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Journal articles on the topic 'Collective creative'

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Author: Grafiati

Published: 25 May 2024

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1

Lee, Hsin-Hsuan Meg, and Willemijn van Dolen. "Creative participation: Collective sentiment in online co-creation communities." Information & Management 52, no. 8 (December 2015): 951–64. http://dx.doi.org/10.1016/j.im.2015.07.002.

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2

Macenka, Svitlana. "Bertolt Brecht’s Idea of Collective Creativity." Pitannâ lìteraturoznavstva, no. 108 (December 29, 2023): 97–111. http://dx.doi.org/10.31861/pytlit2023.108.097.

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The most recent research in the theory of authorship has been used to put forward an original idea about the collective creativity of the German poet and playwright Bertolt Brecht (1898–1956). It is stated that according to Bertolt Brecht scholars, there still does not exist a definition for the “collective creative work process” (Nadia Dimassi). At the same time, Brecht never concealed his creative principle, highlighting in his theoretical texts how important collective creative collaboration was for his work. Moreover, this specific principle is particularly important for understanding the creative phenomenon of the talented German artist. It is established that the concept of collective artistic creation manifests modernist qualities in his creativity, namely lyrics. Brecht believed that one isolated artist’s depiction of the modern world in its extraordinary complexity was insufficient and dubious. It has been established that Brecht’s concept of collective creation developed in several directions: throughout his life, his creative work involved friends and peers whose knowledge and skills he particularly valued, including his numerous beloved women. The artist was, thus, convinced that art was a collective affair. In addition, it is known that Brecht did not consider creative texts as being complete. For him, they were temporary versions in a constant state of creation. A particular moment of development came with their staging. Brecht had a particular attitude towards existing literary material – he believed he was a craftsman as far as texts were considered, so he developed his own “poetics of plagiarism”. A comparison with “Wagner’s total work of art” revealed intermedial aspects of artistic products created by Bertolt Brecht. The artistic specificity of the “Brecht machine” has been summarized, and the principles of its operation have been identified.

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3

Harvey, Sarah, and Chia-Yu Kou. "Collective Engagement in Creative Tasks." Administrative Science Quarterly 58, no. 3 (July 22, 2013): 346–86. http://dx.doi.org/10.1177/0001839213498591.

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4

Boiselle, Phillip M. "Harnessing our Collective Creative Imaginations." Journal of Thoracic Imaging 24, no. 1 (February 2009): 1. http://dx.doi.org/10.1097/rti.0b013e31819b6863.

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5

Milohnić, Aldo. "On Collective and Devised Creation in Slovenian Theatre." Theatre and Community 9, no. 2021-1 (June 30, 2021): 84–87. http://dx.doi.org/10.51937/amfiteater-2021-1/84-87.

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In the first part of the article, the author analyses the appearance of the director and the changes in his position in Slovenian theatre from the second half of the 19th century to the present day. In this context, he is particularly interested in the changes in theatre directing that took place in the second half of the 20th century with the emergence of collective theatre. The author methodologically combines historical and comparative analysis, as these processes still take place today, when devised theatre and other forms of theatrical creation are increasingly spoken and written about, moving away from the conventional process by which a playwright writes a dramatic text as a literary work of art and the director then transforms it into a theatrical work of art. There are more and more performances in contemporary Slovenian theatre in which a pre-written dramatic text is not crucial for the final product of the creative process. The two most commonly used terms for this type of performance are po motivih (based on the motifs) and avtorski projekt (auteur performance). Although the terms are not synonymous, both terms imply a devised type of theatre. The author compares group creation with the devised way of creating and points out that although these are practices that can take place in parallel, they cannot be equated. The author concludes that for collective theatre, the specific relationship between the creative group and the director’s position is constitutive. In contrast, for devised theatre, the relationship between the creative group and the playwright’s position is crucial. Finally, the author also touches on the connections between postdramatic and post-directors’ theatre and the emergence of the creative group as a collective subjectivity.

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Dampérat, Maud, Florence Jeannot, Eline Jongmans, and Alain Jolibert. "Team creativity: Creative self-efficacy, creative collective efficacy and their determinants." Recherche et Applications en Marketing (English Edition) 31, no. 3 (June 22, 2016): 6–25. http://dx.doi.org/10.1177/2051570716650164.

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7

Harvey, Sarah, and Chia-yu Kou. "COLLECTIVE ENGAGEMENT: EXPLORING CREATIVE PROCESSES IN GROUPS." Academy of Management Proceedings 2011, no. 1 (January 2011): 1–6. http://dx.doi.org/10.5465/ambpp.2011.65869748.

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8

Corbett, J. "Notes on Creative Music and Collective Action." Nka Journal of Contemporary African Art 2014, no. 34 (March 1, 2014): 48–51. http://dx.doi.org/10.1215/10757163-2415186.

