Memoires by eminently creative people often describe architectural spaces and qualities they believe instrumental for their creativity. However, places designed to encourage creativity have had mixed results, with some found to decrease creative productivity for users. This may be due, in part, to lack of suitable empirical theory or model to guide design strategies. Relationships between creative cognition and features of the physical environment remain largely uninvestigated in the scientific literature, despite general agreement among researchers that human (...) cognition is physically and socially situated. This paper investigates what role architectural settings may play in creative processes by examining documented first person and biographical accounts of creativity with respect to three central theories of situated cognition. First, the embodied thesis argues that cognition encompasses both the mind and the body. Second, the embedded thesis maintains that people exploit features of the physical and social environment to increase their cognitive capabilities. Third, the enaction thesis describes cognition as dependent upon a person’s interactions with the world. Common themes inform three propositions, illustrated in a new theoretical framework describing relationships between people and their architectural settings with respect to different cognitive processes of creativity. The framework is intended as a starting point toward an ecological model of creativity, which may be used to guide future creative process research and architectural design strategies to support user creative productivity. (shrink)

This article considers the potential for a researcher to use their own creative practice as a method of data collection. Much of the published material in this field focuses on more theoretical positions, with limited use being made of specific PhDs that illustrate the context in which practice was undertaken by the researcher. It explores strategies for data collection and researcher motivation during what the author identifies as "researcher practice." This is achieved through the use of (...) three PhD case studies. Methods of data collection focus on: the use of output from practice for quantitative data collection, the use of output from practice for qualitative data collection, and the use of output from practice for data translation. The article discusses the methodologies employed in the case studies to identify themes which enable the definition of a generic researcher practitioner methodology. It notes the significance of creative practice in support of data collection and the differences between researcher practice and commercial practice, and emphasises the contribution of researcher practice towards personal motivation. (shrink)

This paper reports on the experiences of creative practice graduate researchers and academic staff as they seek to comply with the requirements of the Australian National Statement on the Ethical Conduct of Research Involving Humans. The research was conducted over a two-year period as part of a wider project ‘iDARE – Developing New Approaches to Ethics and Research Integrity Training through Challenges Presented by Creative Practice Research’. The research identified the appreciation of ethics that the participants (...) acquired through their experience of institutional research ethics procedures at their university. It also revealed a disjunction between the concepts of ethics acquired through meeting institutional research ethics requirements, the notion of ethics that many researchers adopt in their own professional creative practice and the contents of professional codes of conduct. A key finding of the research was that to prepare creative practice graduates for ethical decision-making in their professional lives, research ethics training in universities should be broadened to encompass a variety of contexts and enable researchers to develop skills in ethical know-how. (shrink)

How do scientists who devote their entire lives to solving a small problem in theoretical physics work? What causes a team of young researchers to be completely devoted to its work? What do they share with and what distinguishes them from teams who do not have creativity as a necessary goal of their mission? This article discusses some possible answers to these questions, starting from a research team in physics, in which the author took part as a researcher over a (...) considerable period of time. (shrink)

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between music and wellbeing, (...) with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

ABSTRACT This article is an attempt to firstly locate and situate the creative practice of Björk in the cultural and musical milieu of late 1970s, early 1980s punk and post-punk world. It traces the impacts, relevancies and typifications that were a part of this milieu and describes their affect on the development of Björk’s work. Secondly it sugg ests that this particular cultural practice worked through notions of the utopian that were and are imbued within processes of (...) cultural hybridity and evolved through a globalized travelogue that was always a transitory moment of unification in different locations and situations. This analysis attempts to give a sense of how the utopian can be actualized momentarily in ‘pirate spaces’ but also how a body of knowledge and practical work can be developed and turned into ‘lifeworld’ practice by these continued engagements. The article utilizes and develops ideas from Schutz, Deleuze and Guattari, Bloch, Levitas and Durrschmidt. (shrink)

In 2004, Robert Nelson noted in creative, practice-led research degrees that the exegesis had been reconceptualised as a cultural contribution to scholarship. He suggested that the challenge this posed was the need for writing to interface effectively with the nature and calibre of the creative work. A decade on from his observation, this article employs a case study to discuss emerging approaches to the exegesis in the work of graphic design doctoral candidates at AUT University in New (...) Zealand. Accepting the multi-perspectival and multi-voiced nature of the practice-led exegesis writer, it discusses approaches to both structure and presentation. In so doing, it also considers specific issues, including negotiated relationships between the role and the nature of the designer’s voice, systems of narration, and issues impacting upon both digital and print formats. (shrink)

Many women creative practice-led researchers appear inhibited by a number of factors directly connected to their gender. This article discusses these factors, including the culture of visual arts professional practice, the circumstances surrounding women postgraduate students and unproductive self-theories about intelligence and creativity. A number of feminist strategies are discussed as potential interventions that may assist women creative practice-led researchers and their supervisors to reap more personal and professional rewards from their postgraduate research.

