Creativity in Context: The Ecology of Creativity Evaluations and Practices in an Artistic Craft

Glăveanu, Vlad Petre

doi:10.1007/s12646-010-0056-8

Cited by 37 publications

(27 citation statements)

References 21 publications

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“…Glăveanu () used multiple feedback methodology in evaluating the creativity of Romanian Easter eggs. This approach requires “appropriate assessors”, who are more involved and in contact with the product, to evaluate the creativity of a certain product or class of products.…”

Section: Evaluating Creative Products In America and Chinamentioning

confidence: 99%

“…In this study, four groups (ethnographers, priests, art teachers and folk artists) of 27 evaluators in total who have relevant background were included. This methodology also requires an in‐depth understanding of the social and cultural context of creativity evaluations (Glăveanu, ). Although this study claimed to use non‐experts to make an assessment, it seems these “appropriate assessors” should be labeled as quasi‐experts rather than laypeople.…”

Section: Evaluating Creative Products In America and Chinamentioning

confidence: 99%

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American and Chinese Similarities and Differences in Defining and Valuing Creative Products

Lan

Kaufman

2012

Journal of Creative Behavior

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This review of the literature explores how Americans and Chinese view creativity and what they expect from creative products. American and Chinese explicit beliefs about creativity (i.e., expert opinions) share many similarities. Implicit beliefs, however, show more divergence: Americans tend to value novelty and more "groundbreaking" types of creativity, whereas Chinese tend to appreciate creativity within constraints, such as reworking a traditional concept. The context of how people respond to creativity obviously varies by culture, although there are also some communal and universal creative ideals.Let the Bullets Fly (Jiang, 2010) was one the greatest cinematic successes in Chinese film history. The action/comedy starring Chow Yun-fat made a record-setting $100 million dollars in its native country. Yet when the film had its American premiere (at the Tribeca film festival), filmgoers left in the middle of the movie; the festival ended without a distribution deal. Indeed, the film does not have an American distributor as of this writing. This cross-cultural disconnect is not an isolated incident; many recent Chinese films have not met with financial (or critical) success in America (Zeitchik & Pierson, 2011).Why does such a discrepancy exist? This paper aims to review the research literature on how Americans and Chinese evaluate creative products and what they expect from them. Starting with an overview of how Americans and Chinese define and assess creativity, we will then examine previous research from the broad view of culture context. We will specifically emphasize cultural similarities and differences in expectations for a creative person and a creative product. We will also discuss the differences between how people desire a product and how they assess a product, then explore avenues for future research.Creativity research came to prominence 60 years ago in America. From early work on divergent thinking (Guilford, 1950), creativity now has a multitude of approaches and perspectives. A small sampling include approaches rooted in personality (Batey,

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Section: Evaluating Creative Products In America and Chinamentioning

confidence: 99%

Section: Evaluating Creative Products In America and Chinamentioning

confidence: 99%

American and Chinese Similarities and Differences in Defining and Valuing Creative Products

Lan

Kaufman

2012

Journal of Creative Behavior

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“…This research has been reported elsewhere (Glȃveanu, 2010c), and for the purpose of the present review some reflections will be offered on the practical use of the method as well as its possible outcomes in terms of the three main aims of multiple feedback described above.…”

Section: A Case Study Illustrationmentioning

confidence: 99%

A Multiple Feedback Methodology for the Study of Creativity Evaluations

Glăveanu

2012

Journal of Constructivist Psychology

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The cultural psychology perspective emphasizes the role of communication and social interaction in the construction of representations and evaluations concerning creativity. In terms of creativity assessment, this approach leads to the use of a multiple feedback methodology selecting several groups of evaluators with dissimilar backgrounds in order to understand how creativity practices and evaluations are rooted in particular contexts. Due to its constructionist nature, the multiple feedback method aims to capture the multiplicity of viewpoints characteristic for real life settings and can be especially useful for investigating the social and cultural dynamics of creativity.

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“…With regard to contextual creativity, studies show the social (Montouri & Purser, 1995;Amabile, 1996) and cultural (Glăveanu, 2010a) embeddedness of creativity and illustrate the role of community and society as external evaluators of creativity (Glăveanu, 2010b). Possible ramifications of assessment might entail disabling creativity as discussed by e.g.…”

Section: From Creativity To Co-creativitymentioning

confidence: 99%

On Co-Creativity in Playful Classroom Activities

Schmoelz

2017

Creativity. Theories – Research - Applications

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Recent research points to the essential role of creativity in coping with and acting in a changing world. It has been shown that individual, collaborative and communal efforts are a core capacity for acting in and coping with everchanging circumstances, such that a novel emphasis on cocreativity has arisen. Yet there is very little research on how to provide occasions for co-creativity in classrooms and so the research problem focuses on enabling co-creativity.Therefore, a playful pedagogical design was created and facilitated in classroom. The qualitative data collection methods involved narrative-Socratic dialogues with teachers and students, field notes, and gameplay videography.The Narrative-Structural Method was used to analyze the research material. The main results show that playful classroom activities provide an occasion for co-creative reframing's, engaging in dialogue, expressing emotions, and co-creating a shared story that is rich in co-determined actions. In conclusion, the pedagogical implications of the results are that classroom activities for co-creativity may facilitate mixed playful pedagogies and empty content spaces, so that children and young people can playfully identify, explore and negotiate shared topics that are novel and meaningful to themselves and others. the students of the middle school who worked on piloting the paper prototype of 4Scribes.I am very thankful to Kerry Chappell, Gertraud Kremsner, Christian Swertz, Alessandro Barberi, Matthias Huber and Wolfgang Ruge and the reviewers for taking the time to read and provide feedback on this paper. This paper is dedicated to our esteemed and much loved colleague, Professor Anna Craft, who very sadly died during this project. While we miss her companionship, we are very grateful for her kindness, inspiration and creativity. INTRODUCTIONScholars and scientists have identified accelerating change and uncertainty (Rogers, 1969;Giddens, 2003;Beck, 2007) as central constants in society. Some see increasing entropy (Heintz, 1982) and accelerating connectivity (Hepp, Krotz & Winter, 2005;Seitz, 2002), others deep transformations of the way we produce as well as exchange goods, money (Teusch, 2004; Altvater & Mahnkopf, 2007;Perraton, 1998;Neyer, 1995), and information (Feigelson, 2003; Wurzer, 2000;Featherstone & Lash, 1995;Farhauer, 2003;Giddens, 2003) as core drivers of accelerating change, as well as the disruption of the welfare state (Bourdieu, 1997) and the politics of speed (Glezos, 2012) as a core driver of uncertainty. As a consequence of our ever-accelerating and uncertain world, Engel and Hurrelmann (1989) identify an increase in socio-psychological strain on children and young people and Wilkinson (2009) forefronts deep psychological effects such as vulnerability and anxiety.These circumstances, coupled with the old assumption regarding radical change and society in flux (Seibt, 2016), re-raise questions for education. How can we educate and enable children and young people for a future world that we cannot fully grasp yet?How...

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Creativity in Context: The Ecology of Creativity Evaluations and Practices in an Artistic Craft

Cited by 37 publications

References 21 publications

American and Chinese Similarities and Differences in Defining and Valuing Creative Products

American and Chinese Similarities and Differences in Defining and Valuing Creative Products

A Multiple Feedback Methodology for the Study of Creativity Evaluations

On Co-Creativity in Playful Classroom Activities

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