rss_2.0Creativity. Theories – Research - Applications FeedSciendo RSS Feed for Creativity. Theories – Research - Applicationshttps://sciendo.com/journal/CTRAhttps://www.sciendo.comCreativity. Theories – Research - Applications 's Coverhttps://sciendo-parsed-data-feed.s3.eu-central-1.amazonaws.com/6311b54a38cdd15decf881b1/cover-image.jpg?X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Date=20220927T213301Z&X-Amz-SignedHeaders=host&X-Amz-Expires=604800&X-Amz-Credential=AKIA6AP2G7AKP25APDM2%2F20220927%2Feu-central-1%2Fs3%2Faws4_request&X-Amz-Signature=5216ef5935d9c723a555553e13b53c2f49860ff9e6bca1f93614859d21ac167d200300Pragmatism and Creativity: Patenting the Manifesto from Dewey’s Aesthetic Experiencehttps://sciendo.com/article/10.2478/ctra-2022-0007<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>ARTICLE2022-09-02T00:00:00.000+00:00Predictive Power of Social Environment, Grit, and Motivation for Creative Potential of Science Learnershttps://sciendo.com/article/10.2478/ctra-2022-0003<abstract> <title style='display:none'>Abstract</title> <p>The study was conducted on science learners at high school- and college-level to explore the interrelation of various factors from social environment, cognitive, and non-cognitive resources affecting their creative potential. A hierarchical regression method was used to determine how well positive behavior of parents, supportive behavior of friend groups, grit, motivation in science, and legislative thinking style could predict the creative potential of the science learners. The results revealed that supportive friend group behavior, consistency of interest (a sub-factor of grit), and legislative thinking style can predict the creative potential of science learners. Group variance explained by them was at over 53%. Legislative thinking style turned out to be the most dominant predictor, with 63% of unique variance explained by it. Positive friend group behavior came second, with 9% unique variance explained to the residual. Finally, consistency of interest could explain 12% of unique variance but with negative sign, implying it was not a component of the creative potential of science learners.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Creativity in Ibero-American Early Childhood Education Curriculahttps://sciendo.com/article/10.2478/ctra-2022-0004<abstract> <title style='display:none'>Abstract</title> <p>Given the wide diversity of conceptions of creativity, this study analyzes ten Ibero-American early childhood education curricula with the aim of finding out what concept, approach, and teaching methodology they propose for creativity. The research addresses two questions: what is the implicit or explicit notion of creativity held by the Early Childhood curricula, and what methodological recommendations are included to foster creativity in the classroom? The study used qualitative methodology, specifically content analysis completed with expert judgement. Results showed the importance of creativity in the curricula analyzed and highlighted not only the need to clarify the term at a conceptual level, but also to examine in depth the teaching and learning methodologies used. In conclusion, the study urges to strengthen artistic training in both initial and continuing education studies.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Can we Help Children Develop Creative Potential through Pretend Play? Interview with Sandra Russhttps://sciendo.com/article/10.2478/ctra-2022-0008<abstract> <title style='display:none'>Abstract</title> <p>In the interview with Sandra Russ, one of most prolific creativity researchers, we discuss her career, main areas of research interest, chosen research methods and share her thoughts about the future of research on creativity and effectiveness in scientific work.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Integrated Gamification Model in a Constructivist Learning Environment for the Promotion of Creative Skillshttps://sciendo.com/article/10.2478/ctra-2022-0001<abstract> <title style='display:none'>Abstract</title> <p>The Knowledge Society has highlighted the importance of creativity as a goal competence, which should be fostered in higher education institutions; therefore, it is necessary to integrate innovative educational experiences oriented to the development of creativity complementing the professional training of students. Recent research from psychology and pedagogy reports advances associated with the nature, evaluation, composition, and conditions for teaching creativity that have resulted in successful applications in only one facet of the creative process. In this research, we propose an integrated model for making educational interventions through online courses. This model combines contributions to the teaching of creativity from pedagogy in relation to the pedagogical model, instructional design, and conditions of the teaching-learning process required for the promotion of creativity. It also includes the contributions of psychology in relation to the cognitive processes and skills associated with creativity, the techniques and activities for the development of creative skills, as well as the principles associated with intrinsic motivation based on the theory of self-determination through its application in the learning technique called gamification. The advantage of this integrated model is that it incorporates and fosters multiple components of creativity simultaneously, with the objective of generating creative results of greater breadth and quality.