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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]

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]

The article presents a study concerning the "parts" of cut-paper art products in an attempt to know the influence of teacher motivation and non-motivation on its overall aesthetic quality in art education. In relation, the definition of terms, population, and the experiment's procedure are presented. The study shows that the amount of overall aesthetic quality judged in the "parts" had much influence on the overall aesthetic quality in the final art product. It suggests that all complex relationships should be carefully defined and explored to understand the relation among the creator, the creative process, and the final art product.

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]

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]

Copyright of Canadian Journal of Art Therapy is the property of Routledge 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.)

This discussion lauds the richness and in-depth nature of Lauren Levine’s clinical work, including the efficacy of a much needed consultation with a colleague. The analytic work is viewed in light of concerns raised by senior relational analysts in a previous issue ofPsychoanalytic Dialogues. Additional thoughts stimulated by the presentation are offered by the discussant. [ABSTRACT FROM AUTHOR]

This discussion speaks to the creative dimension in the clinical encounter described by Levine in her paper. In particular, it addresses the creativity necessary to move beyond impasses in the treatment. The positive and negative associations to enactments are discussed as well as the creative possibilities offered in dreamwork and the analytic relationship. [ABSTRACT FROM AUTHOR]

Examination questions need to be sufficiently novel if they are to be effective as measurement instruments. Novelty, however, presupposes creativity, suggesting that question writing is, or should be, a creative process. To explore the boundaries of creativity in question writing, this study made use of two data sources: two corpora of examination questions, and interviews with professional question writers. The study identified various factors that appear to restrict question writers' freedom, exposing a tension between creativity and constraint in question writing. In addition, it illuminated the architecture of examination questions and the mechanisms via which this architecture may affect the predictability of assessment design. The paper argues that, in the context of question writing, constraints are essential as they help to enhance the quality of the assessment. However, when they exceed a certain threshold, they can undermine the purpose that rendered them necessary in the first place. [ABSTRACT FROM AUTHOR]

The article encourages authors to submit papers the concept of creative activity as a human right or as a means toward greater social justice, which will be published in a special issue of the periodical "Art Education."

In this appreciative discussion of Shabad's paper, the author suggests an expanded role for intrapsychic conflict around the passionate drive to grow and change. At the same time, he suggests that the parent or analyst may need to 'suffer passion' him or herself in order to help the patient or child evolve in this way. [ABSTRACT FROM AUTHOR]

Both participation in dialog and exposure to others from different cultures have been theorized to increase the ability of an individual to be creative. This study focused on the multicultural student-to-student dialog that took place in one graduate level course. The purpose of this study was to explore how participation in this dialog might influence student creativity, specifically how the students generated creative ideas for their final course papers. No connection was found between participation in the multicultural student-to-student dialog and the generation of creative ideas for their final papers. However, insight was gained into the creative process used by students in generating their final paper ideas. [ABSTRACT FROM AUTHOR]

The contents of his Red Book document experiences that C.G. Jung had during his confrontation with his unconscious. Jung's great imaginal work was possibly composed while he was in the midst of a pathological process. This paper identifies two works that foreshadowed The Red Book: Nietzsche's Thus spoke Zarathustra, and Hildegard's Scivias. Of interest is the fact that these two precursors of the red book were also great works of imaginal literature that were composed when their respective authors were in the throes of illness. The second part of this paper discusses the relationship between the imaginal and the pathological. [ABSTRACT FROM AUTHOR]

This paper offers reflections on an organic turn to the arts as a means of connecting and working with children and young people online during the Covid-19 pandemic. Lockdowns during the pandemic required social work practitioners, students, and social care staff to find innovative and creative ways of engaging with people. Online delivery of services presents both challenges and opportunities for communicating and building relationships. The arts, currently underutilised in social work, is one way to open up opportunities, and provide a 'way in' to the lives of people who use services. This paper draws on reflections from a student social worker based in Scotland, UK, on how a turn to the arts provided an effective means to connect with and understand the children and young people she was supporting. The paper first explores some of the benefits of using the arts in social work practice; second, it introduces online arts-based approaches used during the Covid-19 pandemic; and concludes by encouraging readers to adopt and adapt the approaches introduced in the paper to integrate arts-based approaches into social work. [ABSTRACT FROM AUTHOR]

