Academic journal article Review of Artistic Education

1. Methods of Individual Creativity Stimulation

Academic journal article Review of Artistic Education

1. Methods of Individual Creativity Stimulation

Article excerpt

1.Daily creativity

Daily creativity improvise and is therefore, different from what the researchers of creativity have studied: creativity which has as consequence a finished product. There is an increasing number of research into the creativity of performance, and if we want to be more creative in everyday life, we will have to take this research into consideration. Music and theater performance studies, for example, show how individual can be more creative by simply taking a role, even when there is no finished product at the end of the process. These studies highlight the following aspects that characterize everyday creativity: it is collaborative; is improvised; can not be pre-planned or revised carefully before execution; appears unpredictable within a group of individuals; depends on common cultural knowledge; in everyday creativity, the process is the product itself. Everyday creativity does not question the isolated individual and the mental processes involved in manifesting his special talent. It is the complex process of social insertion, where creativity occurs mainly in execution action rather than in thinking or design.

2.Education and creativity

In the 1950s, Sidney Parnes and E. Paul Torrance did not agree with their colleagues: they were among the few psychologists who thought creativity could be learned (Parnes, 1993). Most personalities in psychology have considered creativity to be similar to IQ, and so it was inherited by birth for each individual, and therefore can not be deliberately changed later. In 1955, at the Utah Conference, discussions focused on "identifying creative scientific talent" and not on the development of creativity; in 1959 at the same annual conference, Torrance and Parnes reported some experimental results that showed that the idea of training the ability of creativity could work. As a result of this new approach, the name of the conference was changed to "Identifying and Developing Creative Science Talent" (Parnes, 1993, p. 472). In 1972, Torrance analyzed two decades of research and found 142 studies showing that through education it is possible to develop creativity (Torrance, 1972).

If creativity can be learned, then the directors of large corporations can become very interested. After all, innovation is the key to the progress of modern corporations. That is why those who offer advice on how to become more creative are highly paid consultants. Some of the best-known creative consultants are trained by Lego Group AG, the Danish parent of the company that produces the reputable toys for children. Management consultants are trained to use Lego blocks in "Serious Play" workshops, with the directors of the institutions. Perhaps it's hard to imagine that a middle-aged man with a white shirt and tie is playing with Lego, but the idea becomes widespread, taken over by companies such as Nokia, Daimler-Chrysler, Ikea and Alcatel. "Lego is efficient because it allowed directors to visualize abstract concepts such as the "chain of values" or "process engineering" by "building their own interpretations for them ", said Kimberly Jaussi (quoted in Hennessey)302. Lego Corporation has not created the idea of using Lego to teach creativity în corporations; several management consulting firms have been doing it for years, including the IDEO Corporation in Palo Alto, California and the Creative Leadership Center in Greensboro, North Carolina. As has been seen many times, many creations are emerging phenomena, and the idea of using Lego for consulting in corporate creativity has materialized in a moment of insight at Lego's headquarters. It was an emerging collective phenomenon. These uncertain approaches to creativity training were a product of modern society in the 1990s, when small businesses were more receptive to unusual approaches than large and old corporations in the industry.

A popular method of modeling creativity is morphological synthesis. Team members enumerate the important dimensions of an object and the range of possible attributes for each dimension, and then consider new combinations of them. …

Search by... Author
Show... All Results Primary Sources Peer-reviewed

Oops!

An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.