Bücher: „Geneplore model of creativity“

1

Csikszentmihalyi, Mihaly. The Systems Model of Creativity. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9085-7.

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2

O'Neill, Sharon. Sensational thinking: a teaching/learning model for creativity. [S.L.]: [S.N.], 1994.

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3

Lee, Kun Chang. Digital Creativity Model and Its Relationship with Corporate Performance. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-39991-1.

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4

The creative process: A computer model of storytelling and creativity. Hillsdale, N.J: L. Erlbaum, 1994.

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5

C, Kaufman James, und Pretz Jean, Hrsg. The creativity conundrum: A propulsion model of kinds of creative contributions. New York: Psychology Press, 2002.

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6

Yu, Alexander Tsz Chung. Artificial life: a model for understanidng creativity: M. A. Communication Design Thesis 2001. London: Central Saint Martins College of Art & Design, 2001.

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7

Beyerlein, Michael, Soo Jeoung Han und Ambika Prasad. A Multilevel Model of Collaboration and Creativity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190222093.003.0008.

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This chapter provides a framework for making sense of multilevel collaboration for enabling creative knowledge work. The work environment can be deliberately designed, but it must allow for emergent properties as the flow of information creates changes in the team members, the process, the structure, and the outcomes. The interrelationships that provide the channels for the flow represent a complex system subject to both enhancing and constraining influences from multiple sources. We examine network structure, learning, and complexity as key facets of that complex system that generate intangible forms of capital that fuel the creative work.

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8

Thinking Through Creativity and Culture: Toward an Integrated Model. Taylor & Francis Group, 2014.

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9

Turner, Scott R. Creative Process: A Computer Model of Storytelling and Creativity. Taylor & Francis Group, 2016.

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10

Hankins, June Strang Chase. Creativity theory and the writing process: A telelogical model. 1987.

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11

Glaveanu, Vlad Petre. Thinking Through Creativity and Culture: Toward an Integrated Model. Taylor & Francis Group, 2017.

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12

Ong, Lay See, Yi Wen Tan und Chi-Ying Cheng. An Integrated Dual-Pathway Model of Multicultural Experience and Creativity. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190455675.003.0010.

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In this chapter, we present the dual-pathway multicultural experience and creative knowledge (MEACK) model, depicting how multicultural experience influences creative performance through the building of two types of knowledge: content knowledge (the what of creativity) and normative knowledge (the how and why of creativity). The MEACK model also takes into account the role of multicultural identity integration (MII), an individual difference in the levels of integration among multiple cultural identities, by showing that MII moderates the two pathways. We posit that high MIIs, who see their identities as more compatible than low MIIs, are better able to experience creative conceptual expansion (i.e., the expansion of a concept’s boundaries to fit new situations) from their content knowledge sets and norm elaboration (i.e., the flexible application of normative knowledge across different contexts) from their normative knowledge sets. Theoretical implications and future directions with the MEACK model are discussed.

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13

Baer, John. Creativity. Herausgegeben von Angela O'Donnell. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199841332.013.12.

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This article reviews research and theory dealing with the psychology of creativity. It begins with a discussion of the most influential and widely known theory of creativity, which is based on the structure of the intellect model. It then considers four aspects of divergent thinking that are frequently mentioned in the literature, along with two models for classifying creativity: the “four P” model and the four C model. The article describes other theories of creativity, including the chance configuration theory, the propulsion model, and the five-factor theory of personality. Finally, it examines other important issues in creativity research, such as mental illness, gender differences, birth order, and IQ. It also looks at some of the approaches used in the assessment of creativity, including the Torrance Tests of Creative Thinking and the consensual assessment technique. Finally, it explores the issue of teaching creativity.

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14

Mihaly, Csikszentmihalyi. The Systems Model of Creativity: The Collected Works of Mihaly Csikszentmihalyi. Springer, 2016.

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15

The Systems Model of Creativity: The Collected Works of Mihaly Csikszentmihalyi. Springer, 2015.

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16

Kaufman, James C., Robert J. Sternberg und Jean E. Pretz. The Creativity Conundrum: A Propulsion Model of Kinds of Creative Contributions. Psychology Press, 2012.

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17

Sternberg, Rober. The Creativity Conundrum: A Propulsion Model of Kinds of Creative Contributions. Psychology Press, 2001.

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18

O'Neill, Sharon. Sensational thinking: An investigation of a teaching/learning model to increase creativity. 1992.

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19

Boden, Margaret A. 3. Language, creativity, emotion. Oxford University Press, 2018. http://dx.doi.org/10.1093/actrade/9780199602919.003.0003.

