Creativity: Understanding Innovation in Problem Solving, Science, Invention, and the Arts
Abstract
How cognitive psychology explains human creativity
Conventional wisdom holds that creativity is a mysterious quality present in a select few individuals. The rest of us, the common view goes, can only stand in awe of great creative achievements: we could never paint Guernica or devise the structure of the DNA molecule because we lack access to the rarified thoughts and inspirations that bless geniuses like Picasso or Watson and Crick. Presented with this view, today's cognitive psychologists largely differ finding instead that "ordinary" people employ the same creative thought processes as the greats. Though used and developed differently by different people, creativity can and should be studied as a positive psychological feature shared by all humans.
Creativity: Understanding Innovation in Problem Solving, Science, Invention, and the Arts presents the major psychological theories of creativity and illustrates important concepts with vibrant and detailed case studies that exemplify how to study creative acts with scientific rigor.
Creativity includes:
Two in-depth case studies—Watson and Crick's modeling of the DNA structure and Picasso's painting of Guernica— serve as examples throughout the text
Methods used by psychologists to study the multiple facets of creativity
The "ordinary thinking" or cognitive view of creativity and its challengers
How problem–solving and experience relate to creative thinking
Genius and madness and the relationship between creativity and psychopathology
The possible role of the unconscious in creativity
Psychometrics—testing for creativity and how personality factors affect creativity
Confluence theories that use cognitive, personality, environmental, and other components to describe creativity
Clearly and engagingly written by noted creativity expert Robert Weisberg, Creativity: Understanding Innovation in Problem Solving, Science, Invention, and the Arts takes both students and lay readers on an in-depth journey through contemporary cognitive psychology, showing how the discipline understands one of the most fundamental and fascinating human abilities.
"This book will be a hit. It fills a large gap in the literature. It is a well-written, scholarly, balanced, and engaging book that will be enjoyed by students and faculty alike."
—David Goldstein, University of Toronto
... Cognitivist scholars attempted to unveil creative thinking by empirically tracing its inherent cognitive structures and processes. However, they concluded that despite the extraordinary outcomes that the mind can produce, creative thinking is nothing but ordinary thinking oriented toward solving a problem (Smith, Ward, & Finke, 1995;Weisberg 2006). To demonstrate this, Weisberg (2006) meticulously traced the creative thinking activities of famous artists and inventors. ...
... However, they concluded that despite the extraordinary outcomes that the mind can produce, creative thinking is nothing but ordinary thinking oriented toward solving a problem (Smith, Ward, & Finke, 1995;Weisberg 2006). To demonstrate this, Weisberg (2006) meticulously traced the creative thinking activities of famous artists and inventors. For example, in a case study, Weisberg (2006) broke down Picasso's process of painting Guernica into simple problem-solving activities such as remembering, planning, anticipating, judging, perceiving, comprehending, recognizing, and interpreting. ...
... To demonstrate this, Weisberg (2006) meticulously traced the creative thinking activities of famous artists and inventors. For example, in a case study, Weisberg (2006) broke down Picasso's process of painting Guernica into simple problem-solving activities such as remembering, planning, anticipating, judging, perceiving, comprehending, recognizing, and interpreting. Wertheimer (1982) noted that in addition to ordinary thinking, which involves the recall and application of prior knowledge, some problems require productive thinking in order to obtain a novel solution. ...
This case study utilizes three theoretical lenses on creativity-cognitive, sociocultural, and Afrocentric-to visualize the creative process of an African American teen as she engages in making practices to design an Afrofuturist artifact. The study looks at how these lenses illuminate different facets of her design process by depicting her cognitive activities; visualizing the social, material, and temporal distribution of her practices; and revealing the emotions and cultural values that inform her decisions. By opening the space to community-derived knowledge in both the design and analysis of maker education, we aim to meet participants' worldview and advance our understanding of culturally sensitive learning.
... psychology and cognition, insight is typically given short shrift as it is discussed as a specific subprocess of problem-solving (Eysenck & Keane, 2015;Anderson, 2015). Moreover, there is still debate about whether insight has a causal role in generating novel ideas or is merely an epiphenomenon of problem-solving (Weisberg, 2006;Klein & Jarosz, 2011, Laukkonen et al., 2021b. Some researchers have even cast doubt on whether there is a distinct process like insight at all (Chuderski & Jastrzębski, 2018). ...
... There exists a long tradition in psychological research dating back to Gestalt-psychology to study insight in problem-solving (Bühler, 1907;Duncker, 1945;Koffka, 1935;Köhler, 1925Köhler, , 1947Wertheimer, 1959). Insights are often contrasted with analytical problem-solving (Weisberg, 2006;Kounios & Beeman, 2015). The main feature of insight is that unlike analytical problem-solving which happens gradually, insight solutions appear suddenly and are accompanied by a feeling of certainty and an affective component of relief or pleasure (Danek, Fraps, von Müller, Grothe, & Ö llinger, 2014;Kounios & Beeman, 2015). ...
... The main feature of insight is that unlike analytical problem-solving which happens gradually, insight solutions appear suddenly and are accompanied by a feeling of certainty and an affective component of relief or pleasure (Danek, Fraps, von Müller, Grothe, & Ö llinger, 2014;Kounios & Beeman, 2015). There is some disagreement among researchers regarding whether insight is a distinct type of problem-solving ("special-process" view) or whether it is merely an epiphenomenon of problem solving with the same cognitive mechanisms as analytical problem-solving ("business-as-usual" view) (Bowden et al., 2005;Seifert et al., 1995;Weisberg, 2006). Insight solutions will often arise from non-routine problems, such as riddles or brain teasers, where the solver cannot rely on previous experience with familiar strategies and has to form new associations that lead to novel solutions (Dow & Mayer, 2004;Mayer, 1995). ...
Occasionally, a solution or idea arrives as a sudden understanding - an insight. Insight has been considered an "extra" ingredient of creative thinking and problem-solving. Here we propose that insight is central in seemingly distinct areas of research. Drawing on literature from a variety of fields, we show that besides being commonly studied in problem-solving literature, insight is also a core component in psychotherapy and meditation, a key process underlying the emergence of delusions in schizophrenia, and a factor in the therapeutic effects of psychedelics. In each case, we discuss the event of insight and its prerequisites and consequences. We review evidence for the commonalities and differences between the fields and discuss their relevance for capturing the essence of the insight phenomenon. The goal of this integrative review is to bridge the gap between the different views and inspire interdisciplinary research efforts for understanding this central process of human cognition.
... The dimension of an idea includes the birth of the idea (Thompson, 1965), the introduction of the idea (Gupta, 2018), the transformation of the idea, and the implementation of the product of creativity (Alves et al., 2007). The dimension of a practice includes acceptance, implementation of a new idea, process (Thompson, 1965), creative process (Weisberg, 2006), methodology, device, or process (Gupta, 2018). The dimension of an object includes a new product (Thompson, 1965) or creative product (Weisberg, 2006). ...
... The dimension of a practice includes acceptance, implementation of a new idea, process (Thompson, 1965), creative process (Weisberg, 2006), methodology, device, or process (Gupta, 2018). The dimension of an object includes a new product (Thompson, 1965) or creative product (Weisberg, 2006). Innovation at the very least encompasses a new product and new process (Simonetti et al., 1995) produced by a creative individual. ...
This article discusses the process and products of innovation in batik motif design in the Fashion Design study program of the Faculty of Art and Design in Indonesian Institute of the Arts, Surakarta, Indonesia. The research population is 15 students and the report descriptions of each of their art theses. In the context of the innovation process, it was found that artefacts, ceremonies, legends, nature, and performing art phenomena all served as sources of inspiration for innovation in the design of batik motifs which were manifested in various alternative sketches, developed to become selected sketches, and perfected in the final design. In the context of the products of innovation, it was found that the innovations in batik motif design were based on single and multiple motifs that were arranged based on repetition, single, additive, and hypotactic patterns on the medium of a large piece of cloth, using techniques of drawing, dabbing, and painting, to become a piece of batik cloth or a batik painting.
... Each leads to different predictions about how WM is involved during insight. The business-asusual view describes insight as accomplished through WM-demanding processes, just like incremental problems (e.g., Ball & Stevens, 2009;Chein, Weisberg, Streeter, & Kwok, 2010;Chronicle, MacGregor, & Ormerod, 2004;Klahr & Simon, 1999;Perkins, 1981;Thevenot & Oakhill, 2005, 2006, 2008Weisberg, 2013). When conventional solutions fail, individuals search through memory to find new problem-solving approaches, eventually reaching a solution (Ball & Stevens, 2009;Chein & Weisberg, 2014;Davidson, 1995;Kaplan & Simon, 1990;. ...
