rss_2.0Creativity. Theories – Research - Applications FeedSciendo RSS Feed for Creativity. Theories – Research - Applications Theories – Research - Applications Feed Language is Played: Looking into Linguistic Creativity through Language Play<abstract> <title style='display:none'>Abstract</title> <p>This article opens a window on linguistic creativity through an in-depth discussion of language play. To this aim, language play is initially conceptualized from a socio-cognitive perspective. ‘Language play for fun’ and ‘language play for practice’ as two dominant approaches in the relevant literature are, then, touched upon. Afterward, the paper elucidates how language play, in its various manifestations, can inform and influence linguistic creativity. In this respect, a theoretical (linguistic) and a socio-pragmatic perspective are presented. In particular, the paper addresses the possibility of playing to ‘language’ outside the box (i.e., to go beyond the conventional systemic constraints of language). Highlighting the ubiquity of language play, it also considers Wittgenstein’s notion of ‘language games’ (or <italic>Sprachspiele</italic>). Furthermore, the performative power of playful creativity to make and ‘unmake’ language in society is elaborated on. The article contends that language play may offer valuable insights to extend the borders of linguistic creativity. This argument is further developed under the purview of ‘complexity theory,’ ‘soft computing,’ and ‘computational linguistic creativity.’ Finally, the paper advocates an ‘integrated science’ approach to advance play-based research on linguistic creativity.</p> </abstract>ARTICLEtrue is a Funny Thing: Response Times and Humor Quality in a Creative Joke Production Task<abstract> <title style='display:none'>Abstract</title> <p>Generating creative ideas takes time: the first idea to come to mind is usually obvious, and people need time to shift strategies, enact executive processes, and evaluate and revise an idea. The present research explored the role of time in creative humor production tasks, which give people a prompt and ask them to create a funny response. A sample of 152 young adults completed four joke stems prompts. Their response times were recorded, and the responses were judged for humor quality (funniness) by six independent judges and by the participants themselves. Mixed-effect models found that, at the within-person level, response time’s link to humor quality diverged for judges and participants. The judges’ ratings of funniness predicted longer response times (relatively funnier responses took longer to create), but participants’ self-ratings of their own responses predicted shorter response times (relatively funnier responses were created faster). Controlling for elaboration (quantified via word count of the response) diminished the effect of judge-rated humor but not participant-rated humor. Taken together, the results suggest that the role of time in humor generation is complex: judges may be weighting elaboration more heavily when judging funniness, whereas participants may be weighting metacognitive cues like ease-of-generation when judging their own ideas.</p> </abstract>ARTICLEtrue of Self-Assessed Creativity<abstract> <title style='display:none'>Abstract</title> <p>The aim of this study was to examine demographic, ideological, and personality trait correlates of self-assessed creativity. A large group (<italic>N</italic> = 1,299) of adults estimated their creativity score on a 100-point scale. This rating was related to participants’ demographics (sex, age, education), ideology (religious and political beliefs), self-confidence, and six personality traits. The regression indicated that those who thought of themselves as more creative were more optimistic, higher on trait Curious (Open), but lower on trait Adjustment (low Neuroticism) and trait Competitive (low Agreeableness), and had higher self-esteem. The status of self-assessed/estimated creativity is discussed alongside limitations and recommendations for future research.</p> </abstract>ARTICLEtrue Parent-Child Creative Activities and Early Childhood Resilience: Audio-recordings and Home Activities as Methodological Propositions<abstract> <title style='display:none'>Abstract</title> <p>This commentary invites creativity researchers to address an area that, to date, has received little attention: the effects of dyadic creative activities on early childhood resilience. There is, indeed, a growing body of work on how creative behaviour can contribute to resilience in older children, adolescents, and adults. There is less research on this topic for populations of children aged 3 to 6 years. Yet, young children are particularly dependent upon the bonds they form with their caregivers, notably their parents. The quality of the ties they maintain with them can promote, or on the contrary hinder, their resilience. After presenting the need to foster resilience among young children through dyadic creative activities, the commentary proposes audio recording as a method of investigating this phenomenon. It presents perspectives on the analysis of momentary processes. It concludes with perspectives creative activities at home that researchers can propose to parents and children to address their effects on young children’s resilience.