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Creativity Ratings of Fashion Outfits Presented on Instagram: Does Gender Matter?https://sciendo.com/article/10.2478/ctra-2022-0002<abstract> <title style='display:none'>Abstract</title> <p><bold>Rationale</bold>: Creativity assessment can be influenced by rater characteristics, including social group membership, such as gender. As raters are often male, the gender composition of rater panels in the <italic>Consensual Assessment Technique</italic> (CAT) could introduce unintended implicit biases into this measurement methodology. The present study analyzed such biases by examining gender differences in creativity assessment.</p> <p><bold>Method</bold>: We applied the CAT and asked male (<italic>n</italic> = 26) and female (<italic>n</italic> = 39) judges to rate the creativity of fashion outfits presented on <italic>Instagram</italic>. We then examined gender differences in mean creativity ratings and rater consistency (inter-rater reliability). In an additional qualitative analysis, we analyzed implicit theories of creativity of female and male raters by comparing the criteria that these raters applied when assessing creativity.</p> <p><bold>Results</bold>: We found no systematic support for gender differences in the level of creativity ratings, but observed that rating consistency was significantly higher for female than for male judges. Additional content analysis suggested that female and male raters attached different relative importance to various assessment criteria, indicating gender differences in rating criteria.</p> <p><bold>Discussion</bold>: Our study suggests that rater panel composition can indeed affect aspects of creativity assessment, although we do not obtain strong support for a gender-related bias in the CAT methodology.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Arts and Creativity in Hong Kong Kindergartens: A Document Analysis of Quality Review Reportshttps://sciendo.com/article/10.2478/ctra-2022-0005<abstract> <title style='display:none'>Abstract</title> <p>In Hong Kong, the Education Bureau (EDB) regularly assesses the quality of services provided by publicly subsidized kindergartens to children aged 3 to 6. Quality Review (QR) reports are written by government officials and published on the EDB’s website. This study analyzes the feedback pertaining to Arts and Creativity to better understand the role this learning area plays in Hong Kong kindergartens. Lexical and content analyses were applied on 164 QR reports published between 2017 and 2020. Findings showed that: (1) the role of Arts and Creativity in the QR reports is relatively minor, which suggests that this learning area is somewhat secondary in Hong Kong kindergartens; (2) presence of the various art forms differs significantly, with Music and Visual Arts being more frequent than Drama and especially Dance; and (3) classroom activities seem to be teacher-centered, product-oriented, and reproductive. Findings suggest that the Arts and Creativity pedagogies enacted in Hong Kong kindergartens are not fully consistent with the official kindergarten Curriculum Guide, which draws on a Western conceptualization of creativity in the arts. We argue that this curriculum/practice gap reveals the need for local stakeholders to embrace a “glocalization” paradigm. Limitations, future research, and implications are discussed.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Facilitating Creativity through Multimodal Writing: An Examination of Students’ Choices and Perceptionshttps://sciendo.com/article/10.2478/ctra-2022-0006<abstract> <title style='display:none'>Abstract</title> <p>Creativity has long been central in multimodal writing. Unlike traditional writing, which uses text alone, multimodal writing relies on the use of a combination of modes to convey meaning such as text, speech, images, audio, gesture, and space. Scholars of multimodal writing stressed that using multiple modes allows for greater creativity and newness. Recently, however, scholars have questioned whether creativity is so straightforward in students’ multimodal writing. Students may resist producing new types of writing. Their creativity outcome is dependent upon their preferences and their goals in the writing assignment. This article examines students’ choices when