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Freeride skiing is the fastest-growing sector of the skiing industry, but there are no studies analyzing its nature and values. First, we provide descriptions of freeride skiing and competitive freeride skiing, trying to analyzing the nature of these activities in comparison and contrast with conceptions of traditional sport and nature sport. Whilst freeride skiing must be seen in some sense as a nature sport, competitive freeride skiing is best seen within the category of traditional sport. However, these ‘new’ sports raise questions about the adequacy of our current categories, leading us to our second task, which was to identify and discuss the values of freeride skiing. We identify freedom and creativity as primary values, which lead to a greater rapport with nature, and a greater attention to risk, danger and safety, as concomitant values. Finally, we briefly indicate further values of the activity, such as responsibility, community and preservation of the practice. [ABSTRACT FROM AUTHOR]

This paper responds directly to the question, how do we communicate our philosophy of art education? It does this by drawing upon previous research with House of Imagination, School Without Walls and doctoral research exploring children's learning identity as artists, to illuminate a philosophical approach to art education and its pedagogy that highlights both human and more‐than‐human dimensions of learning in communities of practice involving artists, researchers and educators working alongside children and young people where spaces of possibility for practice and innovation emerge. The paper focuses particularly on current and creative research in the Forest of Imagination, a long‐term participatory contemporary arts and architecture event in Bath, UK. Forest of Imagination offers an alternative, creative approach to learning, focusing on ecological imagination and nature connection. As a new aesthetic imaginary, the Forest of Imagination is a living, breathing art classroom, inspiring curiosity, imagination and a deeper connection with the natural world. [ABSTRACT FROM AUTHOR]

It has been suggested that expressive and creative activities have great potential for the development of several areas of human development. Therefore, this study aimed to know students’ views on creativity, social relationships, and affectivity after participating in expressive activities (dance, drama, and rhythm) based on a creative approach within Physical Education. Seventy-three children aged 11 participated in these activities, and 19 (58% boys) responded to a semi-structured interview. Results revealed three main themes: 1) greater creativity and transference to other contexts; 2) self-confidence, loss of shame, and greater expression of emotions; 3) closer and new social relationships among peers. Children felt more creative and imaginative after the intervention and tried to transfer their acquired creative skills to other contexts. Regarding affectivity, they gained self-confidence during the sessions and felt less embarrassed to express their emotions. Their social skills also improved: they felt comfortable playing and being creative with their classmates, discovered new skills among their peers, and made new friendships. These findings suggest that expressive and creative activities in Physical Education can contribute positively to cognitive, affective, and social domains. [ABSTRACT FROM AUTHOR]

The past decade has witnessed a growing amount of research on TBLT, translanguaging, and creativity respectively. However, research on translanguaging and creativity has not yet been situated in the TBLT context, while creativity research in TBLT classrooms has not realised the role of learners’ full linguistic repertoire in creative meaning-making. To address this research gap, this qualitative study, conducted in a TBLT classroom at a Chinese university, explored how multilingual learners engaged in translanguaging practices to foster creativity and how they perceived their translanguaging practices. Data were collected from classroom observations, audio recordings, audio-simulated-recall interviews, and artefacts. Drawing on the theory of translanguaging, the 5A’s creativity framework, and the framework of moment analysis, this study revealed that multilingual learners agentively created translanguaging spaces where they promoted creativity through (1) bringing in past experience; (2) coordinating multilingual, multimodal, and multisensory resources; and (3) expressing multilingual identity. A contextualised 5A’s creativity framework was put forward to understand how these three types of translanguaging practices mediate the interactions among actors, audiences, and new artefacts within the affordances of the TBLT classroom. Implications for implementing translanguaging in TBLT to enhance creativity are discussed in terms of both micro-level teaching practices and macro-level education policy. [ABSTRACT FROM AUTHOR]

Background Aims Methods Results Conclusion Creativity and responsibility are enhanced by meditation among adults, but such effects have not been studied in adolescents. Moreover, the determinants of the ethical effect (such as responsibility) of meditation are unclear.To address this gap by investigating the impact of digital in‐class meditation programmes in middle school, focusing on intentions (self‐centred vs. responsibility‐centred), on adolescents' creative potential and sense of responsibility. These intentions are operationalized by different purpose‐based meditations.We conducted a cluster randomized controlled trial involving 107 year 7 adolescents from six classes, assigning them to two experimental groups and an active control group. Pre‐ and post‐intervention assessments were conducted over an 11‐week period, including a creativity (EPoC) test comprising four exercises (graphic and verbal, divergent and convergent thinking), a responsibility and a mindfulness scale.Our findings revealed no discernible effects on divergent thinking or self‐reported mindfulness. However, we observed significant differences in graphic and verbal convergent creative thinking, as well as impacting responsibility scores, between a responsibility‐centred meditation group and a self‐centred meditation group. Moreover, distinctions were noted between control and self‐centred meditation groups and between some classes. Effect sizes indicated that the interventions had a moderate but significant impact on the variables measured.Our study reveals the effectiveness of digital meditation interventions in enhancing convergent creative thinking and responsibility among middle‐school students. Notably, it shed new light on the importance of meditation intentions, which may be as significant as the form of meditation itself. [ABSTRACT FROM AUTHOR]