AbstractThis special issue is a collection of papers inspired by Dr. Molenaar’s work and innovations – a tribute to his passion for advancing science and his ability to ignite a spark of creativity and innovation in multiple generations of scientists. Following Dr. Molenaar’s creative breadth, the papers address a wide variety of topics – sharing of new methodological developments, ideas, and findings in idiographic science, study of intraindividual variation, behavioral genetics, model inference/identification/selection, and more. [ABSTRACT FROM AUTHOR]

This paper is an exploratory study of the personal and systematic influences over the curriculum decision-making process of teachers of students with severe or profound and multiple learning difficulties in Australia. The way in which these influences impact teacher perceptions of the mandated curriculum and its day-to-day operationalization are discussed. The paper draws from both a national survey (n = 46) and in-depth case studies (n = 5) of teachers who work in government-funded specialist educational settings. Findings show that teachers have prominent levels of emotionality, a drive for creativity and dedication to inclusive practice, but ultimately work within a context perceived through conflict and dilemma. Previous related decision-making models are used to compare results, with some distinct differences emerging. Findings indicate that rather than enabling inclusion, standardized curriculums create an environment of professional (self)exclusion and reduce access to professional support. Increases in responsibility burden and negative emotional effects are explored. Although teachers view access to standardized curriculum programs as vital to educational inclusion and the enhancement of their professional expertise, the utilization of the current offering in Australia is makeshift at best and fraught with internal conflict. The implications of these findings are discussed, and future recommendations for research are prioritized. [ABSTRACT FROM AUTHOR]

This paper identifies the need for a pedagogical re-orientation in UK higher education to prepare graduates to overcome wicked problems. In addition to key knowledge sets, graduates need attributes of critical self-reflection, risk-awareness and management, collaboration, creativity, agility, reflexivity – enabling the ability to manage the unknown. In response, researchers have acknowledged the importance of pedagogies that are risk-oriented, creative, and reflective to remedy modernist banking methods. This paper acknowledges that while such pedagogies are underutilised, an antagonistic dichotomy between modernist banking methods (bad) and enquiry and risk-oriented approaches (good) is unhelpful as both approaches are necessary. This paper develops a metamodern framework to guide pedagogic practices to facilitate a disposition among learning strategists and practitioners which embraces oscillation between banking and radical pedagogic approaches. In turn this enables the development of student sensibilities, empowering them to challenge the growing wickedness with which they must do battle. [ABSTRACT FROM AUTHOR]

This article examines self-organised grassroots initiatives in the creative and cultural sector of the Balkans, a region that has experienced significant socio-political shifts over the past three decades. The study focuses on three distinct case studies: Embros Theatre in Athens, Greece; Lumbardhi Cinema in Prizren, Kosovo; and Uzina Cultural Centre in Tirana, Albania. Theoretically, it draws on theory of agonistic practices (Mouffe 2005, 2013) and theories of care and repair (Graziano and Trogal 2017; Puig de la Bellacasa 2017; The Care Collective 2020) to analyse the formation, operation, and collective activities of these initiatives. The paper posits that grassroots initiatives emerge as counter-spaces in response to inadequate cultural infrastructure, limited funding and investment and scarce resources. At the same time, they exemplify more inclusive and "care-full" work models, carrying also the potential to spark change in their local communities by developing support networks. [ABSTRACT FROM AUTHOR]

This review articulates current understanding of the aesthetic, artistic and creative contributions that Dance makes to Health and Wellbeing across the lifecourse within publications 2000–2019, an under-researched area. Review Questions: What are the aesthetic, artistic and creative contributions that Dance makes to Health and Wellbeing across the lifecourse? And what methodologies are appropriate for investigating these contributions? A database keyword search identified 769 articles and 91 evaluations. 109 documents were identified for further in-depth analysis and rating, resulting in 24 papers (11 articles, 3 PhD studies, 10 evaluation reports), which were thematically analysed. Findings offer seven interrelated contributions that Dance makes to Health and Wellbeing: embodiment, identity, belonging, self-worth, aesthetics, affective responses and creativity. There was less insight regarding different methodologies, and discussions focused on quantitative data's limitations. There were insights into inclusion of embodied voices, subjective accounts, and lived experiences. Whilst acknowledging challenges, this paper illuminates the key contributions of dance to arts and health. It provides a future conceptual research agenda (prioritizing identity and creativity) and associated methodological developments. It recommends expanding geographical/lifecourse research, better defining terms, fuller epistemological critiques to open space for new methodologies, and continued attendance to appropriate rigour criteria. [ABSTRACT FROM AUTHOR]

This article calls for papers for an special issue of the journal "Digital Creativity" in honor of Colin Beardon, the founder of the journal.