given the freedom to compose in any mode and their perceptions of their multimodal writing experience in comparison with traditional essay writing. Drawing on data from students’ multimodal products, surveys, and interviews we show how students simply used available resources in their multimodal composing and how creativity was negotiated. Although they identified several affordances for multimodal writing and described it as more interesting than conventional essay writing, they seemed to resist incorporating a variety of semiotic resources into their projects because their goal was to showcase their writing skills. We argue that developing explicit knowledge about various modes helps improve students’ understanding of multimodal writing as creative design.</p> </abstract>ARTICLE2022-09-02T00:00:00.000+00:00Visual Art Gifted Child in Pre-School and Early School Yearshttps://sciendo.com/article/10.2478/ctra-2021-0019<abstract> <title style='display:none'>Abstract</title> <p>Visual arts media in pre-school and early school years and development of children’s drawing are well researched. However, when one considers that children are endowed with a talent for visual arts, the research is not as comprehensive and clear-cut. The signs of freedom of expression and imagination, intuitiveness and originality, an inclination to individual work, high sensitivity, and other indicators begin to show soon after visual art gifted (VAG) children enter the representative stages of visual arts. This article was based on a longitudinal case study that was carried out to show some aspects of the functioning of a VAG child in pre-school and early school years and to make some suggestions on how to consider the needs of VAG children.</p> </abstract>ARTICLE2021-11-20T00:00:00.000+00:00Assessing Creativity from the Viewpoint of Lawhttps://sciendo.com/article/10.2478/ctra-2021-0017<abstract> <title style='display:none'>Abstract</title> <p>Originality is the main criterion for creating an author’s work. However, authors are often influenced by previous works of other authors that they have seen, heard or experienced. The aim of this study is to identify criteria for determining creativity in authors’ works, trying to find and define the difference between accidental influence and deliberate misappropriation or plagiarism. This article does not claim an in-depth analysis of creativity and originality from a social science perspective. It is more a scientific essay on creativity from a law science point of view, so that further research can be carried out in the field of authorship and its determination. In order to find an answer to the research question (Where does influence end and plagiarism begin?), theoretical framework and knowledge about creativity were observed, international and national laws were studied, case law from different countries was researched, materials of international conferences were examined, as well as information accessible on the Internet on copyright issues was observed. The research used a descriptive method to investigate the works of various researchers on the types of mutual influence, regulatory framework and court practice in this field, as well as a grammatical, systemic, teleological, and historical interpretation of legal norms to assess the inadequacy of existing legal norms and propose the necessary amendments in legislative enactments. The main result of this study is understanding that the factor of consciousness or subconscious forms the main criteria. If the influence is unintentional, the copyright of the original work is not infringed, but if repetition is intentional, when it goes beyond originality, the new work is considered to be an appropriation of authorship or plagiarism.</p> </abstract>ARTICLE2021-11-20T00:00:00.000+00:00Collaborative Musical Creativity between Students and Adults: The Sonorous Paellahttps://sciendo.com/article/10.2478/ctra-2021-0016<abstract> <title style='display:none'>Abstract</title> <p>While creativity is a key element of contemporary curriculum frameworks around the world, it is still insufficiently fostered in formal education settings. This study analyzes a project for collaborative musical creativity, entitled <italic>The Sonorous Paella</italic>. Participants (N = 12) were eight Year 4 secondary students, two professional musicians, an artist-in-residence, and a music teacher. Drawing on a graphic musical score, the participants worked together for 1.5 months to produce a group composition and performance. They were provided with various sound producers (instruments, everyday objects, technological devices) and were encouraged to flexibly utilize the physical space to maximize collaborative participation. Field notes and pictures taken during working sessions and rehearsals, audio recordings from the final concert, and individual interviews with all participants were qualitatively analyzed. In response to the three study objectives, we conclude that: (1) the design of this collaborative project was consistent with current research-based creativity discourses; (2) drawing on the quality and originality of the final concert, the project fostered the musical creativity of the group; and (3) participants’ perceptions of and opinions about their creativity learning processes were unanimously positive. Our final aim is to inspire music teachers in designing curriculum units that foster collaborative musical creativity.