There is now an increasing body of knowledge on creative practice-based doctorates especially in Australia and the United Kingdom. A particular focus in recent years has been on the written examinable component or exegesis, and a number of studies have provided important information about change and stability in the form and nature of the exegesis and its relationship to the creative project. However, we still know relatively little about the pedagogical practices that supervisors use to support these (...) students’ development as scholarly writers, nor of how supervisors view ‘writing’ in relation to the creative practice components of the degree endeavour. This paper draws on data from a recent study of supervision in creative practice higher research degrees and it highlights the transformative nature of writing for the development of creative practice research scholars in the context of competing discourses on research writing. In contrast to institutional silencing of writing, the study relates numerous examples of effective writing-rich supervisory pedagogies illustrating how successful supervisors work with their students to bring their creative projects into articulation. (shrink)

How was creativity understood in the distinctive artistic practices of eighteenth-century Japan? How were its artists able to maintain consistently inventive creative pathways over extended periods? Artistic creativity is sometimes assumed to derive from chance, opportune, or accidental events. For early Western creativity theorists like Graham Wallas,1 Alex Osborn,2 or Robert Fritz 3 such fortunate moments of illumination engendered creative innovation. The invention of synthetic dyes,4 Japanese haboku “splashed ink painting,” or Jackson Pollock’s spatters of paint all involved (...) elements of chance. Given favorable conditions and alert minds, serendipity can contribute to... (shrink)

This paper examines the relationship between learning and practice, rule and invention, in Japanese art. Drawing on Chinese precedent, learning through the close observation of conventional models for technical mastery or stylistic construction, underpinned training in almost all of the arts and crafts in Japan. The practice of building individually inventive projects was usually developed only after the successful completion of long apprenticeships in studio settings. The pictorial engagements of Edo, today's Tokyo, form the principal focus for this (...) examination of how individually forged learning pathways developed within the formal constraints of Tokugawa period art-training arrangements. This paper... (shrink)

Introduction -- The fundamentals and their role in design -- Underneath it all -- Tiling the plane without gap or overlap -- Symmetry, patterns and fractals -- The stepping stone of Fibonacci and the harmony of a line divided -- Polyhedra, spheres and domes -- Structures and form in three dimensions -- Variations on a theme: modularity, closest packing and partitioning -- Structural analysis in the decorative arts, design and architecture -- A designer's framework.

This article describes an artwork in progress; a digital video of synchronized visual patterns based in part on rhythmic practices that are said to reliably lead to a shifted state of consciousness. The artwork is being developed to further understand the correlation of rhythm and consciousness. The investigation is based on a comparative study of the following practices: ‘The Art of Memory’ and Raymon Llull’s thirteenth-century diagrammatic mnemonics, the Lucid Dreaming exercises developed at Stanford University and the African Yoruba rhythms (...) of ritualized possession. Throughout history, states of extreme lucidity, whether described as ‘ah-ha’ moments or life-transforming epiphanies, have been described with striking consistently and with such frequency that, rather than extraordinary, they seem to be fundamental to the human condition. The paradoxical state of lucid dreaming has been scientifically identified at Stanford University as a state of wakeful awareness that occurs during REM sleep, while dreaming. We might anticipate in the near future, the identification of a wakeful state of lucidity, a state as distinct from normal wakeful awareness as the state of dreaming. Those who have experienced altered states of consciousness can lend unique perspective and insight into the nature of consciousness. Analysis of practices that lead to such states add further insight. From running, to rhythmic breathing, to the circular movement of pilgrims at Mecca, to circular mosh pits, rhythmic activity is prevalent among practices that are said to lead to a shifted state of consciousness. The research suggests that in addition to rhythm itself, the relationship between rhythms is a significant factor corresponding to shifted states of consciousness. The digital video artwork discussed in this article might be thought of as a visualization of such rhythmic sequencing, and its development a creative method of inquiry. (shrink)