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9

LOGVINOVA, Ya. "TECHNOLOGY OF COLLECTIVE CREATIVE WORK IN THE FORMATION OF THE ECOLOGICAL COMPETENCE OF THE FUTURE TEACHER." ТHE SOURCES OF PEDAGOGICAL SKILLS, no. 21 (March 9, 2018): 117–21. http://dx.doi.org/10.33989/2075-146x.2018.21.206106.

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The article is devoted to the formation of the ecological competence of the future teacher in the process of collective creative activity. The concepts of "ecological competency", "collective creative work", "creativity" of professional development of university teachers have been analyzed.Ecological competence is the quality of the individual, which includes the ability to solve problems and problems of various levels of complexity, arising in the home and professional activities. The basis for the formation of ecological competence is the value attitude to nature, the availability of knowledge, educational and life experience, individual abilities, needs and motives. To form the ecological competence of the future teacher it is necessary to have strong environmental knowledge, to understand nature as a value, to have the experience of creatively using environmental knowledge to solve environmental problems at the local level.The article deals with the concept of "creativity", "creative activity". The main features of creative activity are the novelty and social significance of its products. The importance of using the technology of collective creative works for forming the ecological competence of the future teacher is emphasized. The main idea of the method of collective creative education is the formation of a person through a single educational group. Collective creative affairs is a manifestation of public concern about environmental improvement, a combination of certain actions to the general good.Collective creative ecological business consists of stages: preparation of a teacher, creation of a council of affairs, collective preparation of a case, carrying out of ecological activity, the results of the case.

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10

Damperat, M., F. Jeannot, E. Jongmans, and A. Jolibert. "La creativite des equipes: lefficacite creative personnelle et collective et leurs determinants." Recherche et Applications en Marketing 31, no. 3 (February 10, 2016): 7–28. http://dx.doi.org/10.1177/0767370116629076.

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11

Taggar, Simon, and Robert J. Ellis. "The Examination of Creative, Teamwork, and Collective Efficacy Beliefs in Creative Teams." Academy of Management Proceedings 2017, no. 1 (August 2017): 16416. http://dx.doi.org/10.5465/ambpp.2017.16416abstract.

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Zanoni, Patrizia, Annelies Thoelen, and Sierk Ybema. "Unveiling the subject behind diversity: Exploring the micro-politics of representation in ethnic minority creatives’ identity work." Organization 24, no. 3 (May 2017): 330–54. http://dx.doi.org/10.1177/1350508417690396.

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Much literature on the cultural industries celebrates ethnicity as a source of creativity. Despite its positive connotation, this discourse reduces ethnic minority creatives to manifestations of a collective ethnic identity automatically leading to creativity, creating a paradox of creativity without a creative subject. Approaching creatives with an ethnic minority background as agents, this article investigates how they self-reflectively and purposely discursively construct ethnicity as a source of creativity in their identity work. Empirically, we analyze interviews with well-established creatives with an ethnic minority background active in Belgium. Most respondents construct their ethnic background as ‘hybrid’, ‘exotic’, or ‘liminal’ to craft an identity as creatives and claim creativity for their work. Only few refuse to discursively deploy ethnicity as a source of creativity, crafting more individualized identities as creatives. Our study contributes to the literature on power and ethnicity in the creative industries by documenting ethnic minority creatives’ discursive micro-struggle over what is creative work and who qualifies as a creative. Specifically, we show their counterpolitics of representation of ethnicity in the creative industries through the re-signification of the relation between the ‘west’ and the ‘other’ in less disadvantageous terms. Despite such re-signification, the continued relevance of the discourse of ethnicity as a key marker of difference suggests that ethnicity remains a principle of unequal organization of the creative industries.

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Scharding, Tobey, and John Cantwell. "Collective Rationality and Creative Synthesis in Corporate Governance." Academy of Management Proceedings 2020, no. 1 (August 2020): 15312. http://dx.doi.org/10.5465/ambpp.2020.15312abstract.

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Brophy, Dennis R. "Understanding, Measuring, Enhancing Collective Creative Problem-Solving Efforts." Creativity Research Journal 11, no. 3 (July 1998): 199–229. http://dx.doi.org/10.1207/s15326934crj1103_2.

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Pratama, Andika Putra, Salfitrie Roos Maryunani, Mila Jamilah Khatun Badriyah, and Dini Hajarrahmah. "A PRELIMINARY STUDY OF REGIONAL CREATIVE VISION: INSIGHTS FROM CREATIVE ENTERPRISES’ FOUNDERS IN INDONESIA." Creativity Studies 17, no. 1 (February 22, 2024): 101–16. http://dx.doi.org/10.3846/cs.2024.16079.

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A creative enterprise (i.e. enterprise in the creative industries) can be understood as an enterprise that relies principally on the creativity of individuals engaged in it. Thus, creativity can be said to define the entire pursuit of creative enterprises. This paper highlights the motivational aspect of creativity in the notion of ‘creative vision’ based on interviews with founders of creative enterprises in three different regions in Indonesia (Bandung, Yogyakarta, and Bali), encompassing three creative sectors (cuisine, craft, and fashion). Three forms of creative vision have been discovered (collective self-actualization, collective altruism, and co-creation), with each form predominantly signifying each region sampled. Through a collaborative effort of sensemaking in the research team, the current preliminary study contributes to discourses about the nature of creativity or what it entails; it is derived not from the conscious understanding of what creativity is or means by experts and the likes, but from the actual vision of practitioners of creativity from the field where creativity is the soul. The findings emphasize how creativity can be defined: what does it mean to be creative?