</p> </abstract>ARTICLEtrue Connection is at the Heart of Mathematical Creativity<abstract> <title style='display:none'>Abstract</title> <p>Although teaching mathematics for creativity has been advocated by many researchers, it has not been widely adopted by many teachers because of two reasons: 1) researchers emphasized and investigated mathematical creativity in terms of product dimension by looking at what students have at the end of problem-solving or -posing activities, but they neglected the creative processes students use during mathematics classrooms, and 2) creativity is an abstract construct and it is hard for teachers to interpret what it means for students to be creative in mathematics without further guidance. These can be eliminated by employing techniques of mathematical connections as tools because using mathematical connections can help teachers make sense of how to promote the creative processes of students in mathematics. Because making mathematical connections is a process of linking ideas in mathematics to other ideas and this is a creative act for students to take to achieve creative ideas in mathematics, using the strategies of making mathematical connections has the potential for teachers to understand what it means for students to be creative in mathematics and what it means to teach mathematics for creativity. This paper has two aims to 1) illustrate strategies for making mathematical connections that can also help students’ creative processes in mathematics, and 2) investigate the relationship among general mathematical ability, mathematical creative ability, and mathematical connection ability by reviewing theoretical explanations of these constructs and several predictors (e.g., inductive/deductive ability, quantitative ability) that are important for these constructs. This paper does not only provide examples and techniques of mathematical connection that can be used to foster creative processes of students in mathematics, but also suggests a potential model depicting the relationship among mathematical creativity, mathematical ability, and mathematical connection considering previously suggested theoretical models. It is important to note that the hypothesized model (see Figure 4) suggested in the present paper is not tested through statistical analyses and it is suggested that future research be conducted to show the relationship among the constructs (mathematical connection, mathematical creativity, mathematical ability, and spatial reasoning ability).</p> </abstract>ARTICLEtrue out for the Possible! Is it Our Chance to Make it Right?<abstract> <title style='display:none'>Abstract</title> <p>In today’s world, humanity is confronted with an increasing number of complex challenges. The Anthropocene’s core tenet, the impact of humans on the world, leads us to aspire to a more sustainable future, putting the possible at the centre of societal development. Educational contexts provide a unique platform for future citizens to engage with the possible, calling for the advancement of strategies that can intentionally contribute to expanding opportunities for embracing the possible. This commentary explores how contemporary challenges can be a driving force to redesign educational contexts to effectively embed the possible in their practices and pedagogies, in an effort to raise awareness and elicit a sense of urgency about the importance of the possible as a field of study.</p> </abstract>ARTICLEtrue Structure of Creative Revolutions<abstract> <title style='display:none'>Abstract</title> <p>One of the more important questions about creativity is what makes a creative production a revolution? The present contribution follows the analysis of the development of scientific knowledge proposed by Kuhn (1962) in ‘<italic>The Structure of Scientific Revolutions</italic>,’ to propose a typology that may contribute to an answer. This typology, based on a retrospective analysis of a given domain of productions, distinguishes between two types of creativity: normal creativity and revolutionary creativity. Creative revolutions refer to ‘game changing’ productions in the domain, creating a turning point in the development of this domain. These creative revolutions constitute major disruptions within the domain, since they display both a high degree of novelty and sufficiently high value for future creative productions to take them as a new <italic>point of reference</italic>. The proposition to distinguish between normal and revolutionary creativity is explored as a complementary view to other typologies on creativity.</p> </abstract>ARTICLEtrue the Role of Aesthetic Experiences in Self-Realization and Self-Transcendence: A Thematic Analysis<abstract> <title style='display:none'>Abstract</title> <p>Numerous scholars, philosophers, and experts in aesthetics have underscored the profound significance of a life enriched by the presence of beauty. Consequently, the appreciation of aesthetic experiences is considered pivotal for achieving self-discovery and self-transcendence (Howell et al. 2017). Despite theoretical prominence, limited qualitative research has been conducted on this topic. To address this gap in research, this study’s objective emphasized two questions guiding the inquiry; What is the role of aesthetic encounters in aiding self-realization or individuation? and, how do these experiences foster self-transcendence?