Creativity: Theory, History, Practice offers important new perspectives on creativity in the light of contemporary critical theory and cultural history. Innovative in approach as well as argument, the book crosses disciplinary boundaries and builds new bridges between the critical and the creative. It is organized in four parts: · Why creativity now? offers much-needed alternatives to both the Romantic stereotype of the creator as individual genius and the tendency of the modern creative industries to treat everything as (...) a commodity. · Defining creativity, creating definitions traces the changing meaning of "create" from religious ideas of divine creation from nothing to advertising notions of concept creation. It also examines the complex history and extraordinary versatility of terms such as imagination, invention, inspiration and originality. · Creation as myth, story, metaphor begins with modern re-telling of early African, American and Australian creation myths and -picking up Biblical and evolutionary accounts along the way - works round to scientific visions of the Big Bang, bubble universes and cosmic soup. · Creative practices, cultural processes is a critical anthology of materials, chosen to promote fresh thinking about everything from changing constructions of "literature" and "design" to artificial intelligence and genetic engineering. Rob Pope takes significant steps forward in the process of rethinking a vexed yet vital concept, all the while encouraging and equipping readers to continue the process in their own creative or "re-creative" ways. Creativity: Theory, History, Practice is invaluable for anyone with a live interest in exploring what creativity has been, is currently, and yet may be. (shrink)

The introductory chapter places creativity in a historical context. It shows how objectivist and subjectivist research philosophies have emerged and how they relate to technical, practical and emancipatory knowledge interests which inform the study of organizational creativity. Based on a sensitizing concept of organizational creativity the chapter then suggests context, process and practice as the conceptual framing for the subsequent arguments of the book.

Visual artists and scientists frequently employ the labour of assistants and technicians, however these workers generally receive little recognition for their contribution to the production of artistic and scientific work. They are effectively “invisible”. This invisible status however, comes at the cost of a better understanding of artistic and scientific work, and improvements in artistic and scientific practice. To enhance understanding of artistic and scientific work, and these practices more broadly, it is vital to discern the nature of an (...) assistant or technician’s contribution to the production of a work, which is difficult as it is uncommon to discuss these workers. To address this, I investigate how different kinds of parallel working arrangements in collective artistic and scientific practices affect the creative potential of individuals involved. Different working arrangements permit different degrees of autonomy for individuals involved in these practices. Significantly, a lack of autonomy precludes the opportunity to act spontaneously and so exercise, what I term, “creative agency”. Evaluating the contribution of an assistant or technician based on the degree of autonomy that they are granted in the production of a work is an approach that I show can be used to precisely determine the nature of their contribution to the production of a work and accordingly, what kind of recognition an agent should receive for this. Importantly, this approach has the advantage of explaining the artistic and epistemic significance of different kinds of contribution to the production of artistic and scientific work. (shrink)

This paper argues that the exercise of the imagination requires us 1) to attempt to describe features of a certain practice that appear, at first blush, natural and obvious; 2) to understand that that which appears natural and obvious could be otherwise; and 3) to be open to the introduction of changes to that which appears natural and obvious. Imagination, in this sense, is quite different to creativity. The latter works on the basis of the introduction of variations to (...) settled phenomena. This exercise of creativity is important, but ultimately, it contributes principally to the stability and identity of a community and reinforces its most firmly established features. Imagination, on the other hand, is more difficult, for it strikes at the very heart of that which is settled. Changes to that which is settled may not only be resisted, but may also be violently opposed. And yet, it is precisely the very ability and willingness to be open to such changes that may be of the most ethical and political significance. These differences between creativity and imagination are illustrated in the context of the practice of philosophy. (shrink)

I argue that practical knowledge can be understood as constituted by a kind of imagining. In particular, it is the knowledge of what I am doing when that knowledge is represented via extramental imagination. Two results follow. First, on this account, we can do justice both to the cognitive character and the practical character of practical knowledge. And second, we can identify a condition under which imagination becomes factive, and thus a source of ob-jective evidence. I develop this view by (...) extracting an account of self-knowledge via extramental imagination from the writings of Ibn ‘Arabi (1165-1240). (shrink)

In this work, starting from the social practice theory, we identified two kinds of creativity. A \textit{situational creativity} that takes place when a social practice is performed and a \textit{creativity of habit} that concerns the agents’ capacity of evoking different practices from habit. To test this hypothesis the Torrance Test of Creative Thinking (Verbal Form A) was analyzed in the light of praxeology.