This special issue of the journal is a compilation of papers from the 41 SP st sp IAPSP Annual Conference entitled "Vienna-Kohut-Self Psychology: Searching for Creativity in Times of Crisis." Kottler and Ben co-create a unique, shared visual language in treatment, giving voice to Ben's less articulated and nascent self-states. As they work through their painful encounter, Kottler and Ben confront their largely hidden, alienated alter-ego self-states, "between different parts within a person and between people" (p. 74), which Togashi links to Buber's notion of I-Thou authentic dialogue. [Extracted from the article]

The Covid-19 pandemic enforced a rapid migration to digital performance making due to a long period of restrictions and closures of performance venues. Despite very limited provision for digital skills training in the HE performing arts programmes pre-pandemic, and the lack of skills, tools and resources encountered by makers during the lockdowns, many examples of innovative digital practice emerged during this time. This paper looks at three cases of innovative performances that emerged during the pandemic out of necessity. These cases suggest that digital skills and competences are very important for performance makers, but making successful digital performance is not necessarily dependent on the mastery of specific technical skills but rather a creative use of digital technologies. As the HE sector still comes to terms with what digital skills are and how they might be delivered in the higher educational setting, this paper aims to inform discussion about training for future performers/performance makers so they can effectively fulfil the current and future opportunities 'the digital' offers to them. Nurturing creativity and encouraging experimentation seems crucial to the future development of digital performance and we advocate educators keep this at heart when adopting new (digital) performance pedagogies. [ABSTRACT FROM AUTHOR]

This paper discusses how Iggy Pop's creativity has been the outcome of a systemic process shaped by the interaction between Iggy Pop as the principal creative agent with the evolving domain and field of Rock music. Iggy Pop's innovative impact on Rock music over fifty years is explained here by means of applying a systems view of creativity. Iggy Pop transformed the domain of Rock music by operating within the simultaneously constraining and enabling factors of the structure inherent to Rock music songwriting and production. This paper eventually elucidates how creativity and innovation in Iggy Pop's body of work is the outcome of his adherence to as well as departure from traditions of form and structure inherent to Rock music songwriting and production. [ABSTRACT FROM AUTHOR]

This paper is a response to Tim Wright's article ‘Art Therapy and the Concept of Internal-Cohabitation’ ( Inscape , Volume 9, No.1 2004, pp. 26–37). Wright presented his work using a potentially universally applicable model of the mind(s). I begin to look at the complexity of his argument and open up some of the debates around the genesis of an ‘other’ mind. For example, is it an aspect of the self or not? If there is an ongoing, internal view different to the one identified as a relational self, how is it formed? And can this ‘other’ presence offer a benign hand in creativity? Whilst I do not endeavour to provide answers to these questions I support the notion that part of the art therapy work needs to involve an exploration of the validity of some analytic assumptions about ‘self’ and ‘other’ if there is to be a consistent, non-contradictory approach. [ABSTRACT FROM AUTHOR]

Based on data from qualitative interviews and participant observation with those involved in artistic production in New Orleans, this paper considers the effect of crises such as the COVID-19 pandemic on cities and artists. It investigates the supports available to artists before and during the pandemic and the relationship between cultural workers and tourism in New Orleans. This relationship creates a paradox: New Orleans is unique because it is the site of enduring local cultural traditions and emerging creative production, and yet the city must sell its culture to tourists to remain economically solvent. Left to fend for themselves by larger institutions, arts communities and nonprofit organizations came together to mutually support each other. The paper concludes that what we can learn from this case is how people 'make do' and survive during an extended period of crisis – especially when the lessons of survival have been taught and tested through preceding crises. [ABSTRACT FROM AUTHOR]