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If AI cannot model language, creativity, and emotion, hopes of artificial general intelligence (AGI) are illusory. These quintessentially ‘human’ areas have been modeled, but only up to a point. ‘Language, creativity, emotion’ questions whether AI systems could ever appear to possess these areas. It first considers natural language processing (NLP). NLP generation is more difficult than NLP acceptance due to both thematic content and grammatical form. On the creativity front, AI technology has generated many ideas that are historically new, surprising, and valuable. AI concepts also help to explain human creativity by distinguishing three types: combinational, exploratory, and transformational. It concludes that if we are ever to achieve AGI, emotions such as anxiety must be included—and used.

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20

Publishing, Robert. OOTD a FASHION MODEL CREATIVITY Coloring Book: A Guide for a Girl Who Loves Fashion Design. Independently Published, 2020.

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21

Langlotz, Andreas. Idiomatic Creativity: A Cognitive-Linguistic Model of Idiom-Representation And Idiom-Variation in English (Human Cognitive Processing). John Benjamins Publishing Co, 2006.

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22

Harvey, Sarah, und Chia-yu Kou. Social Processes and Team Creativity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190222093.003.0005.

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Team interaction provides a strong context for the production of new ideas that can both stimulate and interfere with creativity. In this chapter, we review four social processes demonstrated in prior research to influence team creative output: participation and conflict, interpersonal interactions, cognitive stimulation, and evaluation. We then introduce a situated model of team creativity and suggest that the way those social processes are produced may be more important than the processes themselves for understanding team creativity. The situated model provides new insights into how social processes influence team creativity and highlights six processes that have been relatively underexplored in prior literature on team creativity: collective attention, coordination, idea elaboration and integration, engagement, creating shared meaning, and problem construction.

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23

van Knippenberg, Daan, und Inga J. Hoever. Team Diversity and Team Creativity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190222093.003.0003.

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There is a long-standing belief in the value of diversity for team creativity. An evaluation of the evidence, however, suggests that team diversity does not reliably produce team creativity, and that the challenge for team creativity research and practice is to identify the moderating influences that allow teams to reap the benefits of diversity in their creative performance. We review the available evidence for the moderating influences on the relationship between team diversity and team creativity, and we conclude that the categorization-elaboration model (CEM) of team diversity and performance provides a useful framework to understand these moderating influences. We discuss how the CEM can both guide the further development of the study of team creativity and the integration of the study of diversity effects on team creativity and of cross-level effects on individual creativity.

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24

Tillman, June. Towards a model of the development of musical creativity: A study of the compositions of children aged 3-11. 1987.

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25

Conner, Garris Keels. THE MANIFESTATIONS OF HUMAN FIELD MOTION, CREATIVITY, AND TIME EXPERIENCE PATTERNS OF FEMALE AND MALE PARENTS (LIFE PROCESS MODEL, ROGERS). 1986.

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26

Bousquet, Michele. Modelado, rigging y animacion con 3ds Max 7 / Model, Rig, Animate with 3ds max 7 (Diseno Y Creatividad / Design & Creativity). Anaya Multimedia, 2005.

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27

Adams, Cameron, Andy Budd, Simon Collison, Jeff Croft, Dan Rubin, Andy Clarke, Rob Weychert et al. Web Standards Creativity: Innovations in Web Design with XHTML, CSS, and DOM Scripting. friends of ED, 2007.

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28

Cameron, Adams, Hrsg. Web standards creativity: Innovations in web design with XHTML, CSS, and DOM scripting. [Berkeley, Calif.]: Friendsof ED, 2007.

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29

Simonton, Dean Keith. Spontaneity in Evolution, Learning, Creativity, and Free Will. Herausgegeben von Kalina Christoff und Kieran C. R. Fox. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190464745.013.21.

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This chapter proposes that spontaneous variation has a central role in biological evolution, operant conditioning, creative thinking, and personal agency. But to support these advantageous outcomes, this spontaneity must be joined with some selection process or procedure that decides which alleles, behaviors, ideas, or choices are most adaptive or useful. The argument begins with spontaneous variations in evolutionary theory, and then turns to operant conditioning, with emphasis on the origins of spontaneous behaviors. That analysis leads directly to a discussion that introduces a three-parameter definition of both creativity and sightedness, two concepts that provide the foundation for the blind-variation and selective-retention model of creativity. The latter is then linked with the chance-then-choice theory of free will, a linkage that makes spontaneous choice generation the first of two steps leading to personal agency. In all four phenomena, spontaneity is defined as the production of variants in ignorance of their actual utilities.