According to Charles Taylor, practical reasoning helps us overcome cultural conflicts of val-ue when we are able to show that the passage from one value to another represents an epistemic gain. This paper argues that practical reasoning can be effective in pathological cases of cultural convergence but only if it is understood as a species of the creative social imagination.

The target article examines the role of practice in the development of excellence in several domains that vary in the degree of innovation involved. The authors do not differentiate domains, but they discuss the development of specifically creative skills only in passing. This commentary presents evidence that practice plays a role in the development of musical composition, through an examination of the careers of Mozart and the Beatles.

The article examines examples of sociocultural practices in advertising and PR, music, cinema, gamification, tourism, and art. Analyzing the proposed topic, the dependence of transformation of sociocultural practices on technologization and informatization of society, on merging of different spheres of creative industries (on the example of advertising and content), and interdependence of society and the process of content creation were established. The sphere of “project activity” as a way of combining traditional and innovative foundations to improve and enrich culture, (...) effectively draw attention to social problems, and involve new people in the creative industry was considered separately. To carry out this research the author used the following methods: comparative-historical, hermeneutic method of generalization. At the end of the article, the author concludes that in the era of globalization with different topical problems in the creative sector of the economy there is a certain way out. This sector of the economy combines economy and culture, develops small and medium-sized businesses, reduces unemployment, and monetizes human ideas and creativity. Today sociocultural practices are required to be mobile, digitalized, merging different directions within the sphere, flexible, unique content, subordinated to economic indicators, and attracting attention to a particular event or problem. (shrink)

The contribution of this book to the field of reconciliation is both theoretical and practical, recognizing that good theory guides effective practice and practice is the ground for compelling theory. Using a Girardian hermeneutic as a starting point, a new conceptual Gestalt emerges in these essays, one not fully integrated in a formal way but showing a clear understanding of some of the challenges and possibilities for dealing with the deep divisions, enmity, hatred, and other effects of violence. (...) By situating discourse about reconciliation within the context of Girardian thought, it becomes clear that like Peter who vowed he would never deny Jesus but ended up doing it three times any of us is susceptible to the siren call of angry resentment and retaliation. It is with a profound awareness of the power of violence that the emergence of mimetic discourse around reconciliation takes on particular urgency.". (shrink)

This book shows that global population ageing is an opportunity to improve the quality of human life rather than a threat to economic competitiveness and stability. It describes the concept of the creative ageing policy as a mix of the silver economy, the creative economy, and the social and solidarity economy for older people. The second volume of Economic Foundations for Creative Ageing Policy focuses on the public policy and management concepts related to the use of the (...) opportunities that are created by population ageing. Klimczuk covers theoretical analyses and case study descriptions of good practices to suggest strategies that could be internationally popularized. Each chapter includes exercises and assignments for both students and those who are likely to apply the presented concepts in practice. Contents: Foreword by Richard Adler Foreword by Dominic Campbell Introduction 1 The Politics of Ageing and the Challenges of Ageing Populations 2 Understanding Public Policy on Ageing 3 Sociological and Gerontological Perspectives on Ageing, Creativity, and the Third Age 4 Diversity of Ageing Policy Concepts 5 The Emergence of the Creative Ageing Movement 6 Aims and Challenges of the Creative Ageing Policy 7 Principles, Governance, and Coproduction of the Creative Ageing Policy 8 Organizational Forms and Management for the Building of Creative Capital of Older People Conclusion Afterword by Andreas Hoff and Kurt Lüscher Afterword by Suchandrima Chakraborty Afterword by Jorge Felix. (shrink)

By exploring the role of student identities in shaping attitudes to learning, this study asks how design students draw on experience to work across theory and practice. It explores how a specific group of design undergraduate students in a UK university perform on two distinct learning experiences on their course: work placement and dissertation. In particular, it considers the context for learning: the value placed on practice and scholarship; the role of social identity; links between art and design (...) education. Using Bourdieu’s concept of ‘habitus’ the discussion considers the role of experience and motivation in learning in design education, and questions how useful historical divisions drawn between theory and practice are to student learning in design education. By questioning the value of internal disciplinary conflicts to student learning, it asks how we distinguish between vital pedagogic processes and divisive practices in higher education. (shrink)