Après une dynamique à bas bruit, la phénoménologie prend de nouveau son essor en psychiatrie, tout comme en psychopathologie clinique. Elle devient particulièrement pertinente dans ces domaines où l'observation de phénomènes et la recherche de structures pour les organiser s'imposent comme outil clinique de compréhension du sujet. Il s'agit, d'une part, de parcourir le développement de la phénoménologie structurale dans les sciences humaines et médicales, d'autre part, d'explorer ses liens avec les processus de création afin de soutenir une réflexion pragmatique autour de la prise en charge des patients. Elle s'étaye sur le cas clinique d'un adolescent âgé de 14 ans présentant un syndrome de Williams et Beuren. Au terme de six années de prise en charge institutionnelle, il bénéficie d'un dispositif de huit séances d'art-thérapie visant à mettre son parcours en historicité pour accéder à une préprofessionnalisation. L'exploration repose sur une clinique évaluative en test/retest avec l'outil projectif Rorschach et les Grilles d'Analyse de Contenu basées sur l'Approche Phénoméno-Structurale (GACAPS) développées par L. Schiltz. Nous notons une amélioration de ses capacités d'attention et de socialisation ainsi qu'une augmentation de ses capacités à mobiliser son imaginaire et à accéder à l'élaboration de sa pensée. Toutefois, l'analyse phénoméno-structurale, par-delà des réponses créatives en nombre croissant, permet de repérer des angoisses envahissantes laissant craindre un basculement dans un fonctionnement psychotique en cette étape existentielle d'un rite de passage. La phénoménologie, au sens d'une méthode sensible, n'a de sens que si on la pratique dans le monde de la vraie vie en laquelle le « être dans le même paysage » devient autant outil diagnostique que processus de soin. Le Test de Rorschach avec les grilles d'analyse GACAPS, tout autant que la méthode IPSE (Processus inductif d'analyse de la structure de l'expérience vécue), en sont des outils pragmatiques apportant des résultats pertinents pour une clinique de la modernité. After a period of low-key development, phenomenology is once again gaining ground in psychiatry, as well as in clinical psychology and psychopathology. It is becoming particularly relevant in these fields, where the observation of phenomena and the quest for structures to organize them are very appropriate clinical tools for understanding the subject. The aims of this article are, on the one hand, to review the development of structural phenomenology in the human and medical sciences, and on the other hand, to explore its relationship to creative processes in order to support pragmatic reflection on patient care. This study is based on the clinical case of a 14-year-old adolescent with Williams & Beuren syndrome. After six years of institutional care, he participated in a program of eight sessions of art therapy designed to retrace his pathway for access to pre-professionalization. Our evaluation is based on a test/retest evaluative clinic using the Rorschach projective test and the Content Analysis Grids centered on the Phenomeno-structural Approach (GACAPS) developed by L. Schiltz. We noted an improvement in the adolescent's attention and social skills, as well as an increase in his ability to mobilize his imagination and to access the elaboration of his thoughts. However, the phenomeno-structural analysis, aside from the increasing number of creative responses, enabled us to detect invasive anxieties, which make us fear that, with him, this existential stage of a rite of passage represents a risk that could lead to psychotic problems. Phenomenology, given that it is a subtle method, only makes sense if practiced in the world of real life, where "being in the same landscape" becomes as much a diagnostic tool as it is a treatment process. The Rorschach Test with its GACAPS analysis grids, as well as the IPSE method (Processus inductif d'analyse de la structure de l'expérience vécue - Inductive Process for the Analysis of the Structure of Lived Experience), are pragmatic tools providing relevant results in a context of a clinic of modernity. [ABSTRACT FROM AUTHOR]

Nous allons essayer d'identifier ce qui œuvre derrière la création de deux artistes nés dans deux pays du Nord, Fiodor Dostoïevski (1821–1881) en Russie, et Anna-Eva Bergman (1909–1987) en Norvège. Parmi leurs œuvres, nous allons nous appesantir sur Les frères Karamazov , une œuvre qui résume toutes les interrogations de leur auteur, et sur l'évolution des peintures de Bergman. Ils font appel chacun à un désir instinctuel pour se constituer une bibliothèque de souvenirs, écrits pour l'un, peints pour l'autre. De quoi se soutient ce désir instinctuel ? Nous faisons l'hypothèse que c'est la forme que prend leur jouissance. Cette jouissance est développée différemment dans leur œuvre, circonscrite dans un personnage chez Dostoïevski, diffuse dans les tableaux de Bergman. Elle apparaît genrée dans le produit de leur création, mais pas dans leur processus de création. Des hypothèses mises au travail dans cet article. We will try to identify what lies behind the creation of two artists, born in two northern countries, Fiodor Dostoyevsky (1821–1881) in Russia, and Anna-Eva Bergman (1909–1987) in Norway. Among their works, we will focus on The Brothers Karamazov , a work that summarizes all the questions of its author, and on the evolution of Bergman's paintings. They each appeal to an instinctual desire to create a library of memories, written for one, painted for the other. What underpins this instinctual desire? We hypothesize that this is the form that their pleasure takes. This enjoyment is developed differently in their work, circumscribed in a character for Dostoyevsky, diffused in Bergman's paintings. It appears gendered in the product of their creation but not in their creative process. These are the hypotheses applied in this article. [ABSTRACT FROM AUTHOR]

This article provides a historical and cultural examination of artificial intelligence (AI) in literature. It explores references to AI in works such as Jonathan Swift's description of a machine that generates books and Jorge Luis Borges' story "The Library of Babel." The article also delves into the concept of the "death of the author" in relation to AI, drawing on literary theorists like Roland Barthes and Michel Foucault. It discusses the potential of AI to assist and enhance human creativity in literature, raising questions about the nature of literature and the role of AI in its creation. The director of the Culturia IA research project, who has authored several books on the subject, is an expert in the history and cultural aspects of AI. These books would be valuable resources for library patrons interested in researching the impact of AI on society. [Extracted from the article]

The annual meeting of the International Consultation on Ecclesial Futures (ICEF) took place in July 2023 in the San Francisco Bay Area of the United States. Participants from the United States, Europe, South Africa and Australia gathered to share research around the theme "faithful innovation" and to reflect together on the challenges and possibilities for cultivating innovative missional ministries. This paper reflects upon two significant themes from the consultation: (1) clarifying the tensions between innovation and Christian faith, and (2) reflecting upon the ecological conditions that cultivate room for innovation that is faithful, and expressions of the faith that are innovative. [ABSTRACT FROM AUTHOR]

Evidence of cognition in aneural cells is well‐establish in the literature. This paper extends the exploration of the mechanisms of cognition by considering whether or not aneural cells may be capable of irrational cognition, making associations based on coincidental similarities and circumstantial factors. If aneural cells do harness such semiosic qualities, as with higher‐level creativity, this might be how they are able to overcome old algorithms and invent tools for new situations. I will look at three examples of irrational learning in aneural systems in terms of semiotics: (1) generalisation in the immune system, based on viral molecular mimicry, whereby immune cells attack the self, which seems to be an overgeneralisation of an icon sign based on mere similarity, not identity, (2) the classical conditioning of pea plants to trope toward wind as a sign of light, which seems to be an association of an index sign based on mere temporal proximity, and (3) a pharmaceutical intervention to prevent pregnancy, using a conjugate to encrypt self with non‐self, which seems to be an example of symbol use. We identify irrational cognition easily when it leads to 'wrong' outcomes, but, if it occurs, it may also lead to favourable outcomes and 'creative' solutions. [ABSTRACT FROM AUTHOR]

