- Ile onyebuchi james added an answer:Can literary studies increase creativity?One of the benefits of reading literature and engaging in literary studies is that it has the ability to increase inter-subjectivity and expand ones' own experiences. Does the expansion of subjectivity facilitate creativity and creative thinking, or are the benefits simply limited to the above.
Indeed Literary studies has the capacity to increase creativity, sharpen critical capacity and analytic ability. We have to understand that literary studies takes one through a journey on the road of the history of ideas. It exposes one to works of fiction and non fiction of different epochs, increasing one's knowledge of how ideas shaped society at each given period, giving one the opportunity of comparative analysis and projection into the future. But not only that, it also sharpens critical acumen through exposure to critical theories. All this pieces of information become experience and knowledge eventually. And with such experience and knowledge, one is prepared to navigate through life!!!!Following
- Ruth F Van Leeuwen added an answer:How do you differentiate creative entrepreneurship and non creative entrepreneurship?Are there any external factors that stimulate the emergence of creative entrepreneurship?
Hi, I know this is an old question, but I'm new so in case anyone else is looking to answer it as well, Watson discusses creativity. He pretty much reaches the conclusion that all entrepreneurial activity is creative because all non-habitual human action is creative.
Putting this aside for a moment, entrepreneurship literature does have the tendency to lean either towards investigating the personal characteristics of the entrepreneur OR (and more recently) to the external elements of the marketplace that allow for it to happen (such as structural holes a la Burt). Watson argues for a third way, investigating entrepreneurial action - which would strongly imply a phenomenological approach (with empirical data collection methods because action is directly observable). This kind of begs the question, how do you watch a entrepreneur be entrepreneurial?
Watson, Tony J. (2012). Entrepreneurship: A suitable case for sociological treatment. Sociology Compass 6(4), 306-315. Blackwell. doi: 10.1111/j.1751-9020-2011.00455.xFollowing
- Chris Jeynes added an answer:When were the Creation accounts in Genesis 1 & 2 composed, and who by?
I am reading Mark Smith's "The Priestly Vision of Genesis 1" (2010) and finding it very frustrating. He is so convinced that P wrote the account in the 6th century he doesn't bother to tell us why he is so sure. I am not much disposed to believe in P, J JE, RJE etc etc considering the fiasco that is the story of Q. What is the evidence? Note that I say "composed", not "written"? One issue is the canonical text and its editor. Another issue is the set of sources the editor used. A third issue of great importance is how the editor used his sources, and what creative freedom he allowed himself.
Hi Roger. It seems to me that you do not read the Creation accounts correctly when you insist that Moses intends you to understand that the "seven days" are each "24 hour days".
It seems to me that Moses was perfectly well aware of metaphorical usage, as when he spoke of "the eyes of the LORD" (Deut.11:12), which King David echoed (Psalm 34:15): does God have eyes? Obviously not, since he created them! But God certainly sees, as Moses said memorably in Psalm 90: "A thousand years in your sight are like a day just gone past". In the Creation account the sun was created only on the fourth day: but the sun is God's timekeeper with the specific office of "marking the seasons, days, and years" (Gen.1:14), so how long was the first day? It seems to me that Moses intends us to answer this question with the correct "God knows". In what way, taking the text seriously, can we be more specific?
On the date of Creation, and your dismissive remarks about "deep time", I would like to know how you gloss the cosmic microwave background?Following
- Shahram Dehbozorgi added an answer:Creativity or Innovation or Publishing articles... which is more important in research?Creativity in doing the things which are already done or Innovating the new things or Just Publishing articles for the sake of doing research.
Dear Mr. Shaik,
Thanks for your nice question. I think that all of the creativity, innovation and publishing articles are very important in general but if we look at each of them very deeply, we can see that all of them are attach together. I can say that creativity is the root between these three mentioned factors. then a creative mind can make innovation and the result can be present as publishing articles. That is all and nothing more. I wish you good luck. Take care of yourself, please.
With best regards,
Dr. SHAHRAM - DEHBOZORGI.Following
- Béatrice Marianne Ewalds-Kvist added an answer:I need a scale to measure 'self perceived creativity' among architectural students. Can anyone suggest a valid and reliable measurement?It is very urgent.
