Metacreativity: Awareness of Thoughts and Feelings During Creative Experiences

Bruch, Catherine B.

doi:10.1002/j.2162-6057.1988.tb00672.x

Cited by 28 publications

(12 citation statements)

References 10 publications

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“…This framework, and particularly the move between actor and observer role, requires considerable metacognitive skills and strategies (for a general discussion see Armbruster, ). Particular developments in this direction, such as the concepts of metacreativity (Bruch, ) and creative metacognition (Kaufman & Beghetto, ), can help us refine our understanding of the mental processes involved in perspective taking. However, an added value of the conception advanced here is that it asks us to go beyond metacognition and understand its context of social interaction.…”

Section: Concluding Questionsmentioning

confidence: 99%

Creativity as a Sociocultural Act

Glăveanu

2015

Journal of Creative Behavior

245

216

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The present article introduces, develops, and illustrates a perspectival framework for the creative process drawing on current developments within the cultural psychology of creativity and the social theory of George Herbert Mead. The creative process is conceptualized as a form of action by which actors, materially and symbolically, alone and in collaboration with others, move between different positions and, in this process, imaginatively construct new perspectives on their course of action which afford greater reflexivity and the emergence of novelty. The article begins by locating this approach within a broader conception of distributed creativity and the role of difference-social, material, and temporal-for creative expression. It then outlines four key premises of the perspectival framework before illustrating it with the help of a subjective camera study of a painter's creative activity. In the end, some important questions are raised concerning the theoretical and practical implications of this new model.Creative understanding does not renounce itself, its own place in time, its own culture; and it forgets nothing. In order to understand, it is immensely important for the person who understands to be located outside the object of his or her understanding-in time, in space, in culture. For one can not really see one's own exterior and comprehend it as a whole, and no mirrors or photographs can help; our real exterior can be seen and understood only by other people, because they are located outside us in space and because they are others.(Bakhtin, 1986, p. 7)For Bakhtin (1986) creative understanding requires other people. The person alone is never enough mainly because the person is fundamentally rooted in her own space, time, and immediate cultural horizon. Creating involves a form of detachment or distantiation

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Section: Concluding Questionsmentioning

confidence: 99%

Creativity as a Sociocultural Act

Glăveanu

2015

Journal of Creative Behavior

245

216

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“…The same logic is what suggests that ''being creative about research on creativity'' qualifies as metacreativity. Barron (1995) seemed to have been thinking along these lines when he cautioned that quite a bit of creativity was needed to test creativity.…”

Section: Meta-creativitymentioning

confidence: 96%

Meta-Creativity: Being Creative About Creativity

Runco¹

2015

Creativity Research Journal

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“…This research identifies a set of 'core characteristics' regarded as the 'creative personality' (MacKinnon, 1962a(MacKinnon, , 1962bStein, 1968;Simonton, 1986;Bruch, 1988). Barron & Harrington (1981), after reviewing 15 years of research on personality characteristics of creative individuals, concluded: "In general, a fairily stable set of core characteristics (e.g., high valuation of aesthetic qualities in experience, broad interests, attraction to complexity, high energy, independence of judgement, autonomy, Downloaded by [Universitaetsbibiothek Bonn] at 02:57 24 March 2015 intuition, self-confidence, ability to resolve antimonies or to accomodate apparently opposite or conflicting traits in one's self-concept, and, finally, a firm sense of self as 'creative',) continue to emerge as correlates of creative achievement and activity in many domains" (P-453).…”

Section: Explanation In Terms Of 'Personality'mentioning

confidence: 99%

Creativity: The interaction condition

Mellou

1995

Early Child Development and Care

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This paper discusses the reciprocal interactionist activity of creativity. There is an explanation in terms of personality, cognitive style and situation of how specific characteristics of these three factors develop creativity. These factors are interelated and none is sufficient for creativity in and itself. Creativity can only be explained by a model that encompasses all three sets of factors. Nevertheless, this is only a partial explanation of creativity, because its forms and manifestations are so varied.

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Metacreativity: Awareness of Thoughts and Feelings During Creative Experiences

Cited by 28 publications

References 10 publications

Creativity as a Sociocultural Act

Creativity as a Sociocultural Act

Meta-Creativity: Being Creative About Creativity

Creativity: The interaction condition

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