Archive for the ‘Creativity’ Category
The first book to identify and explore Creative Intelligence as a new form of cultural literacy and a method for driving innovation and sparking start-up capitalism. The world is quickly changing in ways we find hard to comprehend. Conventional methods of dealing with problems have become outmoded. To be successful, one can’t just be good; one must also be a creator, a maker, and a doer. In Creative Intelligence, innovation expert Bruce Nussbaum charts the making of a new literacy — Creative Intelligence, or CQ. From corporate CEOs trying to parse the confusing matrix of global business to K–12 teachers attempting to reach bored kids in classrooms, Nussbaum shows how CQ can become a powerful method for devising solutions and a practical antidote to uncertainty and complexity. Nussbaum investigates how people, organizations, and nations are learning to be more creative, and the ways in which those groups are enhancing their CQ. He offers five new creative competencies — Knowledge Mining, Framing, Playing, Making, and Pivoting — to help individuals and organizations learn to create routinely and well. Smart and eye-opening, Creative Intelligence helps boost creative capacity and inspires us to connect our creative output with a new type of economic system called Indie Capitalism, where creativity is the source of economic value; entrepreneurs drive growth; and social networks are the building blocks of the economy.
Read also: Amplifying Creativity
This article is based on the proposition that a process of creativity may be experienced in education in situation where an individual’s (learner’s) perception is kept clear and his curiosity is vigorous. An attempt to clarify this proposition is made through the ‘conceptual approach’ and/or paradigm that we put forward as the ‘5C model’. The 5C model, as stated above, is a ‘conceptual approach’ and/or paradigm where “C”s stand for “connectivity”, “content”, “community”, “communication” and “commerce” (value), each representing a distinct value, which complement each other and which should be taken in the order given here. In this study, the approach was tested by use of a ‘brainstorming’ session with undergraduate students to provoke questions regarding the practical application of the need for “keeping clearness in perception and vigorousness in curiosity for a creative education and/or creativity in education”. Qualitative data, in the form of student comments, obtained from brainstorming, which was designed to test students’ approaches to this proposition is analyzed with the 5C model.
Pens vs. paintbrushes. Compelling words vs vivid strokes. What underlies creativity for writers? For artists? Are there commonalities? How can parents and teachers nurture children’s creative expression? Here’s a candid dialogue between author Joanne Foster, and artist Rina Gottesman.
A writer stares at an empty page or stark keyboard. An artist gazes at a blank canvas, or perhaps a piece of marble or clay. The tools they use to communicate may differ but they both begin with a desire to convey ideas, feelings, and experiences. Rina Gottesman is an acclaimed, award-winning artist. She creates gloriously colorful abstract paintings. I asked her to think about the following question: What’s the best way to spur children’s creative expression? Rina responded thoughtfully, and with considerable detail. She focused on many different points. Here is a glimpse into our conversation.
Is it possible to make sense of something as elusive as creativity? Based on psychologist Scott Barry Kaufman’s groundbreaking research and Carolyn Gregoire, Wired to Create offers a glimpse inside the “messy minds” of highly creative people. Revealing the latest findings in neuroscience and psychology, along with engaging examples of artists and innovators throughout history, the book shines a light on the practices and habits of mind that promote creative thinking. Kaufman and Gregoire untangle a series of paradoxes— like mindfulness and daydreaming, seriousness and play, openness and sensitivity, and solitude and collaboration – to show that it is by embracing our own contradictions that we are able to tap into our deepest creativity. Each chapter explores one of the ten attributes and habits of highly creative people:
With insights from the work and lives of Pablo Picasso, Frida Kahlo, Marcel Proust, David Foster Wallace, Thomas Edison, Josephine Baker, John Lennon, Michael Jackson, musician Thom Yorke, chess champion Josh Waitzkin, video-game designer Shigeru Miyamoto, and many other creative luminaries, Wired to Create helps us better understand creativity – and shows us how to enrich this essential aspect of our lives.
Read also: How Creativity Makes Us Feel Alive
Despite anecdotes recounting the discovery of creative solutions through unconscious thought, research has yielded weak empirical support. To understand this gap, the authors examined the effect of unconscious thought on two outcomes of a Remote Association Test (RAT): implicit accessibility versus conscious reporting of answers. In Experiment 1, using very difficult RATs, a short period of unconscious thought (i.e., participants were distracted while holding the goal of solving RATs), increased the accessibility of RAT answers but did not increase the number of correct answers compared to an equal duration of conscious thought or mere distraction. In Experiment 2, using moderately difficult RATs, unconscious thought led to similar level of accessibility but fewer correct answers compared to conscious thought. These findings confirm and extend the unconscious thought theory by demonstrating that processes that increase the mental activation of correct solutions do not necessarily lead them into consciousness.
Design for Emergence investigates spontaneous, unpredictable uses of technology that are driven by social contexts and collaborative processes, based on our ability to communicate our presence, both virtual and physical, in symbolic ways. In light of the fact that social dynamics and unexpected uses of technology can inspire innovation, this book proposes a research model of design for emergence, focusing on emergent phenomena as part of an iterative design process. By providing playful, technology-mediated experiences with minimal structure, unpredictable user behaviours can emerge through exploration, resulting in a richer and more complex, social experience. The research methodology is practice-based; two interactive prototypes were designed, implemented and evaluated in different contexts. User studies showed that collaborative, spontaneous play can enhance the sense of social participation in a group activity. Collective and individual behaviours and creative uses of technology emerged from a simply designed application based on symbolic presence, both in the virtual and the physical world. The observed emergent behaviours are personal and collective extensions of the virtual experience in the real world.
We reveal the surprising and counter-intuitive truth that the design process, in and of itself, is not always on the forefront of innovation. Design is a necessary but not a sufficient condition for the success of new products and services. We intuitively sense a connection between innovative design and emergence. The nature of design, emergence and innovation to understand their interrelationships and interdependencies is examined. We propose that design must harness the process of emergence; for it is only through the bottom-up and massively iterative unfolding of emergence that new and improved products and services are successfully refined, introduced and diffused into the marketplace. The relationships among design, emergence and innovation are developed. What designers can learn from nature about emergence and evolution that will impact the design process is explored. We examine the roles that design and emergence play in innovation. How innovative organizations can incorporate emergence into their design process is explored. We demarcate the boundary between invention and innovation. We also articulate the similarities and differences of design and emergence.
“The important thing is not to stop questioning. Curiosity has its own reason for existing. One cannot help but be in awe when he contemplates the mysteries of eternity, of life, of the marvelous structure of reality. It is enough if one tries merely to comprehend a little of this mystery every day. Never lose a holy curiosity.” ~Albert Einstein
Real and meaningful learning is a creative process. Skills and knowledge cannot be downloaded like computer software, they must be acquired, constructed and mastered– through long-term application and effort.