationships" (anonymous user feedback).
This research explores how creative workers experience being creative at work and how parts of the organisational system influence and shape the experience of creativity, through the theoretical lens ...of social and systems models of creativity. Whilst creativity is acknowledged as important to businesses involved in this research, there is limited understanding of the emotional experience of creativity or how creative workers might be better managed and supported to facilitate creativity. Three studies were conducted using multiple qualitative methods. Data were analysed using reflexive thematic analysis. Study 1 explored, through semi-structured interviews, how 11 creative workers within eight different organisations experienced being creative. Findings highlighted participants' needs for close and supportive relationships and to feel valued for their work. Study 2 was a case study of how one creative organisation, its creative employees and leaders experienced and coped with the creative process as a team. Data were collected through five semi-structured interviews with leaders, three focus groups with junior creative workers, observation of three meetings and analysis of corporate documentation. Findings highlighted tensions arising from the need to balance the childlike qualities of creativity with the ability to safely function within a rational organisational context. Study 3, an autoethnography, reflected on how the research changed my approach to work and proposed ways in which managers might behave to lead creativity more effectively. The research expands Amabile and Pratt's (2016) and Csíkszentmihályi's (1988) social and systemic models of creativity by highlighting the subjective, phenomenological experience of being creative at work, considering how the individual and organisational context contribute to this. By explicitly examining the emotional experience of creativity, a theoretical perspective that considers creativity's impact on employee wellbeing is provided. The research proposes MERMA-ID as a new third wave positive psychology model of creativity, reflecting the complex and paradoxical nature of creativity. The research contributes to positive organisational scholarship (Cameron et al., 2003) by articulating individual and systemic experiences of creativity, describing systemic tensions and ways in which managers might lead creativity more effectively.
This thesis articulates the case for assessment for creativity, rather than assessment of creativity. It proposes a nomadic creative pedagogy to resist the construction of creativity as perpetual ...commercial training (Deleuze and Guattari 1994). These proposals are constructed from an empirical study into creativity and summative assessment in the context of Scottish secondary education. Scotland's school education system has traditionally been presented as innovative and successful. However, there are moves to reform the curriculum and National Qualifications to better reflect contemporary globalised policy imperatives regarding creativity. In these desiring-productions (Deleuze and Guattari 1983), driven by bodies such as the Organisation for Economic Co-operation and Development (OECD) and the World Economic Forum (WEF), creativity is a "21st-century skill" that is essential for social and economic progress. The OECD's new creativity test for the Programme for International Student Assessment (PISA) regime attests to the strength of these desires. Despite this policy activity, there is little evidence from Scotland on the role of creativity and approaches to assessing it. As such, this study contributes important empirical evidence about the nature of the creativity-assessment relationship in Scottish schools. A nomadic schizo-methodology was assembled to undertake a qualitative exploration with teachers from six secondary schools. Local authority officers were also interviewed, and two focus groups were held with a diverse range of education practitioners from across a local authority area. Using the concept of the war-machine (Deleuze and Guattari 1987), the research also maps the manoeuvrings of the creativity movement across the territory of public education. The findings are presented as tangled tales that are woven together to form the principles of desire, guide, pickaxe/torch, caesura, provocation, continuance, and map/trace. The thesis concludes with a discussion of how a transversal creativity which "becomes" through the teacher-student war-machine can offer a potential way out of entrapment.
•Transformational creativity combines novel ideas with wisdom to benefit society.•Teaching strategies include creativity-friendly classrooms and holistic education.•Integrating ethics, empathy and ...care into projects nurtures transformational creativity.•Guiding students to direct innovations toward common good nurtures transformational creativity.
As technology rapidly changes society, cultivating creativity in students is critical, yet traditional approaches focused solely on generating novel ideas are insufficient. This paper proposes that education should foster transformational creativity, which affects positive, enduring change. Transformational creativity combines innovation with wisdom to benefit society. After differentiating transformational creativity from harmful applications, this paper explores strategies to develop it through 1) establishing creativity-friendly classrooms, 2) incorporating holistic education, 3) integrating care, empathy, and ethics into creative projects, and 4) assessing transformational creativity via tailored rubrics and portfolios. Education can nurture generations of ethical, creative changemakers by guiding students to direct innovations toward the common good. The paper provides a framework to foster transformational creativity for building a just, sustainable future.