Although recognising multiple creativities as an interdisciplinary and contemporary approach to creativity represents the basic opportunity for future change, the assessment of children's musical creativity is a problematic and insufficiently explored area. The paper discusses the problem of encouraging and assessing the creative musical potential of preschool children using the adopted Measures of Creativity in Sound and Music – MCSM. Considering the inappropriateness of assessing children's creative musical potential with numerical indicators, the research was focused on the method of participatory observation of fluency and imagination in making sounds and music. The research included 25 children aged 5–6 years in a preschool setting within an ethnographic practice-based methodology. The reactions of children to activities were varied but each child reacted to some of the conducted activities. In addition to the confirmed giftedness of one girl, the musical potential and musical giftedness of one boy were discovered, which was further confirmed by the state of flow during the activities. It was concluded that well-designed and stimulating musical activities can encourage children's musical creativity and contribute to the recognition of their musical potential and giftedness. [ABSTRACT FROM AUTHOR]

The Pregnant Tree and the Goblin (2019) is a fantasy-documentary film directed by Kim Dong-ryung and Park Kyoung-tae. The film narrates the story of Park In-sun, a former sex worker in the United States military camp-town in South Korea. This paper closely analyzes four key scenes from the film – interview, field visit, revenge, and recalcitrance – to present two arguments. Firstly, the film illustrates the infliction of secondary violence by academia. I specifically examine scenes involving scholar figures’ interviews and field visits to disentangle the politics of knowledge production in the posthumous memorialisation. Secondly, this paper expands the sociocultural meaning of death, considering it as the starting point for imagining new ways of memorialising past violence. To achieve this, I demonstrate how the film’s brilliant delivery of creative and performative re-enactment of survivors’ dream images proposes recalcitrance as a generative analytical concept for memorialising difficult histories. [ABSTRACT FROM AUTHOR]

This paper examinations the nexus between creativity and teacher identity in post-war peacebuilding. It aims to understand how infusing creativity into teacher preparation geared towards peacebuilding can help language educators reflect on their identities, values and their roles in bridging a fragmented society at the end of a war. Drawing on data generated from a visual ethnography carried out in the aftermath of Sri Lanka's civil war, one of the longest civils wars in recent history, this study explores the power of self-generated identity portraits in helping teachers to visualise their identities as second language educators. This paper highlights the potential of creativity and creative approaches to teacher education to help teachers articulate their identities, expectations, responsibilities towards their learners and challenges they face. The paper highlights the power of creative approaches to meaning making, especially in tapping into identities that are otherwise hidden and the need be for teachers to be included in larger discussions on educational reforms towards peace. [ABSTRACT FROM AUTHOR]

In 2022, after two years of the COVID virus profoundly interrupting social connection, learning, work and human mobility, governments worldwide turned material and rhetorical attention to life 'post-pandemic'. Understandably, teachers who were central in keeping communities virtually connected during the pandemic—are positioned as core to a return to the quality of life and to gaining social futures beyond COVID-19. This is reflected in the theme of the 64th ICET World Assembly Building Creative Global Teacher Education Communities Post-Pandemic. This conceptual paper, given initially as a keynote at this conference, argues that for teachers, the state of crisis has not abated, rather, post-COVID educators are 'returning' pre-existing and enduring social, environmental and workforce crises that have been amplified during the global health crisis (Rosehart et al. 2022). The paper contends that for teachers to respond to the major social and environmental justice issues of our time, it is important to examine the structures and practices which standardise and regulate teachers and teaching and limit the creativity required for powerful knowledge building. Drawing on recent research, the paper offers an example of the ways in which teachers might be supported to reimagine disciplines and subjects in order address and respond to the major crises of our time. [ABSTRACT FROM AUTHOR]

The future development of psychoanalysis relies on our ongoing ability to make readily available our most recent clinical discussions and related theoretical developments. However, to publish ethically, we must also be aware of the 'unboundaried' nature of the current digital world, and the implication that what we write will be widely accessible, including being accessible to those patients we are writing about. The upshot of this is the need to seek informed and signed consent from those patients we write about and offer to provide them with a draft of what we write. This contribution considers the difficulties in seeking informed consent, and offers some suggestions for dealing with these difficulties. [ABSTRACT FROM AUTHOR]