How does state censorship shape global creative production? To explore the merger of art and the state in a global context, I adopt a micro-sociological approach to examine the culture of censorship and reconceptualize censorship as an ongoing, social process. Based on participant observation within a global film studio and interviews with industry insiders in Beijing and Los Angeles, I investigate how global cultural producers navigate China's rigid film censorship system. My analysis reveals how China's state censors use multistage gatekeeping and intermediated censorship to infiltrate the creative process and exert global influence. I then show how informality transforms these organizational procedures into a relational process that is hard to trace. In this, studio executives and filmmakers are induced to engage in complicit creativity, seeking creative negotiations through working with, rather than against, the state; specifically, they practice concession, reconfiguration, and collusion. These processes anchor a culture of censorship characterized by the symbiotic relationship between censors and creators, epitomizing a dynamic dance between everyday state power and everyday resistance. This relational model of censorship provides useful analytic scaffolding, extending our knowledge of the inner workings and consequences of state intervention in the new global cultural economy. [ABSTRACT FROM AUTHOR]

In the previous psychoeducational literature, many theorists have argued that creativity and originality require the ability to make predictions and assumptions regarding other individuals' ideas. Thus, it has been widely hypothesized that social cognition and theory of mind (ToM) might be a fundamental component or even a prerequisite of creativity. Despite their common grounds, the empirical evidence examining the potential link between ToM and creative thinking throughout their development seems to be indirect, limited, and fragmented. In this respect, this scoping review aimed to collect and synthesize the existing knowledge about the relationship between ToM and creativity at different ages to identify significant literature gaps and generate updated research questions that might guide future research. The search process led to the inclusion, analysis, and collation of 6 relevant studies only, indicating that this research topic has been poorly investigated. Results demonstrated that ToM and creativity are strongly correlated even after partialling out significant mediators, such as age and intelligence. Such a strong association should be further investigated and explained. [ABSTRACT FROM AUTHOR]

Thomas Ward explicates and defends a version of divine exemplarism called Containment Exemplarism to make good on the claim that God is a 'totally original artist'. According to Containment Exemplarism, (i) God ex nihilo creates according to divine ideas, (ii) divine ideas are about an aspect or part of God, and (iii) God has the ideas he has by knowing himself. Containment Exemplarism, we are told, secures the rationality and creativity of the divine creative act. I argue, first, that Ward's God is not a totally original artist since, on Containment Exemplarism, God does not act creatively in creating. Theistic Activism, the view that God makes up the ideas he has, can secure the creativity of the divine creative act. I argue, second, that Ward's argument against the rationality of God making stuff up fails. Thus, there is one version of divine exemplarism that satisfies key desiderata for divine creation. [ABSTRACT FROM AUTHOR]

This study examines the solutions of 34 kindergarten children as they create equal groups from n bottle caps, where n was equal to 8, 9, 22, and 23. For each n, children were asked to find as many different solutions as possible. The number of solutions they found, i.e., children's fluency, as well as the strategies used to create equal groups, was analyzed. Findings indicated that for large numbers, fluency was greater for an even number of objects than for an odd number of objects. In general, most children reached only one solution. For all four tasks, most children created only two equal groups of caps, even though they could have created three groups or more. A significant association was found between tasks and a preferred strategy. While children employed between one and two strategies when working on a single task, when considering all four tasks, they generally employed between two and three strategies. [ABSTRACT FROM AUTHOR]

Creativity is the hallmark of human intelligence. Roli et al. (Frontiers in Ecology and Evolution 9:806283, 2022) state that algorithms cannot achieve human creativity. This paper analyzes cooperation between humans and intelligent algorithmic tools to compensate for algorithms’ limited creativity. The intelligent tools have functionality from the neocortex, the brain’s center for learning, reasoning, planning, and language. The analysis provides four key insights about human-tool cooperation to solve challenging problems. First, no neocortex-based tool without feelings can achieve human creativity. Second, an interactive tool exploring users’ feeling-guided creativity enhances the ability to solve complex problems. Third, user-led abductive reasoning incorporating human creativity is essential to human-tool cooperative problem-solving. Fourth, although stakeholders must take moral responsibility for the adverse impact of tool answers, it is still essential to teach tools moral values to generate trustworthy answers. The analysis concludes that the scientific community should create neocortex-based tools to augment human creativity and enhance problem-solving rather than creating autonomous algorithmic entities with independent but less creative problem-solving. [ABSTRACT FROM AUTHOR]

Responding to recent calls in sociolinguistics and social semiotics to study the material, technological and embodied features of writing, this article examines Chinese users' experiences and practices with the emergent technology of bullet comments on Bilibili, a major video-sharing platform and breeding ground for online subcultures. As one of the first studies based on in-depth interviews with its long term users, this article demonstrates that the unique design of bullet comments, by inserting writing into a moving screen, creates multimedia, multimodal semiotic affordances, reinforces "participatory spectacles," and facilitates powerful multisensory, bonding experiences similar to the (secondary) orality culture. Users' diverse range of adaptive and creative practices, which resemiotize available linguistic, visual and cultural resources to create new meaning-making possibilities, are analysed. Considering the recent "desubculturization" of Bilibili and its increased interactions with mainstream culture and the state media, this timely study is well positioned to capture users' observations about this transition, and assess potential impacts on their experiences and writing practices. It is pointed out that the new synergy of youth nationalism and the technology of bullet comments reflects the complex interplay between writing as a technologized social-semiotic practice, and the wider social, cultural and political conditions. [ABSTRACT FROM AUTHOR]

Scholars have long been intrigued by the relationship between intrateam conflict and team creativity, though findings to date have been mixed. Recent research suggests that traditional conceptualizations of intrateam conflict as a property that is shared uniformly by team members (e.g., averaging members' overall conflict perceptions), rather than a more nuanced phenomenon between individual members with unique network positions, have limited our understanding of its influences. These advances, however, have yet to be substantively applied to the intrateam conflict‐creativity literature. Accordingly, we integrate network views of conflict with creativity theory and group motivated processing models to explore how task and relationship conflicts involving critical members' (i.e., members central to a team's workflow network) influence team creative functioning beyond overall conflict perceptions. We theorize that critical member task conflict is positively associated with team creativity by way of team reflexivity, and this positive indirect effect is accentuated by team shared goals. Further, we posit that critical member relationship conflict is negatively associated with team creativity by way of reduced team cohesion, though this effect is mitigated by critical member emotional intelligence. Analyses of 70 new product development teams support most hypotheses while also highlighting interesting nuance and future research opportunities. [ABSTRACT FROM AUTHOR]