</p> </abstract>ARTICLE2021-11-20T00:00:00.000+00:00Spreading one’s Wings, Milestones, Deus ex Machina: Self-creation as a Process of Changing Your Life with the Examples of Narrations Provided by Womenhttps://sciendo.com/article/10.2478/ctra-2021-0018<abstract> <title style='display:none'>Abstract</title> <p>This paper presents narrative-biographic research conducted with participation of women who declare that they have introduced important changes into their lives. The qualitative data was collected using narrative interviews as well as a tool to examine changes in the biographic perspective; namely, <italic>Line of life</italic>. In the presented paper, the authors reconstructed biographical self-creation, meaning the ways of life in which important changes are a central category of a story about life. The authors reconstruct three different ways of narrators’ lives – “spreading one’s wings,” “milestones,” “deus ex machina,” and a case study that describes the process of self-creation and introduction of important changes into a life in more detail.</p> </abstract>ARTICLE2021-11-20T00:00:00.000+00:00How Groups Generate Creative Ideas? Interview with Roni Reiter-Palmonhttps://sciendo.com/article/10.2478/ctra-2021-0020<abstract> <title style='display:none'>Abstract</title> <p>In the interview with Roni Reiter-Palmon, one of most prolific creativity researchers, we discuss her career, main areas of research interest, chosen research methods and share her thoughts about the future of research on creativity and effectiveness in scientific work.</p> </abstract>ARTICLE2021-11-20T00:00:00.000+00:00Creative Personal Identity and Creative Mindsets, and Their Implications for Creative Potential and Metacognition: A Latent Variable and a Latent Class Approachhttps://sciendo.com/article/10.2478/ctra-2021-0015<abstract> <title style='display:none'>Abstract</title> <p>The amount of attention given to creative beliefs has increased in recent years. This article suggests that the selection of one´s best ideas from a set of self-generated alternatives should be included as an indicator of metacognition; something known as creative metacognition accuracy. The present investigation examined the role of creative mindsets and creative personal identity on the selection of one´s best idea, creative self-efficacy, and potential, under two conceptualizations of these beliefs: latent variables and latent classes. College business students completed a battery of questionnaires assessing creative mindsets, creative personal identity, and creative self-efficacy. In addition, participants completed a divergent thinking task involving improvement of smartphones an-d were asked to choose their best idea. Two independent judges also selected the best idea from participants’ set of self-generated ideas. Under the latent class conceptualization, a class with high levels of growth mindset and creative personal identity, and low levels of a fixed mindset showed higher levels of accurate idea selection and creative self-efficacy than the rest of the classes. Similarly, under the latent variable conceptualization, creative personal identity had a positive influence on accurate idea selection and creative self-efficacy.</p> </abstract>ARTICLE2021-11-20T00:00:00.000+00:00“The Story is My Life”: Bridging Symbol to Self in a Novel Creative and Reflective Writing Taskhttps://sciendo.com/article/10.2478/ctra-2021-0014<abstract> <title style='display:none'>Abstract</title> <p>This article describes the development and testing of a novel creative and reflective writing task. Following the rationale of sand-tray and play therapies, participants were asked to meaningfully incorporate four objects from a randomly generated matrix of options into a creative short story. They then composed a second story that incorporated four possessions from home associated with important memories. Afterwards, participants produced interpretive statements or reflections on what the stories meant to them. An exploratory qualitative study was conducted based on narrative data from 15 young adult participants in Canada. Our goals were to: (a) explore the extent to which object familiarity was associated with qualitative differences in stories and interpretations, and (b) investigate for connections between features of participants’ stories and depth of interpretation. Analysis of creative stories resulted in a scheme of four response categories with ten subcategories. Participants’ interpretations of their own stories were coded based on self-described sources of inspiration, such as critical life episodes or popular media. Results are accompanied with excerpts of participants’ stories and reflections, and percentage comparisons are reported. Findings are presented in dialogue with established interpretive frameworks originating in depth psychology. Manipulation of object familiarity resulted in demonstrable differences at the levels of word length, point of view, narrative forms and features, self-disclosure, and reflection. Use of familiar objects in such a task appears to be a largely untapped resource that shows promise as a route to insight.