This paper marks the study of childhood creativity as a geographical concern and examines children's experiences of creativity in school spaces, paying particular attention to how such experiences are understood intersectionally and spatially. It draws on findings from an ethnographic research project that was conducted in one Scottish primary school classroom. It argues that the performance of children's intersectional identities during peer-group interactions influences the way power operates in and through school spaces, creating cultures of inclusion or exclusion. It reaches the conclusion that childhood creativity is directly linked to, and affected by, the way children's intersectional identities are performed within social spaces, and suggests that it is important for creativity research to take into account the operations of power among children. Implications for further research include the need for more dialogue on children's experiences of creativity in various places and spaces in both the global North and South. [ABSTRACT FROM AUTHOR]

In 1998, Plucker and Runco provided an overview of creativity assessment, noting current issues (fluency confounds, generality vs. specificity), recent advances (predictive validity, implicit theories), and promising future directions (moving beyond divergent thinking measures, reliance on batteries of assessments, translation into practice). In the ensuing quarter century, the field experienced large growth in the quantity, breadth, and depth of assessment work, suggesting another analysis is timely. The purpose of this paper is to review the 1998 analysis and identify current issues, advances, and future directions for creativity measurement. Recent advances include growth in assessment quantity and quality and use of semantic distance as a scoring technique. Current issues include mismatches between current conceptions of creativity and those on which many measures are based, the need for psychometric quality standards, and a paucity of predictive validity evidence. The paper concludes with analysis of likely future directions, including use of machine learning to administer and score assessments and refinement of our conceptual frameworks for creativity assessment. Although the 1998 paper was written within an academic climate of harsh criticism of creativity measurement, the current climate is more positive, with reason for optimism about the continued growth of this important aspect of the field. [ABSTRACT FROM AUTHOR]

This study aimed to identify trends and foundations of creativity research in education using the Structural Topic Model (STM). First, English-language journal articles about creativity research in education included in the Social Science Citation Index and Science Citation Index Expanded databases were selected. Then, considering semantic cohesiveness and exclusivity of words to topics, the articles were divided into twelve topics using STM. Topic 2, which attracted increasing research interest, was selected using a method similar to standard regression analysis. The changing focus of Topic 2 was identified through an analysis of its research contents. Finally, the foundations of creativity research in education across three periods (1990–1999, 2000–2009, and 2010–2019) were obtained through a review of their 10 most highly cited papers. The conclusions are that a) there are twelve topics of creativity research in education; b) research about the creative process of engineering design in STEM education is likely to attract further interest in the future; and c) highly cited papers are mainly concerned about the mechanisms underlying idea generation and personality and social factors. Studies of the mechanisms underlying idea generation have been the foundation of creativity research throughout all time periods studied. [ABSTRACT FROM AUTHOR]

The article encourages submission of papers for "Digital Creativity" magazine.

As legal and business interests continue to arise concerning the deployment of blockchains to different use cases, concerns have equally followed as to how legal liability would attach to participants within blockchain networks. This paper aims to contribute to the discussion concerning the attribution of joint legal liability to nodes within blockchain-based networks. It argues that there should be no broad-brush legal rule governing the issue and that it is the modus operandi of each network that should be determinative of the applicable standard of legal liability in every situation. This paper adopts the use case of innovation and creativity networks to advance the argument that individual liability, as a standard, may in some cases be superior to and more socially beneficial than the use of joint legal liability. [ABSTRACT FROM AUTHOR]

