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The way we understand creativity in psychology is built on a fundamental asymmetry between people and objects: people have thoughts, intentions, and the ability to act, while objects lack these qualities. However, despite this distinction, objects that are created communicate with their creator. During the process of creation, objects being formed by the creator take on certain characteristics and behave in certain ways, resulting in a kind of conversation between the person working on solving a problem and the results physically produced. In essence, while the traditional view focuses on the person's thoughts and intentions as the driving force of creativity, the dialogue between the creative individual and the evolving product of their work is overlooked. This Element proposes a methodology and theoretical vocabulary that restore the role of objects in the dynamic unfolding of creative problem solving. This title is also available as Open Access on Cambridge Core.
This study investigates how L2 proficiency contributes to creativity in relation to personality among 205 young adolescent English-as-a-foreign-language learners from rural China. Participants completed the Cambridge A2 Key for Schools English Test to assess English proficiency, the Chinese Big Five Personality Inventory to evaluate personality traits, and the Evaluation of Potential Creativity to measure creativity, operationalized as divergent and convergent thinking in verbal and graphic domains. Pearson correlation analyses revealed that L2 proficiency was positively associated with both divergent and convergent thinking across verbal and graphic domains, while Openness to Experience and Extraversion were positively linked to creativity components, albeit partially depending on the domain. Conscientiousness, Agreeableness, and Neuroticism showed no significant associations with creativity. Structural equation modeling further demonstrated that L2 proficiency, Openness, and Extraversion directly co-predicted creativity components, excluding convergent thinking in the verbal domain.
This chapter details the early phenomenon that was ReInvent Law—an aggressive injection of innovation and creativity into the legal profession and legal education. Propelled by the 2008 financial crisis and the slow-rolling legal industry and education crisis that followed, ReInvent Law brought together thought leaders from around the world for rapid lightning talks at well-produced convenings that were coupled with a savvy and successful viral social media campaign. With the early emergence of legal design coinciding with ReInvent Law’s run, the synergies and ongoing impact are revealed here by one of ReInvent Law’s founders.
Compared to people who are rated as less creative, more creative people tend to produce ideas more quickly, with more novelty, and more actively engage regions of the brain associated with cognitive control. Both inside and outside the laboratory, the evidence is clear: the creative mind is a productive mind. Structural analysis of what more creative people produce has led to two different proposals for how this is achieved. One is based on differences in the underlying knowledge representation – the structure of semantic memory – called the associative theory of creativity. The other is based on more effortful cognitive control – how semantic memory is accessed – called the executive theory of creativity. Evidence supports both, but there are few models integrating these two ideas. Network analysis offers some inroads into how to tackle this problem and invites some creativity of its own.
Can exposure to a foreign language in the first year of school enhance divergent thinking skills? Ninety-nine monolingual children from predominantly White neighbourhoods (MAge = 57.7 months, SD 1.2; 47 girls) attending bilingual schools, schools with weekly foreign language lessons, or schools without a foreign language provision (= controls) completed divergent thinking and executive function tasks at the beginning of the school year and 24 weeks later. The groups did not differ on creativity measures at the beginning of the school year. Only bilingual school children and weekly language learners improved divergent thinking at the second testing point, with the former significantly outperforming controls on creative fluency and flexibility. Improvements could not be explained by executive function development. Therefore, a considerable amount of exposure to a foreign language in early formal education appears to boost creative thinking.
This article delves into the intricacies of the relationship between bilingualism and creativity. It provides an overview of past research and examines its methodology. It introduces a multilingual creative cognition theoretical framework that focuses on the cognitive mechanisms underlying creative potential and how these mechanisms might benefit from an individual’s multilingual abilities. The link between multilingualism and creative potential is explained by multilingual developmental factors such as proficiency, age, and sociocultural context of language acquisition, as well as cognitive functions such as language-mediated concept activation, selective attention, code-switching, and metaphor. However, the multilingual creative cognition approach takes a narrow perspective. By synthesizing empirical evidence and theoretical insights, the article proposes a plurilingual creativity framework – a multifaceted approach that transcends traditional bilingualism and creative cognition frameworks. It underscores the significance of a comprehensive language repertoire, multicultural experiences, and intercultural competence as pivotal elements enriching various aspects of creative endeavor. The article also introduces the Plurilingual Intercultural Creative Keys educational program, which aims to develop plurilingual, intercultural, and creative capabilities in educational settings. Through a holistic analysis, this study contributes to a nuanced understanding of the relationship between linguistic and cultural diversity and creativity. It also suggests practical implications for fostering linguistic and creative skills in a globalized context.