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Borisenko, T. S. "Compositional and production competence of the head of the choreographic team." Vestnik of Saint Petersburg State University of Culture, no. 3 (44) (September 2020): 117–24. http://dx.doi.org/10.30725/2619-0303-2020-3-117-117-124.

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The professional competence of the head of the choreographic collective is a single complex of interdependent and inextricably linked individual types of competencies, each of which requires a meaningful approach to the process of their formation, formation and development. The presented results of the analysis of modern research in the fi eld of improving the professional training of future leaders of the choreographic collective for professional pedagogical activity prove that the implementation of the ideas of a competencybased approach in modern choreographic education is the standard of high-quality training of a specialist whose main goal is the formation of professional competent leader of the choreographic team. The artistic and creative competence of the leader of the choreographic collective is an important component of his holistic professional competence, which is characterized by the totality of the former special competencies and the qualities of his personality necessary for solving professional and creative tasks. The study of the specifics of artistic and creative activity, the stages of the work of the baletmeister on the creation and formulation of the dance composition is among the objectives of the study. According to the results of the study, revealing the multifacetedness of the creative processes of creating a choreographic work «from concept to implementation» and characterized by insuffi cient development of the artistic and creative competence of the head of the choreographic collective, the main compositional and production competencies were identified: actual signifi cant structural components and essential characteristics are disclosed. It is concluded that the field of learning to create a dance composition and its staging has been studied a little, and the formation of compositional and production competencies is one of the main tasks facing teachers of special disciplines of universities of culture and art. The presented research results within the framework of this article are intended to use the relevant data as for the professional pedagogical work of the teaching staff : determining the principles for the formation of structural components; identifi cation and implementation of the necessary pedagogical conditions; development of criteria and indicators for diagnosing the formation of compositional and stagesetting competencies, as well as for educational activities of students – future specialists in the process of creating compositions and staging the dance.

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17

Dovey, Ken, Steve Burdon, and Robert Simpson. "Creative leadership as a collective achievement: An Australian case." Management Learning 48, no. 1 (August 3, 2016): 23–38. http://dx.doi.org/10.1177/1350507616651387.

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In this article, we examine the construct of ‘leadership’ through an analysis of the social practices that underpinned the Australian Broadcasting Corporation television production entitled The Code. Positioning the production within the neo-bureaucratic organisational form currently adopted by the global television industry, we explore new conceptualisations of the leadership phenomenon emerging within this industry in response to the increasingly complex, uncertain and interdependent nature of creative work within it. We show how the polyarchic governance regime characteristic of the neo-bureaucratic organisational form ensures broadcaster control and coordination through ‘hard power’ mechanisms embedded in the commissioning process and through ‘soft power’ relational practices that allow creative licence to those employed in the production. Furthermore, we show how both sets of practices (commissioning and creative practices) leverage and regenerate the relational resources – such as trust, commitment and resilience – gained from rich stakeholder experience of working together in the creative industries over a significant period of time. Referencing the leadership-as-practice perspective, we highlight the contingent and improvisational nature of these practices and metaphorically describe the leadership manifesting in this production as a form of ‘interstitial glue’ that binds and shapes stakeholder interests and collective agency.

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18

Bruns, Hille C., and Elizabeth Long Lingo. "Optimization: Collective Creative Work in a Big Data Context." Academy of Management Proceedings 2018, no. 1 (August 2018): 15561. http://dx.doi.org/10.5465/ambpp.2018.15561abstract.

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19

Titova, E. V. "METHODOLOGICAL POTENTIAL OF THE CONCEPT OF COLLECTIVE CREATIVE EDUCATION." Rossiiskii Gumanitarnyi Zhurnal 3, no. 3 (2014): 203. http://dx.doi.org/10.15643/libartrus-2014.3.7.

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20

Achilov, Dilshod, and Renat Shaykhutdinov. "Creative thinking and collective mobilisation in the Muslim world." Religion, State and Society 46, no. 4 (August 22, 2018): 328–50. http://dx.doi.org/10.1080/09637494.2018.1484612.

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21

Akiba, Fuminori, and Ryo Yoshikawa. "On collective creative activity in the exhibition ‘given’ (1999)." Journal of Human Environmental Studies 20, no. 2 (2022): 87–95. http://dx.doi.org/10.4189/shes.20.87.

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22

Yun, Jinhyo Joseph, Euiseob Jeong, Sangwoo Kim, Heungju Ahn, Kyunghun Kim, Sung Deuk Hahm, and Kyungbae Park. "Collective Intelligence: The Creative Way from Knowledge to Open Innovation." Science, Technology and Society 26, no. 2 (May 6, 2021): 201–22. http://dx.doi.org/10.1177/09717218211005604.