... It is also possible that relying on controlled attention processes leads individuals to overshadow associative processing, hindering insight (Table 20.2; Beilock & DeCaro, 2007;DeCaro et al., 2016;Fleck & Weisberg, 2004;Weisberg, 2006). If a problem is best solved by "letting go," or letting the mind wander across semantic associations in long-term memory, then relying on controlled processes instead may impede this process. ...
To better understand and predict creativity and innovation, researchers have examined the cognitive mechanisms underlying insight problem-solving. The role of working memory (WM) in insight, in particular, has been the subject of numerous studies. However, these studies have led to widely conflicting results. Some studies show a positive relationship between insight and WM, whereas others show null or even negative effects. We propose that these seemingly contradictory results indicate a more nuanced relationship between WM and insight: WM can both help and hinder insight. In reviewing prior research, we theorize that results diverge due to differences in how insight and WM are measured. WM likely has different effects across the phases of problem-solving, and insight tasks vary in their reliance on each phase. In addition, WM is a multifaceted construct, and different WM processes may support or hinder insight. By delineating the moderating roles of these factors across studies, we will better understand when and why insight will be supported versus hindered.
... When an idea or problem solution appears, it can produce a distinct and powerful phenomenology-a feeling of profound understanding and truth known as insight moments (Ohlsson, 1984;Metcalfe, 1986;Weisberg, 2006). This phenomenology may be a defining feature of psychedelic experiences (Garcia-Romeu et al., 2019;Watts et al., 2017), and could play a foundational role in how psychedelics (i.e., hallucinogenic 5-HT2A agonists) change beliefs (Timmermann et al., 2022;Laukkonen et al., 2020;. ...
... Insight, defined as the sudden appearance of a problem solution in consciousness, has a long history in psychological research (Maier, 1931;Ohlsson, 1984;Schooler & Melcher, 1995;Sternberg & Davidson, 1995;Öllinger & Knoblich, 2009;Ohlsson, 2011;Laukkonen & Tangen, 2018). Insight moments-also known as "Aha!" moments-are a special type of problemsolving process where a problem-solver achieves a sudden and complete mental restructuring of a problem (Ohlsson, 1984;Metcalfe, 1986;Weisberg, 2006) accompanied by a distinct rush of satisfaction, surprise, and confidence (Danek & Wiley, 2017;Jung-Beeman et al., 2004;Topolinski & Reber, 2010;Webb, Little, & Cropper, 2016, Webb et al., 2017. A substantial literature suggests that insights are often associated with correct solutions to problems, at least when using constrained and artificial stimuli (Danek et al., 2014;Hedne, Norman, & Metcalfe, 2016;Laukkonen et al., 2021;Salvi et al., 2016;Tulver et al., 2023;Webb, Cropper, & Little, 2019). ...
Psychedelics are recognised for their therapeutic potential and ability to re-orient beliefs. However, the prospect that psychedelics can induce false or maladaptive beliefs has been under- considered. Here, we review experimental work on false insights and false memories. We then connect this to insights and belief formation under psychedelics using active inference. We propose that the acute plasticity associated with psychedelics increases the quantity and precision of insights and thence beliefs, including false ones. We offer directions for future research in minimising epistemic harm during psychedelics. Ultimately, knowing how psychedelics solicit false insights and beliefs is crucial if we are to optimally leverage their therapeutic potential.
... Najveći broj autora se slaže da je stvaralački proizvod onaj koji zadovoljava dva kriterijuma -novinu i vrednost za zajednicu. Time se priča o produktu postavlja u društveni kontekst(Weisberg, 2006), a društvo je na opštem planu konačni presuditelj vrednosti i trajanja kreativnog produkta. Dodatno, kreativna vrednost produkta se u istraživanjima često iskazuje preko osobina originalnosti, fluidnosti i fleksibilnosti. ...
... Razlika je samo u značaju autora. Dok bez Pikasa nema Gernike jer se u njoj naazi njegov lični pečat, bez naučnika koji su rešili DNK strukturu nam i dalje ostaje ovo otkriće(Weisberg, 2006). Putem saznajnog procesa istraživanja i kombinovanja, svaki sledeći stvaralački akt se nadovezuje na prethodni. ...
... The Scientific Journal of NAZAR research center (Nrc) for Art, Architecture & Urbanism others have conceptualized it either as a result or a product. In some definitions, the emphasis has been on the idea and value production (Stein, 1974;Weisberg, 2006;Vernon, 1989;Kaufman & Sternberg, 2010;Kerr & Gagliardi, 2003) and some have considered creativity as problemsolving and achieving new answers, solutions and relationships (Rezaei, 2014;Mahdavinejad, Mahdavinejad & Silvayeh, 2014;Momtahen et al., 2017;Guilford, 1966;Torrance, 1966;Lang, 2007;Eysenck, Arnold & Meili, 1975). ...
... These five stages overlap with the five phases of the design process mentioned earlier.Every creative idea always has a history behind it. This means that even creative and innovative ideas that are original have been driven by the ideas in the past (Weisberg, 2006). Using existing knowledge as a basis for developing He is similar to a child who needs to learn how to act and behave in the family and society. ...
Abstract:
Problem statement: In the architectural design process, creativity plays an essential role in idea processing. Since creative ideas do not emerge without mental background, the ideas of the past contribute to future creations. Given that over years nature has been referred to as a natural selection for its efficiency and diversity, it can serve as a model in the creative process of the architectural design model. This study aims to focus on the creative process, design process and bionic science at the same time. Previous studies have not integrated three components.
Research objective: Since architecture is fundamentally interdisciplinary, this research attempts to highlight the role of design process systems, creativity and bionic science. Then it describes their associations in the conceptual and logical systems. It also attempts to establish a meaningful and purposeful relationship between the above-mentioned elements and concepts. The impetus of this study is to understand how bionics can promote creativity in architectural design. It is hoped that this study serves as a baseline for the nature-inspired process of creative architectural design.
Research method: This research employs logical reasoning and uses analytical-descriptive analysis to establish a relationship between creativity, architectural design and patterns derived from nature. In terms of the purpose, this study is applied and in terms of the type, it is also a review.
Conclusion: The research findings confirm that nature is a suitable platform for improving the visual thinking strategy of beginners to design ideas. The use of visual descriptors as a cognitive strategy leads to visual retrieval of mental latency in the idea generation stage, which leads to design diversity. Knowledge of the components of nature provides us with strategies to experience structures and systems. This helps us gain a better understanding of the problem of architecture and find a variety of solutions. It also enhances the creativity of novice designers. The stages of the design and creativity process promoted by bionic science overlap. The basic stages of the creative design in bionic architecture include a) using a bionic framework for the architectural design problem, b) preparing a checklist of nature based on the problem, c) examining the accuracy of the rating scale of the relationship between this list and the design problem.
Keywords: Architectural design, Design process, Creativity, Creative process, Nature, Bionics.
... By pursuing the opinion of psychologists and scholars in the field of creativity, Gruber, and Wallace (1999), Sternberg and Lubart (1991), and Weisberg (2006) comprehend individuals' thinking, discovering, and investigating that it can significantly lead to creativity and innovation. Furthermore, according to personality researchers such as Feist (1999) and MacKinnon (1962), personality factors differ more among less creative individuals. ...
Revelation is one of the distinctive characteristics of a human being, which immensely contributes to its progress and success; in fact, an individual is born with the power of revelation and curiosity, which makes him strive and discover the world around him. Accordingly, inquisitive individuals are more motivated to face and solve diverse situations. Revelation and inquisitiveness are additional in individuals, showing the degree of crystallization of their creativity and innovations in different ways. Inquisitive individuals do creative things, which is a vital point for them. Consequently, it is necessary to pay attention to the environmental conditions, specifically the educational environment, and meet the requirements of individuals, particularly students from teachers and academic staff in the educational environment. It not only encourages the development of the individual but even assists the development of society. This literature focuses on the role of revelation and curiosity of students in the educational environment and in creating creativity that must be considered and supported by teachers and academic staff at educational centers. This focus can be helpful for all in charge to provide a dynamic atmosphere for the students and offer them the need to grow their creativity to have a better future and career.