I tried this and I found it good!Following
- Leonid A. Skvortsov added an answer:What is a free measure for Absorption?I am trying to locate a public access (or, at least, free to research) brief (30ish items or less) instrument to measure absorption. I am aware of the Tellegen Absorption scale as a premiere in this area but it is restricted by Minnesota Press and may not be used in online samples (e.g., MTurk). What are some viable alternatives to measure absorption/engrossment in imagination?
Traditional methods of measuring the absorption in the bulk materials and thin films are spectrophotometric (low accuracy) and more accurate calorimetric methods. To measure the weak absorption were developed multi-pass sells with multiple reflection [ 20, 21] and intracavity methods both active and passive. The sensitivity of these methods is ~ 10-3 - 10-4 . Nevertheless, for the measurement of the absorption, for example, in thin films or small exposure of bulk samples of this sensitivity is not enough.
Laser photothermal spectroscopy is an alternative to traditional methods of absorption spectroscopy. Photothermal methods are active, are non-destructive and, in most cases, non-contact methods of research. A characteristic feature of all photothermal methods is to obtain information on the properties and composition of the medium to be analyzed on the basis of the direct detection of absorption of power by the concomitant changes in the physical and thermodynamic parameters of the medium. This immediately followed by the inherent features: 1) a method for measuring the zero (in the absence of absorption output signal is zero); 2) increase in sensitivity with increasing radiation power (up to the saturation regime of absorption); 3) the principal limitation the maximum sensitivity of the thermal fluctuations in the test environment.
Thus photothermal techniques may be implemented in two ways. In the first method, a continuous laser beam acting on the sample is periodically amplitude modulated (so called modulation photothermal spectroscopy). The second method - a pulsed photothermal spectroscopy using repetitive laser pulses. Both in the first and second object instances by absorption of laser radiation therein thermal waves are excited, causing modulation of the temperature and the detected signal. Analyzing the time dependence of the detected signal and its phase, you can get information about the various physical properties of the object, including the magnitude and dynamics of photoinduced absorption .
As noted above, photothermal spectroscopy is a modulation technique measurement when recurrent disturbance of any parameter of the test material, achieved by the action of a modulated (pulsed) laser radiation. The main advantages of its methods as compared to the conventional methods of spectroscopy due to the possibility of eliminating the background signal component unstructured and obtain the differential spectra. This is due to the fact that a detectable signal is directly connected not with the parameter to be measured and its variation, i.e. derivative of this parameter with respect to temperature. Therefore, photothermal spectra carry a particular analysis which gives an indication of the properties of matter, is not always manifested in the study by using the traditional methods of spectroscopy. Also, registering of a signal at the modulation frequency by using the synchronous detection greatly improves signal / noise ratio, which in turn improves accuracy.
Depending on the method of registration of the modulated signal of photothermal methods research matter most widely used methods of photoacoustic spectroscopy , photothermal deflection spectroscopy ( mirage effect) , thermal lens method ( thermal lens spectroscopy) , fotothermal radiometry and interferometry , as well as thermoreflection method .Following
- Michael Tang added an answer:What are some successful approaches for teaching creativity and innovation in a lecture context?
Lecturing about creativity seems oxymoronic. I'm trying to give students tools for thought and design that can help them arrive in new places, but with 70 students, I can't imagine how to include much design or making as part of the course activity. I'd really appreciate suggestions (and no, I can't get more TAs). Thanks!
Agreed: "Lectures and creativity are oxymoronic" along with "education technology."Following
- Diarmuid P. O'Donoghue added an answer:What is the relationship between analogical reasoning and creativity?
I will also need articles about this topic. Many thanks for responses.
Following on from Carlos answer above:
Analogical reasoning involving 2 analogs plays a role in transduction (Gick and Holyoak, 1980) but analogy between three analogs has been shown to support induction (Gick and Holyoak, 1983) – both inference methods are supposed to be involved in creativity.