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This study aims to answer the following research question: Is there any difference in the effects of collective intelligence on the open innovation between before (2001–2005) and after (2011–2015) of the introduction of smartphones and crowd web services regarding electronics and mathematics? The research method of this study includes multiple regression analysis, including (1) the effect of collective intelligence on open innovation (i.e., the number of citations), (2) the effect of the amount of knowledge (i.e., the number of references) on open innovation and (3) the moderating effect of the amount of knowledge (i.e., the number of references) between collective intelligence and open innovation. The research scope of this study is Scopus published papers from two periods, namely, 2001–2005 and 2011–2015. The scope here is limited to mathematics and electronics. According to the research conducted here, if the amount of knowledge increases in an economic system, collective intelligence will increasingly motivate open innovation. The implication of this study is that there are diverse methods for collective intelligence to impact open innovation and the consequent results.

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23

Pearce, Eiluned, Jacques Launay, Pádraig MacCarron, and Robin I. M. Dunbar. "Tuning in to others: Exploring relational and collective bonding in singing and non-singing groups over time." Psychology of Music 45, no. 4 (September 16, 2016): 496–512. http://dx.doi.org/10.1177/0305735616667543.

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Although it has been shown that singing together encourages faster social bonding to a group compared with other activities, it is unknown whether this group-level “collective” bonding is associated with differences in the ties formed between individual singers and individuals engaging in other activities (“relational” bonding). Here we present self-report questionnaire data collected at three time points over the course of seven months from weekly singing and non-singing (creative writing and crafts) adult education classes. We compare the proportion of classmates with whom participants were connected and the social network structure between the singing and non-singing classes. Both singers and creative writers show a steeper increase over time in relational bonding measured by social network density and the proportion of their classmates that they could name, felt connected with, and talked to during class compared to crafters, but only the singers show rapid collective bonding to the class-group as a whole. Together, these findings indicate that the process of creating a unitary social group does not necessarily rely on the creation of personal relationships between its individual members. We discuss these findings in the light of social cohesion theory and social identity theory.

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Bach1, Laurent, Patrick Cohendet2, Julien Pénin3, and Laurent Simon4. "Creative industries and the IPR dilemma between appropriation and creation: some insights from the videogame and music industries." Management international 14, no. 3 (September 3, 2010): 59–72. http://dx.doi.org/10.7202/044293ar.

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Intellectual property rights (IPR) play a strategic role in creative industries. Defined as a collective process, creativity involves actors with contradictory IPR needs. This leads to an “IPR dilemna”. Firms are looking into appropriating creative work and prevent imitation; whereas creative communities need a weak IPR to combine past work and generate novelty. It becomes problematic for individuals to find themselves between these two. As a result, actors are developing specific IPR arrangements (e.g. open source and creative commons practices) to preserve the balance between appropriation and openness allowing creation. Two creative industries are used as illustrations: music and video-games.

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25

Smith, Sophy. "The process of ‘collective creation’ in the composition of UK hip-hop turntable team routines." Organised Sound 12, no. 1 (April 2007): 79–87. http://dx.doi.org/10.1017/s1355771807001677.

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AbstractThis article looks at the compositional processes of hip-hop teams based in the UK, focusing on those that have emerged from the practice of creating team ‘routines’. Turntable teams, such as the Scratch Perverts, the Mixologists and the DMU Crew, do not create their original compositions from within the Western art tradition of an independent artist creating work in isolation, which is then communicated to performers through staff notation. Instead, turntable teams compose and perform as a collective to create original compositions from existing records, and in doing so have developed innovative compositional strategies.To be able to analyse and discuss the creative processes of hip-hop turntable teams it has been necessary to construct my own model framework to enable me to identify similar patterns in the creative processes of the teams discussed. In the article, I discuss and analyse one routine from each of the three teams using this framework, focusing on the emergent process of ‘collective creation’. The article concludes by establishing a number of characteristics of the compositional processes used by UK turntable teams. Until now, scholarship has neglected the music of hip-hop. Previous work on hip-hop music has been concerned with either sociological or cultural and historical aspects. This article offers a new approach to hip-hop scholarship because it focuses on the actual music of turntable teams and the emergent processes that have developed to create it.

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Hudgins, David. "Electric Sound: Collective Creation and Sound Design." Canadian Theatre Review 129 (January 2007): 19–20. http://dx.doi.org/10.3138/ctr.129.003.

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Sound design at Electric Company takes place in the context of the collective creation process that has been associated with many of the company’s works. It is not unusual for people to bring music on the first day of creation work, and since our process tends to follow the creative impulses of the group, listening and reflecting on pieces of music or sound elements as a company can quickly coalesce the larger elements and ideas of a project. Our first play, Brilliant! incorporated pieces by Bartok, Stravinsky and Britten in the earliest writing stages, during scenes that suggested movement and emotional arc. Much of that early design exists a decade later in the ongoing remounts of the play. We worked many physical sequences set to music in theatricalizing the relationship between the famous inventor Tesla and the New York socialite friends Robert and Katherine. Eventually, these scenes fell away as the script evolved, but not until they had served their purpose of informing us as writers/actors/designers of nature of the narrative we were portraying.