</p> <p>A thematic analysis was performed on the online interviews conducted (<italic>N=25</italic>), and their results revealed seven themes pertaining to self-realization: a) Losing Yourself to Find Yourself; b) Relatability and Self-Reflection in Art; c) Identity as a Collection of Skills; d) Art as a Medium for Self-Expression and Acknowledgment; e) Aesthetic Genres and Taste as Identity; f) Belonging and Social Identity through Art; and g) Personal Interests and Choices in Artistic Consumption. Furthermore, seven themes for the second research question of self-transcendence were also discovered: a) Mother Nature’s Beauty; b) Intense, Passionate, and Overwhelming Experiences of Heightened Consciousness; c) Sacred Symbolism, Archetypal Imagery, and the Collective Unconscious; d) Collective Effervescence, Social Connection, and Shared Meaning; e) The ‘Profound’ Found in the Mundane; f) Feelings of Spiritual Elevation and Wellbeing; and g) Self-Referential Meaning-Making through Art. These findings evidenced the transformative potential of aesthetic experiences, shedding light on the facets of personal growth and meaning that individuals derive from such encounters.</p> </abstract>ARTICLEtrue are Lead users?<abstract> <title style='display:none'>Abstract</title> <p>Lead users are invaluable resources to generate user-centric radical innovation, but they remain difficult to detect and recruit in the general population. Lead userness, which draws both on the ability to identify unstated customer needs and find creative solutions to those needs, has been conceptualized as domain-dependent: this means that a lead user may generate innovation only in a specific domain for which they are an expert. In the present study, we aim to better understand the extent to which lead userness is a domain-dependent state (as elaborated in the literature) or a domain-independent trait. Following a questionnaire survey with 126 participants, we managed to reliably assess the empathetic side of lead userness (ability to identify needs) and showed that it was related both to domain-dependent characteristics (competences) and domain-independent trait (emotional intelligence). These results open up new avenues for implementing the lead user method in innovation projects.</p> </abstract>ARTICLEtrue the Traveling-Creativity Relationship: Effects of Openness to Experience, Cultural Distance, and Creative Self-Efficacy<abstract> <title style='display:none'>Abstract</title> <p>It is a common belief that travel allows us to grow, get inspired, and reach fulfillment. Travels offer a highly conducive combination of cognitive resource maximization, positive emotions, and, most importantly, new, out-of-ordinary experiences, enabling creativity to flourish. However, for travel to affect creativity in any way, some conditions must be met. Of key importance are characteristics of travel destinations and travelers’ Openness to experience. This study explores the creativity-traveling relationship by analyzing occurring interactive, mediating, and correlational effects. Also, it compares how traveling and living abroad predict creativity to address the ongoing debate. The analysis comprising 136 participants demonstrated that the traveling-creativity link is stronger among people low on the Openness trait. Further, an indirect effect of creative self-efficacy in the relationship between traveling and creativity was observed. These findings suggest the potential of facilitating creativity through traveling experiences among some groups, but at the same time, they call for more in-depth research on the topic.</p> </abstract>ARTICLEtrue of Everyday Creativity. An Individual Case of a Person with Passion<abstract> <title style='display:none'>Abstract</title> <p>The goal of the present study is to showcase the relation of creativity and passion, captured from the perspective of an analysis of experiences, subjective encounters, and feelings of an everyday creator, as well as analysis of their products. Basing on qualitative analysis of an individual case of a person with passion, the paper presents an image of their everyday creativity. In our research, we referred to the principles of everyday creativity (Richards, 1999, 2007, 2010). Analysis of the results of <italic>The Dualistic Model of Passion</italic> (Vallerand et al., 2003; Vallerand, 2008, 2010, 2015) became the theoretical frame of reference in our pursuits of the role passion plays in the examined person’s creativity. We conducted an analysis of the process and effects of everyday creativity of this individual in the context of two dimensions of harmonious and obsessive passion (Vallerand, 2015). Additionally, we analyzed and interpreted qualitative material in the context of the concept of <italic>Flow</italic> (Csíkszentmihályi, 1996) and <italic>Grit: The Power of Passion and Perseverance</italic> (Duckworth et al., 2007; Duckworth &amp; Quinn, 2009; Duckworth, 2016). We analyzed traits of the examined everyday creator in the context of the Big-Five concept of personality (McCrae, 1987; McCrae &amp; Costa, 1999). The research shows that using the theory of passion to analyze an individual’s everyday creativity can reveal two extremely different images of a person’s creative works, their personality, as well as the creative process itself. These images are differentiated by harmonious passion and obsessive passion, considered here as disparate sources of creativity.