MARY L. GICK AND KEITH J . HOLYOAK, COGNITIVE PSYCHOLOGY 12,306-355 (1980), Analogical Problem Solving
MARY L. GICK AND KEITH, COGNITIVE PSYCHOLOGY 15, l-38 (1983), Schema Induction and Analogical Transfer, J. HOLYOAKFollowing
- Cecilia Lewis Kausel added an answer:Can spontaneous activity, creativity and spirituality be accomodated to increasing regulations, bureaucratization and quantitative evaluations?There is a big contradiction between conditions for creativity and spontaneous activity and regulations, bureaucratisation and quantitative indicators at the same time. How can we solve this unpleasant situation in order not to kill new creative initiatives?Following
- Priyavrat Thareja added an answer:What is the difference between managing human resources in university with HR in industry?
From discussion with other researcher, managing university hr are different with industry. Where in university you have to give them more freedom and creativity to produce a result of knowledge company where in industry you need to make it strict and rigid in managing the company HR.
What is your expert opinion on this?
Tirintetaake ·rightly differentiates: Industry- who work for monetary gain.
( even fulfilling Corporate Social Responsibility).
However, the University today ? They may or may not have worked for monetary gains in past, but today the demands are different. So have the goals for university and industry remain very different? Both chase numbers, quality levels, rejections, certifications, growth, newer products, innovations, resources, tools, training & competence of people?Following
- Carla Billinghurst added an answer:What is the role of play in adult creativity, especially (but not solely) for an artist?What are the links between play/ playfulness and artistic creativity of adults? I am looking for materials on the subject as well as any personal input from individuals in creative professions. Can play constitute a significant part of creative process, and if so in what way?
ONe other thought - it's more about gamification to assist people to do things they are maybe less motivated to do. "Zombie Run" is my favourtie example - it's an phone app for people jogging/ wlaking for exercise - they are being chased by zombies and have to change their route, speed up etc to avoid zombies. I've never played it but I like the idea of having soemthing that pushes you in that way, playfully. Similar playful motivators liked timed writing exercises (I haven't tried adding zombies yet, but why not?!) can help people push through to rpoduce creative work.Following
- Ahed Jumah Alkhatib added an answer:How can creativity live, grow, or even be expressed in corrupted systems?Any views, perceptions, experience?
Dear Dr. Nizar,
thanks for your excellent answer!
The most dirty war is that when it is directed against creativity. the system in which a person, if not supporting should not be against him. sometimes you face leaders with leadership schizophrenia.
under such conditions, personal achievements are under trials of underestimations.Following
- Михаил Андронов added an answer:Is there any method to monitor/evaluate any change in students' creativity level before/after taking a literary course such as literary criticism?How can a lecture be sure about the effectiveness of the literary courses in increasing the creativity of the students?
A small part of this method could be the following. Ask students to create a verbal portrait of the author on one or more of his works. This may not be a complete portrait, but only some of the important aspects of his character. Tool for this may be Freudian psychoanalysis.Following
- Vladimir A. Kulchitsky added an answer:What is the link between synesthesia and schizophrenia and when does or can synesthesia become a pathology?I've been thinking a lot lately about the overlap between synesthesia and schizophrenia as some characteristics of the two are quite similar (hyper-associative thinking, hypersensitivity, etc.). I'm aware that synesthesia is not a mental disorder but reading through case reports of patients with diagnosed schizophrenia, several of them also mention synesthetic experiences.
For example, when looking at the two conditions, the following research findings suggest to me a certain correlation, proneness, or similarity between the two:
- synesthetes who experience colour sensations in response to colour-neutral stimuli show increased positive and disorganized schizotypy (http://discovery.ucl.ac.uk/1314590/1/1314590.pdf)
- synesthetes are more susceptible to mental disorders (http://archpsyc.jamanetwork.com/article.aspx?articleid=491098, http://hms.harvard.edu/news/harvard-medicine/uncommon-sense)
- various links between creativity and synesthesia (http://www.tandfonline.com/doi/abs/10.1207/s15326934crj1001_1#.U5lcKvmSzfI), creativity and schizophrenia (http://scholar.google.de/scholar?q=schizophrenia+creativity&btnG=&hl=en&as_sdt=0%2C5&as_vis=1)
- increased intensity of perceptual experiences or hypersensitivity can be used as in indicator of schizophrenia
- strong visual imagery (http://www.sciencedirect.com/science/article/pii/S1053810007000566)
Other aspects that might indicate a link between the two are vivid imagination and strong ability to form mental images/sounds/sensations/etc., increased daydreaming, etc.