Filmmaking is one of the most complexly layered forms of artistic production. It is a deeply interactive process, socially, culturally, and technologically. Yet the bulk of popular and academic discussion of filmmaking continues to attribute creative authorship of films to directors. Texts refer to “a Scorsese film,” not a film by “Scorsese et al.” We argue that this kind of attribution of sole creative responsibility to film directors is a misapprehension of filmmaking processes, based in part on dubious (...) individualist assumptions about creative minds. Such a misapprehension is effacing the public value that a more inclusive and accurate understanding of filmmaking offers. By “public value” we mean the potential to enhance social and cultural well-being, particularly in working lives and collaborative undertakings in the screen industries. Better understanding of the systemic and social nature of creativity in filmmaking can potentially help in democratising aesthetics, which we consider a clear public good. (shrink)

The thesis proposes an account of the means of scientific representation focused on similarity, or more specifically, on the notion of “creative similarity”. I first distinguish between two different questions regarding the problem of representation: the question about the constituents and the question about the means of representation (following Suárez 2003; van Fraassen 2008). I argue that, although similarity is not a good candidate for constituent of representation, it can satisfactorily answer the question about the means of representation if (...) adequately characterized. To motivate this position, I dispute the main arguments offered against similarity as means of representation, namely the arguments from variety, vagueness, and misrepresentation, and contend that similarity plays a central epistemic role in practices of representing in science. The study of the role of similarity in scientific practice, I argue, requires the analysis of the uses of judgments of similarity in the construction of scientific models. I examine the cases of the Mississippi Basin Model and the San Francisco Bay Model to illustrate how judgments of similarity are directly involved in the production of epistemically fruitful models. Informed by the practical investigation developed throughout the thesis, I finally outline what I call the creative similarity account of the means of representation. The notion of “creative similarity” helps to capture the way in which similarity, as means of representation, intervenes in actual practices of representing, namely, in the form of a productive interplay of judgments of similarity and distortions (i.e. idealizations, abstractions, simplifications), which is employed by resourceful agents with the aim of understanding aspects of the natural world. (shrink)

Studio teaching is a long standing tradition and a signature pedagogy across a broad range of art and creative disciplines, from arts to architecture and design. However, the practice of studio tea...

Introduction. Non-institutional humanities, philosophical practice, and informal education are “a family like” phenomena that are outside the social institution of science and education and are adjacent to socio-cultural activities and social work. The purpose of the article is to outline the contours of the informal educational creative industry in the postmodern society, which combines non-institutional humanities, philosophical practice, and informal education. Methods. The author uses the methods of autobiographical reflection, comparative analysis, empirical observation and analysis of the (...) primary sources of non-institutional humanities. Scientific novelty of the research. The transition to nonmaterial work of the postmodern era is the reason for the relevance of the area under study. The growing demand of a contemporary for such issues as the meaning of life, happiness, the growth of the precariat, the ousting of philosophy from formal education constitute a new social reality that determines the novelty of the research in the informal educational creative industry. Results. The author classifies non-institutional humanities according to the spheres of its existence and the strategies of subject genesis presented in the teachings. The concept of dedifferentiation is considered as an explanation of the area under study in postmodernism. The specificity of the philosophical approach in the work of a practicing philosopher is considered. Conclusions. The author connects the prospects of the informal educational creative industry with institutionalization in the way of leisure, entertainment, and other personal services. The author makes conclusions about the differences between formal and informal education, and indicates the risks and opportunities for the development of the informal philosophical sector. (shrink)

The tension in evidence-based practice and reflective practice -- The relationship between reflection and action research -- An overview of theories of consciousness and unconsciousness -- What do we mean by creativity? -- Using metaphor and symbolism as analysis -- Infinite possibilities of knowing and transformation -- Concluding thoughts; the linkages to action research and critical creativity.

In this paper, we explain how our individual PhD enquiries have informed the philosophical underpinnings of our postgraduate programmes. The approach used to ensure validity and rigour in the research process is presented. We report on the development of the International Research Centre for e-Innovation and Workplace Learning and its collaboration in European projects such as Pathway to Inquiry Based Learning, Inspiring Science Education and the African based Global e-Schools and Communities Initiative project Leadership Development in ICT and the Knowledge (...) Society. Our claim is that researching our own practice can be a transformative experience for the practitioner-researcher who is committed to generating knowledge that has personal, professional and social value. (shrink)