Research shows that indirect trauma can negatively affect professionals in helping professions, with students and young professionals at greater risk, particularly if they have a personal history of trauma. Research suggests that engaging in the creative arts may help professionals process vicarious trauma and promote resilience. This paper explores the use of creative arts practice for self-care by an art therapy trainee with lived experience of somatic disorder symptoms and complex post-traumatic stress disorder (C-PTSD), working in a secure setting. Using a trauma lens, the paper discusses how the creative arts can ameliorate the effects of indirect trauma when working as a trainee art therapist in a challenging context. The trainee's early life experiences elucidate the challenges of countertransference and trauma. The creative arts process supports the reflexive skills an art therapist uses for effective practice. The creative arts as a self-care practice supported the trainee art therapist to negotiate her dissociative defence style. It was an effective tool for managing the ill-effects of exposure to trauma, including somatic symptoms, and benefited the trainee's development. The creative arts helped the trainee to reconnect with her body and emotions, and subsequently benefited her clinical thinking. Art therapy training programmes could include explicitly teaching about the risks and benefits of working in the profession, as this may promote longevity and improve therapeutic outcomes for service users. Further research on dissociative responses to trauma and creative arts as self-care for therapists would be valuable. Research in the past 30 years has found that people working in helping professions are at risk of experiencing trauma symptoms through their work with service users. This can have a negative effect on their health and wellbeing, as well as their relationships with others. If unaddressed it can also negatively affect their ability to provide effective therapy. Students and people with a history of trauma are at greater risk. This paper explores the personal experience of a trainee art therapist working in a secure hospital setting. It describes how creative arts practice helped the trainee to cope with the challenging content of therapy sessions and promote their own wellbeing. It uses the trainee's experience as a young carer to elucidate the emotional and physical toll of caring and the long-lasting impact it can have. The trainee's experiences suggest that the creative arts can help with high levels of stress and hypervigilance, negative physical symptoms and personal trauma triggers, and promote greater wellbeing. The article calls for research into the value of including teaching around trauma, including physical symptoms, in training programmes for art therapists, and how the creative arts can be used as a self-care tool. [ABSTRACT FROM AUTHOR]

Intercreativity is a phenomenon with significant social, cultural and educational implications in the postdigital era. Its meaning refers to the fact of solving problems and making a collective production. However –in a historical and philosophical context that has led to the rise and importance of knowledge production– intercreativity is a phenomenon insufficiently analysed. Searching a variety of interdisciplinary databases, this paper summarises a systematic review conducted among 49 scientific publications that mentioned the term intercreativity and associated it to other theoretical concepts. The period of time covered was 2002–2021 and peer-review papers in Spanish and English languages were collected following the PRISMA checklist and flow diagram. The results suggest that applying intercreative strategies in education is crucial in a social context where participation and communication are essential and in which education moves to digital spaces that are by nature open and cooperative. Not restricted only to digital environments, the nature of these spaces tends to support the intercreative practices as well as the values derived from it. Intercreativity in education entails an intersubjective production of knowledge, collaborative strategies and the development of critical pedagogies that position digital education as a vehicle for social transformation towards solidarity and community. [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic propelled the arts and leisure into crisis. Public and policy responses have shown positive adaptations and the potential of everyday creativity (EC) in response to restrictions. This is the first qualitative evidence review on EC in home-based arts. We reviewed over 2000 research papers published within the past 10 years. Nine papers met our inclusion criteria. Four domains of EC are identified (i) self-actualization; (ii) time, process and immersion; (iii) relationship building and connection; (iv) learning and development. EC in home-based arts is potentially transformative but also complex and contested. We offer a novel, multidimensional understanding of EC. Our findings are significant for shaping future research and policy in the arts and leisure, including advancing conceptual understandings of EC in leisure, highlighting the relationship between 'elite' and 'everyday' forms of creativity, and examining the role of EC in navigating crisis and restriction, and connections between EC and inequalities. [ABSTRACT FROM AUTHOR]

This paper argues that descriptions of Sri Lankan English (SLE) are influenced by ideologies of linguistic racism and coloniality through an examination of the possible reasons for their neglect of Burgher English – an underprivileged variety of SLE spoken by a minority community. Although descriptions of SLE identify different categories of the variety, they neglect the language use of the Burghers, despite the fact that they are the only ethnic community for a large majority of whom English serves as a first language. The paper claims that descriptions of SLE are interested in elevating the language use of the elite and anglicized sections of the racially dominant Sinhalese instead of focusing on understanding and depicting how diverse people of the multiethnic and multicultural Sri Lankan speech community such as the Burghers of Sri Lanka adapt it to suit their needs and contexts. Demonstrating the possible influence of linguistic racism and colonial ideologies on descriptions of SLE, the paper posits that the unique structural features rendering Burgher English to be perceived as sub-standard could be understood through the theoretical lens of postcolonial performativity which would help appreciate the creativity and diversity of the variety instead of devaluing it as sub-standard. [ABSTRACT FROM AUTHOR]