</p> </abstract>ARTICLEtrue Creativity Framework<abstract> <title style='display:none'>Abstract</title> <p>Currently, Rhodes’ 4p framework of creativity is the most widely accepted framework to understand creativity. In spite of this, there are many new theories focused on some facets of creativity that shape a fragmented puzzle with pieces that overlap and intertwine in a very complex way. The absence of an integrating framework adapted to the incursion of new theories prevents us from achieving that global vision of a finished puzzle, where each theory fits perfectly. The Octahedral Creativity Framework (OCF) fills this gap. It is built on Hermagoras´ framework of seven circumstances (who, in what way, what, where, when, why, and by what means) and 26 current frameworks and theories of creativity, including Rhodes’ 4P creativity framework (Person-who, Process-How, Product-what and Press-where/when). It is shaped as an octahedron, where the six main dimensions are placed on their vertices: Person, Product, Process, Environment, Motive, and Means. Factors derived from dimension interaction are located on its corresponding edges and faces. This research shows graphically how 26 of the main creativity frameworks and theories integrate their dimensions and factors in the OCF. The OCF provides a better understanding of the construct of creativity. This global integrative framework opens new research paths based on certain factors and their interaction with other close elements. The gain in knowledge also suggests pragmatic consequences in the lines of evaluating and teaching creativity not only to enhance economic development but to enhance our personal well-being.</p> </abstract>ARTICLEtrue Self-efficacy and its Potential Role in the Evaluation and Selection of Ideas: A Metacognitive Perspective<abstract> <title style='display:none'>Abstract</title> <p>In two studies, we examined the creativity of ideas generated, as rated by judges, and metacognitive feelings as antecedents of evaluative self-efficacy and relevance of strengths and weaknesses of the idea generated and accurate idea selection as consequences within the creative process. Participants in both studies completed a measure of metacognitive feelings, evaluative self-efficacy, and a divergent thinking task. In addition, participants rated their ideas and either identified strengths and weaknesses or selected their most creative idea. Two independent judges evaluated all ideas and either assessed the relevance of the strengths and weaknesses identified by participants or selected the most creative idea. Results showed a positive relationship between judges-evaluations and evaluative self-efficacy in one study and a positive relationship between metacognitive feelings and evaluative self-efficacy in both studies. Regarding consequences, results showed a positive relationship between evaluative self-efficacy and the relevance of strengths and weaknesses and a non-significant relationship between evaluative self-efficacy and accurate idea selection. The implications of our results for metacognition and creative beliefs were explained.</p> </abstract>ARTICLEtrue Influence of Parental Autonomy Support on Creative Self-concept in the Context of Business Education<abstract> <title style='display:none'>Abstract</title> <p>The amount of attention given to creative beliefs has increased in recent years. We wanted to answer a call for more research on the antecedents of creative self-concept, assessing the influence of parental autonomy support in the context of business education. Participants were 272 college students from Mexico who completed a battery of questionnaires assessing parental autonomy support, creative self-concept, self-reported ideation, and a divergent thinking task. Results showed a positive relationship between business-specific parental autonomy support and creative self-concept. In addition, creative self-concept had positive relationships with self-reported creative ideation and creative potential in the form of an originality index. Our results suggested that parental support was important to help students have confidence and the motivation to value the process of generating novel and useful business ideas. The implications of the results were discussed.