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Artículos de revistas sobre el tema "Creativity"

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Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 7 de julio de 2024

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1

Simonton, Dean Keith. "Teaching Creativity". Teaching of Psychology 39, n.º 3 (21 de junio de 2012): 217–22. http://dx.doi.org/10.1177/0098628312450444.

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In the past decade, the psychological study of creativity has accelerated greatly. To facilitate the teaching of creativity, I provide an overview of the recent literature. The overview begins by discussing recent empirical results and research trends. This discussion specifically treats creativity’s cognitive, differential, developmental, and social aspects. Then I outline central controversies in the study of creativity. These debates concern the nature of creative thought (domain-specific vs. generic processes), creative development (nature vs. nurture), and creative persons (psychopathology vs. mental health). The article closes by asking not just how to teach creativity but also how to teach creativity creatively.

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Freedman, Joan, Paul Calhoun y Anne Altemus. "Teaching Creativity Creatively". Educational Media International 33, n.º 2 (junio de 1996): 78–83. http://dx.doi.org/10.1080/0952398960330209.

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3

du Pont de Bie, Alexis I. "Teaching Creativity — Creatively with Psychosynthesis". Gifted Education International 3, n.º 1 (enero de 1985): 43–46. http://dx.doi.org/10.1177/026142948500300108.

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The title suggests that creativity is inherently teachable. This author believes that to be so. More important is the argument that the student can achieve an expansion of successful creative problem-solving through the use of psychosynthesis and allied techniques in transpersonal psychology. This paper will discuss the philosophical raison d'être of teaching creativity and examples of a practicum for use in the classroom or work place.

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4

Brinkman, David J. "Teaching Creatively and Teaching for Creativity". Arts Education Policy Review 111, n.º 2 (27 de enero de 2010): 48–50. http://dx.doi.org/10.1080/10632910903455785.

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5

Haran, Jyotsna. "Creativity is Creativity". Management Accountant Journal 57, n.º 4 (30 de abril de 2022): 52. http://dx.doi.org/10.33516/maj.v57i4.52-54p.

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6

Jeffries, Karl. "Creativity Diagnostics : Software Applications for Creativity Enhancement". International Conference on Business & Technology Transfer 2004.2 (2005): 71–78. http://dx.doi.org/10.1299/jsmeicbtt.2004.2.0_71.

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7

Knox, Brian D. "Semantic Processing Theory Could Help Explain the Effectiveness of Creativity Incentives: A Numerical Experiment". Journal of Management Accounting Research 32, n.º 3 (17 de enero de 2020): 155–78. http://dx.doi.org/10.2308/jmar-18-051.

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ABSTRACT Two seminal accounting studies find that output creativity is insensitive to creative effort: workers simplify creativity-weighted contracts by focusing on increasing creativity, but they cannot increase output creativity enough to compensate for sacrifices they make to output quantity. Other studies, however, find evidence that output creativity is sensitive to creative effort. To examine these differing results, I use a numerical experiment: I model workers in quantity contracts and creativity-weighted contracts, and I proxy creative effort as workers' choice between fine semantic processing (less creative) and coarse semantic processing (more creative). My numerical experiment's results show (1) output creativity's sensitivity to creative effort when the task is less inherently creative and (2) output creativity's insensitivity to creative effort when the task is more inherently creative. More inherently creative tasks effectively require coarse semantic processing in both contracts, limiting workers' ability to give incrementally more creative effort in response to creativity incentives. Data Availability: Data are available upon request.

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8

Charise, Andrea y Stefan Krecsy. "The Manual of Disaster: Creativity, Preparedness, and Writing the Emergency Room". University of Toronto Quarterly Forthcoming (16 de julio de 2021): e2021002. http://dx.doi.org/10.3138/utq.91.1.002.

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This essay offers a critical examination of creativity discourse at the intersection of two discipli-nary fields: health and humanities. In contrast to creativity’s longstanding associations with mak-ing, imitation, or invention, we examine the relatively recent emergence of what we call creativi-ty’s preparatory capacity, particularly within critical discussions of healthcare and illness narratives. Working with fictional representations of the emergency room in physician-writer Jay Baruch’s short story collection Fourteen Stories: Doctors, Patients, and Other Strangers (2007), we identify how particular narrative techniques are revealed in a range of emergency scenarios—both within and beyond the fictional setting—and what such deployments of creativity might signal for the future of literary studies more broadly.