Does anyone know of other similarities between the two (particularly with regard to brain structure & function) and to what extent synesthesia can become pathological?
Thank you very much all for interesting discussion. A lot of new ideas. Synesthesia is not a sign of the coming of schizophrenia. More often - synesthesia is one of mental development. We are talking about the mind, which is peculiar to gifted, often artistically, personalities. Since the high degree of talent often correlates with psychopathology, the simultaneous manifestation of synesthesia and psychopathology is quite possible. But I believe that there is no causal relationship.Following
- Nuno Cardeal added an answer:For creative business ideas, should one think out-of-box, or not allow the box to get built up at all? What are your views?Today’s business is in the age of chaotic competition. To confront it successfully, businesses need to continuously focus on innovation—of products, systems and processes. So one should free the mind from it's existing mind-set (or what one may call mental model), which dissuades you from radical change, and pulls you towards slow changes that do not disturb your comfort zones. Thus, some believe in ‘out-of-box’ thinking for moving in the newer directions. Others believe one should not allow the box (or a mind-set or mental model) to get built up, otherwise you will never be able to innovate in the real sense. Thus, in order to innovate, always keep searching without any such limitations of the box; perhaps you will discover the gold one day. Do you have any ideas related to business innovations that you can share for one view or the other?
In a faster and faster changing world strategy tools are no more than commodities. Any strategy tool can be found in thousands of strategy books available everywhere. All firms, all managers, have access to those tools. What can make a difference is the creative and intuitive thinking of, as far as possible, all the firm’s members. I call it strategic thinking (see, if you can read Portuguese, my book Pensamento Estratégico, - literally Strategic Thinking-, 2014, Universidade Católica Editora). You can also check Jeanne Liedtka’s research or the work from K. Ohmae. One of the “strategic thinking” determinants is what Liedtka calls intelligent opportunism, meaning to explore exhaustively the knowledge and the creativity of the employees. Strategic thinking has three main foundations: ability to think out of the box, ability to identify different ways of doing things and the ability to transform new ideas into something useful and doable.
So, answering your question, thinking out-of-the-box is a must for most businesses. But alone leads to nothing. Firms need to prepare themselves to take full leverage of theirs people creativity.Following
- Mitali Banerjee added an answer:How can I survey art historians (graduate students, faculty, curators, gallerists etc) about 91 early 20th century abstract artists?A bit more about the survey:
There are six questions are about the originality and creativity of 91 artists from the early 20th century. Most of these artists are visual artists while others are poets, musicians and dancers. We are interested in learning about the originality and creativity of their work during 1910-25. Specifically, we are interested in which artists were considered more or less original/unique/abstract/innovative/stylistically diverse at the time.