... This complexity can be daunting. When faced with creative thinking or problem-solving challenges, people often hesitate to self-identify as "creative" or are uncomfortable engaging in intellectual risk-taking and open-endedness (Weisberg, 2006). The inherent uncertainty and open-endedness of creative work can be emotionally and mentally taxing, requiring environments that are psychologically safe and supportive as well as dynamic and interesting. ...
In this chapter, we discuss fundamental principles that define a creative learning environment and how these can be integrated into pedagogical design. Utilizing research, a creative environment instrument, and diverse learning settings as a springboard, we emphasize the link between a learning environment’s design and how it nurtures creativity. We propose the use of the SCALE (Support for Creativity in a Learning Environment) instrument (Richardson & Mishra, 2018) as a frame for understanding and evaluating the characteristics of creative learning environments. Using the SCALE’s constructs—characteristics of the environment, learning climate, and learner engagement—as benchmarks, we consider how these offer criteria to build into the design of learning environments. We examine the theoretical underpinnings of creativity, creative environments, and learning, identifying gaps in classroom research that the SCALE instrument can bridge. This chapter discusses applications of these principles across various environments, including online and blended spaces, acknowledging that different environments present distinctive affordances, opportunities, constraints, and possibilities. Our implications take a future-oriented perspective on online creative learning environment design in both research and practice (https://edtechbooks.org/foundations_of_learn/creativity)
... These sources concur that individuals lacking sufficient knowledge may not be able to fully explore the boundaries of their creative potential (Baer, 2012;Boden, 2001;Csikszentmihalyi, 1996;Gero & Maher, 2013;Feldhusen, 1995;Ivcevic, 2007;Kulkarni & Simon, 1988). According to Weisberg (2006), the fulfilment of domain-specific knowledge is a prerequisite for engaging in creative endeavors. In the realm of science education, the provision of a complete and accurate information base to students can significantly enhance their ability to participate in creative thinking and make meaningful contributions to scientific discoveries. ...
This study aimed to investigate the effect of the present science curriculum and textbook exercises on scientific creativity. The study utilized document analysis as a form of qualitative investigation. The study utilized data derived from the academic performance of students in the 7th and 8th grades, specifically focusing on the outcomes of the 2018 scientific curriculum and the activities presented in the associated textbooks. The descriptive analysis technique was applied to examine the results and activities, which are qualitative data. The study comprised an analysis of achievements and activities, concentrating on predefined themes within the sub-dimensions of the Scientific Structure Creativity Model. The study yielded findings that demonstrated a connection between the curricular outcomes and textbook activities across all grade levels. Particularly, these educational materials effectively included scientific knowledge and phenomena, hence promoting the development of creative thinking skills. It is essential to emphasize that the science curriculum and textbook mainly prioritize the creative results and process aspects, whereas characteristics such as fluency, adaptability, and originality, which are crucial to creativity, receive comparatively less emphasis. Furthermore, it was determined that the goals of education and instructional materials for seventh and eighth-grade students were congruent concerning the characteristics of scientific creativity.Keywords: Science education, scientific creativity, curriculum, textbook, document analysis
... Many studies have been done proving that teachers need to master and implement creativity in the teaching and learning process. Many studies both domestic and foreign have discussed this matter (Chamorro and Richenbacher, 2008;Chumo, 2014;Diamantes, 2007;Hyde & Thomas, 2005;Maybien & Swan, 2007;Niu & Stranberg, 2006;Park, 2011Park, , 2012Rusdi, 2020;Robert, 2006;Sabelius, 2002;Storm & Storm, 2002). ...
The aim of this study was to contribution of the Tpack model toward teaching creativity among Arabic language instructors in Malaysia. The sample of this study involved 530 Arabic language teachers based on a population of 7,309. A quantitative approach and random sampling were preferred for data collection purposes. Data were analyzed using the Statistical Package for Social Science (SPSS) Vol. 21. While a regression test was conducted to identify the contribution of the Tpack model to Arabic instructors’ creativity. The outcomes of this study indicated that four main factors contribute to the creativity of teaching Arabic teachers in Malaysia. To further enhance creativity in teaching Arabic, it can be concluded from this study that Arabic language teachers in Malaysia need to concentrate on the four elements listed above. Because it is the primary driver of the creativity of Arabic language instructors in Malaysia, the emphasis on these four knowledge areas, particularly Pedagogical Knowledge, needs special attention.
... Banyak kajian semenjak dari dulu hingga sekarang telah dijalankan dan mendapati bahawa antara elemen yang diperlukan bagi seorang guru untuk membentuk sikap kreatif ialah sabar, bertenaga serta suka mendidik kanak-kanak. Sifat-sifat ini merupakan faktor penting dalam mencetuskan kreativiti kanak-kanak pada peringkat persekolahan (Chamorro & Richenbacher, 2008;Maybien, & Swan, 2007;Niu & Sternberg, 2006;Robert, 2006;Storm & Storm, 2002). Fakta ini telah disokong oleh satu kajian yang dibuat oleh Foundation for Critical Thinking yang mendapati hampir 90% responden bersetuju elemen kreatif merupakan unsur utama yang membantu kejayaan proses pengajaran (Debra Jackson & Paul Newberry, 2012). ...
ABSTRAK Kajian ini menjelaskan tentang model kreativiti pengajaran guru bahasa Arab di Malaysia. Model Technological Pedagogical Content Knowledg (TPACK) telah dijadikan sebagai model utama dalam kajian ini. Kajian ini dijalankan dengan tujuan utama untuk membina model kreativiti pengajaran guru bahasa Arab di Malaysia. Model ini dibina berdasarkan kajian terhadap 530 guru bahasa Arab yang menjadi responden kepada 7,309 populasi di seluruh Malaysia termasuk Sabah dan Sarawak. Pendekatan kuantitatif dan persampelan rawak mudah telah digunakan untuk tujuan kutipan data. Data telah dinalisis dengan menggunakan Statistical Package for Social Science (SPSS) Vol. 21. Dapatan kajian ini menjelaskan model kreativiti pengajaran guru bahasa Arab di Malaysia perlu memberi tumpuan kepada empat penyumbang utama kepada kreativiti pengajaran guru bahasa Arab iaitu Pengetahuan Pedagogi, Pengetahuan Teknologi Pedagogi Kandungan, Pengetahuan Pedagogi Kandungan dan Pengetahuan Teknologi Pedagogi. Kesimpulannya, berdasarkan kajian ini guru bahasa Arab di Malaysia perlu memberi tumpuan kepada empat elemen yang telah dinyatakan bagi mengembangkan lagi pengetahuan dalam kreativiti pengajaran. Oleh kerana itu, tumpuan khusus kepada Pengetahuan Pedagogi perlu kepada perhatian khusus kerana ianya merupakan penyumbang utama kepada model kreativiti pengajaran guru bahasa Arab di Malaysia. ABSTRACT This study investigates the model of creativity of teaching Arabic in Malaysia. Technological Pedagogical Content Knowledg (TPACK) has been made as the main model in this study. This study was conducted with the main purpose of building a model of teaching creativity of Arabic language teachers in Malaysia. This model is based on a study of a sample of 530 from a population of 7,309 Arabic language teachers in Peninsular Malaysia including Sabah and Sarawak. Quantitative research method was used and random sampling was carried out for the collection of data. The data were analyzed using the Statistical Package for Social Science (SPSS). The findings of this study explain the model of teaching creativity which needs to focus on Pedagogical Knowledge, Technological Pedagogical Content Knowledge, Pedagogical Content Knowledge and Technological Pedagogical Knowledge. In conclusion, the finding clearly indicate that the Arabic language teachers in Malaysia need to focus on the elements that have been stated to develop an excellent knowledge in creativity of teaching. Furthermore, a special focus on Pedagogical Knowledge needs special attention because it is a major contributor to the model of teaching creativity of Arabic language teachers in Malaysia.
... El pensamiento por analogías es un tipo de pensamiento mucho más frecuente de lo que las personas piensan. Forma parte de una amplia variedad de actividades de la vida cotidiana, del pensamiento científico y procesos de la ciencia como son los modelos científicos (Galagovsky y Adúriz-Bravo, 2001), la resolución de problemas (Gick y Holyoak, 1980), el descubrimiento científico (Weisberg, 2006) y la argumentación (Dunbar, 2001) por mencionar sólo algunas. ...