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Župić, Ajdina, Hana Hodžić y Merjem Sušić. "Creativity in Teaching Nature and Society". Društvene i humanističke studije (Online) 8, n.º 3(24) (31 de diciembre de 2023): 533–50. http://dx.doi.org/10.51558/2490-3647.2023.8.3.533.

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The main goal of this paper is to point out the concept of creativity in teaching, specifically creativity in the teaching of Nature and Society. Nature and society, as a subject, provide many opportunities to express the creativity that we carry within us through the role of a teacher, as well as to teach students how to be creative. The paper highlights examples of different teaching units that indicate ways to encourage creativity in students and awaken their imagination. Through teaching, through tasks that the teacher creatively devises, we encourage students to think creatively and act, in addition to acquiring knowledge more permanently and functionally. Possibilities of creating Nature and Society lessons through creative examples and experiments, as well as evaluating and measuring creativity, were presented. The work results indicated that creative teachers create their fruits, which are called creative students, that they are causally connected, and that creativity is a synonym for an expert and professional teacher.

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10

Priest, Thomas. "Using Creativity Assessment Experience to Nurture and Predict Compositional Creativity". Journal of Research in Music Education 49, n.º 3 (octubre de 2001): 245–57. http://dx.doi.org/10.2307/3345710.

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The purpose of this inquiry was to examine students' assessments of musical creativity in relation to their ability to function creatively as composers. Compositions collected from 54 nonmusic majors enrolled in music fundamentals classes were used as a measure of compositional creativity. Independent judges reached acceptable levels of agreement in assessing musical creativity and other dimensions allowing students to be placed into high-, middle-, and low-creativity groups. Additionally, students completed Creativity and Craftsmanship Assessments (CCA) by listening to sets of 5 exemplary compositions produced by students previously enrolled in the course. Students' verbal descriptions of creativity and craftsmanship from the CCA were categorized. A chi-square analysis of the students' descriptions yielded statistically significant differences between high-, middle-, and low- creativity groups. Students in the high-creativity group were more likely to cite temporal factors as contributing to creativity and craftsmanship than were students in the middle- or low-creativity groups (p < .01); students in the low- and middle-creativity groups were more likely to use metaphors than were students in the high-creativity group (p < .05).

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11

No authorship indicated. "Review of Vision, Dessin, Creativité (Vision, Design, Creativity)." Contemporary Psychology: A Journal of Reviews 35, n.º 10 (octubre de 1990): 1007. http://dx.doi.org/10.1037/029170.

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12

Suyidno, Suyidno, Mohamad Nur, Leny Yuanita, Binar Kurnia Prahani y Budi Jatmiko. "EFFECTIVENESS OF CREATIVE RESPONSIBILITY BASED TEACHING (CRBT) MODEL ON BASIC PHYSICS LEARNING TO INCREASE STUDENT’S SCIENTIFIC CREATIVITY AND RESPONSIBILITY". Journal of Baltic Science Education 17, n.º 1 (20 de febrero de 2018): 136–51. http://dx.doi.org/10.33225/jbse/18.17.136.

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The Creative Responsibility Based Teaching (CRBT) model is an innovative physics-teaching model designed to enhance students’ scientific creativity and responsibility. Therefore, this research aims to analyze the effectiveness of CRBT model to improve scientific creativity and first year students’ responsibility on Basic Physics learning in academic year 2016/2017. This research used one group pre-test and post-test design on 144 students divided into 4 groups at University of Lambung Mangkurat, South Kalimantan (Indonesia). The data collection methods were conducted by using: scientific creativity tests emphasized on unusual uses indicator, problem finding, product improvement, creatively science problem solving, creatively experiment designing, and creatively product design; questionnaire of responsibility emphasized on: participatory indicator, respecting others, cooperation, leadership, and delivering opinion; and interviews. The data analysis technique was done by using paired t-test / Wilcoxon test, n-gain, and ANOVA / Kruskal-Wallis test. The results showed that there was a significant increase in students’ scientific creativity and responsibility at α = 5%, with n-gain average of moderate category, and both were not different (consistent) for all four groups. Thus, the CRBT model is effective for enhancing students’ scientific creativity and responsibility. Keywords: creative responsibility based teaching, physics learning, responsibility attitude, scientific creativity, first year students.

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Hidayat, Didin Nuruddin, Fitriah Fitriah, Mahlil Mahlil y Jon Mason. "Factors impacting English teachers’ creativity in teaching English as a foreign language in Indonesia". Studies in English Language and Education 10, n.º 1 (31 de enero de 2023): 155–73. http://dx.doi.org/10.24815/siele.v10i1.26145.

