This book brings together leading representatives of activity-theoretically-oriented and socioculturally-oriented research around the world, to discuss creativity as a collective endeavour strongly related to learning to face the societal challenges of our world. As history shows, major accomplishments in arts and technological innovations have allowed us to see the world differently and to identify new learning perspectives for the future which were seldom limited to individual action or isolated activities. This book, while primarily focused on educational insitutions, extends (...) its examination of creativity and learning to include other settings (such as government agencies) beyond the limits of schooling. (shrink)

The results of education in the conditions of collective creative interaction are discussed. The results of research of the self-image, an image of the senior companion, images of the good and the bad man in consciousness of children and adult, present and former members of the children’s organization working by a technique of collective creative education are presented.

On the basis of definition of the concept ‘methodological potential‘ possibilities of development of the new theoretical and methodical ideas interfaced to the initial concept of collective creative education of Nominative of Ivanov are illustrated. Treatments of such concepts and the phenomena as an education technique, methodical approach of the teacher, methodical system are presented. It is shown as by means of the concept new vision of a problem of productivity and efficiency of educational activity opens. In (...) end the short prospective characteristic of the new pedagogical theory - the theory of a personal choice in pedagogical activity is given. (shrink)

The coronavirus disease 2019 pandemic is influencing our lives in an enormous and unprecedented way. Here, we explore COVID-19-lockdown's consequences for creative activity. To this end, we relied on two extensive diary studies. The first, held on March 2019, involved 78 students who reported their emotions and creativity over 2 weeks. The second, conducted on March 2020, involved 235 students who reported on their emotions, creativity, and the intensity of thinking and talking about COVID-19 over a month. We (...) found that compared with 2019, during the lockdown, students engaged slightly yet statistically significantly more in creative activities. An analysis of diaries collected during the pandemic also showed that the days when students spent more time discussing or searching for information about COVID-19 were characterized by a higher creative activity yet also mixed emotions. We discuss potential explanations of these unexpected results along with future study directions. (shrink)

Known pedagogical concept of I. P. Ivanov considered and analyzed from the perspective of two sciences: psychology and cybernetics. It is shown that the basic principles of pedagogy common concern based implicitly and may be explained in particular on the fundamental positions of the two classical disciplines (Ashby laws, the second principle, the initial threshold of complexity, etc. in cybernetics and cultural-historical and activity approach in psychology).

The role of emotional creativity in practicing creative leisure activities and in the preference of college majors remains unknown. The present study aims to explore how emotional creativity measured by the Emotional Creativity Inventory (ECI; Averill, 1999) is interrelated with the real-life involvement in different types of specific creative leisure activities and with four categories of college majors. Data were collected from 251 university students, university graduates and young adults (156 women and 95 men). Art students and graduates (...) scored significantly higher on the ECI than other majors. Humanities scored significantly higher than technical/economic majors. Five creative leisure activities were significantly correlated with the ECI, specifically, writing, painting, composing music, performing drama, and do-it-yourself home improvement. Keywords: Creativity, Emotional Creativity, Emotions, Creativeness, Affect, Feelings, Leisure Activities, Creative Ability, Artistic Creativity, Creative Thinking, Creativeness, Aging, Cognitive Deficits, Performance. MeSH Headings: Emotions, Creativity, Leisure, Leisure Activities, Hobbies, Recreation, Affect Affective Symptoms, Creativeness. (shrink)

The philosophy of mind concerns much about how novelty occurs in the world. The very recent progress in this field inspired by quantum mechanics indicates that symmetry restoration occurs in the mind at the moment when new creative thought arises. Symmetry restoration denotes the moment when one’s cognition leaves ordinary internalized mental schemes such as conceptual categories, heuristics, subjective theories, conventional thinking, or expectations. At this moment, fundamentally new, original thought may arise. We also predict that in older age, (...) symmetry restoration is less likely to occur as internalized mental schemes become more rigid in the elderly. Furthermore, the present study demonstrates that symmetry restoration may occur not only individually, in one’s mind, but also collectively, during collaborative creative activities, e.g. during small-group brainstorming sessions or creative improvisational performances. The possibility of collective symmetry restoration interacts well with the ideas in the field of relational ontology. Relational ontology highlights an important ontological role of relations. The ontological primacy is not given to individual entities, as in traditional metaphysics, but to relational structures and transformative relational processes (interactions). When accepting this assumption, we cannot imagine the situation when the actor’s mind could act absolutely independently and leave all of its relations as assumed in the compatibilist theory of free will. We argue that creative free action can be performed even in the case when the actor is entangled within their material, environmental, and social relational structures. (shrink)

Theater production is a collaborative creative activity. Social creativity recognizes the relationships between creative groups and the contexts in which creativity emerges. It also suggests that the interactive processes between the collaborators and their work form a center, which in turn becomes a kind of creative entity itself. An evolving systems case study of production practices at the Oregon Shakespeare Festival illuminates this process and illustrates the differences between seeing an aggregate creative activity and (...) the more holistic view, in which the artwork functions like another person, a creature in dialogue with the personality of the creative system. (shrink)

Article is devoted to consideration of development of ideas of collective creative education, features of a technique of the organization of collective creative affairs, a technique role in social creativity. The comparative analysis of the organization of collective creative business and the social project is presented in article, the characteristic of the main manifestations of social creativity is given.