The idea that imagination is everywhere in our lives, and that reality is an illusion, may sound absurd to the concrete mind. This book will try to convince you that imagination manifests in different 'phases,' encompassing even the most fundamental ideas about what is real (ontology) and what is true (epistemology). It is present in the contents (e.g., images) and the acts (e.g., fantasy) of our minds. Imagination helps us remove barriers through conscious planning and finds ways to fulfill unconscious desires. The many words related to imagination in the English language are part of a unified web and share a “family resemblance.” The first section of this book deals with imagination in everyday life, the second focuses on aesthetic imagination, and the third discusses scholarly approaches that incorporate both imagination types. The fourth section proposes a unified model integrating the diverse ways that imagination is manifested in our culture.
In this penultimate chapter, we take up the philosophical question of whether immortality is truly desirable, seeking to establish an important difference between existing for a finite and for an infinite stretch of time by introducing the following important consideration. If it remains possible for an event to occur, then even an extremely unlikely event is certain to occur, given infinite time. I shall suggest that this consideration leads to insuperable problems with the most popular scenarios currently being envisioned for achieving immortality by techno-scientific means. These problems, moreover, motivate us to think more deeply about death and thereby rethink the requirements of a genuinely meaningful human life. Drawing on Kierkegaard, Heidegger, and other existential thinkers, I suggest that human beings’ most abiding sources of meaningfulness come not from endlessly repeating certain profound experiences (which sometimes does wear out their appeal) but, instead, from our struggle to stay true to and so continue to creatively and responsibly disclose what such momentous events, often rare and singular, only partly reveal to us in the first place, as we often come to realize only in retrospect – much as Heidegger came only retrospectively to recognize and then spend his life creatively disclosing the seemingly inexhaustible ontological riches of that ambiguous “nothing” Being and Time first glimpsed in the momentous experience of existential death, but in a way that Heidegger only partly understood at that time.
The story we often tell about artists is fiction. We tend to imagine the starving artists toiling alone in their studio when, in fact, creativity and imagination are often relational and communal. Through interviews with artistic collectives and first-hand experience building large scale installations in public spaces and at art events like Burning Man, Choi-Fitzpatrick and Hoople take the reader behind the scenes of a rather different art world. Connective Creativity leverages these experiences to reveal what artists can teach us about collaboration and teamwork and focuses in particular on the importance of embracing playfulness, cultivating a bias for action, and nurturing a shared identity. This Element concludes with an invitation to apply lessons from the arts to promote connective creativity across all our endeavors, especially to the puzzle of how we can foster more connective creativity with other minds, including other artificial actors.
This chapter traces the extant historical literature on the growth and development of party politics in colonial Nigeria. These parties were led by formidable personalities who played an essential role in the formation of national consciousness crucial for the formation of an independent Nigeria. While historians have classified it into four phases, the chapter proposes that the growth of political parties should be analyzed into two generational periods: the 1920s and 1930s, and the 1940s and 1950s. The former period is marked by the promulgation of the Clifford Constitution that led to the creation of the first-ever nationalist parties, such as the Nigerian National Democratic Party and The Lagos Youth Movement which, though claiming nationalist status, was, however, confined to the Lagos area. The latter commenced after the enactment of the Richards Constitution which witnessed the growth of regional political parties such as the National Council of Nigeria and the Cameroons, the Northern People’s Congress, and the Action Group all of which espoused ethnic nationalism. By engaging with historical works produced on nationalist movements in colonial Nigeria, the chapter places their value beyond the simplistic teleological development of politics of nationalism in Nigeria.
