Journal articles: 'Domains of creativity'

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LI, JIN, and HOWARD GARDNER. "How Domains Constrain Creativity." American Behavioral Scientist 37, no. 1 (September 1993): 94–101. http://dx.doi.org/10.1177/0002764293037001010.

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Cropley, David H., and James C. Kaufman. "The siren song of aesthetics? Domain differences and creativity in engineering and design." Proceedings of the Institution of Mechanical Engineers, Part C: Journal of Mechanical Engineering Science 233, no. 2 (May 31, 2018): 451–64. http://dx.doi.org/10.1177/0954406218778311.

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For many years, researchers have debated the role of “domain” in creativity. Opinion remains divided, but a common view is that creativity is a combination of domain-general elements, coupled with domain-specific manifestations, usually in the form of different kinds of products. Discussions of domains and creativity frequently take place in very broad, thematic terms, differentiating only between Arts and Sciences, with less attention given to differences within domains. The goal of this paper is to explore a single technological domain, studying differences between the micro-domains of Engineering and Industrial Design. Do engineers and industrial designers differ when evaluating the creativity of products? If they differ, what might be the underlying drivers of these differences? Contrary to expectations, not only were there significant differences between these groups, but evidence presented in this study suggests that engineers have difficulty differentiating between aesthetics and functionality, as components of product creativity, in contrast to industrial designers, who seem to possess a more discriminating eye.

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Lothwesen, Kai Stefan. "The profile of music as a creative domain in people’s conceptions: Expanding Runco & Bahleda’s 1986 study on implicit theories of creativity in a conceptual replication." Musicae Scientiae 24, no. 3 (September 25, 2018): 277–98. http://dx.doi.org/10.1177/1029864918798417.

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Concepts of creativity in music usually focus on explicit theoretical assumptions based on models from psychology research. In recent years, the fields of psychology and education have become increasingly interested in research on laypersons’ attitudes and assumptions about creativity. These implicit theories may complement or even contradict scholarly conceptualisations of creativity and its domain specificity. As a conceptual replication of the work by Runco and Bahleda (1986), this study aims to explore the dimensionality of subjective conceptions of creativity in different domains (arts, science, everyday life, music) by means of an open-ended questionnaire in an online survey ( N = 106). A content analysis of the data yielded 27 meta-categories; a correspondence analysis of their distribution across domains revealed differences between domain-specific conceptions. This indicates stereotypical structures regarding creativity in different domains, as expressed in the associations generated by the participants. Unlike science and the arts, music is described as having distinct aesthetic and emotional qualities. The participants’ musical expertise did not appear to significantly influence the generation of associations. With respect to these characterisations cited by the participants, the domain of everyday life seems to be antipodal to other domains and may therefore have served as a point of reference for the participants’ subjective experience of creativity and creative behaviour. These results confirm the findings of Runco and Bahleda (1986), perhaps even furthering them in terms of the analytical methods applied and the findings on the comparison of domains. Nevertheless, the potential of implicit theories (i.e. laypersons’ mindsets concerning the theoretical conceptualisation of musical creativity and its implications for music education) requires further study.

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Weisberg, Robert W. "Creativity and practice." Behavioral and Brain Sciences 21, no. 3 (June 1998): 429–30. http://dx.doi.org/10.1017/s0140525x98491234.

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The target article examines the role of practice in the development of excellence in several domains that vary in the degree of innovation involved. The authors do not differentiate domains, but they discuss the development of specifically creative skills only in passing. This commentary presents evidence that practice plays a role in the development of musical composition, through an examination of the careers of Mozart and the Beatles.

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Garcés, Soraia. "CREATIVITY IN SCIENCE DOMAINS: A REFLECTION." Atenea (Concepción), no. 517 (June 2018): 241–53. http://dx.doi.org/10.4067/s0718-04622018000100241.

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Li, Jin. "Creativity in Horizontal and Vertical Domains." Creativity Research Journal 10, no. 2-3 (April 1997): 107–32. http://dx.doi.org/10.1080/10400419.1997.9651213.

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Baer, John. "Generality of creativity across performance domains." Creativity Research Journal 4, no. 1 (January 1991): 23–39. http://dx.doi.org/10.1080/10400419109534371.

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Li, Jin. "Creativity in Horizontal and Vertical Domains." Creativity Research Journal 10, no. 2 (April 1, 1997): 107–32. http://dx.doi.org/10.1207/s15326934crj1002&3_3.

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Wielewicki, Patrícia, and Rui Ferreira Roda. "Contribution from different domains for creativity management in the context of innovation." Revista de Negócios 22, no. 1 (April 18, 2018): 20. http://dx.doi.org/10.7867/1980-4431.2017v22n1p20-46.