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Teachers bring various experiences to the classroom, and their beliefs about ‘creative teaching’ or ‘good teaching’ practices are frequently influenced by various factors, including their own teaching experiences, individual motivation, and organizational constraints. This context frames their early efforts to develop creative practices, and recognition of influences further affects the level of creativity displayed by teachers. This study aims to ascertain the factors that affected teachers’ creativity in English language teaching (ELT) in contemporary Indonesian higher education. We interviewed twenty Indonesian English as a Foreign Language (EFL) teachers about the factors influencing their creativity and their motivations for teaching creatively. We identified three factors which influenced teachers’ creativity: their knowledge and teaching experiences, their motivation, and the role of technology. These three factors served as a guide for teachers regarding how they might integrate creativity into their teaching practice. Additionally, Indonesian EFL teachers believed that their creativity was necessary to assist students in learning, create an enjoyable learning experience, and encourage students to be creative. This belief appears to be partially due to the affordance of the rapidly changing digital environment which enables student-centred and self-directed learning. Finally, this study indicates that creativity is not instinctive to teachers; however, they can nurture their creativity by accepting their innovative ideas through developing their abilities to teach creatively.

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14

López de Mántaras Badia, Ramon. "Computational creativity". Arbor 189, n.º 764 (30 de diciembre de 2013): a082. http://dx.doi.org/10.3989/arbor.2013.764n6005.

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15

Drori, Gili S. "Creativity and the Governance of Universities: Encounters of the Third Kind". European Review 26, S1 (5 de enero de 2018): S100—S113. http://dx.doi.org/10.1017/s1062798717000588.

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Discussions of creativity and university governance often conflate multiple kinds of creativity–governance relations. Focusing on the ‘third kind’ of creativity–governance relations in universities, I discuss the role of creativity in prospecting governance models. In other words, this paper focuses on the methods for creatively seeking (third kind) creative governance models (second kind) that foster academic creativity (first kind). I argue that the methods of prospecting governance models are subject to institutional dynamics that steer such search off the path of creativity. I note in particular two such institutional dynamics that track the prospecting process – namely, professional expertise and referentiality – and I argue that these institutional dynamics generate inherent tension in the governance of creativity in universities. I illustrate these claims with findings from a large-scope research project on the branding of universities.

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16

Beghetto, Ronald A. y Ross C. Anderson. "Positive Creativity Is Principled Creativity". Education Sciences 12, n.º 3 (6 de marzo de 2022): 184. http://dx.doi.org/10.3390/educsci12030184.

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The purpose of this article is to introduce an action-oriented framework aimed at clarifying and promoting a principled approach to creativity in education. A principled approach to creativity refers to the design and implementation of positive creative educational endeavors, which are guided by a set of agreed-upon commitments aimed at making a positive contribution to the learning and lives of others. We open by discussing how our conception of a principled approach to creativity connects to positive creativity and how this approach can guide creative educational endeavors. More specifically, we discuss the opportunities and responsibilities associated with a principled approach to creativity, including how educators, students, and researchers can re-conceptualize creative opportunities, creative risk-taking, creative action, and the intended and unintended outcomes that result from promoting creative thought and action in and beyond the walls of schools and classrooms.

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17

Mukhambetalina, N. B. y L. E. Dalbergenova. "Тhe development of personal creativity as a scientific and practical problem". Bulletin of Shokan Ualikhanov Kokshetau University. Philological Series 2022, n.º 3 (30 de septiembre de 2022): 100–108. http://dx.doi.org/10.59102/kufil/2022/iss3pp100-108.

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The modern society needs individuals who can create something new, who can solve assigned tasks creatively. Thus, along with the acquisition of knowledge, through education students develop their creative abilities. The concept of creativity for the most part refers to the areas of psychology, pedagogics, and art. However, the concept is often found in other fields as well. The problem of creativity was considered by many foreign and domestic scientists in the field of psychology and pedagogics. In these sciences, creativity is defined as a complex, ambiguous phenomenon. Currently, there is no single generally accepted definition of creativity. There are many different views on the concept of creativity, its content and structure. Keywords: creativity, education, creative abilities, creative competence, creative person.

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18

Kang, Lan y Jiao Liu. "Fostering Creativity in Mechanical Engineering Education Based on Cooperation with Enterprises". Applied Mechanics and Materials 121-126 (octubre de 2011): 3304–9. http://dx.doi.org/10.4028/www.scientific.net/amm.121-126.3304.

