Archive for the ‘Creativity’ Category
A follow-up study was conducted of the graduates of the Sudbury Valley School (SVS), a democratically administered primary and secondary school that has no learning requirements but rather supports students’ self-directed activities. Although these individuals educated themselves in ways that are enormously different from what occurs at traditional schools, they have had no apparent difficulty being admitted to or adjusting to the demands of traditional higher education and have been successful in a wide variety of careers. Graduates reported that for higher education and careers, the school benefited them by allowing them to develop their own interests and by fostering such traits as personal responsibility, initiative, curiosity, ability to communicate well with people regardless of status, and continued appreciation and practice of democratic values.
Free, unstructured playtime gives kids a chance to discover their interests and tap into their creativity. It’s a crucial element for building resilience in children, an attribute they’ll need in order to become happy, productive adults. That’s Kenneth Ginsburg’s thesis and the core of his book Building Resilience in Children and Teens. Ginsburg, a pediatrician at the Children’s Hospital of Philadelphia who also works with homeless children, has spent a lot of time trying to help young people build tools they’ll need to succeed — even when trauma has marred early lives.
Read also: Building Resilience in Children and Teens
Listening to jazz musicians improvise, how the piano player’s chords toy with the sax player’s runs and the standup bass player’s beats, it may seem like their music-making process is simply magic. But research of jazz musicians’ brain activity as they improvise is helping shed light on the neuroscience behind creativity, and it turns out creating that magic is not as serendipitous a process as we might think. When musicians go to an improvisation, the brain switches, and the lateral prefrontal lobes responsible for conscious self monitoring became less engaged. “Musicians were turning off the self-censoring in the brain so they could generate novel ideas without restrictions,” he said. Interestingly, the improvising brain activates many of the same brain centers as language, reinforcing the idea that the back and forth of improvisation between musicians is akin to its own language.
The paper explores the emergence of territories that are constituted through spontaneous assembling of self-organized communities resulting in what we term urban social events. A concrete event is employed, namely Embros, an open occupation of an abandoned public building in the center of Athens, to highlight the dynamics that make urban social events transformative urban phenomena. By focusing upon the entangled mobilities of diverse agents, we explain how through differential, discontinual assembling and creative collaborations, such urban social interactions institute unbounded and immanent modes of organizing. The paper contributes to organizational territoriality studies proposing that urban social events are mobile entanglements that institute practices of creative transactions with formal or informal communities. By doing that, it places the Arts, creativity and community participation at the center of transformative organizing.
- Although every creative act contains elements of spontaneity, teachers can play a critical role in fostering creative thinking processes through use of environment and strategy.
- No single part of our brain is responsible for creativity. Some regions linked to producing divergent associations, of the type needed for creativity, appear usually located in the right hemisphere. However, creativity is a complex thought process that calls on many different brain regions in both hemispheres. Left-brain/right-brain theories of learning are not based on credible science and are unhelpful in understanding creativity, especially when used to categorise individuals.
- Creativity appears to require movement between two different modes of thinking: generative and analytical.
- Cognitive fixation occurs when we become unable to move beyond an idea or set of ideas. It can be thought of as being stuck in analytical mode. However, in normal circumstances, we can monitor and, to some extent, regulate which mode we are using. In this sense, creative thinking appears amenable to metacognition.
How do we promote creativity in schools? This is one of the prevailing concerns of many progressive education reformers. From a long-term fiscal perspective, creativity can lead to innovation, minds capable of identifying problems and imagining new possibilities are a necessity. At the same time, we sense that there’s something ethically wrong with suppressing creativity in children. The correlation between creativity and self-actualization seems implicit. Presumably, children’s aspirations include a meaningful personal engagement with whatever it is they want to achieve. Creativity can be broadly defined as the phenomenon of developing new processes, constructs, or ideas. But can creativity be measured? Just as with measuring intelligence, the challenge of measuring creativity is complicated by lots of different factors, including the current temperament on any given day of the child whose creativity is being measured. That’s why it’s important to understand how data is used in tests that are designed to quantify creativity as a single number. Measuring creativity typically involves evaluating the quantity and originality of responses to prompts that do not demand a specific answer. For instance, a child could be asked to come up with as many original or unusual functions as he can conceive for a toy airplane, or ways he would want to alter it to make it more fun.