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Creativity is an ever-increasing theme of interest in the context of management due to its importance for the innovation process. Current literature suggests that the interaction between the concepts of innovation and creativity is not clear. Both phenomena are cognitive and nebulous concepts and therefore are difficult to access by traditional research approaches. Considering creativity management in the scope of innovation processes faced by organizations, this study aims at contributing for the clarifying the relation between creativity and innovation by analyzing it under the point of view of the three domains: design, haute cuisine and art. That research strategy is based on the need for a systemic view of creativity, standing out the growing interest in the field of creativity for the study of processes in different domains. The study articulates two investigation methods structured in two parts: (i) literature review and (ii) systematic literature review. Both methods are bound to the construction of a theoretical framework which points out contributes of the studied domains for the optimization of creative processes in the organizational context. The study suggests the existence of three integrated models of creativity management in the context of innovation, each one referring to a given domain analyzed. The framework presented is featured as a contribute for enterprises in the search for new creativity management models for innovation, as well as a starting point for the conception of a more robust theoretical body for the study of different creative processes in different domains in the context of innovation.

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Reid, Anna, and Peter Petocz. "Learning domains and the process of creativity." Australian Educational Researcher 31, no. 2 (August 2004): 45–62. http://dx.doi.org/10.1007/bf03249519.

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Baer, John. "Generality of Creativity across Performance Domains: A Replication." Perceptual and Motor Skills 79, no. 3 (December 1994): 1217–18. http://dx.doi.org/10.2466/pms.1994.79.3.1217.

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A replication of a 1991 study in which Baer questioned the importance of general creativity-thinking skills was conducted using a larger sample with a broader range of abilities, as suggested in a 1994 published review by Kogan. 66 girls and 62 boys in Grade 8 wrote original poems and stories, which were later judged for creativity by experts. The correlation between these two measures of creativity was .19. This is similar to previous results.

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Zielińska, Aleksandra. "Mapping Adolescents’ Everyday Creativity." Creativity. Theories – Research - Applications 7, no. 1 (January 1, 2020): 208–29. http://dx.doi.org/10.2478/ctra-2020-0012.

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Abstract Spontaneous creative activity among adolescents has been overlooked in creativity literature. This article overviews everyday creativity in adolescence, with a focus on medium-and -long term creative projects conducted in- and out-of-school. Almost one thousand Polish adolescents provided quite detailed descriptions of their creative projects conducted within the last year. These activities were classified, with a particular focus on multiple micro-domains. Students most often described creative behaviors performed outside of school as compared to school-related activities. Likelihood of engaging in creativity within different domains as well as the level of creativity were linked to participants’ creative self-concept, creative mindsets, and personality. Limitations and future directions are discussed.

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Valois, Philippe, Jacques Forget, and Carolanne Ponton. "Literature Review of Francophone Psychometric Tests of Creativity: Guiding School Psychologists." Canadian Journal of School Psychology 35, no. 1 (June 27, 2019): 57–82. http://dx.doi.org/10.1177/0829573519853672.

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Creativity is viewed as a trait of essential use in many contexts. The need for creative people in different domains implies that school should develop and evaluate creativity in their curriculum. Runco identified more than 80 creativity tests in English. No equivalent compendium exists for creativity tests in French. Thus, francophone students are not well deserved by the current state of creativity’s testing. The first objective of this article is to identify existing French tests of creativity with children and adolescent subjects that were identified in different databases using a systematic literature review method. The second objective is to present the key components and psychometric values of each identified test. Eight instruments for francophones were identified as being validated or being used in research setting with children or adolescent. Different theories of creativity associated with each test are also presented to guide the reader in selecting the most appropriate test for his school curriculum or his research.

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López-Martínez, Olivia, and Antonio José Lorca Garrido. "Specific Domains of Creativity and Their Relationship with Intelligence: A Study in Primary Education." Sustainability 13, no. 8 (April 10, 2021): 4228. http://dx.doi.org/10.3390/su13084228.

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This study focuses on the relationships between creativity and intelligence. The main objectives of this study are to know the relationship between creativity and intelligence manifested in individuals aged 9 to 12 and to predict the creativity scores from IQ scores. The design of this study is non-experimental with a correlational, cross-sectional, quantitative approach. In order to achieve the stated objectives, several education centres located in Murcia were selected, in which 323 students took part in a creativity test (PIC-N) and a test about intelligence, depending on the educational level (BADYG/E2r or BADYG/E3r). The results obtained were that intelligence (IQ) was related to general creativity and narrative creativity, but not to the specific domain of graphic creativity. In addition, the analyses indicate that scores on general creativity (F (1,321) = 14.302, p < 0.01) and narrative creativity (F (1,321) = 14.114, p < 0.01) can be predicted from the IQ. At the educational level, language is a determining factor in narrative creativity and, in turn, language is consolidated as children’s cognitive development proceeds.

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Kaufman, James C., Mary A. Waterstreet, Hanin S. Ailabouni, Hannah J. Whitcomb, Amanda K. Roe, and Matt Riggs. "Personality and Self-Perceptions of Creativity across Domains." Imagination, Cognition and Personality 29, no. 3 (March 2010): 193–209. http://dx.doi.org/10.2190/ic.29.3.c.

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Rawlings, David, and Ann Locarnini. "Validating the Creativity Scale for Diverse Domains Using Groups of Artists and Scientists." Empirical Studies of the Arts 25, no. 2 (July 2007): 163–72. http://dx.doi.org/10.2190/q538-2307-2627-1256.