</p> </abstract>ARTICLE2021-11-20T00:00:00.000+00:00Creativity in Humans, Robots, Humbotshttps://sciendo.com/article/10.2478/ctra-2021-0003<abstract> <title style='display:none'>Abstract</title> <p>This paper examines three ways that robots can interface with creativity. In particular, social robots which are designed to interact with humans are examined. In the first mode, human creativity can be supported by social robots. In a second mode, social robots can be creative agents and humans serve to support robot’s productions. In the third and final mode, there is complementary action in creative work, which may be collaborative co-creation or a division of labor in creative projects. Illustrative examples are provided and key issues for further discussion are raised.</p> </abstract>ARTICLE2021-08-30T00:00:00.000+00:00How do You Feel in Virtual Environments? The Role of Emotions and Openness Trait Over Creative Performancehttps://sciendo.com/article/10.2478/ctra-2021-0010<abstract> <title style='display:none'>Abstract</title> <p>In the Dynamic Creativity Framework creativity is defined as a context-embedded phenomenon requiring potential originality and effectiveness. This definition indicates that the environmental conditions embedding the creative process have fundamental impact on the process itself and its outcomes. In particular, Virtual environments (VEs) are emerging as everyday contexts for a large part of the world population, affecting behaviors and feelings. VEs have been demonstrated to affect creative performance in several ways, even if the psychological mechanisms at the basis of the different modifications in the creative behavior are far from being completely explained. The aim of this study was to explore the influence of different types of VEs on creative performance, with a specific focus on participants’ emotional reactions and on their individual differences in the Openness personality trait. A total of 22 participants were exposed to four different types of environments: a real room environment (RE), a control virtual environment (CVE) resembling the physical characteristics of the RE, a positive virtual environment (PVE) and a negative virtual environment (NVE). Participants were free to explore each environment for two minutes, then they were asked to perform an Alternative Uses Task for five minutes, to measure divergent thinking performance. Openness and affective reactions in each environment were measured in all participants. Results showed that Openness was associated with higher originality of responses and that this effect was particularly significant in PVE. Importantly, the type of environment interacted significantly with participants’ affective reactions in explaining their creative performance, revealing that an increase of ideas originality was associated with an increase of positive affect, emerging as a consequence of experiencing a PVE. Affective reactions to VEs, in combination with individual differences in term of Openness, thus emerge as one of the possible explicatory mechanisms of the impact of virtual reality on creative performance.</p> </abstract>ARTICLE2021-08-30T00:00:00.000+00:00Where to Share? A Systematic Investigation of Creative Behavior on Online Platformshttps://sciendo.com/article/10.2478/ctra-2021-0008<abstract> <title style='display:none'>Abstract</title> <p>Digitalization, underpinned by the ongoing pandemic, has transferred many of our everyday activities to online places. In this study, we wanted to find out what online outlets people use to share their creative work and why they do it. We found that most people posted creative work online at least a few times per year. They especially shared creative content related to creative cooking, visual art, and literature but hardly related to performing art. <italic>YouTube</italic>, <italic>Facebook</italic>, and <italic>Instagram</italic> were the three platforms with the highest familiarity and usage rates; among these, <italic>YouTube</italic> was most strongly used passively (i.e., to view creative content), while Instagram was most strongly used actively (i.e., to post one’s own creative content). We could further differentiate platforms that were domain-specific (e.g., <italic>Stackoverflow</italic> for scientific/technological creativity) from platforms that offer a broader variety of creative content (e.g., <italic>Reddit</italic>, <italic>Blogger</italic>). The reasoning behind posting one’s creative work online resembled a mixture of technological facilitation, alongside heightened accessibility that allows for feedback and bringing pleasure to one’s followers and friends. All in all, this study provides a first overview of where and why people share their creative products online, shedding light on timely forms of creative expression.