| Studio Habits of Mind frequencies.

| Studio Habits of Mind frequencies.

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Article
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We examine creativity from a qualitative process rather than a quantitative product perspective. Our focus is on “habits of mind” (thinking dispositions) used during the creative process, and the categories we used were those of the eight Studio Habits of Mind observed in visual arts classrooms (Hetland et al., 2007, 2013). Our source of data was f...

Context in source publication

Context 1
... have shown here ample examples of each of the Studio Habits of Mind in the behavior and talk of fledgling fashion designers. In Table 2, we include tallies of each Studio Habit of Mind to show how prolifically each was included in our analysis. Because reality television shows undergo considerable editing, we avoid claims about the proportions of certain Studio Habits or in which sections particular habits appear. ...

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Citations

... When asked about being creative, the presenters placed the emphasis on how the content is produced, demonstrating the importance of considering creativity in terms of process rather than product. Thus, with regard to RQ2, which asked how creativity features in the practices of different language groups in community radio, creativity can be understood here using a process-based lens (Hogan et al., 2018). Understanding creativity in community language broadcasting means not simply referring to a trait that a person might have or the end products that are new or innovative, but rather the acts that people do (in line with Bernard's [2012] argument that the concept of creativity must be broadened). ...
... Everyday creativity has been defined in terms of originality displayed during work and leisure activities throughout daily life: it is about what and how things are done(Richards, 2010). Because typical acts of everyday creativity can include selfexpression in daily pursuits(Ivcevic, 2007) and because everyday creativity is not only about a product but also about the process(Richards, 2010;Hogan et al., 2018), it follows that we can consider the presenters' actions from this framework. ...
Article
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Community radio—and community language radio specifically—occupies an important place in Australia’s multicultural landscape. Members of many language communities arriving in Australia have been denied important opportunities in their home countries including outlets for self-representation and public creativity in their languages. Within Australia, radio provides an accessible means of creative expression, provides vital social connection for community members of all ages and generations, and supports social cohesion on a wider scale. This article explores how community language radio in Australia can play a critical role in supporting the wellbeing of both individuals and communities by providing an accessible and adaptable outlet for creative expression. This case study examines the practices of presenters from Australia’s largest community language radio station, 3ZZZ, which reports broadcasting in around 70 languages weekly. A sample of 16 presenters from the station completed an online, mixed-methods survey. The results afford discussion of the format and composition of community language programs as a form of cultural and language maintenance, the perceived role of creativity in program design and delivery, the perceived impact of the programs for the community, and the perceived role of the program for individual and community wellbeing. The findings are considered with respect to pertinent theoretical frameworks, exploring the implications concerning creativity, community, and wellbeing. The multifaceted results we present highlight how creative community language radio participation is able to contribute positively to wellbeing in the Australian migrant context.
... When asked about being creative, the presenters placed the emphasis on how the content is produced, demonstrating the importance of considering creativity in terms of process rather than product. Thus, with regard to RQ2-which asked how creativity features in the practices of different language groups in community radio-creativity can be understood here using a process-based lens (Hogan et al., 2018). Understanding creativity in community language broadcasting means not simply referring to a trait that a person might have or the end products that are new or innovative, but rather the acts that people do; this is in line with Bernard's (2012) argument that the concept of creativity must be broadened. ...
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This much-needed book introduces readers to the related fields of expertise, creativity, and performance, exploring our understanding of the factors contributing to greatness in creative domains. Bringing together research from the fields of creativity and expertise, it provides fresh insights for newcomers and seasoned scholars alike with its approachable guide to the multidimensional complexities of expertise development. It transcends traditionally studied fields such as chess, sports, and music, instead exploring the intersection of expertise with creativity and the performing arts. Dedicated applied chapters cover eight fields, including mind-games, music, dance, creative writing, acting, art, and STEM. The book also examines the facilitators of creative performance, including aesthetic sensitivity, creativity, and mental imagery as well as the obstacles to performance such as burnout, procrastination, and gender-related challenges. The book concludes by engaging with pressing issues facing expertise, including the impact of AI. Student-friendly pedagogy is featured throughout, including 'Spotlight on...', 'Check it out...', and 'Consider this...' boxes to position material within context and engage students' learning. Whether revealing how an actor brings their part to life, how writers conjure up their storylines and vibrant characters, or what lies behind scientific invention, The Psychology of Creative Performance and Expertise offers a fascinating insight into the multifaceted journey towards achieving creative excellence. This is a valuable resource for final-year undergraduates, postgraduate students, and scholars across a range of disciplines, including expertise or skill acquisition, the psychology of performance, and creativity.
Chapter
Creative inquiry is situational, contextualised, and hardly standardised. This chapter describes how an Art Teaching course was designed to support the creative inquiry of students. An integrated arts project was developed to help students engage with creative stimuli from the disciplines of visual arts and music, where the 12 Art Teaching students worked collaboratively with 12 music students to design a programme booklet for a Baroque music performance. During this process, the students in the Art Teaching course engaged in the creative inquiry by using and developing inspirations from Baroque music and Peranakan culture (also known as Baroque of the East) through site visits, music performances, paper sketches, visual translation with graphic design software, synaesthesia, and collaborative critique. This integrated arts project was supported with course activities that were designed to activate eight Studio Habits of Mind as thinking stances for creative inquiry. Students’ reflections and project deliverables were examined to understand the knowledge and creative outcomes arising from these strategies for supporting the creative inquiry. The lessons learnt and implications for the arts in higher education are discussed.
Research
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The purpose of this book is to make the practical aspects of qualitative research understandable and usable. It does not contain a theoretical analysis or evaluation of qualitative methods from the point of view of their epistemology (their understanding of what constitutes knowledge and the quality and general applicability of the knowledge they generate) or their heuristics (the purity of the techniques they use to acquire what they regard as knowledge). Instead, it focuses on everyday practice: My aim is to explain what concrete activities qualitative research encompasses and what advantages its advocates argue it brings. The book examines questions such as why people do such research, how they go about doing it, what results it leads to, and how results can be presented in a plausible and useful way. Its orientation is extremely practical, with many examples drawn from my own research.