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The Creativity Scale for Diverse Domains (CSDD) of Kaufman and Baer (2004), measures self-reported creativity in nine different domains, as well as “creativity in general.” The study reports a criterion validation of the scale, using small groups of professional scientists and artists, in addition to two groups of undergraduate students planning major studies in the arts/humanities or in science/mathematics. Similar patterns of inter-correlation between items, and a similar factor structure, were found to those reported in the original study. In support of the validity of the scale, professional scientists were clearly highest on items measuring creativity in science and mathematics; professional artists on items measuring creativity in art and general creativity. There were minimal differences between the student groups. The results provide substantial support for the usefulness of the CSDD when a short measure of creativity in different areas is sought.

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Kapoor, Hansika, Roni Reiter-Palmon, and James C. Kaufman. "Norming the Muses: Establishing the Psychometric Properties of the Kaufman Domains of Creativity Scale." Journal of Psychoeducational Assessment 39, no. 6 (March 31, 2021): 680–93. http://dx.doi.org/10.1177/07342829211008334.

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The Kaufman Domains of Creativity Scale (K-DOCS; Kaufman, J. C. (2012). Counting the muses: Development of the Kaufman domains of creativity scale (K-DOCS). Psychology of Aesthetics, Creativity, and the Arts, 6(4), 298-308. doi:10.1037/a0029751) is a self-report assessment of five creative domains: Everyday, Scholarly, Performance, Scientific, and Artistic. This investigation was designed to reassess the factor structure of the K-DOCS, examine its measurement invariance across men and women, and develop norms across the five domains. Data on 22,013 American participants who had completed the assessment as part of past or ongoing studies between 2012 and 2020 were collated across multiple samples. Confirmatory factor analyses indicated that both five- and nine-factor solutions had superior fit compared to a one-factor solution. The models were also gender invariant, indicating that creative domains were assessed similarly across male and female samples. Norms across gender and age-groups were provided to enable future comparisons in research settings; it is not recommended to use these norms in clinical or diagnostic contexts. The investigation concluded that the K-DOCS is a robust psychometric tool for the self-assessment of creativity across domains.

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De Dreu, Carsten K. W. "Human Creativity: Reflections on the Role of Culture." Management and Organization Review 6, no. 3 (November 2010): 437–46. http://dx.doi.org/10.1111/j.1740-8784.2010.00195.x.

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In commenting on the articles in this Editors' Forum, three questions are addressed: (i) how should we operationalize and measure creative outputs to enable a sound analysis of cross-cultural differences in creativity; (ii) could it be that culture impacts not only the valuation of originality and usefulness but also the psychological processes through which original yet useful ideas and insights are achieved; and (iii) does culture impact the domains in which individuals are more or less motivated to perform creatively? Using recent work on creativity as a starting point, and the key findings reported in this Editors' Forum, I propose that new research on culture and creativity would benefit from separating creative products from creative processes, and would do justice to the nature and functionality of cultures by asking not only when and how individuals and groups achieve creativity, but also why they would bother to be creative in the first place.

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Gotteland, David, Aurélie Merle, and Olivier Trendel. "Stimulating consumers’ creativity through analogical thinking: How can transfer distance and transfer content be matched?" Recherche et Applications en Marketing (English Edition) 33, no. 1 (July 21, 2017): 73–87. http://dx.doi.org/10.1177/2051570717716564.

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How can customers generate better ideas for new products or new services through analogical thinking? This creativity method comprises two steps: identifying source domains and transferring information from source domains to the target domain. The effect of transfer distance has been extensively studied, but the interaction between transfer distance and transfer content has not yet been considered. In two experiments, we show that the attractiveness of the ideas generated depends not only on the match (or mismatch) between transfer distance and transfer content but also on customers’ expertise in the target domain.

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Top, Elif, and Mustafa Akil. "Effects of the Sports on the Personality Traits and the Domains of Creativity." World Journal of Education 8, no. 3 (May 27, 2018): 56. http://dx.doi.org/10.5430/wje.v8n3p56.

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The present study investigated the correlation between the personality traits of the university students who wereengaged in sports and the ones who were not engaged in sports, and their domains of creativity. A total number of593 students studying in the faculty of sports sciences and in other departments were included the study. As the datacollection tools, “Revised/Shortened Form Eysenck Personality Questionnaire (EPQ-RS)” and “Kaufman Domainsof Creativity Scale” (K-DOCS) were used in the present study. When the creativity and personality traits of thefemale and male students were compared, it was found out that the neuroticism points of female students were foundto be higher comparing to the male students. While the male students had higher points in in the domains of scholarlycreativity, mechanical/scientific creativity, artistic and psychoticism, the female students were found to have scoredhigher points in the other domains. When the creativity and personality traits of the students who were engaged insports and those of the students who were not engaged in sports were compared, the extroverted characteristics werefound higher and psychoticism characteristics were lower of the individuals engaged in sports, while no differencewas found in other domains. Consequently, it could be said that female students were more neurotic, that theindividuals engaged in sports were more extroverted compared to the ones not engaged in sports, and that malestudents have higher points compared to the female students in the domains of scholarly, mechanical/scientific,artistic and psychoticism.