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Adams, F., and D. Casteleijn. "Assessment of participation in collective occupations: Domains and items." South African Journal of Occupational Therapy 53, no. 2 (August 2023): 86–94. http://dx.doi.org/10.17159/2310-3833/2023/vol53n2a9.

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INTRODUCTION: Occupational therapists work with groups of people who engage in collective occupations to have a positive influence on their health and wellbeing. Although the concept of collective occupations is described and defined in occupational science literature, little has been done on specific assessment tools to guide clinicians on how well people are engaging in collective occupations AIM: This article describes the development of an assessment tool to assess participation in collective occupations in a South African context METHOD: A mixed methods approach with a sequential exploratory design was used. Domains and items were generated from a literature review on collective occupations as well as semi-structured interviews with occupational therapy experts in community settings. Data were thematically analysed using a priori coding. The Vona du Toit Model of Creative ability was used to frame the coding. Domains and items emerged from the data RESULTS: The result was the development of five domains and 19 items that could be used to measure and describe collective participation in occupations. Domains include collective's motivation, ability to perform action, ability to form a collective, ability to produce and end product, emotional-cognitive functioning and collective relations Implications for practice: To work with groups of people, clinicians not only need to understand the nature of collective participation but also need to understand why people participate in them. They should also have insight in the abilities needed to effectively participate as a collective. Understanding of a collective's behaviour in the above-mentioned domains, could guide occupational therapists in planning intervention to enhance collective participation in occupations. The levels of collective participation could guide occupational therapists to gain insight into the potential and behaviour of collectives. Such understanding can enable effective intervention-, preventive- and promotive health programmes with collectives.

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28

Nikolaeva, Olga. "Keep calm, the corridor will be open soon." Nordic Theatre Studies 33, no. 1 (March 17, 2022): 87–105. http://dx.doi.org/10.7146/nts.v33i1.131994.

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This article explores the creative practice of an independent Russian theatre collective, Soso Daughters. The collective was founded in Moscow by theatredirector and playwright Zhenya Berkovich in 2018 and recently premiered their fourth production. The subjects of the productions the collective performsoften delve into girls’ and women’s lives and traumatic experiences that are constantly undermined, dismissed or ignored. Driven by the feminist ethic ofcare, this article aims to situate Soso Daughters’ creative work in the context of scan-aesthetic across the Nordic and Baltic regions, and to turn scholars andspectators’ attention to the issue of an independent theatre practice in Russia. The article is based on interviews with the collective’s director and scenographer as well as first-hand observations of their productions. The article further explores the possibility of representation of trauma and traumatic experience in The Rhyme, the collective’s first production, grounding the analysis in that the holistic approach to scenography.

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Stubbs, Gwendolyn, and Timothy Baghurst. "Collective Creative Problem Solving in Information Technology Distributed Work Teams." International Journal of e-Collaboration 10, no. 3 (July 2014): 63–81. http://dx.doi.org/10.4018/ijec.2014070104.

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Today's evolving business environment requires that organizations combine the talents of diverse and dispersed individuals to develop creative solutions to complex problems. One such emerging concept used by successful organizations to leverage the diverse talents of dispersed individuals is collective creative problem solving (CCPS) in distributed work teams. The purpose of this study was to develop a better understanding of the nature and motivating factors of CCPS in geographically dispersed teams. This goal was accomplished through examining information technology (IT) distributed work teams in a U.S. federal IT organization. Semistructured interviews were conducted with 21 IT specialists to explore the perceptions and lived experiences regarding CCPS of team leaders and team members in IT distributed work teams. Five core themes emerged: (a) developing a strategy to facilitate CCPS in distributed work teams, (b) using team interaction to stimulate CCPS, (c) motivating team members to engage in CCPS, (d) leading CCPS from a distance, and (e) using technology to achieve CCPS in distributed work teams. Based on the conclusions drawn from the study's findings, recommendations are provided for leaders and practitioners to leverage the full capabilities of CCPS in dispersed work environments.

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30

Perrone, Raffaella. "Relating Creativity and Imagination: Studying Collective Models of Creative Collaboration." American Journal of Educational Research 2, no. 10 (October 27, 2014): 975–80. http://dx.doi.org/10.12691/education-2-10-19.

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31

Klingman, Avigdor, Ronit Shalev, and Abigail Pearlman. "Graffiti: a creative means of youth coping with collective trauma." Arts in Psychotherapy 27, no. 5 (December 2000): 299–307. http://dx.doi.org/10.1016/s0197-4556(00)00072-1.

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32

Flores, Rene Lopez, Stéphane Negny, Jean Pierre Belaud, and Jean-Marc Le Lann. "Collective Intelligence to Solve Creative Problems in Conceptual Design Phase." Procedia Engineering 131 (2015): 850–60. http://dx.doi.org/10.1016/j.proeng.2015.12.394.