It is likely that an artist's work varied considerably along these dimensions over the 15 year period 1910-25. However, we are interested in the average originality/uniqueness/abstraction/innovativeness/stylistic diversity of each artist over this time period.thanks Allan for your suggestions! They survey is on qualtrics and will create a list of potential participants. In case you are aware of faculty at Nova Southeastern who might be potential participants--please feel free to be in touch with me.Following
- Carl Jennings added an answer:Should creativity be a graduate quality for all university graduates?Universities are increasingly stressing graduate qualities that they aim to develop in their students. However, creativity is often absent from this list of graduate qualities. Nevertheless, it is emerging as an important attribute among employers and students. Work integrated learning provides a suitable approach in developing creativity skills. Notions of creativity are shifting from an artistic trait of individuals to a collaborative, purposeful, team-based process. Creativity is emerging as an important graduate attribute across a wide range of disciplines including business, engineering, science and the arts.I teach an undergraduate course at the University of Hawaii System on Creative Thinking - and if there is one thing I have learned it is that we need it at ALL levels of education. It is not something you can learn in graduate school, in a one-off class. It takes time to cultivate and practice - it is more like an aptitude, way of approaching things. Can people be taught to be "creative"? that depends on what you really mean by creative (don't want to get into that here) - but from my experience, people can be taught to be MORE creative in their thinking than they currently are (and that is good enough!) - there are skills and ways of thinking that can expose and break down habitual patterns that hold us back - and well designed classes on creative thinking, design, innovation, experimentation etc... all encourage this sense of curious exploration that is the hallmark of creative thinkingFollowing
- Jonas Mellin added an answer:To what extend do you agree with the following sentence? (Please comment your answer)"Intuitive and creative decisions under uncertainty and limited time positively associated with the use of data visualization in Business Intelligence tools"Clarification question: I assume you mean "Intuitive and creative decisions under uncertainty and limited time is positively associated with the use of data visualization in Business Intelligence tools", right?Following
- Chris Snider added an answer:How can I measure the creativity rate of a product against the others?There are many techniques to improve the creativity of a design team. But how can we know if the results are getting better? What parameters must be compared to decide what product is more creative than other?Typical methods of assessing creative products look at novelty, appropriateness, and occasionally unexpectedness (Howard, 2008). In addition to those in other answers there are a few more quantitative metrics that have been developed, such as in Shah, 2003 - looking at metrics of ideation effectiveness - and Sarkar, 2012 - looking at assessing design creativity.
There are always levels of social interpretation that disrupt how novel any person may consider a product to be, but by being precise we can get a good idea of relative creativity of products from a specific perspective.
Howard, T. J., et al. (2008). "Describing the creative design process by the integration of engineering design and cognitive psychology literature." Design Studies 29(2): 160-180.
Shah, J. J., et al. (2003). "Metrics for measuring ideation effectiveness." Design Studies 24(2): 111-134.
Sarkar, P. and A. Chakrabarti (2011). "Assessing design creativity." Design Studies 32(4): 348-383.Following
- Bahira Abdul-Salam added an answer:Where is creativity more important--in science or in art?I always thought that creativity was more important in art than in science. For example, when painting a picture or writing a song. But is it really so?Creativity is an art which is basically required for the development of science. Without open imagination and creative thinking we would not have reached such great technologies. As a result in creativity in sciences technologies are developed to facilitate our lives opening the gates for exponential developments in science and technology.Following
- Paulo Sousa added an answer:Does anyone have access to the film clips in the highly cited paper "Positive Affect Facilitates Creative Problem Solving" (Isen et al., 1987)?To experimentally disentangle "awe" from "happiness" and a "neutral emotional state", we would like, ideally, to employ the short video clips used in the mentioned paper (i.e. the 5-min film Gag Reel and the 5-min neutral clip from a math film).
Has anyone come across these film clips or know of a possibility to get access to them?
Thanks a million in advanceEkaterina, Thanks for the paper ;-)Following
- Sunitha N Seenappa added an answer:CreativityHi to everybody in the group and let's start by defining creativity in researchCreativity originates in the heart; and mind determines and reciprocates for furthering.
A good publication provided by Brian Prasad. Thank you.
However my Pussycat kills her prey NOT MONOTONOUSLY but with curiosity and killing in a CREATIVE WAY. But when I feed her with rice and milk she gobbles monotonously; that means anything available on regular way without EFFORT is not creativity;. But CATCHING HER OWN PREY /LIVE FOOD IS A CREATIVITY.
So creativity is the necessity; necessity gives alertness; alertness makes one intelligent; intelligent makes one special.Following
- James F Peters added an answer:Can anyone suggest a method to measure design creativity of the architects?I need for my research a measurment to assess the level of design creativity. It will be useful a scale too, that I can give for experts in this domain, to evaluate participants' creativity. I need a method that is for free, or it is cheap.The attached study for the city of Vancouver, British Columbia, Canada, has an interesting set of guidelines that serve as measures of the creativity of architects.