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Moroni, Artemis, Fernando Von Zuben, and Jônatas Manzolli. "ArTbitration: Human-Machine Interaction in Artistic Domains." Leonardo 35, no. 2 (April 2002): 185–88. http://dx.doi.org/10.1162/00240940252940568.

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In this article, the authors analyze the process of humanmachine interaction in the context of artistic domains, as a framework for exploring creativity and producing results that could not be obtained without such interaction. “ArTbitration” denotes a process aimed at improving users' aesthetic judgment involving evolutionary computation and other computational intelligence methodologies. The authors interpret it as an interactive, iterative optimization process. They also suggest ArTbitration as an effective way to produce art through the efficient manipulation of information and the proper use of computational creativity to increase the complexity of the results, without neglecting the aesthetic aspects. The article emphasizes the spoken, visual and musical domains, since these are generally characterized by the lack of a systematic way to determine the quality of the result.

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Alex, Gabriel, Barrios Pedro Chavez, and Monticolo Davy. "Methodology to design ontologies from organizational models: application to creativity workshops." Artificial Intelligence for Engineering Design, Analysis and Manufacturing 33, no. 02 (May 2019): 148–59. http://dx.doi.org/10.1017/s0890060419000088.

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AbstractInnovation and creativity are a mandatory for companies who wish to stay competitive. In order to promote an inventive dynamic, it implies to set up tools, habits, and an adapted environment to foster creativity. Creativity is the wealth of companies that should be valorized. To promote creativity, companies implement creativity workshops that gather people with various roles and expertise exchange and create knowledge to solve collectively open-ended engineering problems. However, group dynamics or facilitation can make the wrong decision and make the creative problem-solving unfruitful. The aim of our research project is to create a digital system to manage and valorize knowledge during creativity workshops. To design this system, we need to formalize the knowledge domain of creative workshops. The ontologies are used for decades to structure and manage information and knowledge in different domains. However, methodologies to design these ontologies are either hardly reproducible or not oriented to extract knowledge from organization. This article describes a methodology based on an organizational modeling to build ontologies. We will illustrate our approach by designing an ontology that models knowledge of creativity workshops.

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James, Keith, and Cheryl Asmus. "Personality, Cognitive Skills, and Creativity in Different Life Domains." Creativity Research Journal 13, no. 2 (April 2001): 149–59. http://dx.doi.org/10.1207/s15326934crj1302_3.

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Mouchiroud, Christophe, and Todd Lubart. "Social creativity: A cross-sectional study of 6- to 11-year-old children." International Journal of Behavioral Development 26, no. 1 (January 2002): 60–69. http://dx.doi.org/10.1177/016502540202600111.

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We assessed children’s social creativity through interviews during which participants imagined original solutions to interpersonal problems. In addition, we compared performances in the social domain with those obtained in object-oriented problem-solving tasks such as the Unusual Uses of a Box creativity test designed by Torrance (1974) and the Similarities subtest of the WISC (1996). A total of 88 French children participated in this study. First, we observed links between social creativity tasks as well as consistent developmental trends showing that social creativity can be considered as a unitary construct. Second, with regard to the integration or differentiation of creative abilities in children’s development, results showed a distinct creative ability in the social domain for younger children and the emergence of a more general creative ability in older children. Third, the relationship between fluency and originality indices was stable across age groups and task domains, supporting Simonton’s constant-probability-of-success model (1990) for children. Implications for the study of creative abilities in the social domain and for understanding how children interact with others in various social settings are discussed.

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Pauw, M. A. "Die ouderdommetafoor vanuit ’n kognitlewe vertrekpunt." Literator 20, no. 1 (April 26, 1999): 67–88. http://dx.doi.org/10.4102/lit.v20i1.449.

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A cognitive approach to metaphors concerning old age Old age is a universal experience. Poets in general and certain Afrikaans poets in particular use imagination and metaphor to understand and interpret the experience of old age and approaching death. To understand one domain of experience in terms of another we need metaphor which unites reason and imagination. The purpose of this article is to apply the cognitive approach to disclose the main conceptual domains which act as source domains and are projected onto the target domain of old age. The resulting metaphors describe the experience of old age and its physical and psychological infirmities and decay. The poet as abstract author, but also the reader, creatively and imaginatively recognize a schema in a new situation and contrive metaphorical connections between various conceptual structures. Thus a metaphorical expression links two or more domains of experience. Structures from two or more input source domains are projected onto a separate “blended” space, which inherits structure partially from the inputs, and has emergent structure of its own. It is argued that creativity shows rationality and structure. The examples reveal that the path, cycle and time domains are the more important source domains for the old age metaphors. The metaphors do not only describe the authors' emotions on experiencing old age, but also create emotions in the reader. The conclusion arrived at is that language is inextricably entrenched in our cognitive make-up, as illustrated by the various metaphors conveying the experience of old age.