Marx developed a sophisticated theory of labour under capitalism’s expanding reproduction but wrote little specifically on immaterial labour. This paper reflects on how to build from Marx’s writings a more comprehensive theory of immaterial labour. Integral to this theorisation is bringing in young Marx’s writings on alienation and human nature, and praxis read as the ‘point of knowledge is to change the world’. Integrating the young and mature work into a single perspective that highlights the actively causal dimension of human (...) creativity and knowledge for the making of history critically adds to and thereby transforms the naturalism and structural determinism of orthodox readings of Marx’s Marxism. We relate this theorisation specifically to the project of liberating academic labour from the shackles of its neoliberal containment by making ‘knowledge socialism’. (shrink)

Since the end of the 1990s, creativity has become a growing area of interest once more within education and wider society. In England creativity is now named within the school curriculum and in the curriculum for children aged 3-5. There are numerous government and other initiatives to foster individual and collective creativity, some of this through partnership activity bringing together the arts, technology, science and the social sciences. As far as education is concerned, this growth in emphasis and (...) value placed on encouraging creativity can be seen as being in stark contrast with the government policy prevalent from the late 1980s onward. One of the underpinning themes and justifications for this re-kindling of interest in fostering creativity is that the individual and collective empowerment which is fostered by the development of creative skill is seen to be a good thing at the social and economic level in particular (Craft, 2002). These justifications have been discussed elsewhere (Jeffrey and Craft, 2001). But an important question to ask is, how desirable are the cultural norms of continual change and innovation in Western society? This paper examines some possible social, environmental, cultural and ethical limits to creativity, in the context of educating for creativity (NACCCE, 1999). It argues that the notion of creativity may be value- and culture-specific and that this poses the so-called liberal educator with various dilemmas of principle and pedagogy, which are explored. (shrink)

This article is devoted to commune and со-creativity of 21 century. The author considers some aspects of со-creativity in the conditions of information society and active use of the Internet. The analysis of some technologies is presented in article as directions for development of community.

In this essay we collect and put together a number of ideas relevant to the under- standing of the phenomenon of creativity, confining our considerations mostly to the domain of cognitive psychology while we will, on a few occasions, hint at neuropsy- chological underpinnings as well. In this, we will mostly focus on creativity in science, since creativity in other domains of human endeavor have common links with scientific creativity while differing in numerous other specific respects. We begin by briefly (...) introducing a few basic notions relating to cognition, among which the notion of ‘concepts’ is of basic relevance. The myriads of concepts lodged in our mind constitute a ‘conceptual space’ of an enormously complex structure, where con- cepts are correlated by beliefs that are themselves made up of concepts and are as- sociated with emotions. The conceptual space, moreover, is perpetually in a state of dynamic evolution that is once again of a complex nature. A major component of the dynamic evolution is made up of incessant acts of inference, where an inference occurs essentially by means of a succession of correlations among concepts set up with beliefs and heuristics, the latter being beliefs of a special kind, namely, ones relatively free of emotional associations and possessed of a relatively greater degree of justification. Beliefs, along with heuristics, have been described as the ‘mind’s software’, and con- stitute important cognitive components of the self-linked psychological resources of an individual. The self is the psychological engine driving all our mental and physical activity, and is in a state of ceaseless dynamics resulting from one’s most intimate ex- periences of the world accumulating in the course of one’s journey through life. Many of our psychological resources are of a dual character, having both a self-linked and a shared character, the latter being held in common with larger groups of people and imbibed from cultural inputs. We focus on the privately held self-linked beliefs of an individual, since these are presumably of central relevance in making possible inductive inferences – ones in which there arises a fundamental need of adopting a choice or making a decision. Beliefs, decisions, and inferences, all have the common link to the self of an individual and, in this, are fundamentally analogous to free will, where all of these have an aspect of non-determinism inherent in them. Creativity involves a major restructuring of the conceptual space where a sustained inferential process eventually links remote conceptual domains, thereby opening up the possibility of a large number of new correlations between remote concepts by a cascading process. Since the process of inductive inference depends crucially on de- cisions at critical junctures of the inferential chain, it becomes necessary to examine the basic mechanism underlying the making of decisions. In the framework that we attempt to build up for the understanding of scientific creativity, this role of decision making in the inferential process assumes central relevance. With this background in place, we briefly sketch the affect theory of decisions. Affect is an innate system of response to perceptual inputs received either from the exter- nal world or from the internal physiological and psychological environment whereby a positive or negative valence gets associated with a perceptual input. Almost every sit- uation faced by an individual, even one experienced tacitly, i.e., without overt aware-ness, elicits an affective response from him, carrying a positive or negative valence that underlies all sorts of decision making, including ones carried out unconsciously in inferential processes. Referring to the process of inferential exploration of the conceptual space that gener- ates the possibility of correlations being established between remote conceptual do- mains, such exploration is guided and steered at every stage by the affect system, analogous to the way a complex computer program proceeds through junctures where the program ascertains whether specified conditions are met with by way of generating appropriate numerical values – for instance, the program takes different routes, depending on whether some particular numerical value turns out to be positive or negative. The valence generated by the affect system in the process of adoption of a choice plays a similar role which therefore is of crucial relevance in inferential processes, especially in the exploration of the conceptual space where remote domains need to be linked up – the affect system produces a response along a single value dimension, resembling a number with a sign and a magnitude. While the affect system plays a guiding role in the exploration of the conceptual space, the process of exploration itself consists of the establishment of correlations between concepts by means of beliefs and heuristics, the self-linked ones among the latter having a special role in making possible the inferential journey along alternative routes whenever the shared rules of inference become inadequate. A successful access to a remote conceptual domain, necessary for the creative solution of a standing problem or anomaly – one that could not be solved within the limited domain hitherto accessed – requires a phase of relatively slow cumulative search and then, at some stage, a rapid cascading process when a solution is in sight. Representing the conceptual space in the form of a complex network, the overall process can be likened to one of self-organized criticality commonly observed in the dynamical evolution of complex systems. In order that inferential access to remote domains may actually be possible, it is necessary that restrictions on the exploration process – necessary for setting the context in ordinary instances of inductive inference – be relaxed and a relatively free exploration in a larger conceptual terrain be made possible. This is achieved by the mind going into the default mode, where external constraints – ones imposed by shared beliefs and modes of exploration – are made inoperative. While explaining all these various aspects of the creative process, we underline the supremely important role that analogy plays in it. Broadly speaking, analogy is in the nature of a heuristic, establishing correlations between concepts. However, analo- gies are very special in that these are particularly effective in establishing correlations among remote concepts, since analogy works without regard to the contiguity of the concepts in the conceptual space. In establishing links between concepts, analogies have the power to light up entire terrains in the conceptual space when a rapid cas- cading of fresh correlations becomes possible. The creative process occurs within the mind of a single individual or of a few closely collaborating individuals, but is then continued by an entire epistemic community, eventually resulting in a conceptual revolution. Such conceptual revolutions make pos- sible the radical revision of scientific theories whereby the scope of an extant theory is broadened and a new theoretical framework makes its appearance. The emerging theory is characterized by a certain degree of incommensurability when compared with the earlier one – a feature that may appear strange at first sight. But incommen- surability does not mean incompatibility and the apparently contrary features of the relation between the successive theories may be traced to the multi-layered structureof the conceptual space where concepts are correlated not by means of single links but by multiple ones, thereby generating multiple layers of correlation, among which some are retained and some created afresh in a conceptual restructuring. We conclude with the observation that creativity occurs on all scales. Analogous to correlations being set up across domains in the conceptual space and new domains being generated, processes with similar features can occur within the confines of a domain where a new layer of inferential links may be generated, connecting up sub- domains. In this context, insight can be looked upon as an instance of creativity within the confines of a domain of a relatively limited extent. (shrink)