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30

Pelletier, Crystalea Burns. Problem-oriented policing : building a bridge to creativity by exploring the potential use of CPS as an intervention to enhance the effectiveness of the SARA model: A project in Creative Studies. 2000.

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31

Liou, Shyhnan, und Chia Han Yang. Innovation in Cultural and Creative Industries. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190455675.003.0011.

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This chapter proposes a dual-mechanism model of innovation to understand the development of cultural and creative industries (CCIs) by bringing insights from culture and creativity research. First, we introduce the development and evolution of various countries’ CCIs, together with the challenges they currently encounter for future development. Second, drawing upon frontier research on culture and creativity and successful cases of CCIs, we introduce a dual-mechanism framework that pertains to the processes underlying the reciprocal relationship between culture and creativity and multicultural convergence to gain a more nuanced understanding of how CCIs develop. Lastly, we derive from this framework major propositions for overcoming the challenges faced by CCIs, and we propose future directions for further developments. This chapter demonstrates promising ways of applying culture and creativity research to industries.

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32

Leung, Angela K. Y., und Brandon Koh. The Role of Culture in Creative Cognition. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190455675.003.0001.

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In this chapter, we propose the complementary model of culture and creativity (CMCC) to account for three pairs of contrasting forces that characterize the manners in which individuals manage their cultural experiences and that produce impacts on creative pursuits. We theorize three bidimensional psychological processes that explain the effects of culture on creativity: (a) stereotyping versus destabilizing cultural norms, (b) fixating on one cultural mindset versus alternating between cultural frames, and (c) distancing from versus integrating cultures. We contend that a broader and diversifying cultural experience offers an impetus to break down cultural confines, to oscillate between a variety of cultural perspectives, and to synthesize a multitude of ideas from different cultures, which can bring about discernible enduring benefits to creativity. We discuss the CMCC by putting it in the perspective of the state-of-the-art empirical findings on culture and creativity.

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33

Gabora, Liane. The Creative Process of Cultural Evolution. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190455675.003.0002.

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This chapter explores how we can better understand culture by understanding the creative processes that fuel it, and better understand creativity by examining it from its cultural context. First, it summarizes attempts to develop a scientific framework for how culture evolves, and it explores what these frameworks imply for the role of creativity in cultural evolution. Next it examines how questions about the relationship between creativity and cultural evolution have been addressed using an agent-based model in which neural network-based agents collectively generate increasingly fit ideas by building on previous ideas and imitating neighbors’ ideas. Finally, it outlines studies of how creative outputs are influenced, in perhaps unexpected ways, by other ideas and individuals, and how individual creative styles “peek through” cultural outputs in different domains.

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34

Mumford, Michael D., Tyler J. Mulhearn, Logan L. Watts, Logan M. Steele und Tristan McIntosh. Leader Impacts on Creative Teams. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190222093.003.0006.

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Although many variables influence the creativity of teams, leadership has been found to be one of the more important influences. In the present effort, a tripartite model describing the key functions leaders must perform to encourage team creativity is proposed. This model holds that leadership of creative teams requires complex thinking skills. In addition, leaders must be able to plan creative projects, and they must be able to sell these projects to others. Finally, leaders must build the psychological, or creative, capital of team members. The implications of these observations for effective leadership of creative teams and the development of leadership potential are discussed.

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35

McLeish, Tom. The Poetry and Music of Science. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198797999.001.0001.

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‘I could not see any place in science for my creativity or imagination’, was the explanation, of a bright school leaver to the author, of why she had abandoned all study of science. Yet as any scientist knows, the imagination is essential to the immense task of re-creating a shared model of nature from the scale of the cosmos, through biological complexity, to the smallest subatomic structures. Encounters like that one inspired this book, which takes a journey through the creative process in the arts as well as sciences. Visiting great creative people of the past, it also draws on personal accounts of scientists, artists, mathematicians, writers, and musicians today to explore the commonalities and differences in creation. Tom McLeish finds that the ‘Two Cultures’ division between the arts and the sciences is not after all, the best classification of creative processes, for all creation calls on the power of the imagination within the constraints of form. Instead, the three modes of visual, textual, and abstract imagination have woven the stories of the arts and sciences together, but using different tools. As well as panoramic assessments of creativity, calling on ideas from the ancient world, medieval thought, and twentieth-century philosophy and theology, The Poetry and Music of Science illustrates its emerging story by specific close-up explorations of musical (Schumann), literary (James, Woolf, Goethe) mathematical (Wiles), and scientific (Humboldt, Einstein) creation. The book concludes by asking how creativity contributes to what it means to be human.