El presente trabajo tuvo como objetivo describir las analogías de los textos de Biología utilizados en los dos primeros años de la Escuela Secundaria. Se seleccionaron los siete libros de texto señalados como los de uso más frecuente por los y las docentes. En ellos se identificaron 265 analogías y se observó que éstas aparecen en los textos para ilustrar o introducir conceptos meta mayormente abstractos, pero lo hacen de manera implícita, simple (i.e. sin desarrollar), e implican la utilización de análogos base concretos y pertenecientes a la misma Biología. A partir de estos resultados se pueden inferir algunos beneficios y dificultades que pueden generar estas herramientas, lo que resulta relevante tanto para los autores de los libros de texto, como para los docentes que las utilizan. ark:/s23449225/ectcwpih3
... It is important to note that Kekulé's anecdote regarding the discovery process of benzene was part of an address he gave at a celebratory dinner in honor of this discovery multiple years later. It is still debated whether this anecdote is true or made up for presentation at that celebratory dinner (seeWeisberg, 2006). ...
... Working backward heuristics reverses thought processes, thereby uncovering differences in judgments and analytical approaches and gaining additional insights to enhance the final product (Ericsson and Smith, 1991). This type of heuristic is useful when examining a limited number of options and decisions at a particular step (Weisberg, 2006). In our process, there are limited choices to be examined when moving from the metainferences and tracing them back to the first step of data analysis. ...
Metainferences, or the insights derived from integrating quantitative and qualitative inferences at the end of a study, are crucial for achieving added value and synergy in mixed methods research. There is an ongoing need to understand how researchers generate metainferences, especially considering their pivotal role in helping researchers achieve full quantitative and qualitative integration. While some examples of metainferences generation are available in the mixed methods literature, more explicit guidance is required. Approaches to developing metainferences must also be contextual, as inferences of this type are contingent on the nature and purpose of the mixed methods study, the type of mixed methods design, and the quality of the research data. This paper describes a seven-step process for generating metainferences using a convergent mixed methods study as an exemplar. These steps consist of identifying knowledge, experience, and data-driven inferences from the quantitative and qualitative data; developing inference association maps to draw metainferences; and assessing the validity of metain-ferences using backward working heuristics. This paper contributes to mixed methods research by shedding light on the development of metainferences in convergent designs and by providing practical and tangible tools for making sense of the complexity of the analysis and interpretation tasks involved in the process of generating metainferences.
... In this, the AI is not unlike most, if not all, human creativity. People also build on, and continuously reconfigure, their growing knowledge and experience (Gruber, 1981;Hanchett Hanson et al., 2021;Weisberg, 2006Weisberg, , 2011. Like everyday and some workplace creativity by humans, the novelty of AI-generated work has tended to be limited. ...
With the advent of artificial intelligence (AI), the field of creativity faces new opportunities and challenges. This manifesto explores several scenarios of human–machine collaboration on creative tasks and proposes “fundamental laws of generative AI” to reinforce the responsible and ethical use of AI in the creativity field. Four scenarios are proposed and discussed: “Co-Cre-AI-tion,” “Organic,” “Plagiarism 3.0,” and “Shut down,” each illustrating different possible futures based on the collaboration between humans and machines. In addition, we have incorporated an AI-generated manifesto that also highlights important themes, ranging from accessibility and ethics to cultural sensitivity. The fundamental laws proposed aim to prevent AIs from generating harmful content and competing directly with humans. Creating labels and laws are also highlighted to ensure responsible use of AIs. The positive future of creativity and AI lies in a harmonious collaboration that can benefit everyone, potentially leading to a new level of creative productivity respecting ethical considerations and human values during the creative process.
... The study employed a Figural Creativity Test (TKF) tool, which draws on Guilford's conceptualization of creativity, to administer pre-test and post-test assessments of participants' creativity levels (Weisberg, 2006 This research hypothesis test was carried out with non-parametric techniques using the Mann Whitney test then using the Wilcoxon test. ...
There are multiple methods to cultivate creativity, including play. In current times, teenagers frequently engage in smartphone-based play, leading to the emergence of online gaming as a solution. Little Alchemy 2 is a popular game among teenagers. This study aims to determine the effectiveness of the duration of little alchemy 2 game play on adolescent figural creativity in Makassar city. This study used a one group pre-test post-test experimental design by comparing experimental group 1 with a time limit of 15 minutes and experimental group 2 with a time limit of 30 minutes. The study involved 30 male students aged 18-19. The statistical tests employed in this study were the Mann Whitney Test and the Wilcoxon Test. The results of this study indicate that there is an effect of intensity in playing the game little alchemy 2 with ρ = 0.042 (ρ <0.05), and there is a difference between the intensity of experimental group 1 and experimental group 2 in playing games at p = 0.000 small than (<0.005). Engaging in Little Alchemy 2 gameplay for a duration of 15 to 30 minutes has the potential to augment the creativity of adolescents.
... Furthermore (Craft, 2001) suggests that education can influence creativity. Weisberg, (2006) further argues that a person needs to undergo special training in the knowledge acquisition phase before generating creative ideas. After continuous practice, a person has a greater chance of creating significant creative ideas (Ruseffendi, 2006). ...
Background: Creative thinking skills significantly affect the learning process's success. Improving higher-order thinking skills requires wise consideration of learning techniques and a commitment to an active and learner-centered learning environment. Objectives: The current study aimed to explore elementary students’ creative thinking processes in solving mathematical problems after implementing inquiry-based learning (IBL). Design: This study employed a mixed-methods approach to data collection, combining semi-structured and comparison methods. Setting and Participants: The research sample consisted of 20 five-grade students (twelve boys and eight girls) from SD Negeri 149 Tokinjong, Sinjai Regency. Data collection and analysis: Descriptive statistics and the N-Gain test were used to analyze participants’ creative thinking pre- and post-test scores. Interview analysis was performed through data reduction, data display, and conclusion drawing and verification. Results: The results showed that IBL has the potential to improve elementary school students’ creative thinking skills with a mean score of 77.25. Besides, participants engaged in a cyclical thinking phase between the preparation and imagination phases. The two cognitive tasks distinguished the cyclical thinking process are information collection and information examination. This process was repeated until participants decided that no more viable alternatives. Conclusions: The implementation of inquiry-based learning has the potential to improve elementary school students’ creative thinking skills; participants engaged in a cyclical thinking phase between the preparation and imagination stages.
... Any artist or designer who reads this paper may by now have given up in frustration, since the account I have offered so far of the generation of possibilities does not appear to leave space for the leaps of special creative genius that characterise their lived experience (e.g. Barzun, 1989;Sternberg, 1996; but see Ross & Vallee-Tourangeau, 2018;Weisberg, 2006 for more prosaic accounts of creative expertise). My contention is that generating creative or novel possibilities is a relatively rare activity, and one that is triggered by requirements of the domain. ...
In creative domains such as art, design and science, the generation of novel possibilities is highly desirable. However, most human activity takes place outside of domains where the generation of novel possibilities is prescriptively optimal, and indeed to do so may be undesirable. In this paper, evidence for the paucity of possibility generation will be described, even in instances where generation of multiple possibilities might be desirable. Conversely, the value of focussing on currently explored rather than novel possibilities is demonstrated with reference to a computational model of insight problem-solving. It is suggested that, in domains where generation of creative possibilities is a task requirement, strategies acquired though domain expertise are needed to push thinking into new possibility spaces. These strategies are illustrated by case studies and data from domains of insurance fraud and police investigations, educational task design and puzzle solving.
... Psychologists have been interested in creativity for quite some time (e.g., Csikszentmihalyi 2013;Sternberg 2006;Weisberg 2006) and the topic still stimulates a great deal of empirical research (1152 papers in the last five years found in PsycArticles, searching for the word creativity in the keywords, abstract or title section). This is not surprising. ...
In this paper, we focus on the link between thinking in opposites and creativity. Thinking in opposites requires an intuitive, productive strategy, which may enhance creativity. Given the importance of creativity for the well-being of individuals and society, finding new ways to enhance it represents a valuable goal in both professional and personal contexts. We discuss the body of evidence that exists concerning the importance of the first representation of the structure of a problem to be solved, which determines the baseline representation and sets limits on the area within which a problem solver will explore. We then review a variety of interventions described in the literature on creativity and insight problem solving that were designed to overcome fixedness and encourage people to move away from stereotypical solutions. Special attention is paid to the research carried out in the context of problem solving, which provides evidence that prompting people to “think in opposites” is beneficial. We suggest that an extended investigation of the effects of this strategy in various types of tasks related to creativity is an interesting line of research to follow. We discuss the rationale supporting this claim and identify specific questions, both theoretical and methodological, for future research to address.