With artificial intelligence (AI) increasingly involved in the creation of organizational and commercial artifacts, human evaluators' role as creativity gatekeepers of AI-produced artifacts will become critical for innovation processes. However, when humans evaluate creativity, their judgment is clouded by biases triggered by the characteristics of the creator. Drawing from folk psychology and algorithm aversion research, we examine whether the identity of the producer of a given artifact as artificial intelligence (AI) or human is a source of bias affecting people's creativity evaluation of such artifact and what drives this effect. With four experimental studies (N = 2039), of which two were pre-registered, using different experimental designs and evaluation targets, we found that people sometimes—but not always—ascribe lower creativity to a product when they are told that the producer is an AI rather than a human. In addition, we found that people consistently perceive generative AI to exert less effort than humans in the creation of a given artifact, which drives the lower creativity ratings ascribed to generative AI producers. We discuss the implication of these findings for organizational creativity and innovation in the context of human-AI interaction. [ABSTRACT FROM AUTHOR]

Sociological deployments of Radical Italian theory have offered insight into the changing role of art in light of the generalised valorisation of creativity in post-Fordist societies. Less has been said about the increasingly useful character of art, as exemplified by artistic engagement with interdisciplinary forms of problem solving. This article focuses on the field of practice commonly known as ArtScience. I argue that Lazzarato's theory gains new relevance in this novel field of cultural practice, where material production is an increasingly minor element of artistic labour. I draw on two case studies from artists practising ArtScience in Berlin as speculative provocations for thinking about the ways in which social life today becomes implicated in the production of value, via processes of subjectivation, collaboration and communication. [ABSTRACT FROM AUTHOR]

This study examined the relationship between learners’ creativity viewed as a divergent thinking cognitive trait and the language/content dimensions of their L2 speaking performance under two task planning conditions, while controlling for the effects of L2 proficiency. Sixty-one Chinese learners of English took an Elicited Imitation Task, a verbal and a figural creativity test, and performed two picture-prompted narrative tasks. Results showed that when learners had time to plan, their L2 proficiency and creativity were predictors of their speaking performance in terms of fluency and idea productivity, while under the no planning condition, creativity predicted learners’ performance measured by idea productivity, discoursal structure, and lexical diversity. Moreover, different creativity measures contributed to L2 task performance in differential manners. This study contributes to the field by shedding light on the interaction between learner-related and task-related variables on L2 speaking production and the nature of the new individual difference variable of creativity. [ABSTRACT FROM AUTHOR]

Scholars have often highlighted the intrinsic features of technology to support the generation and sharing of ideas (Craft 2011). By studying user interactions within informal online communities, researcher can elucidate the ways technology impacts creativity and learning within these groups. This qualitative content analysis (Hsieh and Shannon 2005) used a systems-based approach to creativity (Csikszentmihalyi 1999) to examine the interactions within an online community (Noteflight) focused on Western standard music notation-based composition. One popular, publicly available, original musical score was selected. Online comments were collected and analysed. Findings highlight the diversity and abundance of feedback given to the composer as well as the many ways users engaged with domain knowledge. This online community allows individuals to share knowledge, learn about the social norms associated with giving feedback, and explore creative ideas regarding music composition. Implications from this study highlight the ways music educators and technology designers can develop web-based music learning environments that support creativity and life-long engagement. [ABSTRACT FROM AUTHOR]

Creative ideas are introduced to the market by business owners, and inventiveness creates new demands that cause existing markets to be disrupted and new ones to be created, which are then destroyed by even more innovative goods or services. In this rsesearch work, an empirical study is undertaken to gather information about business model innovation and creativity as well as Entrepreneurship development in Greek SMEs. Using the stratum sample size determination formula, a valid sample of 257 people influenced the study. SEM and the F-test were used in the research’s data analysis. The findings of the study demonstrate that entrepreneurship has a significant connection between business model innovation & creativity and digital capabilities. The test results also indicate that digital capabilities have a favorable impact on the business model innovation & creativity. They also found that the creativity and innovation of business models have a favorable impact on entrepreneurs’ business survival. However, the creativity and innovation of business models have no favorable impact on entrepreneurs’ business performance and reputation. [ABSTRACT FROM AUTHOR]

AbstractThe effects of creativity on well-being have been supported by many studies, but the mechanisms involved have not been fully studied. This study used the Creative Conceptual Behavioral Scale, the Well-Being Scale, and the Meaning of Life Questionnaire to survey 1124 college students, in order to explore the mechanism of creativity’s influence on well-being from the perspective of meaning in life. The results showed that: (1) There was a bipartite positive correlation between creativity, well-being and meaning of life; and (2) meaning in life played a partial mediating role between creativity and well-being, that is to say, creativity not only directedly influenced well-being but also indirectedly influenced well-being through meaning in life. This study reveals the effect of creativity on well-being and its mechanism theoretically, which has certain practical reference value for the education of meaning in life for college students. [ABSTRACT FROM AUTHOR]

This article describes a novel methodology for involving the public in a creative co-produced project about grief, which invited bereaved people to work together to create a fictional story about loss and then reflect on the experience in focus groups. Devised by Crowded Room Theatre Company and researchers at the University of Bristol, the project aimed to explore the risks and benefits of collaborative storytelling about emotionally charged subjects. Thematic analysis of the focus group transcripts generated seven themes: storytelling as protective and enabling; support and understanding; new perspectives; connecting to grief and loved ones who have died; complicated emotions; workshop anxiety; and anticipating the audio story. These findings corroborate research that suggests storytelling can provide a safe space to explore and make meaning from difficult emotions and experiences; it may also appeal to bereaved individuals who are less likely to attend conventional support groups. The audio story created from the workshop recordings is available online (https://www.spreaker.com/episode/the-colours-of-loss--53334166). [ABSTRACT FROM AUTHOR]