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36

Magerko, Brian. A Computationally Motivated Approach to Cognition Studies in Improvisation. Herausgegeben von Benjamin Piekut und George E. Lewis. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.22.

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This chapter presents the guiding design rationale for the Georgia Institute of Technology’s Digital Improv Project, which studies human cognition as a means of informing the creation of interactive narrative experiences. This work serves as an example of studying human co-creativity with the end goal of developing computer/human systems that have similar control, knowledge, and status in a creative task. The chapter describes the novel iterative design and development model used in the project and its relevance to practices in the broader interactive narrative community.

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37

Ocampo, Álvaro Alexander, Alba Lucero García Fajardo, Alfredo Sánchez, Alfonsina del Cristo Martínez Gutiérrez, Amanda Astudillo Delgado, Ana Milena Sánchez Borrero, Andrés Gildardo Vanegas Yela et al. Neurociencia, mente e innovación. : Una aproximación desde el desarrollo, el aprendizaje y la cognición. Editorial Universidad Santiago de Cali, 2021. http://dx.doi.org/10.35985/9789585147553.

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Hace aproximadamente 30 años se vienen llevando a cabo una serie de intentos materializados en estudios y artículos que, de manera individual, pretenden aproximarse al tema de la innovación1 a través desde la filosofía, la psicología, la pedagogía y las neurociencias. Particularmente, se resalta el trabajo presentado por Csikszentmihalyi en The Systems Model of Creativity (El modelo sistémico de la creatividad) en 2014, quien de manera magistral desarrolla el tema de la concepción sistémica y social relacionada con la cognición creativa, imprimiendo un énfasis particular a aspectos educativos y culturales en general.

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38

Ehresmann, Andrée. Applications of Categories to Biology and Cognition. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198748991.003.0015.

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Mathematical models used in biology are generally adapted from physics and relate to specific local processes. Category theory helps developing global dynamic models account for the main specificities of living systems: (i) The system is evolutionary, with a tangled hierarchy of interacting components, which change over time. (ii) It develops a robust and flexible memory up to the emergence of components and processes of increasing complexity. (iii) It has a multi-agent, multi-temporality, self-organization. This chapter presents such a model, the Memory Evolutive Systems, which in particular characterizes the property at the root of emergence and flexibility. A main application is the model MENS for a neurocognitive system which proposes a physically based “theory of mind”, up to the emergence of higher cognitive processes such as consciousness, anticipation, and creativity.

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39

Chabowski, Brian R., und G. Tomas M. Hult. A Study of the Long-Term Value of Capabilities-Based Resources, Intangible Strategic Assets, and Firm Performance. Herausgegeben von Michael A. Hitt, Susan E. Jackson, Salvador Carmona, Leonard Bierman, Christina E. Shalley und Douglas Michael Wright. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780190650230.013.003.

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How do capabilities-based resources focused on customers, supply chains, and how does innovation impact a firm’s strategic assets and performance? We develop a framework to (1) test strategic resource allocations as investments in future opportunities, (2) examine the influences of strategic resources on strategic assets, and (3) study the effects of strategic assets on performance. The model incorporates data from a 12-year period to examine the lagged effects over a “strategic” length period. The results show that the resources that affect assets include business-to-customer (B2C) marketing expenditures, sourcing attentiveness, inventory readiness, production capacity, and overall innovation creativity. Customer satisfaction and brand equity are two firm-level strategic assets that influence financial performance. The robustness of the overall results was also examined in two technological contexts (low/stable vs. high tech).

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40

Chadwick, Peter K. Was the Treatment of my Psychosis Fair and Just? Herausgegeben von John Z. Sadler, K. W. M. Fulford und Cornelius Werendly van Staden. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780198732365.013.12.

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In this article, the author reflects on his experience as a psychiatric patient, from the time he was admitted into the hospital in 1979 to his final discharge two years later. He reveals what he felt upon being told that he was diagnosed with a ‘schizophrenic episode;’ how talking about his problems and experiences with doctors, social workers, vicars, and chaplains helped in his recovery; and how the change from chlorpromazine to haloperidol as medication for his Tourette’s Syndrome after he left the hostel exerted a transformational effect on him. The author also talks about the research he conducted for a second PhD on delusions and on creativity and psychosis. Finally, he shares his thoughts about the medical model of psychiatry and its language and concludes that the psychiatric treatment he received was fair and just.