This contribution intends to overview and frame a conceptual model for Cultural and Creative Enterprises (CCEs) that we call Platform Spaces. The paper contextualizes and discusses the main issues and challenges facing the CCE sector, identifying the need for more complex concepts better able to distinguish new policies and approaches being experimented with in Italy and across Europe. As Italy is currently experiencing a particularly rich period regarding the development of cultural creative activities based largely on social innovation, both in terms of organization management and relation with territorial development, it is an ideal context in which to explore the emergence of this new model. The paper describes three diverse examples of Platform Spaces based on multi-stakeholder cooperation mechanisms, arts and culture, and the engagement of local communities to not only ensure the accessibility of their activities but also to meet territorial development goals. With this analysis, the paper discusses a new conceptual framework that can be relevant both in theory and in practice, identifying policy recommendations to address territorial development approaches for Platform Spaces. [ABSTRACT FROM AUTHOR]

This paper shares a rhizomatic unfolding of how a creative, post-qualitative praxis for becoming adventurous in the field of Relationships and Sexuality Education (RSE) can unfold in a conducive policy and practice context (Wales, UK). Specifically, we focus on the making and mattering of what we call 'Crush-Cards'. These are a suite of illustrated data calling-cards designed to re-animate research findings and stay close to the ways in which children and young people are entangled in, and navigate their way through, complex human and more-than-human gender and sexuality assemblages. Each section progressively provides a glimpse at how our art-ful rhizomatic praxis has evolved and how the resource and emergent CRUSHing pedagogy is becoming resourceful in unexpected ways. [ABSTRACT FROM AUTHOR]

Computational creativity is the modelling, simulating or replicating of creativity computationally. In examining and learning from these “creative systems”, from what perspective should the creativity of a system be considered? Are we interested in the creativity of the system's output? Or of its creative processes? Features of the system? Or how it operates within its environment? Traditionally computational creativity has focused more on creative systems' products or processes, though this focus has widened recently. Creativity research offers the Four Ps of creativity: Person/Producer, Product, Process and Press/Environment. This paper presents the Four Ps, explaining each in the context of creativity research and how it relates to computational creativity. To illustrate the usefulness of the Four Ps in taking broader perspectives on creativity in its computational treatment, the concepts of novelty and value are explored using the Four Ps, highlighting aspects of novelty and value that may otherwise be overlooked. Analysis of recent research in computational creativity finds that although each of the Four Ps appears in the body of computational creativity work, individual pieces of work often do not acknowledge all Four Ps, missing opportunities to widen their work's relevance. We can see, though, that high-status computational creativity papers do typically address all Four Ps. This paper argues that the broader views of creativity afforded by the Four Ps is vital in guiding us towards more comprehensively useful computational investigations of creativity. [ABSTRACT FROM PUBLISHER]

This paper introduces the three interrelated design catalysts of curiosity, creativity and courage, and explores how they actuate market sense-making activities in design practice. Drawing on the interplay between action and meaning dimensions in design practice and service-marketing theory, it specifically investigates when desirability, rather than feasibility or viability, is the locus of innovation activities. Thus, the following three aspects of market sense-making in design practice are identified: (a) curiosity catalyses empathy and the deep understanding of markets, which are seen as socially constructed of individual (value-in-use) and connected (value-in-context) experiences; (b) creativity catalyses ‘logical leaps’ with regard to understanding the opportunities for creating future markets; and (c) courage catalyses learning through iterations, which reduce cognitive bias with regard to market assumptions, thereby reducing cognitive bias in both curiosity- and creativity-driven activities. [ABSTRACT FROM PUBLISHER]

To understand patterns of co-option and tension between discourses of creativity on the one hand, and discourses of school management and administration on the other, it is important to bring these discourses into contact with each other. This paper considers ideas of risk-taking, autonomy, novelty and flexibility, all of which are frequently cited in describing environments conducive to creativity in schools, alongside the experiences of four teachers working in a particular school site. It engages with interview data, as well as Foucault's writings on disciplinary power, to argue that some priorities of school administration, such as the steering effects of comparative assessments and parents' expectations, are difficult to align with ideas of autonomy and risk in school settings. The analysis presented here offers a situated account of discourses of creative environments in the context of wider power relations that traverse the school. [ABSTRACT FROM AUTHOR]

The article discusses the highlights of the 5th AIMAC International Conference on Arts & Cultural Management held in Helsinki, Finland from June 13-17, 1999. The legitimization issue was given such prominence at the opening of the event. While many papers applied business concepts to arts organizations, other interesting approaches were also addressed, including the growing recognition of a need for creativity in management.