Learning Change

Learning Change Project: 8 Blogs, +7500 Readings

Posts Tagged ‘creativity

Creative Intelligence: Harnessing the Power to Create, Connect, and Inspire

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

Written by Giorgio Bertini

February 8, 2016 at 12:25 pm

Creativity in Education: Clearness in Perception, Vigorousness in Curiosity

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.


What Drives Children’s Creativity?

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.


Read also: Beyond Intelligence: Secrets for Raising Happily Productive Kids

The Dot: Sparking Creativity in Classrooms Worldwide

Written by Giorgio Bertini

January 4, 2016 at 4:31 pm

Wired to Create: Unraveling the Mysteries of the Creative Mind

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

Written by Giorgio Bertini

January 4, 2016 at 3:36 pm

The Merits of Unconscious Thought in Creativity

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.


Written by Giorgio Bertini

December 5, 2015 at 7:06 pm

Distributed Creativity

We believe that existing models of creativity do not adequately address the distribution of the range of creative acts across individuals in the collaborative creation of media in online environments. In particular we emphasize the fluid nature of users’ transitions between the creative roles of synthesizer, analyzer, and viewer at different phases of production online. We illustrate our position with qualitative data describing video remixing processes in the online community Jumpcut.

It is this socio-technical network of influences conflating the roles of creator and audience that underpins the model of distributed creativity that we propose. Specifically, we believe that free association of ideas as a central concept of creativity provides a useful lens for understanding the creative process in online communities of cultural production. An individual participating in such communities fluidly traverses a range of creative roles from consumer one moment to producer the next, collecting, relating, creating, and donating, acting out of curiosity and instinct at least as often as with intention and reason. Even when the individual does not directly communicate with members of the community via human language, his or her actions necessarily modify the digital collective in a subtle or profound way—actions which, in turn, evoke responses and reactions from other individuals, through a process known as stigmergy.


Integrating Individual and Social Creativity

The power of the unaided individual mind is highly overrated. Although society often thinks of creative individuals as working in isolation, intelligence and creativity result in large part from interaction and collaboration with other individuals. Much human creativity is social, arising from activities that take place in a context in which interaction with other people and the artifacts that embody collective knowledge are essential contributors.

This paper examines: (1) how individual and social creativity can be integrated by means of proper collaboration models and tools supporting distributed cognition; (2) how the creation of shareable externalizations (“boundary objects”) and the adoption of evolutionary process models in the construction of meta-design environments can enhance creativity and support spontaneous design activities (“unselfconscious cultures of design”); and (3) how a new  design competence is emerging—one that requires passage from individual creative actions to synergetic activities, from the reflective practitioner to reflective communities, and from given tasks to personally meaningful activities. The paper offers examples in the context of collaborative design and art practice, including urban planning, interactive art, and open source. In the effort to draw a viable path “beyond binary choices”, the paper points out some major challenges for the next generation of socio-technical environments to further increase the integration of individual and social creativity.



Beyond Binary Choices – Integrating Individual and Social Creativity

Design for Emergence: Collaborative Social Play

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.


Written by Giorgio Bertini

November 18, 2015 at 12:15 pm

Designing for Emergence and Innovation: Redesigning Design

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.


Written by Giorgio Bertini

November 18, 2015 at 11:36 am

Real Learning is a Creative Process

“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.


Written by Giorgio Bertini

November 14, 2015 at 1:08 pm


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