A Practical Companion to Ethics, Fourth Edition, is a concise and accessible introduction to the basic attitudes and skills that make ethics work, like thinking for oneself, creative and integrative problem-solving, and keeping an open mind. This unique volume illuminates the broad kinds of practical intelligence required in moral judgment, complementing the narrower theoretical considerations that often dominate ethics courses. The optimistic tone and brisk pace of the narrative provide an entertaining and intelligent guide to "everyday" morality. The fourth (...) edition features a new chapter on ethical theories; significantly revised and expanded chapters on conflicts of value and creative problem- solving in ethics; and a new concluding chapter on "Making a Difference, " which explains how students can incorporate ethical thinking and practice into their daily lives. (shrink)

Like yoga before it, the Buddhist mindfulness practice is sweeping across North America. As only one example, Time magazine, discussing the Center for Disease Control's recent report on mindfulness in the workplace, led its story with the claim that "the American workforce is becoming more mindful."1 A growing number of Americans are now just as likely, it seems, to meditate as they are to pray, and the Four Noble Truths have, for some, surpassed the Ten Commandments as the foundation (...) for a life of meaning and purpose.The above picture is, no doubt, a caricatured portrait. But it captures, we believe, an evolving trend that needs further attention. In this paper, we seek to explore some of these changes in North... (shrink)

In Moral Creativity, John Wall argues that moral life and thought are inherently and radically creative. Human beings are called by their own primordially created depths to exceed historical evil and tragedy through the ongoing creative transformation of their world. This thesis challenges ancient Greek and biblical separations of ethics and poetic image-making, as well as contemporary conceptions of moral life as grounded in abstract principles or preconstituted traditions. Taking as his point of departure the poetics of the (...) will of Paul Ricoeur, and ranging widely into critical conversations with Continental, narrative, feminist, and liberationist ethics, Wall uncovers the profound senses in which moral practice and thought involve tension, catharsis, excess, and renewal. In the process, he draws new connections between sin and tragedy, practice and poetics, and morality and myth. Rather than proposing a complete ethics, Moral Creativity is a meta-ethical work investigating the creative capability as part of what it means, morally, to be human. This capability is explored around four dimensions of ontology, teleology, deontology, and social practice. In each case, Wall examines a traditional perspective on the relation of ethics to poetics, critiques it using resources from contemporary phenomenology, and develops a conception of a more original poetics of moral life. In the end, moral creativity is a human capability for inhabiting tensions among others and in social systems and, in the image of a Creator, creating together an ever more radically inclusive moral world. (shrink)

Arts and Humanities in Higher Education, Ahead of Print. Despite the growing interest of academia in public outreach, little is known about what university students, among who are future researchers, take away from their academic education in terms of research dissemination opportunities. In this study, we analyzed social science students’ discourses on creative dissemination practices in relation to standardized dissemination practices. Our findings reveal that student’s conceptions of creative research dissemination are diverse and influenced by varying perceptions of (...) knowledge, the public, and creativity. Discourses on CRD are also strongly linked with values such as innovation and impact on society, but the concrete meaning of these values often remains undefined. We propose rethinking the academic context at the educational level so it offers a platform for multimodal formats of research dissemination. This would require encouraging students to take a stance toward how they envision a progressive academic future. (shrink)

Challenging a long-standing assumption of the separation of ethical from poetic activity, this essay develops the basis for a theory of moral life as inherently and radically creative. A range of contemporary post-Kantian ethicists--including Ricoeur, Nussbaum, Kearney, and Gutiérrez--are employed to make the argument that moral practice requires a fundamental capability for creative transformation, imagination, and social renewal. In addition, this poetic moral capability can finally be understood only from the primordial religious point of view of the (...) mystery of Creation as such. Humanity as an image of its Creator is called to the endless impossible possibility of the re-creation of its own complex, plural, and fallen social world. Such a perspective is opposed to views of moral life as the application of law-like principles or the recovery of past moral histories. Without a better understanding of moral life's radically creative imperative, we miss a vital element of social relations' distinctive humanity. (shrink)

Many prescriptions offered in the literature for enhancing creativity and innovation in organizations raise ethical concerns, yet creativity researchers rarely discuss ethics. We identify four categories of behavior proffered as a means for fostering creativity that raise serious ethical issues: breaking rules and standard operating procedures; challenging authority and avoiding tradition; creating conflict, competition and stress; and taking risks. We discuss each category, briefly identifying research supporting these prescriptions for fostering creativity and then we delve into ethical issues associated with (...) engaging in the prescribed behavior. These four rubrics illustrate ethical issues that need to be incorporated into the creativity and innovation literature. Recommendations for how organizations can respond to the ethical issues are offered based on practices of exemplary organizations and theories of organizational ethics. A research agenda for empirically investigating the ethical impact these four categories of behavior have on organizations concludes the article. (shrink)