The article is devoted to the assessment of interconnection and interaction problems of an individual and a collective. The different definitions of personality are analyzed. There has been made a historical excursus to the theory of collective development during the soviet and post-Soviet period. There also have been set forth the views of interconnection and interaction of individual and a collective of outstanding pedagogues A. S. Makarenko and I. P. Ivanov. The modern psycho-pedagogical analysis of these theories (...) confirms its actuality and practical importance. (shrink)

A burgeoning body of research has shown that authoritarian leadership embodies the characteristics of “light” and “dark,” meaning that it does not always have a negative impact on employees’ creative activities. However, studies explaining this potential positive effect are insufficient. To extend the AL and creativity literature, we draw on self-determination theory and event system theory, and elicit discipline-focused AL and appointment event criticality to examine whether, when, and how authoritarian leaders affect employee creativity positively. With time-lagged data collected (...) from 435 employees and their direct leaders in China, we found that discipline-focused AL has an indirect positive effect on employee creativity through creative self-efficacy. Additionally, appointment event criticality strengthens the positive relationship between discipline-focused AL and creative self-efficiency, and the indirect impact of discipline-focused AL on employee creativity through creative self-efficiency. The theoretical and practical implications are discussed. (shrink)

In the present study, we combined first-, second-, and third-person levels of analysis to explore the feeling of being and acting together in the context of collaborative artistic performance. Following participation in an international competition held in Czech Republic in 2018, a team of ten artistic swimmers took part in the study. First, a self-assessment instrument was administered to rate the different aspects of togetherness emerging from their collective activity; second, interviews based on video recordings of their performance (...) were conducted individually with all team members; and third, the performance was evaluated by external artistic swimming experts. By combining these levels of analysis in different ways, we explore how changes in togetherness and lived experience in individual behavior may shape, disrupt, and stabilize joint performance. Our findings suggest that the experience of being and acting together is transient and changing, often alternating phases of decrease and increase in felt togetherness that can be consistently recognized by swimmers and external raters. (shrink)

In their article, A.M. Dorozhkin and S.V. Shibarshina focus on the concepts of problem, task, and features of a creative personality as a single isolated agent. To a certain extent, such view is “opposed” by the socio-epistemic approach, since today it is extremely difficult to consider a person outside the socio-cultural context. In my paper, I discuss the distinctive features of the concepts of tasks and problems in connection with the fields of science and education. As an example of (...) a kind of creative adaptation practice, to which modern scientists are forced to resort (taking into account difficult socio-economic realities), I consider “tayloring” – a type of activity of “creative” written justification of the importance and usefulness of basic research (J. Calvert). The collective and institutional aspects of modern science, which play a role in the possible limitation of the process of generating new (creative) ideas in science, are discussed (P. Stanford). I agree with A.M. Dorozhkin and S.V. Shibarshina, that the method of epistemological randomization is most specific for the field of philosophy. Following C. Rovelli, it is emphasized that philosophy can serve as an important “creative resource” for scientific activity. (shrink)