Research in psychology and medicine has linked mental health disorders, and particularly bipolar disorder (BD), to employment in creative professions. Little is known, however, about the mechanisms for this link, which could be due to biology (primarily through a person's genes) or environmental (through socioeconomic status). Using administrative data on mental health diagnoses and occupations for the population of Denmark, we find that people with BD are more likely to be musicians than the population, but less likely to hold other creative jobs. Yet, we also show that healthy siblings of people with BD are significantly more likely to work in creative professions. Notably, people from wealthy families are consistently more likely to work in creative professions, and access to family wealth amplifies the likelihood that siblings of people with BD pursue creative occupations. Nevertheless, family wealth explains only a small share of the correlation between BD and creative employment. [ABSTRACT FROM AUTHOR]

AbstractResearch showed that art could improve organizations through a kind of importation of artistic skills related to creativity and uncertainty management. Three critics have emerged to contest such artistic interventions in organizations: technical criticism, highlighting practical difficulties of the process; representational criticism which relies on social representations of art; conceptual criticism, which shows unbridgeable differences between art and management.This article explores contemporary art as a potential answer to these critics. Contemporary art gives up esthetic matters and does not need any know-how: everyone can practice it (technical answer). This post-esthetic art appears rather as a professional method than transcendental inspiration (representational answer). The difficult transition between these representations contributes to a greater creativity (conceptual answer). Switching to the paradigm of contemporary art shows the importance of the translation process between art and management, which should be placed at the heart of arts-based methods. [ABSTRACT FROM AUTHOR]

Purpose: The study examined the relationship between e-learning usage, creativity, e-learning utility and academic performance among undergraduate (UG) and postgraduate (PG) students at Banaras Hindu University (BHU), India. Design/methodology/approach: The data from 480 students were collected using a cross-sectional survey design. Pearson correlation analysis was performed in order to investigate the association between the variables. Findings: The results revealed a significant positive correlation between time of use and academic performance (r = 0.294, p < 0.01). However, there was no significant correlation between time of use and the usability of e-learning in the attainment of learning outcomes. Furthermore, there was a negative correlation between time of use and creativity (r = −0.170, p < 0.01). Practical implications: The results indicate that educators ought to promote consistent utilization of e-learning platforms to enhance scholarly achievements. However, learners should exercise prudence in their usage, as an over-reliance on these platforms may impede their creativity. Originality/value: This study contributes to the existing body of knowledge regarding the impacts of e-learning on students' academic performance and creativity. Additionally, it offers instructing professionals and students who make use of e-learning platforms information that might be helpful to them. [ABSTRACT FROM AUTHOR]

This research project explores the use of ‘happy accidents’ as agents for facilitating more meaningful and critical exploration in secondary school art. Owing to a preoccupation with standardisation and quantifiable results, the more nebulous and invisible qualities of art have become deprioritised within many curricula. This paradigm creates ‘safe’ pedagogies that place emphasis on verisimilitude and technical acme as the yardstick for ‘successful’ artwork, preserving the identity of teachers within the epistemological frameworks that dictate education. Equally, as competitive individualism and reward demarcate education, young people are spending more time partaking in activities for their instrumental value. This ‘teaching‐to‐test’ model translates to formalist, linear modes of making as the most expedient means of achieving grades. The following research aimed to trouble this status quo and offers a pedagogy that allows for more responsive, playful and personal approaches to experimental artmaking. The mechanism used as a springboard into inquiry was the ‘happy accident’, facilitated by the use of unpredictable media such as Photoshop and photocopying. Adopting a middle ground between Atkinson's ‘unknown’ and the inferentialist model described by Walton, students had the latitude to combine known and unknown knowledge to push their artmaking into more meaningful territory, whilst preserving evidence of the ‘mark scheme’. To bolster my attempts at disrupting canonised imagery of ‘good’ school art, students also troubled the common practice of creating overly embellished, illustrative sketchbooks, with the creation of self‐made, A2, portfolio style books. The knowledge produced in this project was interrogated within a multimodal, arts‐based research methodology: through interview analysis and the analysis of the artwork, or artefacts, produced. [ABSTRACT FROM AUTHOR]

This article builds on and supplements an earlier one in this journal about theodicy. It focuses on species extinctions and on the possible role of humanity as fallible co-creators. Christopher Southgate has suggested that co-creators might shoulder the task of curtailing extinctions. In appraising this view, I distinguish between extinctions resulting from evolution, which humans have limited power to reverse, but which are held to be indispensable for the evolution of complexity, consciousness and self-consciousness, and those caused by humanity itself, which humans should reduce, even if they cannot be halted. Human creativity, however, extends further to the development of skills, trades, the arts and literature. Church Fathers, such as Ambrose, Theodoret and Cosmas Indicopleustes, held that God left the creation incomplete so that humanity could enhance it; certainly, human creativity has introduced agriculture, navigation, technology and culture, adding to the value of the world. Granted belief in creation, this can be understood as co-creation. Granted the value that humanity continues to add to the world, the belief that such creativity flows from the creator's overall plan emerges as a coherent one. [ABSTRACT FROM AUTHOR]

Preaching is one of the most creative things a pastor does. This essay explores how a theology of creativity, the imagination, and the arts can encourage preachers to embrace proclamation as creative work. The invitation to preachers to engage their creativity and imagination in preaching rests on the theological claim that creativity is intrinsic to human beings as made in the image of God the Creator. To create is to realize a core human vocation and to deepen knowledge of God. The imagination is a primary avenue to such knowledge, since the imagination is a faculty that allows for a holistic grasp of realities both seen and unseen. An artistic approach to preaching is appropriate in that art functions in similar ways to preaching: like preaching, art explores the depths of human existence, creates wholes out of fragments, and makes connections between seemingly disparate phenomena. The dispositions of the artist are vital for preachers, especially the courage and risk-taking required in art-making as a venture into the unknown. These functions of art and qualities of the artist lead to reflections concerning the particular challenges involved in being a Christian artist, and to the role of beauty in the knowledge of God and hence in preaching. [ABSTRACT FROM AUTHOR]

The Imagineerium is an arts and engineering based curriculum project designed to enhance student confidence in learning. This study reports on the development of the Trowsdale Index of Confidence in Experiential Learning, an instrument designed to conceptualise and operationalise a four-component model of confidence in experiential learning appropriate for upper primary school students, embracing confidence in creativity, confidence in competence, confidence in collaboration, and confidence in learning. Data provided by 140 9- to 10-year-old students both before and after participating in the 10-week programme, demonstrated a significant increase in scores on this measure at time two, although there was no increase in scores on a control variable hypothesised not to be influenced by the intervention. [ABSTRACT FROM AUTHOR]