Do psychological perspectives constitute the only way through which the role of musical creativity in education can be addressed, researched and theorised? This essay attempts to offer an alternative view of musical creativity as a deeply social and political form of human praxis, by proposing a perspective rooted in the thought of the political philosopher and activist Cornelius Castoriadis (1922–1997). This is done in two steps. First, an attempt is made to place the pursuit of the concept of musical creativity (...) within a larger educational and societal context of conflicting trajectories that run through (a) Modernity and (b) Education. Then, I revisit the issue of educational value of improvising and composing through creating conceptual links between the process of music-making through improvisation and composition and the project of political autonomy as conceived by Castoriadis. By foregrounding instituting imaginary over instituted imaginary, improvising and composing become active processes of positing new legitimacies, and of creating a music-making context that searches for its own foundations. It is in and through creative musical praxis that we can think about issues of hierarchies, musical values, social dimensions of different music-making processes, our relationship to past values and to historical dimensions of music. By arguing that improvisation and composition might be seen as ways of positing the issue of political autonomy in musical terms, this paper emphasises the role of improvisation and composition as a mode of potentially transformative educational practice that may foster the development of critical consciousness, linking music education to a larger project of re-discovering and at the same time re-defining democracy. (shrink)

This paper analyzes creative practice including virtual music composition by a human and sets of computer programs, improvisation of music and dance in human-robot ensembles, and drawings produced by a human and a robotic arm. In all of these examples, the paper argues that creativity arises from a process of human-robot collaboration. Human influences on the machines involved exist at many levels, from initial creation and programming, via processes of reprogramming and setup of underlying data and parameters, to (...) engagement throughout the process of creative production. The decision to value a machine as a creative other is supported most strongly when collaborating with the machine directly, while witnessing the creative team at work, as opposed simply to seeing the result, is more likely to bring an audience to a similar understanding. The creativity of the human-machine collaborations analyzed in this paper relies on close interaction, within which there is a continual recognition of the otherness of the machine and its nonhuman abilities. Such relations can be theorized by extending Emmanuel Levinas’ conception of the face-to-face encounter within which self and other are brought into proximity, but the alterity of the other is nonetheless retained. The paper’s analysis of creative interactions between humans and robots supports the idea that machines need not be regarded as challenging human artistic practice, but rather enable new ways for creativity to arise through human-machine collaborations within which human and nonhuman creative abilities are combined. (shrink)

Peirce made repeated attempts to clarify what he understood as abduction or creative reasoning in scientific discoveries. In this article, we draw on past and recent scholarship on Peirce’s later accounts of abduction to put a case for how teachers can apply his ideas productively to elicit and guide student creative reasoning in the science classroom. We focus on (a) his rationale for abduction, (b) conditions he recognised as necessary to support this speculative reasoning, (c) pragmatic strategies to (...) guide inquiry and test conjectural hypotheses, and (d) his growing recognition of creative dimensions to reasoning beyond abductive inference-making. We illustrate this case through examples of a guided inquiry approach to student claim-making in the science classroom. (shrink)

In this position statement it is argued that educational neuroscience must necessarily be relevant to, and therefore have implications for, both educational theory and practice. Consequently, educational neuroscientific research necessarily must embrace educational research questions in its remit.

Recent research has uncovered the dark side of creativity by finding that creative individuals are more likely to engage in unethical behavior. However, we argue that not all creative individuals make trouble. Using moral self-regulation theory as our overarching theoretical framework, we examine individuals’ moral identity as a boundary condition and moral disengagement as a mediating mechanism to explain when and how individual creativity is associated with workplace deviant behavior. We conducted two field studies using multi-source data to (...) test our hypotheses. In Study 1, the results indicated that creativity positively predicted moral disengagement for those low in moral identity. In Study 2 with multi-wave data, we replicated the finding that moral identity moderated the effect of creativity on moral disengagement in Study 1 and further revealed that moral disengagement mediated the interactive effects of creativity and moral identity on workplace deviant behavior. The theoretical and practical implications of these findings and directions for future research are discussed. (shrink)