The visual modality is central to both reception and expression of human creativity. Creativity assessment paradigms, such as structured drawing tasks Barbot (
2018
), seek to characterize this key ...modality of creative ideation. However, visual creativity assessment paradigms often rely on cohorts of expert or naïve raters to gauge the level of creativity of the outputs. This comes at the cost of substantial human investment in both time and labor. To address these issues, recent work has leveraged the power of machine learning techniques to automatically extract creativity scores in the verbal domain (e.g., SemDis; Beaty & Johnson
2021
). Yet, a comparably well-vetted solution for the assessment of visual creativity is missing. Here, we introduce AuDrA – an Automated Drawing Assessment platform to extract visual creativity scores from simple drawing productions. Using a collection of line drawings and human creativity ratings, we trained AuDrA and tested its generalizability to untrained drawing sets, raters, and tasks. Across four datasets, nearly 60 raters, and over 13,000 drawings, we found AuDrA scores to be highly correlated with human creativity ratings for new drawings on the same drawing task (
r
= .65 to .81; mean = .76). Importantly, correlations between AuDrA scores and human raters surpassed those between drawings’ elaboration (i.e., ink on the page) and human creativity raters, suggesting that AuDrA is sensitive to features of drawings beyond simple degree of complexity. We discuss future directions, limitations, and link the trained AuDrA model and a tutorial (
https://osf.io/kqn9v/
) to enable researchers to efficiently assess new drawings.
The aim of research is: to distinguish four approaches of defining the essence of creativity depending on which one of the four aspects of this problem is dominant in some a case: the environment in ...which creative activity is carried out; a creative product; a creative process; a creative person, his/her characteristics. The following theoretical methods of the research were used to solve the tasks formulated in the article: a categorical method, structural and functional methods, the methods of the analysis, systematization, modeling, generalization. The results of the research. After analyzing different approaches, we provide the following classification of definitions of creativity: 1) definitions that take into account novelty as the main criterion of creativity. In such a way, we point out that the characteristic «production of something new» is actually included these definitions. However, we’ll differently propose the approaches with the description of the novelty. Thus, we believe that it does not matter whether a society recognizes a certain idea as a new one, but it is important that it has to be new to the creator. On the contrary, we believe that novelty should be fixed in terms of culture, be recognized by contemporaries; 2) definitions in which creativity is opposed to conformity. It includes the definitions, which, contrasting the creativity to conformity, emphasize the importance of bringing originality, a new look at the problem. Such definitions include the understanding of creativity in such a way, when we believe that a creative person is free from both sides – we mean conformism and nonconformism; 3) definitions that focus our attention on the creative process. Thus, we emphasize the importance of creative thinking, and we consider creative thinking as a process of seeing or creating relationships between objects, phenomena, objects on both conscious and unconscious levels. In such a way, we distinguish four stages of the creative process: preparation, incubation, comprehension, review (or analysis). This understanding of creativity is based on any existing method of systematic training of subjects in the process of creative thinking; 4) the definitions that emphasize the importance of developing mental abilities of the person. We define creativity in a view of the development of mental abilities of the individual, which in such a way provides creative achievements in the process of the person’s activity. According to this, creative thinking includes divergent products in its structure, which, in turn, contribute to the generation of new, original, unusual and perhaps unique informational levels based on this standard, well-known paradigm of information. However, creative thinking is not reduced to divergent one, because it also implies a person’s sensitivity to problems, the ability to reorient. Conclusions. We proposed the approach based on determining the levels of creativity which are developed by writing. We offered the following levels of creativity: a) expressive creativity – for example, spontaneous drawing by children; b) productive creativity – scientific and artistic products; c) inventive creativity, when ingenuity is manifested in materials, methods and techniques; d) innovative creativity – improvement through modification; e) generating creativity – the formulation of a completely new principle or assumption around which new ideas, concepts, theories and schools may arise.
Individual creativity support systems have been developed to facilitate creative work. This article reviews the various design requirements and approaches proposed for supporting individual creative ...work, as well as relevant creativity theories. Current creativity support systems use many approaches in supporting the collection of relevant information and the creation of ideas or artifacts. However, the designs are typically based on just a few creativity theories. Based on various creativity theories, we propose a new integrated framework for individual creativity support systems. This framework enumerates aspects, components, and features of creativity support systems.
•A review of recent advances in individual creativity support systems.•A classification of creativity theories relevant to individual creativity support systems.•A new framework for individual creativity support systems grounded on creativity theories.
What's Wrong with Creativity Testing? Sternberg, Robert J.
The Journal of creative behavior,
March 2020, 2020-03-00, Volume:
54, Issue:
1
Journal Article
Peer reviewed
Creativity testing as it is now done is often based on a defective assumption that different kinds of creativity can be compressed into a single unidimensional scale. There is no reason to believe ...that the different kinds of creativity represent, simply, different amounts of a single unidimensional construct. The article shows how three different ways of viewing creativity lead to different ways of measuring creativity, all at variance with current unidimensional models. The point of view presented here does not suggest that current creativity tests are invalid, but rather, that care must be taken in the nature of claims made for them. Moreover, many of the same arguments could be applied to the measurement of intelligence and even wisdom as well.
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