How should the development of creativity be approached? Many accounts of children’s creativity focus on the relation between creativity and pretend play, placing make-believe and the mental exploration of possible scenarios about the world at the fore. Often divergent thinking and story-telling are used to measure creativity with fluency, originality, and flexibility as indicators. I will argue that the strong focus on conceptual processes and higher-order thought leaves procedural forms of creativity in the dark and hinders a proper investigation of (...) the development of creativity. Creativity involves both strategic and procedural elements and the mental and physical manipulation of ideas are equally important. Sahlin’s notion of rule-based creativity might serve as the starting-point for an approach to the development of creativity that is neutral as to the underlying nature of creativity and that permits investigating creativity independently of language. On this approach, creativity is characterized by the violation and subsequent replacement of a rule or norm that underlies a given activity with a novel strategy or procedure. When, where, and how children will manifest creativity is conditional on the kind of rule or norm that is violated. (shrink)

While artists often present their works as communicating to and through them, this idea has rarely been taken seriously, nor empirically studied from a communicational perspective. Building upon the pragmatist tradition, we show how this particular form of communication takes place. Using Peirce’s concept of abduction, we argue that a creative process essentially happens when a resonance between two materials leads to the unification of these materials into a new whole. Drawing upon a case study, we show how we (...) can retrace such resonances by paying close attention to the interactions between participants collectively involved in a creative project. This paper makes an important contribution to communication studies by revealing the communicational mechanism of our creative impulsions. It also opens new avenues for the study of artistic endeavors as well as other creative activities such as science, politics, or design. (shrink)

Perception of Creativity in International Franchising Business Concepts - Comparison Analysis Between Franchisees and Franchisors This paper deals with the topic of creativity and perceived freedom of creativity in international franchising business concepts. It analyses various areas of daily business operations and the franchising business concept as a whole. Its focus is aimed at comparing the perception of level of freedom given in these areas to franchisees by the franchisors and its objective is to find out where these perceptions differ (...) between franchisees one side and franchisors on the other. The model of franchising is not described and the article assumes that the reader is familiar with this business model. The purpose of this article is to analyse and present the situation of creativity in the sector of international franchise businesses. As international franchising is in the focus of this article, topics such as cross-cultural environment in franchising models and creativity across cultures are covered. The method used to collect the data for further analysis is running an empirical research among two populations - franchisees and franchisors from several franchising business concepts active in international environment. Representatives from the two populations were asked to evaluate the level of freedom of creativity given or applied in their franchising business concepts. Respondents were answering an online survey, assessing ten different areas in daily business on a scale from one to five, ranging from no creativity allowed and strict governance by rules defined in the franchise concept to high level of creativity and freedom. Findings from both side of the franchise business partnerships, franchisees and franchisors, are presented including the test of homogeneity of proportions. Therefore some implications exist for further discussions and research, if franchising at all is, in its essence, a method of business concept, which enhances and facilitates creativity, or if creativity is perceived as a danger to franchise system that would harm its global unified approach which is the key principle of the franchis unified brand and concept strategy. (shrink)

Simone Weil’s political thought on labour and political community by comparing it with that of liberal and republican thinkers. Her consideration of the human need for private property and on the way that labouring produces a feeling of belonging resonates with the liberal political thought of John Locke. Locke’s thought emphasizes labour’s capacity to transform land held in common into private property and the need for political community to protect individual property rights. Weil, however, emphasizes labour’s capacity to transform individuals (...) by increasing their sensitivity to the world and capacity to attend to the needs of others. Further, the purpose of political community for Weil is to nurture human spiritual needs, including a sense of obligation to others, more than the protection of individual rights. If as C.B. Macpherson argues, liberal political thought is based on possessive individualism, then Weil’s is based on an attentive individualism. Her critique of the language of rights brings her close to a strand of republican thinking, found in Karl Marx and Hannah Arendt, which values the activation and development of human capacities through participation in political community. While Weil affirms the vital necessity of collectivity for human flourishing, she maintains a critical concern with the overvaluation of the collective in relation to the individual. In significant respects, Weil’s political thought is neither liberal nor republican and as such enables us opportunities for critical and creative reimagining of inherited political ideologies. (shrink)

After presenting a critique of both negative and positive freedom this essay pursues the relation between creativity and freedom, drawing upon Foucault, Deleuze and Nietzsche to do so. Once you have understood Nietzsche’s reading of a culturally infused nest of drives in a self, the task becomes easier. A drive is not merely a force pushing forward; it is also a simple mode of perception and intention that pushes forward and enters into creative relations with other drives when activated (...) by an event. You can also understand more sharply how the Foucauldian tactics of the self work. We can now carry this insight into the Deleuzian territory of micropolitics and collective action by reviewing his work on flashbacks and “the powers of the false.” If a flashback in film pulls us back to a bifurcation point where two paths were possible and one was taken, the powers of the false refer to the subliminal role the path not taken can play in the formation of creative action. As you pursue these themes you see that neither old, organic notions of belonging to the world nor do negative notions of detachment as such do the work needed. Deleuze’s notion of freedom carries us to the idea of cultivating “belief” in a world of periodic punctuations. The latter are essential to creativity and incompatible with organic belonging. They are also indispensable supports of a positive politics today. (shrink)

The article begins with an overview of the innovation process and the entrepreneurial process, each treated as separate but interrelated phenomena. The innovation process tracks the evolution of a new idea through time, whereas the entrepreneurial process tracks the activities that entrepreneurs develop to promote and defend the idea against its detractors. The model of innovation and entrepreneurship introduced distinguishes between individual and collective entrepreneurship and identifies two types of collective entrepreneurship: team entrepreneurship and functional entrepreneurship. A Minnesota (...) case study demonstrates the power of both team and functional entrepreneurship. It also illustrates how important the linkages are between the entrepreneurs and their larger community. An innovative idea's development and survival depends on an "ecology of organizations" that provide "venture" capital for analysis and experimentation. The vast networks of contacts and associations represent a form of social capital just as important as the community's economic capital. In this case, both aspects of social creativity - the community resources and the network of social relations - were found to be instrumental in passing and implementing the first public school choice program in the country. (shrink)