... Here, her use of cases was itself a form of triangulation in considering the implications of her findings from behaviorist experiments with rats (Stokes, 1995). Similarly, Weisberg (2006Weisberg ( , 2011Weisberg & Hanchett Hanson, 2013) has used case studies, triangulated with experimental problem-solving studies, to argue for his 'inside-thebox' view of creative development. ...
... El modelo creativo de solución de problemas (Creative Problem Solving Model, o CPS) (Weisberg, 2006;Belski et al., 2019) es un procedimiento para solucionar problemas complejos y de respuesta abierta por medio del análisis de una situación con pensamiento crítico y de la generación de ideas con pensamiento creativo. El CPS en su versión 6.1™ (Treffinger et al., 2006) consiste de cuatro etapas con ocho subetapas que se pueden aplicar en la nube. ...
El pensamiento crítico y la creatividad son útiles para la solución de problemas. En un mundo cambiante, dichas capacidades son esenciales. Por ello, los planes educativos deben tener en cuenta el desarrollo de competencias como el pensamiento crítico y la creatividad. Uno de los cambios que se está produciendo es que la docencia se está moviendo hacia un entorno en línea (aka, online) como un espacio de encuentro cómodo, y hacia la nube (aka, cloud) como un espacio de memoria permanente. Hay que comprender cómo se pueden aprovechar las ventajas de la comunicación online y de la memoria de la nube para la enseñanza y el aprendizaje de la creatividad. En este capítulo revisamos las experiencias publicadas sobre docencia de creatividad online y en la nube. Se sugiere, por ejemplo, el uso de la valoración de los trabajos por parte de los compañeros o mentoría, la creación de equipos de trabajos enmarcados en situaciones cooperativas o competitivas, el uso de las analogías, o del modelo creativo de solución de problemas. Palabras clave: creatividad, docencia, en línea, online, nube, cloud class, colaboración
... Unfortunately, this view has important shortcomings (see e.g., Nickles 1980a;Kantorovich 1993;Gillies 1995;Weisberg 2006). Firstly, it has been argued that algorithms do not perform the crucial part of hypothesis-generation, i.e., the choice of the relevant variables and data. ...
... Artistic paintings are concrete visual expressions of human evolution and creativity to share emotions, values, visions, beliefs, and trends of history and culture. The creation, interpretation, and analysis of artistic paintings are social, contextual, subjective, passive, and, beyond superficial characteristics, complex to compute and automatize [206]. In particular, it is theorized that art is an output of social agents, particularly a human experience, that can only be imitated by machines [207]. ...
Despite being highly heterogeneous, all data can be reduced to a string of bits. Kolmogorov complexity analyses data in this way, measuring a string's complexity by determining the length of a smallest program which, when executed, generates that string and halts.
Even though Kolmogorov complexity is noncomputable, it can be approximated, and as such, it is possible to perform data analysis using these approximations. This dissertation ties in directly with this subject since it studies Kolmogorov complexity approximations in data description and its potential applications.
First, we use Kolmogorov complexity approximation measures in genomic data. We demonstrate that using specific data compressors to quantify data complexity profoundly impacts genomic taxonomic identification, classification, and organization.
Afterwards, we examine the application of information-based measures in 2-dimensional digital objects, specifically artistic paintings. Using these measures, we developed techniques that can be valuable for art authorship attribution and validation, art style categorization and organization, and art content explanation.
Subsequently, we apply Kolmogorov approximations to data generated by Turing Machines. Specifically, using these measures, we investigate the relationship between the algorithmic and probabilistic complexities of the Turing Machine tapes. Complexity is studied globally by investigating probabilistic complexity patterns yielded by sequentially generated TMs, and locally using complexity profiles. Furthermore, we also introduce a method for increasing probabilistic complexity while retaining the same algorithmic complexity.
Finally, using the knowledge from studying Turing Machine tapes, we introduce a methodology that, given a string, searches for programs that generate approximately the same output.
... It would perhaps also greatly benefit from integrating the research from Creativity Science, for example (Weisberg, 2006), and Csikszentmihalyi's (1988) evolutionary sociocultural systems model of creativity (Csikszentmihalyi, 2014c). ...
ABSTRACT -
This paper uses an EthiSizer A.I. algorithm (Beta_V5.42957591) to examine 32 Cultural Evolution books (from 00300 BCE-02022 CE), in the new light of the meta-meta-Science (scientific meta-meta-paradigm) of Evolutionary Culturology (Velikovsky 02016-02023).
Sources examined include Aristotle (circa 00330 BCE), through Charles Darwin (01859, 01871) and also Mesoudi (02011), to the present day (02022), all now viewed in the new light of the new meta-meta-science of Evolutionary Culturology (02023), and its discovery of the fractal HOLON/parton structure and function of the units and scale-levels of biology and culture, and Ev Cult’s 3 Laws of all culture and biology.
Inspired by the Cultural Evolution Society’s (website) list of Resources, the Cultural Evolution literature reviewed herein includes: Mesoudi (2011), Dawkins (1976), Cavalli-Sforza & Feldman (1981), Wilson & Lumsden (1981), Boyd & Richerson (1985), Sperber (1996), Deacon (1997), Richerson & Boyd (2005), Blute (2010), Boehm (2012), Haidt (2012), Richerson & Christiansen (2013), Jablonka & Lamb (2014), Hartley & Potts (2014), D S Wilson (2015), Jordan (2015), Christiansen & Chater (2016), Henrich (2016), Turchin (2016), Morin (2016), Laland (2017), Boyer (2018), Heyes (2018), Matthews et al., (2018), Turner et al., (2018), D S Wilson (2019), Wrangham (2019), Aktipis (2020), Acerbi (2020), Hanisch & Eirdosh (2020),
Norman (2021) and Newson & Richerson (2021). Also listed are Journals on or related to Cultural Evolution. To sum up. The new meta-meta-science of Evolutionary Culturology is a Kuhnian scientific meta-meta-paradigm that provides a consilient solution to many previously-unsolved `hard scientific problems’ of both culture, and biology; and indeed all 50,000+ domains in culture.
Keywords: Evolutionary Culturology, The EthiSizer literature review, Applied Evolutionary Epistemology, Biological Evolution, Cultural Evolution, Creativity Science, Consilience, Convergence, Informatics, Informetrics, Philosophy of Science; Science; The Newcastle School of Creativity; Meta-meta-Science; Scientific Meta-meta-Paradigm Shift
... Creative design evaluation is mostly carried out by experts or other types of human subjects, with or without structured guidance or procedures (Sarkar & Chakrabarti, 2007;Brown, 2015;Ahmed & Fuge, 2018;Sosa, 2019;Hay et al., 2019). However, human experts are subject to their personal knowledge, experiences, opinions, and intuitions (Weisberg, 2006;Oman et al., 2013). What appears original to one group of experts might not be so to others. ...
The creation of new technological concepts through design reuses, recombination, and synthesis of prior concepts to create new ones may lead to exponential growth of the concept space over time. However, our statistical analysis of a large-scale technology semantic network consisting of over four million concepts from patent texts found evidence of a persistent deceleration in the pace of concept creation and a decline in the originality of newly created concepts. These trends may be attributed to the limitations of human intelligence in innovating beyond an expanding space of prior art. To sustain innovation, we recommend the development and implementation of creative artificial intelligence that can augment various aspects of the innovation process, including learning, creation, and evaluation.
... como un recurso." 5 Según Weisberg y Reeves (2013), los procesos de resolución de problemas se pueden dar de dos formas: analítica 6 y especial. Los procesos analíticos o de procesamiento de información, también llamados procesos usuales, se enfocan desde una perspectiva de arriba hacia abajo del conocimiento y enfatizan el papel de la experiencia en la resolución de problemas (Weisberg, 2006). Desde este punto de vista, primero se analiza la situación y, con base en lo que se sabe sobre ella, se desarrolla un método de solución. ...
La resolución de problemas es un proceso clave para la supervivencia y el éxito
reproductivo ya que influye en la obtención de alimento, pareja sexual o refugio.