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Mechanical engineering field requires engineers with more practical problem-solving experience and skills of thinking, working and acting creatively. But, how can we develop and encourage these important skills in undergraduates? This article describes a case of nurturing creativity in undergraduates through cooperation with enterprises. Through the study of cognitive learning and creativity, a series of educational procedures and strategies are presented, they involved in basic training of fostering creativity and higher-level training of developing creativity based on commercial projects. Questionnaires from students and the actual results demonstrate that the above strategies and methods for fostering creativity in mechanical engineering undergraduates have yielded good results and students benefit from them.

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19

Shvetsov, Mikhail Yu, Natalya N. Popova y Lyudmila D. Orlova. "CREATIVITY OF CREATIVELY GIFTED CHILDREN: PSYCHO-PEDAGOGICAL ASPECTS". Scientific Review. Series 2. Human sciences, n.º 6 (2019): 90–100. http://dx.doi.org/10.26653/2076-4685-2019-6-08.

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20

Arend, Richard J. "The dangers of creatively-incomplete creativity (Meta-) Theorizing". Journal of Business Venturing Insights 19 (junio de 2023): e00360. http://dx.doi.org/10.1016/j.jbvi.2022.e00360.

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21

Rif'at, Muhammad Feyzar, Mustika Wati y Suyidno Suyidno. "MENGEKSPLORASI TANGGUNG JAWAB DAN KREATIVITAS ILMIAH PESERTA DIDIK MELALUI CREATIVE RESPONSIBILITY BASED LEARNING". Journal of Banua Science Education 2, n.º 1 (6 de diciembre de 2021): 15–24. http://dx.doi.org/10.20527/jbse.v2i1.56.

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Scientific responsibility and creativity are part of the main competencies in the era of the industrial revolution 4.0, but they are not trained in schools. Therefore, the purpose of this study is to analyze the effectiveness of Creative Responsibility Based Learning in exploring the responsibility and scientific creativity of students. This research is part of research and development with the ADDIE model, namely at the implementation and evaluation stages. The research trial used one group pre-test and post-test on 27 students of class XI MIPA 2 MAN 2 Banjarmasin. Data collection instruments consist of responsibility observation sheets with indicators of participating, respecting others, cooperation, leading, and expressing opinions; as well as a scientific creativity test which includes indicators of finding problems, imagining scientifically, solving problems creatively, and designing products creatively. The results showed that the responsibility of the students at each meeting was in good criteria. In addition, the scientific creativity N-gain was 0.34 in the medium criteria. Thus, CRBL is effectively used to explore the responsibility and scientific creativity of students. Kata kunci: creative responsibility based learning, scientific creativity, responsibility AbstrakTanggung jawab dan kreativitas ilmiah merupakan bagian dari kompetensi utama di era revolusi industri 4.0, namun kurang dilatihkan di sekolah. O

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22

Nelmira, Weni. "STRATEGI MENGEMBANGKAN KREATIVITAS MAHASISWA DALAM PEMBELAJARAN TATA BUSANA". PAKAR Pendidikan 16, n.º 1 (7 de enero de 2018): 84–92. http://dx.doi.org/10.24036/pakar.v16i1.38.

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Creativity is an important role in the education of Fashion Education because only creative individuals can produce creative ideas and products. The Fashion Education has to perform its function for the formation of character, work culture, personality, skill, knowledge, behavior and various life skill according to the demands of work world. Fashion Education is still not maximized in developing the creativity of students, especially the ability to think creatively in solving the problems of daily life that it faces. For that required the creativity of educators to foster student creativity. Student creativity will emerge, if the teacher as a pilot in the classroom also has adequate creativity. The subject matter that has been prepared in the syllabus, should be well developed to achieve the predetermined educational objectives. The development of creativity can be done with brainstorming learning, giving motivation, bringing creative people to school and not limit the student excessively by directing students to express and actualize themselves in relation to oneself, to nature, and to others.

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Nelmira, Weni. "STRATEGI MENGEMBANGKAN KREATIVITAS MAHASISWA DALAM PEMBELAJARAN TATA BUSANA". JURNAL PENDIDIKAN DAN KELUARGA 9, n.º 2 (29 de junio de 2018): 27. http://dx.doi.org/10.24036/jpk/vol9-iss2/46.