This chapter comprehensively lays out all the possible ways that artificial intelligence (AI) might interact with Jewish sources as their relationship develops over the next many years. It divides the scope of the relationship into three parts. First, it engages with questions of moral agency and their potential interactions with Jewish law, and suggests that this path, while enticing, may not be particularly fruitful. Second, it suggests that Jewish historical sources generally distinguish human value from human uniqueness, and that there is therefore quite a bit of room to think of an AI as a person, if we so choose, without damaging the value of human beings. Finally, it considers how Jewish thought might respond to AI as a new height of human innovation, and how the human–AI relationship shares many characteristics with the God–human relationship as imagined in Jewish sources.
This research aims to explore the ways in which creative writing may be used as a pedagogical tool in the Latin language classroom, in particular how creative writing may benefit students in Latin prose composition. The lesson sequence delivered as part of this research was undertaken in an academically-selective, independent coeducational school in an affluent, inner-metropolitan area. The sequence of four 60-minute lessons formed part of the language (as opposed to literature) portion of timetabled Latin lessons for a group of nine Year 12 students (aged 16–17). As part of their language lessons, the students had been following a course of study in prose composition based upon Andrew Leigh's (2019) Latin Prose Composition: A Guide from GCSE to A Level and Beyond1. The lesson sequence was intended to build on this work by making use of, and thus consolidating, grammatical constructions and vocabulary which the students had already encountered in the context of prose composition. The sequence was designed in such a way that students were required to apply their linguistic knowledge in new and creative ways. Students' responses to the various activities were positive and they expressed enjoyment in the methodologies.
Generative adversarial networks (GANs) have recently been proposed as a potentially disruptive approach to generative design due to their remarkable ability to generate visually appealing and realistic samples. Yet, we show that the current generator-discriminator architecture inherently limits the ability of GANs as a design concept generation (DCG) tool. Specifically, we conduct a DCG study on a large-scale dataset based on a GAN architecture to advance the understanding of the performance of these generative models in generating novel and diverse samples. Our findings, derived from a series of comprehensive and objective assessments, reveal that while the traditional GAN architecture can generate realistic samples, the generated and style-mixed samples closely resemble the training dataset, exhibiting significantly low creativity. We propose a new generic architecture for DCG with GANs (DCG-GAN) that enables GAN-based generative processes to be guided by geometric conditions and criteria such as novelty, diversity and desirability. We validate the performance of the DCG-GAN model through a rigorous quantitative assessment procedure and an extensive qualitative assessment involving 89 participants. We conclude by providing several future research directions and insights for the engineering design community to realize the untapped potential of GANs for DCG.
This chapter explains and discusses the definition of public sector innovation. Public sector innovation includes two concepts or terms: (1) public sector and (2) innovation. The first concept, “the public sector,” refers to the general government organizations owned and funded by the government and may include or exclude state-owned enterprises. The second concept, “innovation,” refers to novel ideas or practices implemented organizations. Thus, novelty and implementation are two key terms defining innovation. Therefore, public sector innovation refers to innovative activities in the public sector, and this chapter provides information about it. In addition, this chapter discusses how and in what ways innovation differs from public management reforms, organizational change, invention, creativity, entrepreneurship, and improvement.
In this essay, I examine the intersection between the concepts of freedom, the self, God, and creativity in the works of one of the most prominent twentieth-century Jewish thinkers, Rabbi Abraham Isaac HaCohen Kook (1865–1935), exploring his use of these concepts through the lens of the Lebensphilosophie of the French philosopher Henri Bergson (1859–1941). I first draw a historical and thematic parallel between Bergson’s and Kook’s philosophies that to date has not been considered extensively. I then argue that five different interpretative puzzles related to the topic of freedom in Kook’s teachings can be explained against the background of Bergson’s thought. This Bergsonian interpretation enables the reader to appreciate in what way different aspects of Kook’s thought—the metaphysical, ethical, epistemological, and theological—are interconnected and can be understood as an organic whole. I thereby show that the Bergsonian philosophical and systematic models are an important, and yet unexplored, interpretative tool for the study of Kook’s theological and philosophical thought.