Peirce proposed the concept of abductive inference to inquire into the generation of new hypotheses and defined it as another term for pragmatism, no less (Admitting, then, that the question of Pragmatism is the question of Abduction, let us consider it under that form. What is good abduction? What should an explanatory hypothesis be to be worthy to rank as a hypothesis? Of course, it must explain the facts. But what other conditions ought it to fulfill to be good? The (...) question of the goodness of anything is whether that thing fulfills its end. What, then, is the end of an explanatory hypothesis? Its end is, through subjection to the test of experiment, to lead to the avoidance of all surprise and to the establishment of a habit of positive expectation that shall not be disappointed (Peirce. 1931–1966. The collected papers of Charles S. Peirce, 8 vols., C. Hartshorne, P. Weiss & A. W. Burks (eds.). Cambridge: Harvard University Press. 5.197)). Apart from being linked to the vague idea of the play of musement as an almost dreamlike process of epiphany or inspiration or as an inverted minor premise from a syllogism, we are far from understanding the dynamics and specificity of this kind of inference. Among authors dealing with this problem I could trace three factors at work in processes of abduction, i.e. combination, resemblance, and dialetics or questioning. In this paper I attempt to look a bit further into this enigma by a category of play I defined as “peripatos” or games of invention, riddles, and puzzles, hoping it could shed some light on the process of creativity in several social activities such as science, art, war, and religion. The approach will take on Huizinga’s idea of the play of culture, Lakoff and Johnson’s conception of cross-domain correlations, Kant’s view of “aesthetic ideas,” and my proposal of the play of peripatos through a “what if-as if” coupling into this very common yet little understood, and thus mystified, process of the generation of innovative ideas. (shrink)

In this study, telecollaborative learning activities were carried out in virtual learning environments created by the 360-degree video technology. We aimed to facilitate students’ creativity, innovation, and entrepreneurship. Two groups of students, a group of junior high school students from China and a group of university students from Indonesia, participated in the study. Students created cultural learning content using the 360-degree video technology which considered to be creative, innovative, and entrepreneurial, shared it with their international partners on the telecollaborative (...) platform and then watched content of their partners to experience virtual panoramic tours. After that, students exchanged their ideas and comments with each other in order to improve content quality. We investigated whether participation in telecollaborative learning activities positively impacts students’ creativity, innovation, and entrepreneurship. The data were collected through questionnaires and interviews. We also analyzed content created by the participants in learning activities. Two main findings were obtained: technology-supported learning activities improved participants’ creativity, innovation, and entrepreneurship and the participants positively perceived their learning experiences. Based on our results, we proposed several suggestions and derived some implications. (shrink)

Context: Sustainability is among major societal goals in our days. Education is acknowledged as an essential strategy for attaining sustainability by activating the creative potential within young people to understand sustainability, bring forth changes in their everyday life, and collectively envision a more sustainable future. Problem: However, teaching and learning about sustainability and sustainability-related issues is not an easy task due to the inherent complexity, ambiguity, and context-specificity of the concept. We are in need of innovative pedagogical approaches and (...) tools that will allow us to design learning activities in which learners will be empowered to develop new, alternative interpretations of sustainability in personally and collectively meaningful ways. Method: We argue that a constructionist perspective involving the use of expressive media for digital storytelling offers an appropriate frame for designing learning activities fostering collaborative creativity in thinking and learning about urban sustainability. Our study is based on the design of a learning activity following this rationale. We adopted a qualitative approach in the collection and analysis of different sources of data with the aim to explore collaborative creativity as a learning process based on the students’ collective processes and resulting in the co-construction of new ideas and insights about sustainability, and new tangible artefacts encompassing them. Results: Our analysis of the collaborative creativity exemplified in the three digital stories produced identified important creative elements with regards to the three components of a digital story and how they were embodied in each digital story produced as a result of the students’ joint constructionist activity. Implications: Our study provides some preliminary evidence that collaborative creativity from a constructionist perspective can stand as an appropriate framework for designing learning activities addressing the difficult concept of sustainability. There are several implications for both theory and educational practice in environmental education and education for sustainable development, constructionism, and digital storytelling in education. Moreover, our study opens up new fields for research and theory in creativity. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated (...) situation permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

This collection of twenty-one essays presents a comprehensive, well-rounded picture of Nietzsche’s influence upon philosophy generally, and upon morals, psychology, and literature in particular. Fourteen of the essays have been previously published. To students of Nietzsche the most familiar of these fourteen will be two selections from Walter Kaufmann’s Nietzsche: Philosopher, Psychologist, Antichrist—"The Death of God and the Revaluation," and "The Discovery of the Will to Power;" a discussion of perspectivism from Arthur Danto’s Nietzsche as Philosopher; Hans Vaihinger’s "Nietzsche and (...) His Doctrine of Conscious Illusion," a précis of Nietzschean epistemology; and a selection on morality and human creativity from Karl Jaspers’ Nietzsche: An Introduction to the Understanding of His Philosophical Activity. Other essays previously published include Richard Schacht’s "Nietzsche and Nihilism;" an important excerpt from the first volume of Martin Heidegger’s Nietzsche ; Henry David Aiken’s "Introduction to Zarathustra;" a short piece by Frederick A. Olafson on the relation of Nietzsche and Kant to existentialism; a selection from Max Scheler’s Ressentiment, in which Scheler develops and criticizes Nietzsche’s notion of ressentiment; and a brief exposition by Danto of the "scientific" aspect of Nietzschean eternal recurrence. Aiken’s "Introduction" here is rather unsatisfactory. A much better one would have been the "Introduction" to R. J. Hollingdale’s translation of Zarathustra. On the whole, Stambaugh’s translation of the passages from Heidegger is accurate and readable. (shrink)