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Bergs, Alexander. "What, If Anything, Is Linguistic Creativity?" Gestalt Theory 41, no. 2 (July 1, 2019): 173–83. http://dx.doi.org/10.2478/gth-2019-0017.

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Summary This paper investigates the nature of creativity in language and linguistics. Following Sampson (2016), it distinguishes between F-creativity (which roughly equals linguistic productivity) and E-creativity (which leads to new and unexpected innovations). These two notions of creativity are discussed on the basis of examples from three different domains: snow cloning, mismatch/coercion, and aberration. It is shown that pure E-creativity may only be found in the case of aberration. Both snow cloning and mismatch/coercion are examples for F-creativity, but to varying degrees. As a consequence, it is suggested that in practice, F- and E-creativity actually form a cline, rather than a dichotomy.

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Simonton, Dean Keith. "Varieties of Perspectives on Creativity: Reply to Commentators." Perspectives on Psychological Science 4, no. 5 (September 2009): 466–67. http://dx.doi.org/10.1111/j.1745-6924.2009.01157.x.

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In this reply, I concentrate on two broad issues raised by the four commentaries in this issue: the hierarchical model of domains and individual differences in creativity. In the first case, I cite additional research to address the contrast between “hard” and “soft” domains and the application of this contrast to children, adolescents, and noneminent adults. In the second case, I introduce two recent studies to confirm the model's predictions regarding personal creative achievement. I hope that the original article, the commentaries, and this reply will inspire future inquiries into creativity in all its disciplinary varieties.

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Song, Hong-Jun, and Sun-Hee Song. "The Effects of Creative Thinking Filtering Model to Creativity Domains." Journal of the Korea Contents Association 14, no. 8 (August 28, 2014): 505–16. http://dx.doi.org/10.5392/jkca.2014.14.08.505.

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Miller, Erin Morris, and LeoNora M. Cohen. "Engendering Talent in Others: Expanding Domains of Giftedness and Creativity." Roeper Review 34, no. 2 (April 2012): 104–13. http://dx.doi.org/10.1080/02783193.2012.660684.

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Rákóczi, Emese, and Imre Szitó. "Using a creativity test standardized on a Hungarian sample to identify high creative abilities of socially disadvantaged students." South Florida Journal of Development 2, no. 2 (May 25, 2021): 2427–37. http://dx.doi.org/10.46932/sfjdv2n2-102.

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Although there is no consensus about the nature of the connection between creativity and divergent thinking, divergent thinking is an important indicator of creative abilities. Creativity is an important characteristic of the diversity of giftedness that contains general and domain specific manifestations. The MONDALK Test measuring divergent thinking was developed in Hungary utilizing and furthering the principles of Wallach–Kogan Creativity Tests (WKCT) and standardized on a representative sample of 1219 students aged 7-18. The results of the confirmatory factor analysis show that the A and B versions of the three subtests of the test measure a unified construct of the related visual, linguistic and productivity focused domains that also differ in domain-specific characteristics. In gifted identification, test bias against socially disadvantaged students and students at the risk of school dropout can only be eliminated if we use an 80th percentile cut-off point of originality and quality of originality measures instead of the usual 90th percentile cut-off point.

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Boot, Nathalie, Barbara Nevicka, and Matthijs Baas. "Creativity in ADHD: Goal-Directed Motivation and Domain Specificity." Journal of Attention Disorders 24, no. 13 (August 28, 2017): 1857–66. http://dx.doi.org/10.1177/1087054717727352.

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Objective: This research aimed to provide explanations for the inconsistent findings regarding creativity in ADHD. Method: In Study 1, we assessed real-world creative achievements and intrinsic motivation during idea generation in adults with ADHD and compared these with controls. In Study 2, we manipulated competition during idea generation to investigate effects on idea originality in adults with ADHD versus controls, and assessed creativity in specific domains. Results: Adults with ADHD reported more real-world creative achievements. We did not observe differences in intrinsic motivation during idea generation between groups, but adults with ADHD generated more original ideas when competing for a bonus. Moreover, adults with ADHD rated themselves as more creative in specific creative domains. Conclusion: Our findings suggest that goal-directed motivation may drive the enhanced real-world creative achievements of people with ADHD. Moreover, people with ADHD may selectively engage and excel in creative domains that fit their skills and preferences.

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Alhusaini, Abdulnasser, June Maker, and Regina Deil-Amen. "What is creativity: Teachers’ beliefs about creativity in students’ written stories." Zbornik Instituta za pedagoska istrazivanja 46, no. 1 (2014): 162–80. http://dx.doi.org/10.2298/zipi1401162a.

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The purpose of this study was to explore teachers? conceptual beliefs about creativity. Using the Consensual Assessment Technique (CAT), 17 elementary school teachers rated students? creativity in two separate studies. In the first study, 11 teachers analyzed the stories of 67 male and 70 female students from kindergarten, first, and second grades. In the second study, 6 teachers rated the stories of 67 male and 72 female students from third, fourth, and fifth grades. In both studies, teachers were required to use a list of clearly established guidelines in which the final step was to report the criteria used to evaluate students? creativity. Teachers? reports, which comprised 51 documents, were organized and analyzed. After coding and analyzing the data using NVivo software, the authors identified 8 major themes: (a) fluency, (b) voice, (c) originality, (d) imagination, (e) elaboration, (f) complexity, (g) making connections, and (h) writing clarity. Future researchers are encouraged to challenge the identified themes by replicating the current study in many places and in a variety of domains to enrich the theory of Creativity as a Social Construct (CSC).