The interface between cognitive psychology, social psychology and engineering provides a natural and as yet minimally explored environment to deeply understand the theory, processes and mechanisms of innovation and their influence on the design, creation, and discovery processes. This NSF report communicates the findings of this workshop. In particular, five “umbrella” research areas are identified as critical pathways in helping the U.S. lead in the process of innovation:
• studies that expand understanding of the cognitive mechanisms of innovation/creativity and the ways in which strategies and external tools influence these cognitive mechanisms;
• computational modeling and agents simulations of innovation/creativity that allow for theoretical development across levels of individual, group, and organizational analysis;
• empirical studies and computational models that explore the temporal dynamics of individual and group factors on creativity/innovation;
• interdisciplinary programs of research that coordinate psychology laboratory and design engineering experiments; and
• empirical studies that unpack cognitive and social/motivational factors of group cognition in more realistic group settings: horizontally integrated across disciplines, vertically integrated (with leaders), and evolving group structure over long time periods.
Do you think you’re creative? Ask this question of a group of second-graders, and about 95 percent of them will answer “Yes.” Three years later, when the kids are in fifth grade, that proportion will drop to 50 percent—and by the time they’re seniors in high school, it’s down to 5 percent. Author Jonah Lehrer recently discussed the implications of these sobering statistics for education in his new book, Imagine: How Creativity Works. Lehrer elaborated: “What she means by that is that’s important to give kids a menu of possibilities pretty early on, a menu of things they might fall in love with—maybe it’s painting, maybe it’s drawing, maybe it’s writing, maybe it’s computer science—just a bunch of passions that they could discover. [You want them to] find these things that don’t feel like work, activities that just feel like fun. And then you have to remind them—‘OK, so you’ve found something you love, the goal you want to strive for. Now you have to work hard. Now you have to put in your thousands of hours of practice. Now you have to be willing to persevere through failure and frustrations.’” With these key interventions, Lehrer suggested, children’s vital spirit of creativity can be kept alive.
Read also: Imagine: How Creativity Works
What role does playful behaviour and playful thought take in animal and human development? How does play relate to creativity and, in turn, to innovation? Unravelling the different meanings of ‘play‘, this book focuses on non-aggressive playful play. The authors emphasise its significance for development and evolution, before examining the importance of playfulness in creativity. This discussion sheds new light on the links between creativity and innovation, distinguishing between the generation of novel behaviour and ideas on the one hand, and the implementation of these novelties on the other. The authors then turn to the role of play in the development of the child and to parallels between play, humour and dreaming, along with the altered states of consciousness generated by some psychoactive drugs. A final chapter looks forward to future research and to what remains to be discovered in this fascinating and important field.
- Clarifies the different meanings of play, focusing on playful and non-aggressive behaviour in both animals and humans
- Argues that playfulness is important for both creativity and innovation, distinguishing between the generation of novel behaviour and ideas on the one hand and the implementation of the most valuable of these novelties on the other
- Describes the activities of creative humans and the invention by animals of novel solutions to difficult problems, placing the discussion in context, before turning to the role of play in the development of the child.
Innovation and creativity are two of the key characteristics that distinguish cultural transmission from biological transmission. This book explores a number of questions concerning the nature and timing of the origins of human creativity. What were the driving factors in the development of new technologies? What caused the stasis in stone tool technological innovation in the Early Pleistocene? Were there specific regions and episodes of enhanced technological development, or did it occur at a steady pace where ancestral humans lived? The authors are archaeologists who address these questions, armed with data from ancient artefacts such as shell beads used as jewelry, primitive musical instruments, and sophisticated techniques required to fashion certain kinds of stone into tools. Providing ‘state of art’ discussions that step back from the usual archaeological publications that focus mainly on individual site discoveries, this book presents the full picture on how and why creativity in Middle to Late Pleistocene archeology/anthropology evolved.