Research and development of military-required innovations are usually funded through the issuance of grants and contracts. The limitations of these funding methods are the a priori specifications and objectives that limit creativity and often do not produce capabilities beyond the desired outcomes or leverage the best ideas and solutions available. This limited engagement of commercial industry to develop military-required innovations usually relies solely on government funding and receipt of proposals from companies whose business model is built on receiving government grants and contracts, with the government owning most of the risks. Because the produced capabilities or products are designed to be military-unique, there is a limited or no commercial market available, usually driving the price per unit extremely high to the point that the military cannot afford to procure products in quantities sufficient to enable businesses to keep production lines open, however, for military-required or desired capabilities or products that have a commercial market, there are other funding pathways available to develop products by partnering with industry, academia, and other non-government organizations and leveraging their ideas and funding. One such way of engaging the commercial industry is through the use of prize competitions. This often under-utilized pathway has several notable strengths such as (1) reduced risks and costs for the military to develop novel capabilities and products; (2) new and novel creative solutions to solve military problems; (3) utilizing a results-oriented approach that funds the successful achievement of acceptance criteria versus funding of potential to achieve; (4) enticing investors by increased competition for a successful product or capability; and (5) delivery of a commercially available, affordable, field-tested, and viable capabilities and products. Prize competitions may be used by any/all federal agencies as authorized by Congressional Public Laws and Federal regulations. The specifics of this pathway for funding pathway and applications for use by medical researchers, developers, and project/program managers are spelled out in the article, along with the regulatory guidance and resources for finding out more about current and past prize competitions. [ABSTRACT FROM AUTHOR]

In this article, we explore the intersection of creativity, education, and technology, with a focus on the impact of Generative AI (GenAI). We delve into the transformative potential of GenAI in redefining educational and creative processes and challenging our existing notions of learning and creativity. Through a conversation with renowned creativity researcher Dr. Ronald Beghetto, we thematically explore how GenAI redefines educational and creative processes and challenges conventional notions of learning and creativity. Dr. Beghetto's work highlights a shift from fearing failure to embracing possibility thinking, advocating for a mindset that views creativity as a dynamic interplay of potential and adaptability. His recent work with GenAI tools illustrates their role as catalysts for possibility thinking, pushing the boundaries towards future-oriented thought and innovation. GenAI can function in multiple ways—including as a reflection of human intellect and values, and as a collaborative partner that enriches human creativity with its unpredictability and generative capabilities. We emphasize the importance of direct, critical, and creative engagement with GenAI in educational settings, cautioning against its passive or uncritical use, and advocating for a balanced approach that leverages its strengths while remaining aware of its limitations. Sharing several possibility thinking tools he has created, Dr. Beghetto offers readers a nuanced perspective on the role of GenAI in education and creativity, advocating for a future where these tools are used responsibly and creatively to unlock new possibilities and enhance human potential. [ABSTRACT FROM AUTHOR]

Despite substantial interest in developing theoretical models and technology for creativity enhancement, existing creativity research across various fields lacks a user-centered definition of creativity that can be operationalized in today's digital spaces. To address this, we conducted a mixed-methods longitudinal research on a study website mirroring content from Bēhance, a popular online platform for creatives. Specifically, we examined how content creators and consumers explored and reflected on online creative content through textual, visual, quantitative, and behavioral data. Analyzing and triangulating these multiple data streams, we conceptualize creativity from the perspectives of its genuine "users," the viewers. Collectively, we highlight (1) constructs of creativity that have not been emphasized in the existing literature, (2) the impact of users' roles on content exploration and conception of creativity, and (3) the difference between machine and human users' perception of creative content. We discuss theoretical and practical implications accordingly. [ABSTRACT FROM AUTHOR]

Smart and connected physical products enable numerous novel value creations based on embedded sensor data. However, during the product design process, it appears that these value-creation opportunities are not sufficiently explored. To address this gap, a general and accessible ideation tool is proposed to structure a systematic exploration. The tool has been developed from the data sheets of a large number of various embedded sensors. A non-exhaustive list of 14 main sensor capabilities was thus structured to form the core of the tool. During the creative phases of product design, these capabilities are combined with a convenient set of inputs to support the generation of value-creation concepts. A focus group to evaluate the tool was carried out with a medium-sized manufacturer of connected shared city bikes. Expert product designers generated concepts with and without the tool. The results of the experiment suggest that the tool enables the generation of concepts that are more novel and of better quality in comparison to traditional ideation approaches. In addition, participants reported a high level of appreciation for the tool. They also noted a high level of creative exploration and collaboration facilitated by the tool. [ABSTRACT FROM AUTHOR]

The first year architectural education is based on understanding the nature of creativity in design thinking, which serves to build a solid base for a real design process; and in studios several methods are used to develop it. This study aims to discuss how using fairy tales can serve as a tool for encouraging creativity in first year design studios. It is based on a 6‐week‐long basic design II summer school course where 20 architecture and interior architecture students were asked to write fairy tales in a fantasy genre and visualise their fairy tale environment. At the end of this experimental study, we learned four important lessons: (a) when Gen Z students meet design issues first, they can be more involved and interested if they are given the opportunity to reveal their dreams and imaginations without any restriction; (b) they can show their open‐mindedness, and accept the fact that a good presentation performance even with hand drawing is possible, without using technological tools; (c) fairy tales with their unique structures can lead them to advance their "out of the box" thinking. Combining phantasy with reality might be a good tool for liberating the power of imagination which ultimately can bring good design thinking abilities and enhanced creativity, and finally (d) a further study about how they implemented this experiment in their second year design problem is worthy of further analysis. [ABSTRACT FROM AUTHOR]