Chapter 5 looks at talent development and human excellence in a broader social-historical conditions and changes. The flourishing of particular forms of excellence in a given historical period or culture is always distinct, due to both cultural values and priorities as well as societal changes in social structure, leisure, and conditions of education. If human excellence reflects high-level self-organized individuality, then sociocultural contexts matter; ECT supports the notion of personal agency in changing the world and changing history, not by traits and genes, notwithstanding their meaningful role, but by cultural evolution that leverages characteristic and maximal adaptation with its niche construction and infrastructure-building to achieve the prosperity and vitality of its members. However, sociocultural conditions (including available technology) also significantly constrain individual strivings as well as how far individuals can go. The Needham Puzzle on the birth of modern science (why it occurred in the West, not China) is discussed, and a comparison is made of Da Vinci and Wang Yangming to demonstrate that any creative act is a sociocultural act, which can change history, yet is constrained by one’s times.
In this concluding chapter, I draw conclusions about several important aspects of nature of science by drawing on the topics discussed in the various chapters of the book. Such conclusions include: that individual brilliance and creativity can make a difference; the historical milieu of the individual is equally crucial; that scientists are humans with weaknesses and concerns like all of us; and that gender may influence one’s opportunities to contribute to science.
Through close analyses of a wide range of Minoan animalian things, we have explored the specificity of their involvements in the experiences of people, and how those engagements contributed to the unique character of sociocultural life in the Aegean, on various levels. Here we draw out key points from across the foregoing analyses. Special attention has come to the objects’ inter-corporeal relationships with living humans and the connections that would have been realized through the objects’ particular qualities—connections with other animals, things, and spaces. Such relations were afforded through different dynamics, including bodily juxtaposition, cultivation of formal assonance, the sharing of specific features (e.g., a forward gaze), and embodiment with the same substances, as well as through similarities in size, composition (e.g., in friezes), and contextualization. Moreover, by working beyond an implicit focus on the design of the objects, to instead emphasize people’s actual experiences with them, we have opened the space for appreciating how both intended and unintended associations involving these complex things were in play together. We should view these not as alternative lenses on the objects, but as forces working concurrently, and upon one another, in the creative realizations that the animalian objects were.
The sociocultural spaces of the “Minoan” Aegean were teeming with animal bodies. Many of these animals were alive, but many were not—and never had been; the latter are our focus here. Realized across a range of media, such as zoomorphic vessels, frescoes, and seal stones, animals’ bodies took on a rich diversity of material and spatial qualities that could afford distinctive interactive experiences that the notion of “representations” fails to capture. By recognizing both biological and fabricated entities as real embodiments of animals, which could coexist and interact in Aegean spaces, the nature of our discussion changes. We see that the dynamics of representation were caught up in a much wider field of relationships involving these crafted bodies, which characterized their engagements with people. Doing so moves us beyond questions of signification and intentional design, and toward a fuller recognition of people’s actual experiences of animalian bodies. Looking closely at a variety of venues, ranging from palatial courts to a modest house bench, our focus thus can turn to how the world of animalian things was a crucial part of social life in Aegean spaces, and how direct interactions with these other animal bodies were central, yet often overlooked and minimized, components of human relations with nonhuman beasts.
Design creativity describes the process by which needs are explored and translated into requirements for change. This Element examines the role of design creativity within the context of healthcare improvement. It begins by outlining the characteristics of design thinking, and the key status of the Double Diamond Model. It provides practical tools to support design creativity, including ethnographic/observational studies, personas and scenarios, and needs identification and requirements analysis. It also covers brainstorming, Disney, and six thinking hats techniques, the nine windows technique, morphological charts and product architecting, and concept evaluation. The tools, covering all stages of the Double Diamond model, are supported by examples of their use in healthcare improvement. The Element concludes with a critique of design creativity and the evidence for its application in healthcare improvement. This title is also available as Open Access on Cambridge Core.