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The apps for drawing are present in our children's life. Nevertheless, little is known about the impact of mobile technology on the freehand drawing educational activity. There are few works which are contextualised within short periods of time, with teachers who are not theirs and, in some cases, outside the children's classroom. In this paper, we are focussed on the use of technology on freehand drawing activity. Thus, we have compared the graphics produced by 4- and 5-year-old children with paper&crayon in comparison with those with tablet-finger. Children made the drawings during a planned free-drawing activity, in their ordinary classrooms, with their teachers and during five sessions. Assessment of drawings has evidenced tablet feasibility for making graphics. Nevertheless, with the passing of time, quality of graphics (tablet-finger vs paper&crayons), are nearly matched, demonstrating the low impact level technology has on this activity. In addition, if drawings are analysed specifically according to ages, results have shown that both groups have to develop adaptation strategies of visual perceptual skills and fine motor skills for the touch screen in order to obtain the same quality in the drawings made on both support types. [ABSTRACT FROM AUTHOR]

This reaction paper traces Maslow's discovery of Daoism, which became a key element in his psychological system of creativity, growth, and interpersonal relations. [ABSTRACT FROM AUTHOR]

The article focuses on the Kazuo Ishiguro Papers, preserved and accessible for research at the Harry Ransom Center, providing insight into Ishiguro's unique approach to archiving and offering a rich resource for studying his creative process. It mentions that Ishiguro's meticulous organization of the archive, accompanied by detailed annotations and "archive notes," provides a distinctive collection of original manuscripts with the author's personal reflections.

Copyright of Journal of Near Architecture is the property of Journal of Near East Architecture and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Creativity is an important skill for engineers but many students face a lack of experience in idea generation, often compounded by low-self efficacy towards creativity. Providing students with online training modules has been suggested as one solution. However, the literature demonstrates using a computer can influence performance and self-efficacy in a different manner to using pen-and-paper. There is a current lack of research on whether computers may influence self-efficacy during idea generation tasks. Two experiments involving computer-based and pen-and-paper groups were designed. Groups were provided with templates that guided them through the process of applying an idea generation technique and were given sixteen minutes to generate ideas to solve a presented problem. Results revealed that students' performance was similar and using a computer does not negatively influence self-efficacy. This shows that students can engage in idea generation learning tasks using computer-based modes without negatively influencing performance or self-efficacy, suggesting an avenue for educators to engage students with building creativity skills. [ABSTRACT FROM AUTHOR]

Due to its distinct affordances, the iPad might foster alternative forms of collaborative creativity when compared with pens on paper. In this article I examine how a collaborative drawing task among five pairs of 5–6 year olds unfolded on paper and on the iPad, framing the investigation through the concept of multimodal participation frameworks. Through multimodal analysis of 25 episodes of video observation, I focus on the multimodal actions that comprised the children’s collaborative creativity and identify three patterns of interaction: 1) working together, 2) collaboration ‘coming loose’ and 3) vying for control. I then explore how the affordances of the resources used were implicated in these distinct patterns of interaction. The analysis suggests that participation frameworks were tighter and more focused on the task when children drew via the iPad, perhaps because the resources were more physically confined, the screen was harder to see and the drawing app produced a novel and dynamic visual effect. During collaborative drawing on paper, the pens often acted as a distractor, drawing attention away from the drawing and disrupting the fluency of turn-taking. These findings suggest the need to challenge the popular perception that iPads facilitate solitary game-playing and video-watching at the expense of collaborative creativity. [ABSTRACT FROM AUTHOR]

Several authors have proposed that a large number of unusual combinations of cited references in a paper point to its high creative potential (or novelty). However, it is still not clear whether the number of unusual combinations can really measure the creative potential of papers. The current study addresses this question on the basis of several case studies from the field of scientometrics. We identified some landmark papers in this field. Study subjects were the corresponding authors of these papers. We asked them where the ideas for the papers came from and which role the cited publications played. The results revealed that the creative ideas might not necessarily have been inspired by past publications. The literature seems to be important for the contextualization of the idea in the field of scientometrics. Instead, we found that creative ideas are the result of finding solutions to practical problems, result from discussions with colleagues, and profit from interdisciplinary exchange. The roots of the studied landmark papers are discussed in detail. [ABSTRACT FROM AUTHOR]

This study aims to analyze the learning needs of students in writing scientific papers. This type of research is a qualitative study using descriptive analysis methods. Participants used in this study were 38 students and 4 lecturers who taught writing scientific papers. Students and lecturers are spread across 4 universities in West Sumatra, Indonesia. Data in this study were obtained from tests, questionnaires, and interview guidelines. Data is collected by providing material tests for writing scientific papers. Next, give a questionnaire to write scientific papers to students. Finally, conducting interviews with students and lecturers related to learning needs in writing scientific papers. Data were analyzed using content analysis methods. The results showed that based on the point of view of teaching materials, the learning needs of students in writing scientific papers are the main ingredients of systematic writing in scientific articles, examples of scientific articles, references relating to scientific papers. From the point of view of the learning model, the learning needs of students in writing scientific papers are fun learning, providing freedom, motivation, imagination, creativity, logical thinking, direct practice, and lecturer guidance. From the point of view of evaluating learning, the learning needs of students in writing scientific papers are direct evaluations in facing obstacles to learning and evaluations that are carried out together. Therefore, students have various needs in writing scientific papers. [ABSTRACT FROM AUTHOR]