</p> </abstract>ARTICLE2021-08-30T00:00:00.000+00:00Creativity in Virtual Teams: A Review and Agenda for Future Researchhttps://sciendo.com/article/10.2478/ctra-2021-0011<abstract> <title style='display:none'>Abstract</title> <p>As communication technology capabilities have improved and the globalization of the workforce has resulted in distributed teams, organizations have been shifting towards virtual teams and virtual meetings over the last decade. This trend has been accelerated with current work-from-home orders due to COVID-19. Even though virtual collaboration has, in the past, been the focus of multiple studies, there are some surprising gaps in our knowledge. For instance, there are few empirical studies examining the impact of virtual devices and tools on creative problem-solving. While there is a substantial body of research on electronic brainstorming and the use of virtual tools for idea generation, less is known about earlier processes such as problem construction or later processes such as idea evaluation and idea selection. Furthermore, as a dynamic process, creativity and innovation is heavily influenced by the people engaged in the process and their collaborative environment, yet there is a gap in the literature regarding the type of virtual tools used in the process (i.e., audio + video <italic>vs.</italic> audio alone, or the use of file-sharing technologies). In this paper, we will review the current literature on virtual teams, virtual meetings, and creativity. We will then explore theoretical frameworks such as media richness theory that can help us understand how virtuality and virtual tools may influence team creativity across the dynamic range of the creative problem-solving process. Finally, given the limited research in the domain of virtual team creativity we provide questions to help guide future research. Research questions will help identify those areas where virtual teams may be beneficial for creativity and areas where virtual teams may be likely to perform less effectively on creative tasks.</p> </abstract>ARTICLE2021-08-30T00:00:00.000+00:00Creativity, Learning and Technology: Lights and Insights for New Worldmaking Possibilities in Educationhttps://sciendo.com/article/10.2478/ctra-2021-0004<abstract> <title style='display:none'>Abstract</title> <p>Amidst the COVID-19 pandemic, creativity, learning, and technology became guiding lights for the debate on transforming conceptions and practices within education systems around the world.</p> <p>Given creativity’s intersubjective and agentic nature, it can work as an invaluable resource when promoting learning in formal and informal educational settings. Notwithstanding, these same features make it a challenge to know the conditions under which creativity development can be propelled through technology in educational contexts.</p> <p>Moreover, the technological revolution seems to have accelerated the pace of contemporary societies, often demanding rapid responses to creative challenges. Yet, from a developmental and constructivist standpoint, creativity is embedded in an intricate matrix where individual and sociocultural influences interact to help construct new ways of “worldmaking”. Thus, it can be envisioned as an attribute of the complexity of a psychological subject’s sociocognitive-emotional structures, whose development occurs in the interstitial space between self, others and the world, requiring time to manifest.</p> <p>Considering that technology modifies the person’s relation, action, construction of world(s), of others and self, we intend to discuss the mode and extent to which it can effectively be inscribed into education to promote the development of creativity. In this conceptual paper, we explore the impact on the continuous process of worldmaking (from where creativity blooms) of moving towards an ever-growing technological society, capable of innovative answers to the pandemic (e.g., distance learning) and other unpredictable challenges. We conclude by discussing how the so-called (re)constructive exploration pedagogies can be aligned with technology-based educational programs – capitalizing on their potential to transform human thinking, (inter)acting, and experiencing-, to nurture the development of creativity in education.</p> </abstract>ARTICLE2021-08-30T00:00:00.000+00:00en-us-1