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Creativity is an important role in the education of Fashion Education because only creative individuals can produce creative ideas and products. The Fashion Education has to perform its function for the formation of character, work culture, personality, skill, knowledge, behavior and various life skill according to the demands of work world. Fashion Education is still not maximized in developing the creativity of students, especially the ability to think creatively in solving the problems of daily life that it faces. For that required the creativity of educators to foster student creativity. Student creativity will emerge, if the teacher as a pilot in the classroom also has adequate creativity. The subject matter that has been prepared in the syllabus, should be well developed to achieve the predetermined educational objectives. The development of creativity can be done with brainstorming learning, giving motivation, bringing creative people to school and not limit the student excessively by directing students to express and actualize themselves in relation to oneself, to nature, and to others.

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24

Nurahma, Helsya, Arrahim Arrahim y Fakhran Ramadhan. "MENGEMBANGKAN KREATIVITAS PADA ANAK MELALUI KEGIATAN FINGER PAINTING DI DESA MEDALKRISNA". An-Nizam 3, n.º 1 (14 de marzo de 2024): 210–16. http://dx.doi.org/10.33558/an-nizam.v3i1.9676.

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Creativity is an important demand of education at present. Individuals with creativity will always be needed by the environment because they are able to meet the constantly changing needs of the environment. However, not all children have high creativity; one of the reasons for the low creativity in children is because they are still shy and lack confidence in expressing their imagination. Therefore, this program aims to develop children's creativity through finger painting activities as they stimulate creativity in children. The method used in its implementation is by providing finger painting training. The training includes mixing colors, forming patterns, making strokes, and forming images, trying to paint pictures using Finger Painting media according to their creativity. They are given the opportunity to try finger painting according to their respective creativity. Based on the results of the activity implementation, it can be seen that finger painting activities can increase children's creativity because children show active participation in finger painting activities, they are able to work independently and complete their work, and they are able to express themselves and their ideas creatively through finger painting. This activity provides many benefits, insights, and knowledge to children, especially in helping to stimulate children's creativity using finger painting to build self-confidence.

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Liduma, Anna. "FACILITATION OF THE CHILD CREATIVITY THROUGH MUSICAL ACTIVITY AT PRESCHOOL". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (26 de mayo de 2016): 426. http://dx.doi.org/10.17770/sie2016vol2.1413.

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The theoretical substantiation of the scientific article develops from the notion of fantasy by philosopher P. Dāle, the activity theory by A. Špona, the theory of five minds for future by H. Gardner, the three creativity aspects by R. Bebre. The essence of creativity structure components, human creativity holistic development, possibilities for creativity development stimulation at the sensitive preschool period have been established. The empirical research discovered that the child through musical reproductive activity accumulates self-experience due to the teacher’s support and realizes it as a self-dependent creative activity while listening to, singing, creatively manifesting the contents by movements and colours. The creativity promotion aids at preschool are the child’s spontaneous vocal and instrumental improvisation, integrative improvisation of sonorous gestures and movements.

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Dimock, Marshall. "Creativity". Public Administration Review 46, n.º 1 (enero de 1986): 3. http://dx.doi.org/10.2307/975436.

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Kaufman, James C. y Robert J. Sternberg. "Creativity". Change: The Magazine of Higher Learning 39, n.º 4 (enero de 2007): 55–60. http://dx.doi.org/10.3200/chng.39.4.55-c4.

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Curtis, Bernard. "Creativity". Cogito 3, n.º 1 (1989): 36–40. http://dx.doi.org/10.5840/cogito1989314.

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Rampley, M. "CREATIVITY". British Journal of Aesthetics 38, n.º 3 (1 de marzo de 1998): 265–78. http://dx.doi.org/10.1093/bjaesthetics/38.3.265.

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Hanly, C. "Creativity". Canadian Art Therapy Association Journal 16, n.º 1 (marzo de 2003): 17–21. http://dx.doi.org/10.1080/08322473.2003.11432253.

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Dimock, Marshall. "Creativity". Media Asia 13, n.º 2 (enero de 1986): 112. http://dx.doi.org/10.1080/01296612.1986.11727240.

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Caselli, Richard J. "Creativity". Cognitive and Behavioral Neurology 22, n.º 3 (septiembre de 2009): 143–54. http://dx.doi.org/10.1097/wnn.0b013e318192cce0.

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Maley, Alan y Rod Bolitho. "Creativity". ELT Journal 69, n.º 4 (2 de julio de 2015): 434–36. http://dx.doi.org/10.1093/elt/ccv036.

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Kruger, Kathleen Joyce. "Creativity:". Journal of Library Administration 10, n.º 2-3 (31 de julio de 1989): 3–13. http://dx.doi.org/10.1300/j111v10n02_02.