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Liboriussen, Bjarke. "On the Origin Myths of Creativity, with Special Attention to the Use of Digital Tools in Architectural Work." Comunicação e Sociedade 22 (December 15, 2012): 16–32. http://dx.doi.org/10.17231/comsoc.22(2012).1272.

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Creativity is currently undergoing significant changes both in terms of actual practices (creative work) and conceptually. As for practice, this article is empirically grounded in interviews with architects who integrate virtual worlds in their work. It is argued that studies of “creative technologies” will benefit from focusing on specific, professional domains. As for conceptualisa- tion, reflections on creativity often intertwine with reflections on humanity and technology. In philosophers Henri Bergson and Hannah Arendt, the article finds a conceptual framework for making explicit the notions of creativity, or “origin myths of creativity”, underlying some contem- porary creativity literature.

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Pinto, Luís Aleixo H. Sofía, and Nuno Correia. "A computational creativity approach from music to images." ACM SIGEVOlution 14, no. 2 (July 2021): 1–5. http://dx.doi.org/10.1145/3477379.3477380.

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Our system generates abstract images from music that serve as inspiration for the creative process. We developed one of many possible approaches for a cross-domain association between the musical and visual domains, by extracting features from MIDI music files and associating them to visual characteristics. The associations were led by the authors' aesthetic preferences and some experimentation. Three different approaches were pursued, two with direct or random associations and a third using a genetic algorithm that considers music and color theory while searching for better results. The resulting images were evaluated through online surveys, which confirmed that not only they were abstract, but also that there was a relationship with the music that served as the basis for the association process. Moreover, the majority of the participants ranked highest the images improved with the genetic algorithm. This newsletter contribution summarizes the full version of the article, which was presented at EvoMUSART 2021 (the 10th International Conference on Artificial Intelligence in Music, Sound, Art and Design).

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Morais, Maria de Fátima, Ivete Azevedo, Denise de Souza Fleith, Eunice Maria Lima Soriano de Alencar, Leandro Silva Almeida, and Alexandra M. Araújo. "Teaching Practices for Creativity at University: A Study in Portugal and Brazil." Paidéia (Ribeirão Preto) 27, no. 67 (August 2017): 56–64. http://dx.doi.org/10.1590/1982-43272767201707.

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Abstract: Creativity is nowadays seen as an essential feature in higher education. Nevertheless, there is a discrepancy between the need for creativity and what higher education classrooms provide. This study assessed the perceptions of 1599 higher education students from two countries (1059 Brazilian and 540 Portuguese students), from two academic domains (Sciences and Technologies - Sc&T; Social Sciences, Arts, and Humanities - SScA&H), about the presence of creativity in their teachers’ instruction and evaluation practices. The study’s findings evidence interactive effects between the variables country and academic domain for most of the assessed factors: encouragement of new ideas, climate for the expression of ideas, and interest in students’ learning. Brazilian Sc&T students presented more negative perceptions of their classroom environments when compared to SScA&H students; Portuguese students showed opposite patterns of results. Some hypothetical explanations are discussed and future directions for research are presented.

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Augello, Agnese, Ignazio Infantino, Umberto Maniscalco, Giovanni Pilato, Riccardo Rizzo, and Filippo Vella. "Robotic intelligence and computational creativity." Encyclopedia with Semantic Computing and Robotic Intelligence 02, no. 01 (June 2018): 1850011. http://dx.doi.org/10.1142/s2529737618500119.

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The paper illustrates a cognitive architecture for computational creativity based on the Psi model and the mechanisms inspired by dual-process theories of reasoning and rationality. In particular, three applications of computational creativity will be summed up: (a) a robot capable of executing creative paintings through a multilayer mechanism that implements an associative memory and is capable to properly mix elements belonging to different domains; (b) a robot aimed at producing a collage formed by a mix of photo-montage and digital collage: the artwork is created after a visual and verbal interaction with a human user; and (c) a humanoid robot capable of improvising a dancing choreography in real-time according to the listened music. First results in computational creativity show a set of potentialities to be explored that can shed light on human and artificial creativities and artificial intelligent systems.

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Ashraf, Farzana, Aasia Nusrat, and Dania Mehboob. "Predictive Role of Personality Characteristics in Positive Emotions and Creativity: A Study of Pakistani Nuns." Pakistan Journal of Psychological Research 34, no. 2 (July 19, 2019): 383–400. http://dx.doi.org/10.33824/pjpr.2019.34.2.21.