From the Introduction: The papers collected in this book are based on the assumption that art, as any other activity of the mind, is subject to psychology, accessible to understanding, and needed for any comprehensive survey of mental functioning. The author believes, furthermore, that the science of psychology is not limited to measurements under controlled laboratory conditions, but must comprise all attempts to obtain generalizations by means of facts as thoroughly established and concepts as well defined as the investigated (...) situation permits. Therefore the psychological findings offered or referred to in these papers range all the way from experiments in the perception of shape or observations on the art work of children to broad deliberations on the nature of images or of inspiration and contemplation. It is also assumed that every area of general psychology calls for applications to art. The study of perception applies to the effects of shape, color, movement, and expression in the visual arts. Motivation raises the question of what needs are fulfilled by the production and reception of art. The psychology of the normal and the disturbed personality searches the work of art for manifestations of individual attitudes. And social psychology relates the artist and his contribution to his fellow men. A systematic book on the psychology of art would have to survey relevant work in all of these areas. My papers undertake nothing of the kind. They are due to one man's outlook and interest, and they report on whatever happened to occur to him. They are presented together because they turn out to be concerned with a limited number of common themes. Often, but unintentionally, a hint in one paper is expanded to full exposition in another, and different applications of one and the same concept are found in different papers. I can only hope that the many overlappings will act as unifying reinforcements rather than as repetitions. These papers represent much of the output of the quarter of a century during which I have been privileged to live, study, and teach in the United States. To me, they are not so much the steps of a development as the gradual spelling-out of a position. For this reason, I have grouped them systematically, not chronologically. For the same reason, I did not hesitate to change the words I wrote years ago wherever I thought I could clarify their meaning. Removed from my original intimacy with the content, I approached the text as an unprepared reader, and when I stumbled, I tried to repair the road. In some instances, I recast whole sections, not in order to bring them up to date, but in the hope of saying better what I meant at the time. Some of the earlier papers led to my book, _Art and Visual Perception_, which was written in 1951 and first published in 1954- Sections of the articles on perceptual abstraction, on the Gestalt theory of expression, and on Henry Moore are incorporated in that book. Others continued where the book left off, for instance, the attempts to describe more explicitly the symbolism conveyed by visual form. The short piece on inspiration provided the substance for the introductory chapter on creativity in my more recent book, Picasso's Guernica. Finally, in rereading the material, I was surprised to find how many passages point to what is shaping up as my next task, namely, a presentation of visual thinking as the common and necessary way of productive problem solving in any human activity. Ten of the papers in this book were first published in the _Journal of Aesthetics and Art Criticism_. To mention this is to express my indebtedness to the only scholarly periodical in the United States devoted to the theory of art. In particular, Thomas Munro, its first editor, showed a great trust in the contribution of psychology. He made me feel at home among the philosophers, art historians, and literary critics whose lively propositions inhabit the hostel he founded and sustained. To him, as well as to my friends of the University of California Press, who are now publishing my fourth book, I wish to say that much of what I thought about in these years might not have been cast into final writing, had it not been for their sympathy, which encouraged the novice and keeps a critical eye on the more self-assured pro. There are a few scientific papers here, originally written for psychological journals but free, I hope, of the terminological incrustation that would hide their meaning from sight. There are essays for the educated friend of the arts. And there are speeches, intended to suggest practical consequences for art education, for the concerns of the artist, and for the function of art in our time. These public lectures are hardly the products of a missionary temperament. In fact, I marveled why anybody would go to a theorist for counsel, illumination, and reassurance in practical matters. However, when I responded to such requests I noticed, bewildered and delighted, that some of my findings pointed to tangible applications, which were taken to be useful. (shrink)

In a newly designed collaborative online music course, four musical novices unknown to each other learned to play the clarinet starting from zero. Over the course of 12 lessons, a special emphasis was placed on creativity, mutual interaction, and bodily movement. Although addressing these dimensions might be particularly challenging in distance learning contexts, a thematic analysis of semi-structured interviews with the learners revealed how the teaching approach proposed has generally facilitated learning. Qualitative findings highlight the importance of establishing meaningful relationships (...) with the musical instrument as well as with other students to build musicality, and of the interplay between creativity and control in individual and collective music-making activities. We suggest that remote music tuition with a small group can be a valuable resource to start learning music and that a creative, collaborative, and movement-based approach can contribute to musical growth. (shrink)

The current literature in artificial intelligence and robotics awareness focused on the dark side of AIRA. Accordingly, this study sheds light on the positive effect of AIRA on employee creativity by exploring how and when hotel employees may take proactive behavior facing the threat of AI and robotics to further stimulate creativity. Based on the work adjustment theory and the locus of control theory, this study constructs a moderating multiple mediation model to explain the influence of AIRA on employee creativity, (...) in which active learning and task crafting are used as mediating variables, and locus of control is used as moderating variable. Data collected from 264 employees in a Chinese hotel are used for empirical analysis. Results show that AIRA indirectly positively affects employee creativity via active learning and task crafting and Locus of control not only moderates the mediating effect of active learning between the relationship of AIRA and employee creativity but also moderates the mediating effect of task crafting between the relationship of AIRA and employee creativity. The theoretical and practical implications are discussed. (shrink)