The majority of art education research in the United Kingdom originates from England; however, the devolved nations each have responsibility for education resulting in four different curricula working concurrently across Great Britain. It can be argued that in comparison to England, art and design education research in Scotland is an under‐researched area though one that is increasingly garnering interest. This paper contributes to the field by presenting and discussing some of the findings from a survey of teachers focused on art and design education in Scottish primary schools in 2022. A total of 110 teachers participated and the survey examined the value of the subject, the current delivery in schools, the future of the subject and support for teachers. A wealth of data were gathered so this paper focuses particularly on the value of the subject among staff, confidence levels regarding delivery and the role of training and professional learning. The paper concludes that while the value of the subject among staff is strong, confidence levels with regard to teaching the subject are not. Staff felt that training had left them unprepared to teach the subject, and there was limited awareness of professional learning opportunities in their geographical area. [ABSTRACT FROM AUTHOR]

Sharing what we know with others has an important role in facilitating people's social learning and communication across settings. To advance the understanding of when and how people share, the present study examined the role of inspiration, an emotion that contains strong motivational elements, on people's sharing tendencies in three studies. Study 1 showed a positive association between the inspiring level of a given message and its likelihood of being shared. Study 2 replicated the finding with carefully controlling for the effect of positivity of a given message. Study 3 further provided evidence that inspiration shaped how people share. The results showed that participants shared inspiring messages in a more innovative way than when they shared less inspiring messages. The present research has implications for how to promote the sharing process in different settings through the role of inspiration. [ABSTRACT FROM AUTHOR]

New insights into intractable industrial challenges can be revealed by framing them in terms of natural science. One intractable industrial challenge is that creative production can be much more financially expensive and time consuming than standardized production. Creative products include a wide range of goods that have one or more original characteristics. The scaling up of creative production is hindered by high financial production costs and long production durations. In this paper, creative production is framed in terms of interactions between entropy and complexity during progressions from emergent pragmatics to action semantics. An analysis of interactions between entropy and complexity is provided that relates established practice in creative production to organizational survival in changing environments. The analysis in this paper is related to assembly theory, which is a recent theoretical development in natural science that addresses how open-ended generation of complex physical objects can emerge from selection in biology. Parallels between assembly practice in industrial production and assembly theory in natural science are explained through constructs that are common to both, such as assembly index. Overall, analyses reported in the paper reveal that interactions between entropy and complexity underlie intractable challenges in creative production, from the production of individual products to the survival of companies. [ABSTRACT FROM AUTHOR]

The purpose of the present research is to study the impact of innovative educational strategies of vocal training on the development of creativity and motivation among students. The present study builds on an empirical approach. It involved 86 first-year undergraduate students in the Department of solo singing, Institute of Music, Henan University, Kaifeng, Henan, China. It is significant to mention that the students were chosen randomly. The study covers the period of an academic semester. The study participants underwent training using innovative pedagogical methods of personality-oriented learning. This approach aims at developing creative abilities, creativity, and motivation among students. It is worth noting that this approach contained a psychophysiological component. The present research presupposed using the following psychodiagnostic methods: "Questionnaire of Formal-Dynamic Properties of Individuality" (QFDPI) by Rusalov; "BFQ-2. Big Five Questionnaire" (Caprara, Barbaranelli, Borgogni, and Vecchione); "Motivation of professional activity" (Zamfir, modifications by Rean); "Research of Creative Imagination." [ABSTRACT FROM AUTHOR]

This paper develops the notion of metonymy scenarios by exploring the social and cognitive dimensions of various creative uses of metonymy in a collection of digital banners created for the Global Climate Strike movement. The paper argues that the banners exploit existing metonymic relationships to activate dominant anthropocentric discourses in society, and to subvert them via processes of recontextualisation and reappropriation, in order to challenge system conventions and normative attitudes regarding climate change. The literature to date has not adequately considered metonymy as a dynamic and scenario-activating cognitive operation, nor has it thoroughly investigated the relationship between metonymy and irony. However, the data analysed here show that several creative uses of metonymy, including twice-true metonymy, metonymy in combination with metaphor, and the juxtaposition of different metonymies are markers of what this paper posits as metonymic mininarratives or scenarios. [ABSTRACT FROM AUTHOR]

AbstractThis study investigates the creative capacities of artificial intelligence (AI), exemplified by ChatGPT-4, in comparison with human creativity, utilizing the Figural Interpretation Quest (FIQ) as the evaluative tool. The primary objective is to assess whether AI can surpass human performance in creative tasks, particularly in terms of flexibility and subjectively perceived creativity. Participants, including both ChatGPT-4 and humans, were asked to provide creative interpretations for a set of ambiguous, abstract figures. The study measured the flexibility of these interpretations and gathered subjective ratings of creativity from independent evaluators. Results indicated that while AI, on average, demonstrated higher flexibility in generating creative interpretations, human participants excelled in terms of subjectively perceived creativity. Furthermore, the most creative human responses were higher than those of AI in both flexibility and subjective creativity. These findings suggest that in these types of complex multimodal interpretation tasks, AI shows excellent potential and the ability to generate semantically diverse ideas, yet human subjectively perceived creativity remains for now unmatched. The study highlights the limitations of AI in replicating the complexity of human creativity and points to possible theoretical interpretations of the reported findings. [ABSTRACT FROM AUTHOR]

There is a paucity of literature demonstrating the efficacy of psychoanalytic psychotherapy for patients with Alzheimer’s or other dementias. This paper examines the challenges and richness of this kind of treatment for both patients and analyst through the use of a narrative case study. [ABSTRACT FROM AUTHOR]

Background: Creativity in nursing education is crucial for developing practical problem-solving skills, and humor is a valuable tool for stress management and fostering a positive learning environment. This study explored the relationship between creativity and humor among nursing students. Methods: A cross-sectional survey was conducted with 265 convenient undergraduate nursing students aged 20 to 25. The Short Scale of Creative Self (SSCS) and the Multidimensional Sense of Humor Scale (MSHS) were used to measure creativity and various aspects of humor. Results: Showed a significant positive correlation between humor and creativity (r = 0.238, p < 0.001). Positive correlations were found between Humor Production, Coping or Adaptive Humor, and Appreciation of Humor with creativity (r = 0.254, 0.230, and 0.461, p < 0.001, respectively). In contrast, Attitudes Toward Humor and Humorous People were negatively correlated with creativity (r=-0.343, p < 0.05). Humor accounted for 16.2% of the variance in creativity. Conclusion: The study concluded a strong link between humor and creativity, with positive correlations observed between creative self-efficacy and creative personal identity with different aspects of humor. The study recommends the incorporation of humor into nursing education and healthcare settings to encourage creative problem-solving and reduce burnout among students and staff. [ABSTRACT FROM AUTHOR]