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41

Young, Michael, und Tim Blackwell. Live Algorithms for Music. Herausgegeben von Benjamin Piekut und George E. Lewis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.002.

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Live algorithms are an ideal concept: computational systems able to collaborate proactively with humans in the creation of group-based improvised music. The challenge is to achieve equivalence between human and computer collaborators, both in formal terms and in practice (evident to both performers and audience alike). The fundamental question is the capacity for computational processes to exhibit “creativity.” The problems inherent in computer music performance are considered, in which computers are quasi-instruments or act in proxy for another musician. Theories from social psychology and pragmatics are explored to help understand live music-making as a special case of social organization; namely, Kelley’s covariation model of Attribution Theory and Grice’s Maxims of Cooperation. This chapter outlines a description of how human beings and computers might engage on an equivalent basis and proposes how social psychology theories, rendered in formal language, can point to new horizons in human-computer performance practice.

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42

Groom, Nick. Romanticism Before 1789. Herausgegeben von David Duff. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780199660896.013.1.

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This chapter explains that the movement that eventually came to be known as Romanticism had its origins in politicized canon-formation. A particular literary taste was developed by Whig writers as a reflection of commercial, Protestant, and constitutional values that was focused on the sublime, originality and creativity, the power of the imagination, and anti-classicism. These ‘cultures of Whiggism’ became increasingly influential and blossomed in the 1760s—most notably in the work of literary forgers such as Macpherson and Chatterton—by which time they had combined with equally political eighteenth-century reactions to the medieval past, most powerfully expressed through the cultural movement of the Gothic. Gothicism provided the new aesthetics with a progressive model of history and national identity, as well as with a lexicon of supernatural imagery. Ironically, then, Romanticism was a consequence of the literary agenda of establishment party politics.

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43

Milbank, Alison. Hideous Progeny. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824466.003.0007.

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Chapter 6 centres on discussions of Dante and Mary Shelley. Brought up as Godwin’s daughter in the tradition of rational dissent, Mary Shelley has recourse to Dante’s Commedia to think theologically. She uses it allusively in Frankenstein to import a perspective of divine judgement on her scientist through dramatic irony and parallels with Dante’s Ulysses. Dante’s Gothic aesthetics of the damned as grotesque signs makes sense of Frankenstein’s failure to acknowledge his Creature, or admit any relation between them, thus making the Creature his monstrous double. In Mathilda and Valperga, by contrast, heroines compared to Dante’s female guides interrogate political tyranny and offer a more positive feminine mode of mediation between earthly and heavenly realms. Dante informs also Shelley’s conception of the prophetic authority of her role as author, where the grotesque allows a mode of human creativity which avoids claiming godlike powers, and allows a model of empowerment paradoxically enabled through an acceptance of creaturehood.

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44

Psygkas, Athanasios. Increasing the “Democratic Surplus”: What Should the Path to the Future Look Like? Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190632762.003.0006.

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This chapter concludes by exploring how the findings in the previous chapters can inform future developments in the EU regulatory system and further enhance democratic accountability at both the national and the supranational levels. The chapter first tells a story of convergence: in all three country cases, EU mandates transformed aspects of the preexisting administrative governance, and brought about accountability gains on all prongs of the deliberative-participatory model. However, cross-national variations still exist. This invites consideration of proposals for further EU-driven convergence through the creation, for instance, of a European telecommunications regulatory agency. The chapter suggests that at this stage this idea would result in losses in democratic accountability and would therefore be unwise. Instead, I put forth a proposal that harnesses the accountability benefits of the EU regulatory architecture by tapping into the institutional creativity of the member states and incrementally incorporating further EU-level requirements through a system of feedback loops.

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45

Gaunt, Helena. Apprenticeship and empowerment. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0003.

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This chapter considers ways in which pathways to creative performance are supported through one-to-one lessons between a student and a specialist teacher. One-to-one interactions are generally considered central to the development of western classical musicians and traditionally have been conceived in terms of apprenticeship. More recently, however, understanding of the socially constructed nature of learning, including the essential parts played by peer interactions and engagement in communities of practice, has increased. In addition, the importance of collaboration in facilitating and channelling creativity in many fields has become apparent. Taken together, these suggest a need to develop a multifaceted and more nuanced conceptual framework for understanding one-to-one lessons and their relationship to performance. The chapter explores relevant research literature alongside perspectives provided by expert performer–teachers, and it concludes by setting out a provisional model for understanding both the collaborative process between student and teacher in one-to-one lessons and the potential for this context to underpin transformative processes of development for performers.

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Bücher zum Thema „Geneplore model of creativity“

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