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Hennessey, Beth A. y Teresa M. Amabile. "Creativity". Annual Review of Psychology 61, n.º 1 (enero de 2010): 569–98. http://dx.doi.org/10.1146/annurev.psych.093008.100416.

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Runco, Mark A. "Creativity". Annual Review of Psychology 55, n.º 1 (febrero de 2004): 657–87. http://dx.doi.org/10.1146/annurev.psych.55.090902.141502.

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Shamansky, Sherry. "? + ? = Creativity". Public Health Nursing 9, n.º 3 (septiembre de 1992): 141. http://dx.doi.org/10.1111/j.1525-1446.1992.tb00091.x.

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Rosa, William. "Creativity". Journal of Holistic Nursing 34, n.º 2 (10 de mayo de 2016): 109–11. http://dx.doi.org/10.1177/0898010116648789.

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Mabbett, Phyllis. "Creativity". Journal of Holistic Nursing 11, n.º 1 (marzo de 1993): 10–20. http://dx.doi.org/10.1177/089801019301100103.

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Franklin, Samuel. "Creativity". Business History Review 90, n.º 4 (2016): 694–701. http://dx.doi.org/10.1017/s0007680517000034.

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Gilmartin, Mattia J. "Creativity". Nursing Administration Quarterly 23, n.º 2 (1999): 1–8. http://dx.doi.org/10.1097/00006216-199923020-00004.

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Otte, M. y W. Zawadowski. "Creativity". Educational Studies in Mathematics 16, n.º 1 (febrero de 1985): 95–97. http://dx.doi.org/10.1007/bf00354885.

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Sternberg, Robert J. y Todd I. Lubart. "Creativity". School Psychology International 13, n.º 3 (agosto de 1992): 243–53. http://dx.doi.org/10.1177/0143034392133004.

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McClure, I. "Creativity". British Journal of Psychiatry 169, n.º 3 (septiembre de 1996): 379. http://dx.doi.org/10.1192/bjp.169.3.379a.

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Ross, John J. "Creativity". JAMA 296, n.º 12 (27 de septiembre de 2006): 1528. http://dx.doi.org/10.1001/jama.296.12.1532.

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Wreen, Michael. "Creativity". Philosophia 43, n.º 3 (14 de julio de 2015): 891–913. http://dx.doi.org/10.1007/s11406-015-9607-5.

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Augustus Bacigalupi, J. "Creativity". Angelaki 28, n.º 3 (4 de mayo de 2023): 78–94. http://dx.doi.org/10.1080/0969725x.2023.2216550.

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Jaramillo-Vazquez, Alejandra. "Creativity as collaboration". Journal of Organizational Ethnography 8, n.º 2 (8 de julio de 2019): 130–45. http://dx.doi.org/10.1108/joe-10-2017-0048.

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Purpose The purpose of this paper is to examine the relations and processes by which creativity is assembled, and how this mode of creativity responds to tensions and difficulties in activities concerning “arts education” and “creativity” in a community arts organisation in Mexico City. It shows how ethnographic research can provide qualitative understanding about “creativity” on the ground, i.e. through people’s participation in ordinary activities and projects in arts organisations. Design/methodology/approach The methodological approach was ethnographic in data collection and analysis. Participant observation was conducted for 11 months (November 2011/October 2012), as well as archival research and photographs. Findings The findings of this research highlight how, in the face of personal difficulties and tensions people respond creatively through collaboration. The former refers to people’s difficulties to gain control over their lives, e.g., finding a stable job. The latter refers to people’s tensions to produce an artistic project, where they negotiate with institutional expectations about the project and their own experiences and reflections. Originality/value While there is an increasing interest of policy makers for fostering “arts education” and “creativity” in an instrumental way, this paper shows how creativity emerges through the intensity of their personal ideas, experiences and solidarity.

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HIRSHFELD-FLORES, ALISSA y JOSEPH J. SCHILDKRAUT. "Eminent Creativity, Everyday Creativity, and Health". American Journal of Psychiatry 156, n.º 12 (1 de diciembre de 1999): 2012–13. http://dx.doi.org/10.1176/ajp.156.12.2012.

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50

Richards, Ruth. "Everyday Creativity, Eminent Creativity, and Pscyhopathology". Psychological Inquiry 4, n.º 3 (julio de 1993): 212–17. http://dx.doi.org/10.1207/s15327965pli0403_12.

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