AbstractCreativity is an important competency for talents in the twenty first century. The study examines how integrating real-world community service challenges into the secondary school STEM curriculum impacts students’ creativity and STEM content knowledge. A total of 123 secondary school students learned the challenges faced by people with visual impairments and applied their STEM knowledge to design creative solutions. Students proposed diversified solutions, which were of three themes: safety, recreation, and convenience. The quality of the solutions indicated that the higher-performing groups outperformed the medium-performing and lower-performing groups in originality. The lower-performing groups needed further support on all dimensions, especially technical knowledge and skills, which measures proficiency in using integrated knowledge to realize designs. [ABSTRACT FROM AUTHOR]

This study explores the effectiveness of an apparel educational Live Action Role-Playing game (edu-larp) in enhancing student skills in Adobe Illustrator and fostering autonomy, competence, and relatedness based on self-determination theory (SDT). The research compares the edu-larp approach to traditional instructional methods in the context of apparel design education through mixed-methods research design. The edu-larp group demonstrated a significant increase in Adobe proficiency scores compared to the traditional module group. Additionally, the edu-larp students expressed a more comprehensive understanding of Adobe Illustrator, emphasising the enhancement of creative abilities and preparation for future careers. The study suggests that edu-larp offers a promising approach to basic psychological needs fulfilment and improving learning outcomes in apparel education. Apparel instructors are encouraged to consider integrating edu-larps into their classrooms to create a dynamic and immersive learning environment that aligns with students’ needs. [ABSTRACT FROM AUTHOR]

AbstractAlthough co-designing games has received ample attention from researchers, there is a research gap on intergenerational co-design of games with children and young people where children’s unconstrained ideas are the basis for game co-design. This is particularly important when co-designed games are aimed at children. We explored a co-design process of digital games involving 4-year-old children, high school students, and college students in Joensuu, Finland, during October–November 2020. Over the course of three co-design workshops, six kindergarteners (3 girls, 3 boys) played freely with building blocks while six high school students (3 females, 3 males) observed their play, asked questions to the children, and interpreted the data to design two digital games. These designs were further elaborated in co-design meetings between the high school students and college students (12 males, 1 female), latter of whom developed mobile games based on the designs. In the fourth workshop, the kindergarten children tested the games. We used qualitative content analysis on the data collected via interviews of the high school students and observations of the co-design process. The outcomes of the co-design process were the conceptualizations and game designs by the high school students based on the children’s play, and the implemented games by the college students. The participants’ intertwined creativity, thinking and content production were observable in the games. Based on the interview data analysis and our observations, we identified unique contributions and assets for each group. Furthermore, the high school students’ interviews revealed 28 success factors of the intergenerational co-design process. Based on these findings, we present a generalized representation of the intergenerational co-design process that can be used for planning intergenerational game co-design projects involving young children and older age groups. [ABSTRACT FROM AUTHOR]

Creativity is important in the life of the human being because it allows us to create new ideas and different points of view. For people with intellectual disabilities, creativity is a very valuable tool that stimulates divergent thinking, promotes self-esteem and helps them develop communication and social skills, which will allow them to better integrate into society. This paper aims to analyze the creative potential in people with intellectual disabilities between 17 and 27 years old and compare it with people without intellectual disabilities. The design of this research belongs to the ex post facto quantitative paradigm. The sample is made up of a total of 84 participants with and without intellectual disabilities, who have been administered an adaptation of the Torrance Test (1974), which allows us to measure creativity based on 4 dimensions: fluency, originality, flexibility and elaboration. The results indicate that people without intellectual disabilities have greater creative potential, which allows us to conclude on the need to promote the development of this capacity in the educational field, being one of the aspects that must be present in the interventions of people with intellectual disabilities. [ABSTRACT FROM AUTHOR]

TikTok application users have now reached all levels of society, especially teenagers who use the TikTok application as a medium to express themselves. Teenagers who access TikTok are considered to have the opportunity to use creative abilities in creating content on TikTok, but the Tiktok application, in fact, will also have a bad impact on individuals, especially teenagers who are still very unstable. Tiktok can have a negative impact where it makes its users more and more addicted every day. This study aims to understand and analyze the implementation of creativity and addictive behavior of TikTok users. Implementation using Torrance Test of Creative Thinking (TTCT) and addictive behavior using Bergen Social Media Addiction Scale. There are four aspects of creativity, namely fluency, flexibility, elaboration, and originality. While addictive behavior there are aspects of importance, tolerance, mood swings, withdrawal and relapse. The method used is quantitative descriptive, to find out more between creativity and addiction that TikTok users use. Based on the findings, 85% were able to implement their creativity on the TikTok application with the biggest aspect lying in the flexibility in utilizing the ability to identify problems or provide solutions to their problems by utilizing the features and visualizations available on TikTok. As for addictive behavior, it was found that 75% of addictive behavior existed, with the largest dimension in mood swings, this is because TikTokers are looking for fun and entertainment to forget for a moment about the problem. [ABSTRACT FROM AUTHOR]

The role of creativity has been well recognized in wholesome development of children's personality and attitude. Among various approaches to foster creativity in children, design thinking (DT) has emerged as a significant approach. The study presented in this paper explores the implementation of DT into maker education to help K-12 students acquire creativity effectively. Majority of the studies in the literature have measured students' creativity using a traditional creative ability scale, instead of work performance or both. We proposed a Three-Stage DT Framework (TSDTF) suitable for maker education, which has three stages, namely pre-design, in-design and post-design. TSDTF provides more specificity to indicate students' learning process iteratively. Then we applied TSDTF to the 3D model-design curriculum to see the impact on the students' work performance, learning achievement, and creativity ability. The study engaged two sixth-grade classes, with a total of 90 students, wherein the experimental group (45 students) was taught using TSDTF and the control group (45 students) was taught with traditional pedagogy. The results showed that there was no significant difference in basic knowledge of learning achievements for the students in both groups, while the students in the experimental group improved their work performance, operational skill of learning achievements, and creative ability more significantly than those in the control group. The qualitative analysis of the interview data revealed that the DT approach helped the students to be creative, thus enabling them to develop innovative works. The study showed that it is important for teachers to utilize the DT learning strategy in maker education in developing the students' creative thinking. [ABSTRACT FROM AUTHOR]