It is not always easy, not only for beginners but also for experts, to find out newly research subjects or grasp analytically research trends (or directions). This work is one of the intelligent tasks. Traditionally, some investigations or research projects focused on the challengeable task of human-oriented creativeness: The efforts are very stable and the results make the basic framework or fundamental ideas clear one by one for strictly-constrained application of human-activity. This task is closely dependent on the global framework of knowledge management with respect to the support from human creative activity. In this paper, we discuss a computer-support method to arrange already-read papers analytically and then discuss the research topics related to currently focused research fields or research trends derived from the existing papers and researcher's interests. Our idea is to realise this paper inquiry method in three procedural steps, such as arranging paper contents, grasping relationships among papers and investigating research subjects followed by already-referred papers, and also make users interact with individually-generated results by controlling spirally three steps. [ABSTRACT FROM AUTHOR]

Copyright of Urban Studies (Sage Publications, Ltd.) is the property of Sage Publications, Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

An enormous wealth of digital tools now exists for collaborating on scholarly research projects. In particular, it is now possible to collaboratively author research articles in an openly participatory and dynamic format. Here we describe and provide recommendations for a more open process of digital collaboration, and discuss the potential issues and pitfalls that come with managing large and diverse authoring communities. We summarize our personal experiences in a form of 'ten simple recommendations'. Typically, these collaborative, online projects lead to the production of what we here introduce as Massively Open Online Papers (MOOPs). We consider a MOOP to be distinct from a 'traditional' collaborative article in that it is defined by an openly participatory process, not bound within the constraints of a predefined contributors list. This is a method of organised creativity designed for the efficient generation and capture of ideas in order to produce new knowledge. Given the diversity of potential authors and projects that can be brought into this process, we do not expect that these tips will address every possible project. Rather, these tips are based on our own experiences and will be useful when different groups and communities can uptake different elements into their own workflows. We believe that creating inclusive, interdisciplinary, and dynamic environments is ultimately good for science, providing a way to exchange knowledge and ideas as a community. We hope that these Recommendations will prove useful for others who might wish to explore this space. [ABSTRACT FROM AUTHOR]

Creativity assessments should be valid, reliable, and scalable to support various stakeholders (e.g., policy-makers, educators, corporations, and the general public) in their decision-making processes. Established initiatives toward scalable creativity assessments have relied on well-studied standardized tests. Although robust in many ways, most of these tests adopt unnatural and unmotivating environments for expression of creativity, mainly observe coarse-grained snippets of the creative process, and rely on subjective, resource-intensive, human-expert evaluations. This article presents a literature review of game-based creativity assessment and discusses how digital games can potentially address the limitations of traditional testing. Based on an original sample of 127 papers, this article contributes an in-depth review of 16 papers on 11 digital creativity assessment games. Despite the relatively small sample, a wide variety of design decisions are covered. Major findings and recommendations include identifying (1) a disconnect between the potential of scaling up assessment of creativity with the use of digital games, and the actual reach achieved in the examined studies (2) the need for complementary methods such as stealth assessment, algorithmic support and crowdsourcing when designing creativity assessment games, and (3) a need for interdisciplinary dialogs to produce, validate and implement creativity assessment games at scale. [ABSTRACT FROM AUTHOR]

It is commonly thought that unconscious processes cannot produce actions deserving praise or blame. I present a thought experiment designed to generate a contradicting intuition: at least in this case, we do give credit for the product of an unconscious process. The target is creativity. Many instances of creative thought begin with a step that unconsciously generates a new idea by combining existing ideas. The resulting ideas are selected and developed by later processing. This first step could be replaced with a simple machine that randomly pairs concepts. Now, imagine a philosopher, Liberty, who gets all of his paper ideas from this machine. Compare him to another philosopher, Libertad, who comes up with all the same papers using her own mind. If you share the intuition that Liberty's work deserves less credit for creativity, you are giving credit for the product of an unconscious process. [ABSTRACT FROM AUTHOR]

An introduction to the journal is presented in which the editor discusses various reports within the issue on topics including empowering leadership, creative ability, and boredom at workplace.

The theory linking the development of mental disorders with the processes of human evolution assumes that these disorders may be the result of a side effect of natural and sexual selection processes. Creativity is one of the adaptive features associated with the increased incidence of psychopathological symptoms (as compared to the general population). In this review paper, the definition of creativity has been characterized, and contemporary existing theories on its background, have been presented. Also, the paper describes the relationship between creativity and the presence of psychopathological symptoms. Special attention has been paid to the relationship between creativity and bipolar disorder. The research results prove the existence of a correlation between a high level of creativity and a higher prevalence of psychopathological symptoms, particularly concerning the symptoms of bipolar disorder spectrum. [ABSTRACT FROM AUTHOR]

This article identifies a group of paintings by Edgar Degas as "bureau pictures," representations of workplaces, creative or commercial, in which piles of paper are spread on desks. Through his depiction of paper, as well as his affective casting of the way in which human figures relate to their piles of paper, Degas explores the intertwined gestures of creative and bureaucratic labor. Paper's tendency to offer a medium for fragmentation was represented in contemporary literature by Théophile Gautier and Émile Zola. In these texts and in Degas's images, papery fragmentation takes two forms: either as a creative scattering symptomatic of an anti-classical aesthetic informed by Romanticism, or as an instrument of bureaucracy and administration, as in Zola's representation of the stock market and the department store. Ultimately, in the bureau pictures, Degas does not take a definitive stance, but rather dwells on the way in which the two approaches intermingle, such that it is impossible to distinguish clearly between an artist's or an author's work and that of a clerk, at least at the level of the gestures and the handling of pieces of paper. In a move typical of Modernist aesthetics, however, paint and compositional choices strike back in order to submerge paper in the user's coin (corner), as a "true fragment" impressed with the mark of artistic temperament. [ABSTRACT FROM AUTHOR]