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The present study aimed at exploring the influence of personality characteristics on positive emotions and creativity in a sample of Pakistani nuns. Personality characteristics were hypothesized to have an influence on positive emotions and creativity. The study sample comprised 94 Roman Catholic nuns associated with churches, schools, and hostels in Lahore. Measures of Ten Item Personality Inventory (Gosling, Rentfrow, & Swann, 2003), Kaufman Domains of Creativity Scale (Kaufman, 2012) and Emotional Needs Scale (Culham, 2008) were used to assess personality characteristics, creativity and positive emotions, respectively. The analysis revealed that extraversion personality was the strongest predictor of creativity and positive emotions in nuns. In conclusion, personality characteristics were inferred to be an important factor for facilitating creativity and positive emotions and may well be able to support individuals during unhealthy or difficult circumstances.

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Abdelhameed, Wael A. "Creativity in the Initial Phases of Architectural Design." Open House International 42, no. 1 (March 1, 2017): 29–34. http://dx.doi.org/10.1108/ohi-01-2017-b0005.

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Creativity is viewed as vital for all design actions; however, creativity in general with its related cognition processes has no general theory. Creativity used in architectural design is different than creativity in other domains. This research proposes certain activities of the initial phases of architectural design, in which the role of creativity is distinguished. The research proceeds to present a case study of two architectural design studios in which a VR environment is employed in order to in-vestigate the effect of VR use on the creativity in those design phases. A methodol-ogy of qualitative and quantitative analysis has applied. Various architectural design factors are neutralized to overcome the influence generated from human factors variation and design thinking prejudice in architectural design and the associated ac-tivities.

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Zilm, Frank, Ruth Ann Atchley, Sabrina Gregersen, and Maisie Alice Conrad. "The Creative Healthcare Architect." HERD: Health Environments Research & Design Journal 13, no. 2 (July 4, 2019): 119–32. http://dx.doi.org/10.1177/1937586719858761.

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The objectives of the research described in this article focus on an understanding of factors that influence creativity in healthcare design. Two areas of emphasis include the personality strengths of successful healthcare architects and elements of the current project delivery process. As part of the research, 48 healthcare architects participated in a battery of personality and creativity tests including Myers/Briggs, The Big Five, the Remote Associates Test (RAT), and an architectural creativity test. Results of the test point to strong “openness” for new ideas, particularly with the designers sampled. As a group, respondents scored low in “narcistic” bias (indicating emotional stability) and did not score high in verbal creativity. Compared to earlier studies of creative architects, the sample group included significantly fewer “perceiver” (Myers/Briggs), associated with a high level of curiosity. A second interesting finding was a significant difference between younger and older architects in the architectural creativity test. One possible hypothesis is the experience of the older architects. A second, and potentially more alarming, hypothesis is that technological disruptions are interfering with the ability to stimulate divergent thinking, particularly in the younger generation raised with smart phones and other network tools. Creativity in healthcare architecture demonstrates the case for domain-specific experience and skills along with creative input from other knowledge domains. The ability to establish group creativity may be inhibited by pressures to condense project time lines and not fully implement lean and other process strategies for exploring alternative solutions. Effective participation in group creativity tasks is particularly important for the complex world of healthcare design.

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Urban, Klaus K. "From creativity to Responsible Createlligence®." Gifted Education International 30, no. 3 (May 14, 2013): 237–47. http://dx.doi.org/10.1177/0261429413485399.

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A creative life is described with a dual perspective. Starting with the input of family and schools and crystallizing around the aspects of ‘spoken word’ and ‘need of/for novelty’, a scholarly career and research of new topics (in the country) developed on the one hand; on the other hand, creative activities and products in several domains of arts emerged, with particularly successful highlights in later life (poetry slamming). Finally, in expanding Urban’s components model of creativity, a capacious model structure is delineated to provide a foundation for creative education concerning the challenges, tasks and necessary competencies for the future: the model of Responsible Createlligence®.

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PLUCKER, JONATHAN A. "Generalization of Creativity Across Domains: Examination of the Method Effect Hypothesis." Journal of Creative Behavior 38, no. 1 (March 2004): 1–12. http://dx.doi.org/10.1002/j.2162-6057.2004.tb01228.x.

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Sánchez-Ruiz, M. J., D. Hernández-Torrano, J. C. Pérez-González, M. Batey, and K. V. Petrides. "The relationship between trait emotional intelligence and creativity across subject domains." Motivation and Emotion 35, no. 4 (June 11, 2011): 461–73. http://dx.doi.org/10.1007/s11031-011-9227-8.

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Lin, Chia-Yi. "Threshold Effects of Creative Problem-Solving Attributes on Creativity in the Math Abilities of Taiwanese Upper Elementary Students." Education Research International 2017 (2017): 1–9. http://dx.doi.org/10.1155/2017/4571383.

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This study aimed to help determine what the typology of math creative problem-solving is. Different from studies that have discussed the threshold effect between creativity and intelligence, this research investigated the threshold effect between creativity and other attributes. The typology of the math creative problem-solving abilities of 409 fifth- and sixth-grade Taiwanese students was identified and compared in this study. A Creative Problem-Solving Attribute Instrument was devised for this study, with the aim of measuring students’ perceptions on their motivation, knowledge, and skills, both in general and in specific domains. Divergent and convergent thinking were also measured. Cluster analyses yielded three creative problem-solving typologies: High, Medium, and Low. The High Attribute group scored significantly higher in the Math Creative Problem-Solving Ability Test than did the Medium Attribute and Low Attribute groups. The results suggest a threshold effect from several attributes—divergent thinking, convergent thinking, motivation, general knowledge and skills, domain-specific knowledge and skills, and environment—on students’ creative problem-solving abilities. Balanced development of attributes may be an important consideration in nurturing creativity in children.