The problem of modern principle conditions, forms and effective group cooperation interaction methods are considered. On the basis of the comparative analysis of inconsistent approaches to teambuilding, the expediency of domestic experience of collective formation use on humanistic principles of the general care is proved, that were mostly qualitative theoretically and empirically developed and checked up by long-term experience of scientific and pedagogical activity of A. S. Makarenko, I. P. Ivanov and their followers. Some little-known facts of history (...) of their approaches to formation and collective development are considered. The basic psychology-pedagogical teambuilding principles, applicable not only in pedagogical, but also in many other kinds of modern creative activity are allocated. (shrink)

This study examines the micro-level consequences of perceived corporate social responsibility and hypothesizes that perceived CSR affects the perception-emotion-attitude-behavior sequence. We hypothesized that perceived CSR affects organizational pride, affects affective commitment, and enhances the employees’ creative behaviors by using the lens of appraisal theory of emotion. This study also hypothesizes that the association of perceived CSR and employee creative behaviors is serially mediated by OP and AC. The time-lagged data were collected from employees of only those companies participating (...) in CSR activities to analyze the sequential mediation effect. We have tested the hypotheses of this study through Hayes approach. Results showed that perceived CSR kindles the employees’ creative behaviors. Furthermore, “organizational pride” and “affective commitment” serially mediate the association of perceived CSR and ECB. Hence, the hypothesized perception-emotion-attitude-behavior model received a significant support and demonstrated that micro-level positive consequences of CSR could be created through emotional, attitude, and behavioral mechanisms. The organization should promote their CSR activities using documentaries and contents to improve their perception of environmental and social issues, and it enhances employees’ pride and creativity. (shrink)

Abstract:This paper argues that the neoliberal (mis)appropriation of artistic creativity that begins to have a serious impact on music education can be seen as the result of a reverse détournement, whereby the very terms that used to play a pivotal role in describing the anti-systemic, anti-commercial, unsettling, emancipatory qualities of artistic creativity are being used to legitimize a thoroughly economized conception of creativity. It is suggested that this reverse détournement shapes a notion of creativity that can be referred to as (...) subsumptive, a term that denotes the thorough instrumentalization of creativity that leads to a managerial approach to creative processes and practices. The paper identifies some of the main terms that have been sacrificed in the process of the neoliberal colonization of creativity, suggesting that we actively resist subsumptive creativity by molding a counter-hegemonic language that offers an alternative conceptual apparatus that might permit a conceptualization of creativity as subversive. Thus, it is suggested that instead of drawing on notions of flexibility and adaptability we explore the notion of nondeterminist plasticity of minds; instead of emphasizing uncertainty and risk-taking we choose to cultivate fearless exploration; in the place of notions of collaboration (that easily slips to networking) we emphasize dis-identification; instead of celebrating independence we engage with the notion of collectivity; instead of emphasizing learning how to anticipate future needs we choose to explore the merits of (temporary) withdrawal; instead of celebrating innovation we choose to explore practices of dismeasure; and instead of seeking ways to boost confidence, we explore the subversive potential of vulnerability. (shrink)

For Marx, work is the fundamental and central activity in human life and, potentially at least, a ful lling and liberating activity. Although this view is implicit throughout Marx’s work, there is little explicit explanation or defence of it. The fullest treatment is in the account of ‘estranged labour’ [entfremdete Arbeit] in the Economic and Philosophical Manuscripts;1 but, even there, Marx does not set out his philosophical assumptions at length. For an understanding of these, one must turn to (...) Hegel. Marx is quite explicit about his debt to Hegel in this respect. (shrink)

The part of the system of education of academician I. P. Ivanov - the collective organizational activity is studied. Collective organizing activities (COA) is a method of organizing children’s life, when in planning, organizing and analyzing actively participates every child. We prove that the experience of participating in COA provides the development of organizational, prognostic, reflective, communicative skills of children, establishing an ability to work together, to self-regulation, the ability to make decisions. The collective organizing (...) class='Hi'>activity accumulates experience of democratic interaction, which forms the democratic culture of the pupil. (shrink)

Using theories in medical anthropology, especially the ideas inspired by Hector Avalos and George Foster, the study explains three activities associated with the early Christian healthcare system: (1) touching infectious people, (2) hospitality towards possibly infectious people and (3) the practice of itinerary evangelism as an activity that earned Christianity the dubious role of being a carrier of infectious diseases. Discussed alongside the issues associated with the advent of COVID-19, the study aims at (1) reflecting that early Christian healthcare (...) system, which was an offshoot of Jewish healthcare systems, had practices that were perceived to exacerbate infection. In addition, (2) in view of the advent of COVID-19 pandemic, although of lesser catastrophe to ancient plagues, the study proposes that such epidemics call upon the collective actions of mercy and kindness, as Jesus did towards the infected. Theoretically, Victor Turner’s concepts of liminality and communitas assist in imagining the discursive ideas concerning labelling and marginalisation of the Jesus movement, with comparative implication towards those suspected to have contracted the deadly COVID-19 virus. The study concludes with a warning against Christian practices that may further inflame infection by suggesting alternative practices for love and empathy towards others. Contribution: Using ideas concerning infectious diseases in antiquity, the study reinterprets the Jesus movement as a movement that was perceived as carriers of infectious disease. Due to fear of infectious diseases, the rituals associated with hospitality towards the outsiders, the touch and laying of hands and iternary lifestyle were seen as promoting infection. Taking this perspective, the Jesus movement whose modus operandi is mostly associated with the periphery of the villages and cities created alternative rituals for the outcast. In view of the spread of COVID19, such stance by the Jesus movement provides lessons for the church and society to reach out to people who are considered infectious and burden to main society. (shrink)