Asimismo, es un proceso central para el área de la innovación en el estudio de la
adaptación a cambios del ambiente. Sin embargo, la investigación de los factores y
procesos que influyen en este es escasa e incluso contradictoria, en especial, a nivel ontogenético. En este estudio, se propuso una unificación metodológica entre el área de la innovación y el Análisis de la Conducta proponiendo una nueva tarea Detour y siguiendo un procedimiento innovador. Además, se evaluó el efecto de cuatro factores (motivación, exploración, interacción entre exploración y resolución, y experiencias previas de enriquecimiento social y físico) en cinco variables relevantes de procesos de resolución (frecuencia y latencia de resolución, variabilidad, direccionalidad y flexibilidad conductual). Los resultados sugirieron que el enriquecimiento social y físico relacionado con los elementos de la tarea es la experiencia que propicia la obtención de mejores puntajes en las variables propuestas, en comparación con un enriquecimiento social y físico no relacionado, conductual, solo social o de ningún tipo. Se encontraron diferencias estadísticamente significativas entre las experiencias. Cuando la motivación
fue de tipo extrínseco, la frecuencia de resolución fue alta, rápida y mantenida en el
tiempo, al contrario de la intrínseca. La exploración previa tuvo un efecto facilitador,
mientras que la resolución previa redujo la variabilidad conductual posterior. Se
discuten sus implicaciones en el área en conjunto con la innovación y se proponen
futuros estudios y análisis que aportarían grandes avances a través del discernimiento de las causas directas e indirectas de los factores relevantes para resolver problemas.
Palabras clave: resolución de problemas, enriquecimiento ambiental, motivación,
exploración, flexibilidad conductual, ratas.
... Zgodnie z klasyczną teorią stopniowego przyrostu Roberta Weisberga proces twórczy jest zwyczajnym, żmudnym rozwiązywaniem określonego problemu, który -odbywając się krok po kroku -jest zasadniczo pozbawiony spektakularnych olśnień, przełomów intelektualnych czy momentów wglądu (Weisberg, 2006). Współczesne koncepcje procesu twórczego, np. ...
Natura i kultura to dwa komponenty konstytuujące pojęcie ludzkości w sposób nierozerwalny. Ponieważ natura, czyli świat dzikich mocy oraz kultura, czyli świat ludzkich wytworów, nieustannie ewoluują, wzajemnie się katalizują i dopełniają, niemożliwe jest określenie linii jednoznacznie oddzielającej od siebie te dwa obszary. Zarządzanie, przynależne do świata kultury, pomaga porządkować i organizować środowisko człowieka (naturę i kulturę). Z kolei również przynależna do świata kultury sztuka pomaga uwalniać emocje (katharsis), dynamizuje życie wewnętrzne człowieka oraz inspiruje (Tatarkiewicz, 2015, pp. 24, 380). Owa porządkująca funkcja zarządzania i twórcza funkcja sztuki determinują potocznie postrzeganą przeciwstawność obu dziedzin. Dopiero zagłębienie się w istotę zarządzania i w istotę twórczości artystycznej pozwala odkryć wiele wspólnych źródeł tych dwóch obszarów – choćby kreatywność. Życie, oparte na powtarzaniu i kopiowaniu, byłoby monotonne i skostniałe, gdyby nie czynnik kreatywności będący przedmiotem pożądania zarówno menedżerów jak i twórców sztuki. Na tej podstawie można stwierdzić, że pozornie przeciwstawne dziedziny zarządzania i sztuki mogą się dopełniać i inspirować.
Zarządzanie nieustannie ewoluuje: od XIX-wiecznego podejścia inżynierskiego charakteryzującego się traktowaniem rzeczywistości organizacyjnej jako systemu bezdusznych elementów, które należało uporządkować na wzór niezacinającej się maszyny (metafora organizacji jako maszyny), przez XX-wieczną menedżerską efektywność w realizowaniu celów ekonomicznych, która jest transpozycją podejścia inżynierskiego, ale z dominacją czynnika rynkowego, aż po rozwijające się w ostatnich dziesięcioleciach zarządzanie humanistyczne. Nurt zarządzania humanistycznego, będący dominującym podejściem teoretycznym niniejszej pracy, ukierunkowany jest na tworzenie trwałego dobrobytu człowieka (Kociatkiewicz & Kostera, 2013). Z kolei ów trwały dobrobyt człowieka w duchu humanizmu polega przede wszystkim na: 1) bezwarunkowym poszanowaniu godności, indywidualności i ochrony przed wyzyskiem każdej istoty ludzkiej; 2) refleksji etycznej odnoszącej się do wartości uniwersalnej, jaką jest dobro, będącej integralną częścią decyzji biznesowych oraz 3) implementacji tej refleksji etycznej do realnego postępowania organizacji w duchu godzenia intencji z działaniami. Te trzy wymiary zarządzania humanistycznego promują rozwój człowieka poprzez działalność gospodarczą sprzyjającą życiu i stanowiącą wartość dodaną dla całego społeczeństwa (Melé, 2016). Analizując powyższą ewolucję istoty zarządzania można powiedzieć, że w naukach o zarządzaniu dopiero niedawno zrozumiano, że życie ma głębszą wartość, a techniczne porządkowanie i optyka rynkowa powinny być traktowane jako metody osiągania celów przez organizacje, a nie cele same w sobie. Naturalną zatem konsekwencją będzie mariaż zarządzania humanistycznego z estetyką, która – skupiona na wartościach uniwersalnych prawdy i piękna oraz sztuce kumulującej najbardziej abstrakcyjnie zaawansowane wytwory ludzkości – stanowi kwintesencję i emanację człowieczeństwa.
... Arazo-bilaketan, barne-motibazioari eta pertsona sortzailearen interpretazio pertsonalak aztertzeari ematen zaio lehentasuna. Bestalde, arazo-konponketa objektiboagoa da eta pertsonen esperientziari, ezagutza mailari eta domeinu zehatz batean duten sormenezko gaitasunari ematen zaio garrantzia (Weisberg, 2006). ...
... A special role in achieving psychological well-being is played by creativity which can be seen as a unique creative ability, the ability to abandon stereotypical ways of thinking (Gilford, 1968); a survival skill that should be shaped in a variety of contexts (Alencar & Oliveira, 2016, 555-560); novelty, efficiency and ethics (Cropley, 2001) etc. As noted by Weston (2007) and Weisberg (2006), all people are capable of creative thinking, because creative people, whether they are geniuses or ordinary people, are characterized by critical thinking, ingenuity, imagination, discipline, and perseverance. In addition, Weston (2007) believes that creativity can be developed through exotic associations, diversification and development of ideas (p.21), comparison and juxtaposition of historical and intercultural facts, hyperbolization, and the combination of incompatible things and phenomena. ...
The cyclic nature of studies on talent development (TD), in the spirit of use-inspired research, suggests a systematic, reciprocal process, from more basic research to an increasing applied focus, with a focus on developmental diversity, specificity, and complexity, integrating biological, cognitive-affective, developmental, sociocultural levels of analysis from a developmental science perspective. This chapter provides an overview and critique of what has been done in recent decades that fit the delineation of six types of research on TD delineated in Chap. 3. First, it summarizes a survey of research between 2010 and 2020 to obtain a glimpse of the efforts along the line and offer a tentative critique. Second, it further explores how well current TD studies have addressed developmental diversity and specificity at an empirical level, including the appropriateness of research designs and methods. Third, it asks how well, at the conceptual level, the accumulated studies are coordinated in a way that allow integration across different levels of analysis to capture the level of developmental complexity as the developmental science framework stipulates. Fourth, it compares advances in TD research with those in developmental criminology and developmental psychopathology, highlighting how insights from these fields of research can inspire and inform TD research.
Extended Abstract
Background and Objectives: Creativity has been a constant concern of artists and architects in different periods of history. Contemporary challenges and problems require new solutions that fit the requirements of current period. Knowing that the ultimate goal of architecture is to create a place for people to live, creativity in this field should also be directed towards enhancing the quality of human existence and addressing the evolving challenges of each period. Therefore, achieving a systematic model that allows assessing the creativity of the architectural works that introduces the influential components of this field, can solve many problems related to both human society and the environment. Such a model can also contribute significantly to the design of innovative and valuable architectural creations. In this study, a model for evaluating the creativity of architectural designs has been introduced, utilizing the SAPPhIRE method, adapting it to architectural contexts, and considering the authentic human environmental needs. This model takes into account multiple facets of architectural creativity and its compatibility with human well-being, ultimately quantifying the creativity level of each building with a specific numerical value. The model was applied to assess the creativity of LalehPark, Atlas, and Setarehbaran Commercial Buildings in Tabriz city, and the findings have been deliberated upon.