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Wolfradt, Uwe, and Jean E. Pretz. "Individual differences in creativity: personality, story writing, and hobbies." European Journal of Personality 15, no. 4 (July 2001): 297–310. http://dx.doi.org/10.1002/per.409.

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This study investigated the relationship between creativity and personality among college students from a variety of major fields of study. Indicators of creativity were ratings of written stories, lists of personal hobbies, and scores on the Creative Personality Scale (CPS; Gough, 1979). Personality was assessed broadly using the NEO‐Five Factor Inventory (Costa and McCrae, 1985) as well as measures of depersonalization, intolerance of ambiguity, faith in intuition, and problem‐solving styles. The results showed a positive relationship between openness to experience and all creativity measures. Moreover, high scores on intuition and extraversion were the best predictors for creativity as measured by the CPS. Story creativity was predicted by low scores on conscientiousness. Depersonalization was not significantly related to creativity. The results of this investigation confirm and extend previous research in demonstrating a close association between creativity and specific personality traits. Future research should clarify the nature of the creative personality across individuals of differing levels and domains of expertise. Copyright © 2001 John Wiley & Sons, Ltd.

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Baas, Matthijs, Marieke Roskes, Severine Koch, Yujie Cheng, and Carsten K. W. De Dreu. "Why Social Threat Motivates Malevolent Creativity." Personality and Social Psychology Bulletin 45, no. 11 (March 31, 2019): 1590–602. http://dx.doi.org/10.1177/0146167219838551.

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History is rife with examples of the dark side of creativity—ingenious weapons, novel torture practices, and creative terrorist attacks—yet its psychological origins are sparsely addressed and poorly understood. Building on work showing that social threat induces focused thinking as well as aggressive cognitions and readiness to fight, we propose that threats lead to more malevolent creativity and less creativity in threat-irrelevant domains. Prisoner’s dilemma games were modified to evoke threat of exploitation. Participants then generated novel brick uses (Study 1, N = 113) or negotiation tactics (Study 2; N = 79). High (vs. low) social threat led to more “malevolent” creativity (e.g., using bricks as weapons; using intimidation as negotiation tactic). Social threat reduced nonthreat-related creative ideation only in Study 1. Study 2 showed that the increase of malevolent creativity was due to the motivation to defend and aggress, and emerged especially among individuals with a high need for cognition.

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Kim, Sungyeun. "Analysis of weights depending on scoring domains of the mathematical creativity test." Mathematical Education 55, no. 2 (May 31, 2016): 147–69. http://dx.doi.org/10.7468/mathedu.2016.55.2.147.

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van den Born, Floor, and Kevyn Yong. "Temporality and expertise domains: A team creative cognition perspective on radical creativity." Academy of Management Proceedings 2015, no. 1 (January 2015): 16214. http://dx.doi.org/10.5465/ambpp.2015.16214abstract.

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Agnoli, Sergio, Giovanni E. Corazza, and Mark A. Runco. "Estimating Creativity with a Multiple-Measurement Approach Within Scientific and Artistic Domains." Creativity Research Journal 28, no. 2 (April 2, 2016): 171–76. http://dx.doi.org/10.1080/10400419.2016.1162475.

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McKay, Alexander S., Maciej Karwowski, and James C. Kaufman. "Measuring the muses: Validating the Kaufman Domains of Creativity Scale (K-DOCS)." Psychology of Aesthetics, Creativity, and the Arts 11, no. 2 (May 2017): 216–30. http://dx.doi.org/10.1037/aca0000074.

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Lee, Yunhee. "A semiotics of creativity and a poetic metaphor: Towards a dialogical relation of expression and explanation." Semiotica 2016, no. 208 (January 1, 2016): 155–65. http://dx.doi.org/10.1515/sem-2015-0122.

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AbstractThis paper aims to examine the status and ontology of expression level of sign to propose the concept of creativity in connection with Peirce’s theory of symbol and particularly symbolization. I argue that the process of symbolization has a certain directionality from the ontological to the substantial domain of sign. Thus, the internal world of concept is connected to the external world of things. In other words, a symbol as a cultural code with connoted meaning requires another dimension of a new creative expression. As a result, denotation on the expression level becomes extended. Based on this, symbols grow through symbolization with creative thinking. This process of symbolization is commensurate with explaining how two domains are connected. Consequently, the concept of creativity on the expression plane needs an explanation from a semiotic viewpoint as to how the ontological domain of concepts or ideas is connected to the substantial domain of expression or things based not on a psychological aspect but on a logical inference through metaphorical and analogical reasoning.

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Journal articles on the topic 'Domains of creativity'

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