Most investigations of creativity tend to take one of two directions: everyday creativity (also called “little-c”), which can be found in nearly all people, and eminent creativity (also called “Big-C”), which is reserved for the great. In this paper, the authors propose a Four C model of creativity that expands this dichotomy. Specifically, the authors add the idea of “mini-c,” creativity inherent in the learning process, and Pro-c, the developmental and effortful progression beyond little-c that represents professional-level expertise in any creative area. The authors include different transitions and gradations of these four dimensions of creativity, and then discuss advantages and examples of the Four C Model.
“John Cage’s first and only performance of How to Get Started on 31 Aug 1989 was conceived of almost as an afterthought–a performance substituting for another that had been previously planned. In his performance, delivered at a sound design conference in Nicasio, California, Cage talks about the difficulty of initiating the creative process, and about improvisation, a subject about which he had long been deeply ambivalent. He proposes a collaborative framework in which sound engineers capture and subsequently layer his extemporized monologue, which consisted of ten brief commentaries on topics then of interest. This amounted to an experiment having to do with thinking in public before a live audience.”
The publication also features commentaries by Laura Kuhn, Aaron Levy and Arthur J. Sabatini.
Publisher Slought Books, Philadelphia, and John Cage Trust, 2010 ISBN 0981540961, 9780981540962 19 pages
What are the links between brain function and creativity? How can this knowledge affect the way we learn, work, and thrive? More than a dozen experts, including neurologists, artists, and cognitive psychologists, consider these and other questions in a new report from the National Endowment for the Arts titled How Creativity Works in the Brain. The report stems from a July 2014 research workshop co-sponsored by the NEA and the Santa Fe Institute, an independent, nonprofit research and education center. The report follows other NEA initiatives at the intersection of the arts, health, and science, including the NEA/Walter Reed Healing Arts Partnership.
Stanford researchers found that walking boosts creative inspiration. They examined creativity levels of people while they walked versus while they sat. A person's creative output increased by an average of 60 percent when walking.
Have you ever hit one of those points in your life when you’re ready to move in a healthier direction? Whether its getting better sleep, moving more throughout the day or walking away from junk food, the realization dawns that now is the time. New Years’ resolutions come to mind. Well, not long ago I reached that point … and what I learned on my journey towards wellness reflected many of the critical tenets of creativity.
Creativity in Mathematics: Inquiry-Based Learning and the Moore Method explores the world of Inquiry-Based Learning and seeks to identify the reasons behind its celebrated success. More than twenty-five influential teachers, top researchers, inventors, and leaders of industry attest to the life changing rewards that began for them in a classroom taught by IBL and the Moore Method.
This is a project I’ve been working on for quite a while… Every time I come across a new creative problem solving (CPS) method, I map it out with the rest of my collection. I’ve adapted the standard CPS process for use at Idea Sandbox.
Observing that the creation of certain types of artistic artifacts necessitate intelligence, we present the Lovelace 2.0 Test of creativity as an alternative to the Turing Test as a means of determining whether an agent is intelligent. The Lovelace 2.0 Test builds off prior tests of creativity and additionally provides a means of directly comparing the relative intelligence of different agents.
An edited transcript of a panel discussion on 'Computational Creativity and the Arts' from the Fifth International Conference on Computational Creativity serves as the prompt to a discussion of meta-level issues in the field of computational creativity.
Challenges and problems can derail your creative process ... or they can make you more creative than ever. In the surprising story behind the best-selling solo piano album of all time, Tim Harford may just convince you of the advantages of having to work with a little mess.
The Neukom Institute for Computational Science at Dartmouth College is pleased to announce the first annual Neukom Institute Prizes in Computational Arts. These competitions aim to inspire innovations in computational methods that generate artistic products, such as literary, musical, and visual art.
Neukom Institute will run three different competitions in 2016: DigiLit for short stories, PoetiX for sonnets, and AlgoRhythms for dance music DJ sets. All entries will be in the form of computer code that generates novel works in one of these three creative modes.
Competition Deadline: March 15, 2016. Judges will be announced in September - sign up for our newsletter below to stay tuned.
The term ‘physiognomic’ was used by the psychologist Heinz Werner to describe the perceived dynamic and expressive qualities of objects, which could not be accounted for by merely attending to an object’s objective form. An exploration of these qualities and their role in psychological processes is sorely missing in contemporary psychology with its focus on the more or less accurate cognition of a world seen to be ‘out there’. In this paper, I use the notion of physiognomic to explore the phenomena of creativity, which is here understood as the making of novel linkages, combinations and syntheses across different domains of experience. It is argued that physiognomic perception creates a platform on which creativity becomes possible at both micro- and onto-genetic levels. Creative insight often occurs when we let our minds move to more ‘primitive’ levels of consciousness, such as daydreaming, the dim consciousness before sleep and pretend play, etc., where physiognomic qualities come to the fore. Through a number of illustrative examples, I demonstrate how physiognomic qualities enable us to make surprising linkages in our experience and thereby learn to see the world anew.
A number of stimulating, even provocative, books in psychology can provide insights into developing creative thinking. Here are a few examples. In her NY Times article The Power of Concentration, Maria Konnikova reports on a University of Washington s...
Many famous artists, musicians, humanitarians and scientists were exquisitely sensitive to their environments, and used their experiences as grist for the mill of their extraordinary creativity and compassion.
Invention has been commonly conceptualized as a search over a space of combinatorial possibilities. Despite the existence of a rich literature, spanning a variety of disciplines, elaborating on the recombinant nature of invention, we lack a formal and quantitative characterization of the combinatorial process underpinning inventive activity. Here, we use US patent records dating from 1790 to 2010 to formally characterize invention as a combinatorial process. To do this, we treat patented inventions as carriers of technologies and avail ourselves of the elaborate system of technology codes used by the United States Patent and Trademark Office to classify the technologies responsible for an invention's novelty. We find that the combinatorial inventive process exhibits an invariant rate of ‘exploitation’ (refinements of existing combinations of technologies) and ‘exploration’ (the development of new technological combinations). This combinatorial dynamic contrasts sharply with the creation of new technological capabilities—the building blocks to be combined—that has significantly slowed down. We also find that, notwithstanding the very reduced rate at which new technologies are introduced, the generation of novel technological combinations engenders a practically infinite space of technological configurations.
There’s a letter from an 1815 issue of General Music Journal where Mozart describes his creative process as instantaneous: no struggle or writer’s block. The muse simply showed up and he was ready. The problem? The letter is a fraud. Much like […]
Psychological research on human creativity focuses primarily on individual creative performance. Assessing creative performance is, however, also a matter of expert evaluation. Few psychological studies model this aspect explicitly as a human process, let alone measure creativity longitudinally. An agent-based model was built to explore the effects contextual factors such as evaluation and temporality have on creativity. Mihaly Csikszentmihalyi's systems perspective of creativity is used as the model's framework, and stylized facts from the domain of creativity research in psychology provide the model's contents. Theoretical experimentation with the model indicated evaluators and their selection criteria play a bearing role in constructing human creativity. This insight has major implications for designing future creativity research in psychology.
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