Methods: In this research, two research strategies have been used. At first, with the aim of providing a model to assess the creativity of architectural work, the Delphi research method has been used. The Delphi technique provides a convenient way for experts to reach consensus on a topic without face-to-face interaction. According to this method, in order to adapt and interpret the SAPPhIRE creativity assessment method with the architectural space, an open interview was conducted with architectural elites in the first stage. Next, every participant in the Delphi panel received a questionnaire and ranked and assigned scores to the summarized points derived from the initial phase. By specifying the desired components of the elite panel, the architectural creativity assessment model was completed. Then, with the aim of assessing the level of creativity of selected commercial buildings in Tabriz city, a survey strategy has been used with a quantitative approach. To achieve this objective, the approach involved distributing questionnaires to individuals who had firsthand experience residing in the designated areas, as well as conducting interviews with architects and experts in the field of architecture within the city. Finally, in the present research, after collecting information based on bibliographic studies and understanding the concepts and components of architectural creativity and establishing a logical connection between these components through the Delphi technique and using the opinions of experts, a model was provided for assessing the creativity of architectural works. The authors utilized the provided model to evaluate the creativity levels of LalehPark, Atlas, and Setarehbaran Commercial Buildings in Tabriz city. This assessment involved the completion of questionnaires and conducting interviews, and the subsequent compilation and presentation of the results.
Findings: In most definitions of creativity, two main elements have been introduced for an architectural work to be recognized as creative, innovative and useful. The main benefit and purpose of architecture is to create a suitable environment for human life; therefore, the creativity of architectural works should also be realized in line with attention to human beings and their quality of life. It is not possible to provide human living environment without considering human needs. This is when architecture becomes important – it helps meet those needs in the environment. On the other hand, architectural creativity is valuable when it serves human life and responds to human needs. As a result, architectural creativity should focus on finding fresh and innovative ways to meet human needs in the environment. In this article, we introduced a model to assess the creativity of architectural designs by evaluating their ability to meet human needs within the environment (the benefit of architecture) and measuring the uniqueness of these solutions (architectural innovation). This model was used to assess the creativity of three commercial complexes: LalehPark, Atlas, and Setarehbaran Commercial Buildings. Our findings indicated that LalehPark scored 0.77 in terms of benefit, Atlas scored 0.71, and Setarehbaran scored 0.67. Regarding creativity, LalehPark scored 0.36, Atlas scored 0.35, and Setarehbaran scored 0.30. Consequently, the overall creativity ratings were as follows: LalehPark at 0.28, Atlas at 0.25, and Setarehbaran at 0.20.
Conclusion: Based on the test results, the foremost priority for users of commercial complexes is addressing their physical requirements. In these buildings, spiritual needs hold the least significance for users. Over the past decade, especially during the shopping mall trend in Tabriz city, designers and builders have taken these preferences of the public into account. By incorporating elements like spacious lobbies, enhanced spatial transparency, establishing visual connections between levels, and ensuring clear visibility of vertical access points from main areas, they have successfully created an environment contributing to creativity and meeting the physical needs of visitors. Simultaneously, the introduction of diverse amenities such as cinemas, food courts, amusement parks, and coffee shops has attracted a wide range of people from various age groups and societal backgrounds, leading to the prosperity of these complexes.
Sanatsal yaratıcılık, temelde orijinalite ile ilintili ve sosyalite ile bağlantılıdır. Dolayısıyla sanatsal yaratıcılık toplumsal yaratıcılığın izdüşümüdür. Her sanatsal üslup, akım veya paradigma, içine dahil ettiği sanatçıyı hem bireysel hem de kolektif açıdan sınıflandırarak ve konumlandırarak sorumluluk yükler. Doğal olarak sanatsal orijinalite meşruiyet, özgünlük ve mülkiyet anlamında bir profile sahip olur. Bu durumla ilgisinde temellük sanatının “sanatta” ve “sanatsal” temellük ayrımında bir değer ile mukabele ve değerlendirme görmesi söz konusudur. Temsil, tasarım ve uzlaşımsal kriter ve kabullere muhalefet etmemesi de ayrıca gözlemlenmektedir. Sanatsal ihlal ve ihmaller ile temellük sanatı arasında kurulan doğal hukuki tartışmalar geçmişte olduğu kadar şimdi de devam etmektedir. Temellük sanatının telif hakları, adli kullanım ve cezai müeyyide açısından yaşadığı sorunları “yaşayacağı sorunlar” biçiminde görüp “yineleme ve yenileme” mantık çerçevesinde değerlendirilmesi gerekmektedir.
Abstract
In recent decades; consumers are exposed to a lot of advertising massages from different means
of media channel which cause low attention rate towards advertising; therefore, marketers and
advertisers increase their efforts in terms of finding new ways and creative methods in order to
grab customers' attention to stand out from this clutter daily massages.
One of these creative smart tactics is ambient advertising. It is one of Guerrilla marketing
strategies, which targets a certain audience in a creative, exciting, unexpected and memorable
approach (this strategy is more suitable for small and medium projects which are executed in
low budget). Accordingly, ambient advertising helps to highlight the message out to large
communities with low budget. Thus, this paper is using a descriptive method to focus on
ambient advertising and its media. Trying to encourage advertising designers and marketers to
apply ambient advertising. In addition, this paper recommends a new approach to create
ambient Ads designs by using experimental method to create ambient advertising designs.
Ambient advertising is all about creativity, and how effectively the advertiser is able to
communicate the message to the consumers effectively. Therefore, this research applies chosen
creative thinking techniques that are corresponding with design process to design a creative
ambient advertising to present an approach, then an advertising assessment is conducted,
through a survey to examine these ambient advert designs. This assessment is examining
ambient advertising designs according to the character of creativity and the effectiveness of
them... The results are presented with accepting average (between 78% to 89%). Thus, this is
an approach that could be used to design creative ambient advertising, but it needs further
research
There has been worldwide recognition of changing needs of skills from academic graduates. The need for developing twenty-first century skills like critical thinking, creativity, and innovation has been argued by organizations like World Economic Forum, P21, OECD, ISTE, etc. Developing a mindset for innovation in children has been one of the key requirements for twenty-first century education. This paper argues that divergent thinking is one such component which is needed for building an innovative mindset and schools are the best place to start with. This study reports an investigative study conducted with 100 school students to observe the development of divergent thinking after they were taken through an eight-day design thinking workshop. The research methodology followed in this research was a pre-post activity to observe the differences in divergent thinking. The Torrance Test was used to observe the differences in divergent thinking. The students were given a design problem and were asked to ideate a few conceptual design solutions for the same. The data collected in this study was in the form of rough sketches made by students. Three experts were asked to evaluate the design solutions given by the students on various criteria such as fluency, flexibility, originality, and elaboration.KeywordsInnovationDivergent thinking21st century skillsDesign competency
While literatures on intelligence, creativity, and wisdom recently intersect, these three constructs are usually analyzed separately, focusing on their specificity rather than their complementariness. Indeed, correlational findings suggest that the overlap between intelligence and creativity, intelligence and wisdom, and wisdom and creativity is moderate at best. However, many studies suffer from a very narrow understanding and measurement of these constructs. What seems promising are perspectives that search for complex forms of relationships, going beyond simple correlational associations. Examples might include a necessary-condition analysis (NCA) approach, where intelligence is theorized as a necessary (yet not sufficient) condition of creativity and a necessary condition of wisdom. This chapter discusses previous attempts to study the relationship between intelligence, creativity, and wisdom, focusing on more nuanced and complex links. It mainly focuses on the function these three constructs, separately and together, might play in bringing positive change. To this end, I discuss how intelligence, creativity, and wisdom make emancipation or well-being possible, their role in healing, responding to political populism and social media fake news, and reducing stereotypes and prejudices.KeywordsIntelligenceCreativityWisdomProtestPrejudiceNecessary condition analysis
In the last decades the idea of creativity has gained increasing interest in the field of philosophy, cognitive sciences, sociology, etc. and there have been renewed contributions regarding the classic idea of creativity. We consider that the contribution of classic pragmatism deserves special mention-particularly in the works of Charles. S. Peirce and John Dewey. In this article, we are going to refer exclusively to the Deweyan treatment of this idea. We will sustain that Dewey's theory provides interpretative elements which are innovative and disruptive regarding the philosophical tradition including a novelty conception of creative imagination. We will expose some consequences of his position-as we interpret it. In effect, we are going to sustain that Dewey moves away from classic demands according to which a creative product involves, necessarily, a radical transformation of human life, according to the idea of degrees of creativity; that this Deweyan theory constitutes an interesting insight for promoting the creative attitude; that the creative process retains the same structure in all cases-science and art, for example-and that creativity is now an intrinsic potentiality of human beings-which may be realized or not. Finally, we consider the relevance of some Deweyan theses for nowadays positions, as in the case of the cognitive psychologist Robert Weisberg, emphasizing their coincidences and disagreements. Resumo: Nas últimas décadas, a ideia de criatividade vem recebendo um interesse cada vez maior nos campos da filosofia, ciências cognitivas, sociologia, etc. e teve uma contribuição renovada com relação à ideia clássica de criatividade. Consideramos que a contribuição do pragmatismo clássico merece uma menção especial-em particular, as obras de Charles S. Peirce e John Dewey. Neste artigo, iremos nos referir, exclusivamente, ao tratamento deweyiano dessa ideia. Sustentaremos que a teoria de Dewey fornece elementos interpretativos que são inovadores e disruptivos com relação à tradição filosófica, inclusive, uma concepção inédita da imaginação criativa. Exporemos algumas consequências de sua posição-como nós a interpretamos. Com efeito, sustentaremos que Dewey afasta-se das demandas clássicas para as quais um produto criativo envolve, necessariamente, uma transformação radical da vida humana, segundo 78 Cognitio: Revista de Filosofia Cognitio, São Paulo, v. 19, n. 1, p. 77-87, jan./jun. 2018 a ideia de níveis de criatividade; essa teoria deweyiana constitui um insight interessante para a promoção da atitude criativa; este processo criativo preserva a mesma estrutura em todos os casos-ciência e arte, por exemplo-e esta criatividade é, agora, uma potencialidade intrínseca dos seres humanos-a qual pode ser realizada ou não. Por fim, consideramos a relevância de algumas teses deweyianas para posições atuais, como no caso do psicólogo cognitivo Robert Weisberg, enfatizando as coincidências e desacordos de ambos. Palavras-chave: Criatividade. Dewey. Imaginação. Inovação. Níveis de criatividade. Weisberg.
