1. Methods of Individual Creativity Stimulation

By Rusu, Marinela | Review of Artistic Education, January 1, 2019 | Go to article overview

1. Methods of Individual Creativity Stimulation


Rusu, Marinela, Review of Artistic Education


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. …

The rest of this article is only available to active members of Questia

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited article

1. Methods of Individual Creativity Stimulation
Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this article
  • Highlights & Notes
  • Citations
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    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.