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33

Gilkey, Eureka. "Commentary: Project Row Houses: Arts, Culture, and Collective Creative Action." Journal of the Association for Consumer Research 4, no. 4 (October 2019): 334–35. http://dx.doi.org/10.1086/705026.

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34

Chen, Chaomei. "Holistic sense‐making: conflicting opinions, creative ideas, and collective intelligence." Library Hi Tech 25, no. 3 (September 11, 2007): 311–27. http://dx.doi.org/10.1108/07378830710820907.

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35

Kaplunovich, I. Ya, and S. M. Kaplunovich. "THEORETICAL SOURCES AND BASES OF PEDAGOGY OF COLLECTIVE CREATIVE EDUCATION." Rossiiskii Gumanitarnyi Zhurnal 3, no. 3 (2014): 143. http://dx.doi.org/10.15643/libartrus-2014.3.1.

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36

Aljarrah, Ayman. "Describing collective creative acts in a mathematical problem-solving environment." Journal of Mathematical Behavior 60 (December 2020): 100819. http://dx.doi.org/10.1016/j.jmathb.2020.100819.

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37

Li, Ran, Siting Wang, and Hui Wang. "Leader humility and team creativity: The role of team creative efficacy and task interdependence." Journal of General Management 47, no. 4 (July 2022): 246–58. http://dx.doi.org/10.1177/03063070211035766.

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Although research on leader humility is developing into a prominent literature, the majority of studies have focused on the dyadic or individual rather than collective outcomes of leader humility. Thus, our understanding of the influencing mechanisms and boundary conditions of leader humility remains limited, particularly on the collective work outcome of team creativity, which requires more voluntary effort from employees. Drawing on social cognitive theory and social interdependence theory, our study investigates how leader humility promotes team creativity through team creative efficacy, with the moderation of a contextual factor, task interdependence. We used a sample of 84 teams and 393 employees surveyed in two waves of data collection. Overall, our study yields a mediated moderation model in which the positive indirect effect of leader humility via team creative efficacy on team creativity is stronger when team task interdependence is low rather than high. This study extends our understanding of how leader humility may influence work teams collectively and how the effectiveness of such a leader characteristic may be influenced by a structural factor of the work team. Other theoretical contributions and practical implications are also discussed.

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Rodríguez-Sánchez, Alma M., Toon Devloo, Ramón Rico, Marisa Salanova, and Frederik Anseel. "What Makes Creative Teams Tick? Cohesion, Engagement, and Performance Across Creativity Tasks: A Three-Wave Study." Group & Organization Management 42, no. 4 (March 21, 2016): 521–47. http://dx.doi.org/10.1177/1059601116636476.

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The present study examines the mediational role of collective engagement in the relationship between team cohesion and team creative performance. A reciprocal process was expected to unfold across creativity task episodes: (a) team cohesion leads to collective task engagement, which in turn has a positive effect on team creative performance (perceived team performance and independently rated creativity), and (b) perceived team creative performance predicts the development of future team cohesion. The study relied on a longitudinal three-wave research design through an organizational simulation exercise, in which 118 project teams (605 individuals) were charged with three creativity tasks. This study advances collective task engagement as an important mediational process explaining team performance in creative activities.

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Huber, Laila. "Topographies of the Possible." Anthropological Journal of European Cultures 24, no. 2 (September 1, 2015): 34–54. http://dx.doi.org/10.3167/ajec.2015.240204.

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This article explores the creation of new structures of participation and counter imaginaries within the city between the poles of arts and politics. On the basis of two case studies, one situated in the non-institutionalised artistic field and one in the non-institutionalised political field, I will explore narratives of a 'topography of the possible' in the city of Salzburg. Aiming to outline collage pieces of a topography of the possible and of counter-narrative in and of the city – the city is looked at in terms of collage, understood as overlapping layers of the three spatial dimensions materiality (physical space), sociability (social space) and the imaginary (symbolic space). These are understood as differing but interrelated spatial dimensions, each one unfolding forms of collective appropriation of a city. The focus lies on the creation of social relations and collective imaginaries on the micro-level of cultural and political self-organised initiatives, looked at under terms of narration and storytelling. My ethnographic project asks for the creative potentiality of a city and for the creative power of social relations and collective imaginaries.

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Shalnieva, Polina. "Features of collective creativity and definition of creative potential in modern organizations." HUMANITARIUM 44, no. 1 (November 23, 2021): 160–68. http://dx.doi.org/10.31470/2308-5126-2020-44-1-160-168.