1. A building should achieve community benefits.
2. Heritage buildings should not be disturbed by each new building.
3. A building should be people-oriented with such things as observation decks.
4. Buildings should be green--not adversely affect the environment.
5. A new building should minimise the adverse affects on its neighbourhood.Following
- David H Cropley added an answer:What are the measures to evaluate computational creativity in computers?Say I have programmed something in computer which acts as a creative thinking, it could be an idea, plan or any artifact. I want to know how we will evaluate this artifact as being creative.. Are there any standards to measure creativity like Turing test?I would say that the measures are the same as assessing creativity in any context. We know that creative products must possess certain characteristics to be considered creative - in particular novelty and effectiveness. There are already at least several scales that do this and which could be applied to outputs generated from computational creativity. See, for example the Besemer and O'Quin CPSS, or my own (with Arthur Cropley and James Kaufman) Creative Solution Diagnosis Scale (CSDS) - two studies using that published in 2011 and 2012 on my profile. What's important, I think, is not to reinvent the wheel, but to use the body of knowledge that is already available in the field of creativity.Following
- David H Cropley added an answer:What are the key constructs of measuring creative products? Any construct map I can find?Are there any developmental documents that could be found to construct map for measuring creative products. Most of the instruments in measuring or assessing creativity should have a construct map for items design.With my colleagues James Kaufman and Arthur Cropley I developed the Creative Solution Diagnosis Scale (CSDS) - see two related studies published in 2011 and 2012 in my profile. This is specifically designed for measuring the creativity of products.Following
- James Oriza added an answer:How can we measure creativity?Can the creativity be measured? What would be the parameters? Is there any method to do the assessment.Creativity is a long-term process
Creativity is largely based on the inspiration can come from many different angles , and potentially completely different.
We can not reduce the creative process and the focus on a limited period of time and expect a valid representation of the creativity of a person.
Everyone is créatif.Nous not repeat enough : Everyone is creative. Anyone can have an absolutely brilliant idea, even the people we usually think of as uncreative
The creativity does not active on request
Assume that we make a creativity test . It is quite possible (and very likely) on 5 different days , you will get 5 totally different results . We can not control when and how we create our ideas
Measure creativity seems to be an area of interest for many people ( the Torrance Test is a famous example). Still, I think that trying to measure creativity is a bad thing. Not only this measure is almost impossible to do with precision, but doing so may also have negative consequences for several reasons:Following
- Ryan Patrick Holliman added an answer:Sandplay therapy - any thoughts?My thesis is about sandplay therapy and i dealt with following questions:
- is that reasonable apply sandplay therapy for healthy child?
- can I apply Torrance creativity questionnaire to measure child's creativity between 4 to 6 years old? Are there any other suitable questionnaires?
I am concerned about of word "therapy" in the title of my thesis. I do not know if I can apply therapy along with sandplay.I have a few thoughts for your consideration.
(1) you used the term sandplay therapy. As Fariborz has pointed out sandplay has a strong Jungian component. However, I am aware of sandtray therapy which is a different kind of therapy which may be utilized in many different theoretical orientations. For example, I received training that was somewhat more gestalt in nature. I would think it would be important to clearly delineate the different kinds of sandplay and/or sandtray therapies that exist and which one you are talking about. The kind of sandtray therapy that I am talking about is outlined in Homeyer & Sweeney's Sandtray Therapy: A practical manual.
(2) In terms of the Torrance questionnaire, according to the publishers it's suitable for kindergarten and older. In my experience of testing children, one thing that is important in a direct assessment is having practitioners who are comfortable working with children. I've seen mental health practitioners involved in testing with a knowledge of psychometrics but not children, and it greatly affected the results. Especially since you're working with 4 and 5 year olds which can be a challenge at some times to test, I would want to ensure that the person doing the assessment was well trained in working with children.Following
- Kenton Hyatt added an answer:Can anyone suggest a method to measure creativity?For example, I have found the Torrance test but can anybody explain how it measures creativity?Thanks mark. I have not read the Miller book, but will check it out, sounds interesting. and I will definitely look up the references.
Complexity, mindfulness, creative thinking, personality, education, genius and madness