</p> </abstract>ARTICLEtrue Generative Force of the Domain and the Field: Contributions of Highly Creative Women<abstract> <title style='display:none'>Abstract</title> <p>This study aims to explore the two less frequently researched pillars of the systems theory of creativity: domain and field, through a gender lens. Twenty-five award-winning women from different domains were interviewed. Their responses were examined using grounded theory. Results show four categories associated to domain: (1) access, including family incentive, interest in childhood, and late start; (2) relationship, reflected in high level of engagement, positive feelings, priority in life, and crisis; (3) gender barriers, encompassing family impact, financial limitations, discrimination, and being part of a minority; and (4) extra-domain, described in background and interests in other areas. Four additional categories were identified in relation to the field: (a) 10 years to gain recognition, (b) unclear criteria, (c) men hold the power, and (d) denial of gender barriers. The importance of fostering appealing domains that motivate women is discussed, along with the need for openness to interdisciplinarity and nonlinear careers. Masculinisation of the fields is problematised as an obstacle for the development and recognition of women. The personal discrimination denial paradox, in spite of accounts of the gender barriers experienced, is questioned.</p> </abstract>ARTICLEtrue Creativity in Pandemic: A Systematic Review<abstract> <title style='display:none'>Abstract</title> <p>The article presents a systematic review of scholarly papers referring to everyday creativity in times of COVID-19. We reviewed 30 papers published between May 2020 and June 2022. We searched in SCOPUS, Google Scholar, JSTOR and PsycINFO, using combinations of the following keywords: <italic>Creativity, Pandemic and COVID-19</italic>. We follow the PRISMA guidelines for conducting systematic reviews. We established four general inclusion criteria and selected quantitative, qualitative, or mixed-design empirical papers. Three experts evaluated whether the papers met the established criteria. We analyzed the selected research qualitatively through encodings and method of constant comparisons. We built four general categories whose purpose is to systematize the main results of the papers: <italic>Creativity and Health, Increase in Creative Actions, Motivations, and Creative Growth</italic>. The analyzed papers show relationships between creative actions, well-being, and coping. The data showed increases in creative actions in times of pandemic. Enjoyment, seeking contact with others, and coping appear as the main reasons for the development of creative actions. The results highlight the importance of creative adaptation in the construction of new personal and professional development projects.</p> </abstract>ARTICLEtrue Video Streaming Platforms Stifling Local Production Creativity? The Spanish Case<abstract> <title style='display:none'>Abstract</title> <p>International streaming platforms have broken into the European market and are partnering with local production companies to produce content. Online consumption generates a huge database on the tastes and consumption patterns of viewers. Although the business of video streaming platforms is to attract subscribers, all this data could be used to produce content adapted to the different sensibilities of the audience. We want to investigate to what extent entry of the streaming companies has impacted the creativity of the production process in Spain and how creativity may be affected by this. We carried out semi-structured interviews with creative workers who produce for both linear television channels and video on demand platforms. The sample focuses on four workers from independent production companies with years of experience working for the television channels that have started working for new streaming companies. Their responses imply that big data does not appear to reduce uncertainty and is not applied to make decisions in the first stages of the production process. However, production of local shows has changed significantly.</p> </abstract>ARTICLEtrue Origins of the Scientific Mind: Interview with Gregory J. Feist<abstract> <title style='display:none'>Abstract</title> <p>In the interview with Gregory J. Feist, one of most prolific creativity researchers, we discuss his career, main areas of research interest, chosen research methods and share his thoughts about the future of research on creativity and effectiveness in scientific work.</p> </abstract>ARTICLEtrue and Creativity: Patenting the Manifesto from Dewey’s Aesthetic Experience<abstract> <title style='display:none'>Abstract</title> <p>An original way to make sense of the <italic>aesthetic experience</italic> concept – in a Deweyan perspective – is from the Art-Education binomial. After studying the pragmatist philosophical category of <italic>Experience</italic> in John Dewey, a product of Doctoral theoretical research in education, it was possible to characterize a new art movement: School Art. Hence, this conceptual-theoretical finding will expand a wide range of art movements that emerged between the nineteenth century and contemporaneity: Art Nouveau, Impressionism, Abstract Art, Futurism, Action Painting, and Children’s Art, among many others. However, because of lexical reasons and hoping to achieve greater acceptance among theorists, the so-called <italic>School Art</italic> will patent from this paper as a neologism named from now on as <italic>Artscholarism</italic>. Thus, its philosophical-historical foundations, characteristics, and description will be the article’s primary purpose. In that sense, psychological and historical discussions will emerge throughout the paper. In conclusion, the new art movement – <italic>Artscholarism</italic> – comes from Deweyan thinking and is framed by creativity and a social context.</p> </abstract>ARTICLEtrue