Introduction:
This study examined creative problem solving in schizophrenia. We aimed to verify three hypotheses: (H1) schizophrenia patients differ from healthy controls in the accuracy of creative problem solving; (H2) schizophrenia patients are less effective at evaluating and rejecting incorrect associations and (H3) have a more idiosyncratic way of searching for semantic associations compared to controls.
Methods:
Six Remote Associates Test (RAT) items and three insight problems were applied to schizophrenia patients and healthy controls. We compared groups on the overall accuracy in the tasks to verify H1 and developed a novel method of comparing the patterns of errors in the RAT to verify H2 and H3. We controlled for fluid intelligence to eliminate this significant source of variation, as typically creativity and intelligence are significantly related.
Results:
Bayesian factor analysis did not support the group differences in either insight problems and RAT accuracy or the patterns of RAT errors.
Conclusions:
The patients performed as well as the controls on both tasks. Analysis of RAT errors suggested that the process of searching for remote associations is comparable in both groups. It is highly improbable that individuals with schizophrenia benefit from their diagnosis during creative problem solving.
The purpose of this study was to describe the practice of art learning in Kindergarten during the COVID-19 pandemic. The research method used was a survey. The research target is that a detailed description of art learning practices in Kindergarten during the COVID-19 pandemic can be drawn up as a basis for formulating the basic needs for improving the quality of learning. The results of the research can be used to improve educational praxis, formulate hypotheses, create initial development plans, evaluate programs, and evaluate policies, especially art learning in Kindergarten units. The results showed that PAUD teachers developed an art lesson plan and implemented it. However, the type of art that was taught was visual art, while dance and music were never performed. Likewise, the use of WhatsApp media is more widely used in online art learning than other social media. Also using audio media and taking examples of art learning from social media. Parents actively participate in taking learning media to school and sending photos and videos of the learning process at home. With online learning, teachers have difficulty using technology for early childhood art learning, and prefer to use face-to-face learning. Likewise with parents, parents prefer their children to learn face to face so they can meet the teacher directly.
Much modern laboratory research on creative thinking, or in vitro research, is based on the “remote-associates” perspective, which assumes that creative advances arise through bringing together ideas which were previously “remotely associated,” that is, not directly linked. That view has provided the foundation for modern theorizing across a broad range of areas, including the role of associative processes in creativity, divergent thinking in creativity, attention in creativity, genius and madness, and the neuroscience of creativity. However, contrary to the remote-associates view, analyses of real-life – in vivo – creative thinking indicate that new ideas arose as variations on or extensions of old ideas, rather than through bringing together unrelated ideas in a far-ranging creative leap. This conflict between the in vitro and in vivo perspectives has resulted in a theoretical quandary for creativity studies – a “creativity quandary.” This article examines that quandary. The first section demonstrates the wide reach of the remote-associates view in laboratory research on creativity. The second section examines in vivo creative advances that raise questions for the remote-associates view. The third section presents an alternative conception of creative thinking, based on executive functioning, as a potential resolution of the creativity quandary. Similarities and differences between the present proposal and other recent theoretical analyses of creative thinking are discussed.
The Cambridge Handbook of Creativity and Emotions provides a state-of-the-art review of research on the role of emotions in creativity. This volume presents the insights and perspectives of sixty creativity scholars from thirteen countries who span multiple disciplines, including developmental, social, and personality psychology; industrial and organizational psychology; neuroscience; education; art therapy, and sociology. It discusses affective processes – emotion states, traits, and emotion abilities – in relation to the creative process, person, and product, as well as two major contexts for expression of creativity: school, and work. It is a go-to source for scholars who need to enhance their understanding of a specific topic relating to creativity and emotion, and it provides students and researchers with a comprehensive introduction to creativity and emotion broadly.
The Cambridge Handbook of Creativity and Emotions provides a state-of-the-art review of research on the role of emotions in creativity. This volume presents the insights and perspectives of sixty creativity scholars from thirteen countries who span multiple disciplines, including developmental, social, and personality psychology; industrial and organizational psychology; neuroscience; education; art therapy, and sociology. It discusses affective processes – emotion states, traits, and emotion abilities – in relation to the creative process, person, and product, as well as two major contexts for expression of creativity: school, and work. It is a go-to source for scholars who need to enhance their understanding of a specific topic relating to creativity and emotion, and it provides students and researchers with a comprehensive introduction to creativity and emotion broadly.
em>As a high-level thinking ability, problem solving is developed at the level of primary school education, especially in the high grande. Problem solving is the concept of thinking ability by understanding the problems presented and using the right solutions with various kinds of strategy development. The purpose of this study is to analyze the problem solving of students through the results of student worksheets on green plant material. The results show that students' problem solving language is simply with a problem solving indicator framework, including: building knowledge related to issues / problems, determining keywords, determining solution strategies, and determining conclusions.</em
In contrast to theories of 10.1057/978-1-137-00772-8_391, which assume creative ideas to be generated ex nihilo, a growing stream of literature argues that all innovations ultimately stem from knowledge brokering: ideas that are well established in one domain diffuse to domains where they are not yet known. Knowledge brokering has been recognized as the root cause of innovation in a variety of literatures, ranging from cognitive research on analogical reasoning to sociological studies on the innovativeness of groups, organizations and communities. As they facilitate the transfer of knowledge across domains, social networks have been identified as a prime source of knowledge brokering.
Penelitian ini bertujuan untuk menguji secara empiris dan meneliti pengaruh strategi pembelajaran berbasis masalah dan gaya berpikir terhadap hasil belajar pada mata pelajaran IPS. Tujuan penelitian ini adalah untuk mengetahui pengaruh strategi pembelajaran dan gaya berpikir terhadap hasil belajar. Penelitian ini dilaksanakan di SDS Budi Mulia Dua Bintaro. Metode yang digunakan adalah metode survey dengan manggunakan angket dan dokumentasi. Sampel yang digunakan dalam penelitian ini adalah kelas IV yang berjumlah 50 anak. Instrumen sebanyak 20 pernyataan untuk strategi pembelajaran dan 10 soal untuk gaya berpikir anak. Analisis data menggunakan uji korelasi koefisien yang terdapat adanya pengaruh strategi pembelajaran berbasis masalah dengan gaya berpikir siswa terhadap hasil belajar IPS. Hasil penelitian ini diharapkan dapat bermanfaat kepada pihak-pihak terkait yang dapat memanfaatkan seperti kepala sekolah, guru, siswa, dan peneliti selanjutnya.
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