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The article provides a theoretical analysis of the problem of management of collective creativity in organizations. The relevance of identifying creative employees in companies and encouraging the manifestation of creative decisions among all staff, the importance of developing the creativity of the individuals and the group as a whole are substantiated. Studies that prove that creativity plays an critical role in the management of the organization and the company's competitiveness in the labor market are analyzed. The key concepts that underlie collective creativity are considered: creative decisions, creative abilities, innovative activity, favorable climate of the organization, etc. The specifics of creativity in connection with managerial and psychological aspects are revealed. There are two main categories of creativity research at the organizational level: the characteristics of members of the organization and the characteristics of the organization that promote and develop the creative abilities of employees. The characteristics of support for collective creativity in the organization are highlighted: strategy (strategies with an emphasis on innovation indicate the need for creativity and innovation in organizations), organizational culture (organizational culture that affects how employees value creativity, as a challenge to different subcultures to interact with each other to gain shared experience), methods (as the need for formal and informal methods to encourage interactions, methods that are developed in relevance to the specific needs and context of the organization), leadership (as support for creativity, where leaders could set goals for creativity and encourage employees to use the full potential of individual employees and collective creativity).

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Soboleva, Elena V., Tatyana N. Suvorova, Natalia Yu Blokhina, and Evgeniia L. Batakova. "Formation of group creative thinking when working with virtual walls." Perspectives of Science and Education 51, no. 3 (July 1, 2021): 465–80. http://dx.doi.org/10.32744/pse.2021.3.33.

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The problem and the aim of the study. Preparing a graduate capable of individual creative thinking, ready to work in a team, and to manage changes, projects, teams is one of the most important tasks that digital school teachers face. The effectiveness of its solution depends on the experience of collaboration, tools of virtual interaction, the formation of group thinking. The authors propose to use collective virtual walls to form group creative thinking as an important skill corresponding to the conditions of uncertainty of the future. Research methods. To activate cognition, create favorable conditions for creativity and discoveries when working together, methods of group interactive learning are used (demonstration in a remote mode of interaction, online discussion, project presentations, work on a collective virtual wall). The study was carried out on the basis of gymnasium No. 2 in Kirovo-Chepetsk. As a software tool to support online collaboration and co-creative discovery, the Trello service (https://trello.com/) was used. As a method for statistical processing of the experimental data, the Pearson’s χ2 (chi-square) criterion was used. Results. In the experimental group, students used collective virtual walls to obtain theoretical information, complete practical tasks in an interactive online environment, creative search and experience of collective discovery, group reflection and presentation of team projects. The assessment of the levels of formation of group creative thinking was carried out and statistically significant differences in the qualitative changes that occurred in the pedagogical system were revealed, χ2 emp. 2 > χ2crit0.05 (6.89 > 5.99). In conclusion, the authors generalized the conditions under which joint activity over a collective virtual wall contributes to the formation of group creative thinking. The conditions are: awareness of the meaning and motives of joint activity; the need for self-expression and active participation in the discussion; work according to a general plan; analysis of the progress of an individual task and the entire collective project; control and self-control; direct interpersonal communication, virtual communication, etc.

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Correa, José Miguel. "Bones of the Earth." Qualitative Research in Education 3, no. 2 (June 28, 2014): 153–74. http://dx.doi.org/10.4471/qre.2014.43.

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Bones of the Earth is an experience in collective inquiry and visual creation based on arts-based research. Starting from the meetingof different subjectivities and through dialogue, planning, shooting and editing, an audiovisual text that reconstructs a reflexive process of collective creation is built. A sense of community, on-going inquiry, connections and social commitment inform the creative process. As a result, the video’s nearly five intense minutes are a metaphor for the search for personal meaning, connection with nature and intersubjective positioning in a world that undergoes constant change.

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Park, Kyung Sin. "Reasonable Compensation for Creative Labor: International Practices and Precedents of Audiovisual Author’s Unwaivable Right to Remuneration." Korea Copyright Commission 143 (September 30, 2023): 141–77. http://dx.doi.org/10.30582/kdps.2023.36.3.141.

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For copyright to achieve its original purpose, creators should be entitled to fruits of successful exploitation of their work after they license or transfer their rights. Due to imbalance of bargaining power, creators often sign away their rights to compensation. To respond that, we need to think about legislating an unwaivable right. Its operation resembles the fee collecting systems already set up for television writers and actors in Korea and for music writers and performers around the world, which originate from historical reasons, collective power, or the statutory compensation for performing music recordings. The last example is enshrined by Rome Convention and WPPT, and its modus operandi can be easily applied to audiovisual recordings. When the 2016 Beijing treaty does exactly that for audiovisual performers (i.e., actors and actresses) and where digital technology makes collection of fees for various ways of communicating the audiovisual works to the public, the time is ripe to seriously consider the audiovisual authors’ unwaivable right to remuneration extending beyond performers and inclusive of directors and script writers. In doing so, it will be desirable to take the form of compulsory licensing for copyright limitation so that the right to remuneration exists even when the creators have not made licensing or transfer. Collective management societies’ collecting activities may be more efficient than filing lawsuits for copyright infringement.

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Millà, Arnau. "Soundpainting Sign Language: Possibilities and Connections with Tactileology." Philosophies 6, no. 3 (August 16, 2021): 69. http://dx.doi.org/10.3390/philosophies6030069.

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This article introduce and expose the language of Soundpainting (SP), its background, and how this artistic tool is being used as a language of communication and creation. It also presents the real-time composition and its peculiarities and the power of collective creation as a creative tool and interaction between artistic disciplines. As there are several cases of sensitive and creative languages, such as Soundpainting, that are used to communicate with artificial intelligence, finally, it expose two of them, which are both still in their embryonic state. Both are collaborations and research between SP sign language and Tactileology. Both can lead to creative results that contribute to new ways of perceiving living art, in a sensitive, social and inclusive way.

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Herold, Stephanie. "Architecture and the Collective: Structures and Processes of Architectural Work in the GDR." Architectural History 65 (2022): 105–22. http://dx.doi.org/10.1017/arh.2022.6.

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ABSTRACTIn the 1950s, the German Democratic Republic (GDR) undertook a strict centralisation and collectivisation of the construction industry, including the entire field of architecture. As a result, architecture was practised almost exclusively within the framework of state-controlled enterprises, the units of which formed ‘collectives’ that structured professional cooperation. In line with the political and organisational significance of the collective, the aim was continuously to enhance the efficiency of the construction industry and to integrate into the socialist system a branch — namely, the architectural profession — that tended to be perceived as bourgeois and individualistic. Against this background, both the role of the architect within the collective and the best functioning of such units on a creative and economic level were subjects of constant discussion. Yet the system also allowed various possibilities for latitude. Facilitated by individual personalities and intersubjective processes, personal and creative possibilities existed within an otherwise highly regulated system. This article explores the three levels of the meaning and function of the collective — as a political, bureaucratic and social space — by addressing its historical origins and nature and by examining two case studies in which, notwithstanding official theory, individual architects were able to exercise a considerable degree of creative autonomy.

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Syomkina, Inna. "Opportunities for Creative Collective Activity in the Prevention of Deviant Behavior of Adolescen." Bulletin of Luhansk Taras Shevchenko National University, no. 7 (338) (2020): 195–203. http://dx.doi.org/10.12958/2227-2844-2020-7(338)-195-203.

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The article investigates the possibilities of creative collective activity in the prevention of deviant behavior of adolescents. During the writing of the scientific work it was noted that the authority for adolescents is the closest circle of communication, the team (classmates, friends, comrades), taking into account the positive role of collective creative activity for the prevention of deviant behavior among adolescents. The definitions of the terms: «prevention», «deviant behavior», «collective creative activity» are given. Three levels of manifestation of deviations are presented: deviant actions, deviant behavior, deviant way of life. The consequences of deviant behavior are determined: social, psychological, behavioral. It is proved that collective creative activity is a way of organizing a bright life filled with work and play, creativity and camaraderie, dreams and joy of life and at the same time the main tool for the prevention of dangerous social phenomena. Because, it is important for a teenager to achieve the realization of the most important social need for self-realization (this is possible with the help of the team); the teenager gets the opportunity to compare their actions with the contribution of others to the common cause of the team; allows the teenager to bring the maximum benefit to the team, to join the common cause in accordance with their own individual interests, inclinations and abilities.

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Selezneva, Tatyana V. "The need for a school festival as a form of collective creative activity." Pedagogy: history, prospects 3, no. 2 (April 29, 2020): 52–65. http://dx.doi.org/10.17748/2686-9969-2020-3-2-52-65.

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The article refers to the influence of scientific and technological progress on the nature of communication between people, changing the style and methods of communication, and putting the use of electronic devices first. It was revealed that modern children are in computer dependence, this affects their behavior. The parameters of a mentally healthy child and teenager and cyber-dependent were noted. Emphasis is placed on the importance of the school festival as a form of collective and creative activity, on the need to hold annual school festivals. It is shown that this will allow developing cooperation and independence of schoolchildren, they will be useful in life for organiz-ing dialogue, for exchanging creative ideas. The question is raised about the need for a school festival as a form of collective and creative activity. The necessity of the festival for the use of its talented and creative youth as a platform for further self-realization and new discoveries is shown. The results of the study can form the basis for the development and conduct of a school festival as a form of collective creative activity. A description of the survey conducted among parents and teachers of MBOU secondary school № 52 p.g.t. Ilsky, as well as a survey of students of the 9th grade and its results is given. The survey was conducted through social media questionnaires.

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Lee, Sang-wan, and Ji-young Lee. "The Effect of Collective Organizational Culture and MCS Use on Creative." Accounting Information Review 38, no. 3 (September 30, 2020): 315–40. http://dx.doi.org/10.29189/kaiaair.38.3.12.

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Lawrence, Roderick J. "Collective and creative consortia: combining knowledge, ways of knowing and praxis." Cities & Health 4, no. 2 (January 20, 2020): 237–49. http://dx.doi.org/10.1080/23748834.2020.1711996.

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Gierbienis, Marcin. "Sustainable and creative temporary architecture – the activities of the assemble collective." Czasopismo Techniczne 3 (2019): 5–18. http://dx.doi.org/10.4467/2353737xct.19.028.10214.

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