In the study, the phenomenon of academic plagiarism is considered a result of creative scientific activity, which exists in a certain institutional design and is immersed in the appropriate environment and economic, socio-political circumstances. The study uses philosophical principles as a method—humanistic, historical, comprehensiveness and determinism, system and practice, specificity and activity. The historical retrospective shows that theft and misappropriation of other people’s intellectual property existed already in ancient societies. The prevalence of the phenomenon and the ambiguity (...) of its interpretation inspired us to explore academic plagiarism in its various aspects. (shrink)

How often does an interest or pleasure in your life become something that has to be managed, given a hierarchical position amongst other tasks, and thus becomes a chore alongside other chores? When content and possibility are stripped by scheduling and the demands of capitalist required labour mean that free play or time required for speculative and/or creative thought is removed in the interests of deadlines, what happens to the compassionate, generous and intimate functioning of thought and life? This (...) paper considers how Guattari argues that subjectivities are produced and organised by what he describes as machinic assemblages. Machinic assemblages are those aspects of life that operate to regulate the affective powers of life. Guattari's work on activities such as art making, game play, music and performance provides ways to consider the labour of subjectivity outside of work. I ask the reader to consider what the notion and motivation for play signal. Arguing that a singular life at play is the collective event of play, I describe play as a mediatising form for the production of subjectivity. The play field situates and directs the machinic assemblage of subjectivation through its own forms of mediatisation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.3 (2000) 294-298 [Access article in PDF] Book Review Reclaiming Rhetorica: Women in the Rhetorical Tradition Listening to Their Voices: The Rhetorical Activities of Historical Women The Changing Tradition: Women in the History of Rhetoric Reclaiming Rhetorica: Women in the Rhetorical Tradition. Ed. Andrea A. Lunsford. Pittsburgh Series in Composition, Literacy, and Culture. Pittsburgh: U of Pittsburgh P, 1995. Pp. xiv + 354. $22.95 paperback; $59.95 (...) cloth. Listening to Their Voices: The Rhetorical Activities of Historical Women. Ed. Molly Meijer Wertheimer. University of South Carolina Series in Rhetoric/Communication. Columbia, SC: U of South Carolina P, 1997. Pp. xii + 408. NP. The Changing Tradition: Women in the History of Rhetoric. Ed. Christine Mason Sutherland and Rebecca Sutcliffe. Calgary, Alberta: U of Calgary P, 1999. Pp. 279. NP. These three books, all published within the last five years, are both reflections of and important contributions to the growing scholarship on women's roles in rhetorical history as theorists and as practitioners. Indeed, the titles listed in chronological order--Reclaiming Rhetorica, Listening to Their Voices, and The Changing Tradition--suggest the process of transformation that the study of rhetorical history has undergone in recent years. Both individually and together, these works are a healthful antidote to the rhetorical history most of us learned at our (male) professors' knees.The books share certain features. As edited volumes, they span rhetorical history, from its classical roots to modern feminist theories. Although some figures appear more than once in different volumes (e.g., Aspasia and Mary Astell), the constraints of brief chapters permit us only tantalizing glimpses of each woman and her activities. Like all edited collections, these books include a variety of viewpoints and voices. Despite the disparity that is inevitable in a collection of essays, the quality of the work in these volumes is uniformly high. The editors of all three collections have done a nice job of assuring that the contributors stay to the point and write well without sacrificing scholarly precision. For those seeking a simple history or detailed analysis of any particular figure or time, these books will not suffice. But for most readers who are unfamiliar with the full range [End Page 294] of women in rhetorical history, this reader among them, these volumes provide a delightful introduction to the resilience, creativity, and significance of women in our formerly unacknowledged rhetorical past.In her introduction to Reclaiming Rhetorica, Andrea Lunsford shares the intriguing history of the volume, which explains its eclecticism and its goals. Approached by students who wanted to explore the role of women in rhetorical history, Annette Kolodny offered a two-semester graduate seminar titled "Women Rhetoricians." For the class, the students did extensive archival recovery research, much of which is included in the published volume. Interestingly, the students were the ones who persisted in trying to bring their works, plus the other contributors' efforts, to publication. The resultant book is, then, as James J. Murphy says in his foreword, "not a history of women rhetoricians, or women orators, or women writers. It is, instead, a glimmer of possibilities, an array of glances,--an enthymeme."The essays range widely in time covered and in focus. For example, the first chapter is a consideration of Aspasia, who left no written record of her own. Her accomplishments and influence must, then, be constructed from references to her in the works of others. The authors, Susan Jarratt and Rory Ong, contend that both her gender and her non-Athenian roots played a role in the suppression of her memory. Returning to the theme of "dangerous femininity," the concluding chapter explores the work of a modern theorist, Julia Kristeva. In that chapter, Suzanne Clark demonstrates how Kristeva has challenged traditional notions of rhetoric and provides dialogism as an antidote to the constraints of earlier approaches to human interaction. The chapters between these two take a variety of directions. Mary Wollstonecraft's feminist dialogics stands alongside of the autobiographical The... (shrink)

We ascribe the performance of intentional actions to groups. We claim, for instance, that the orchestra is playing a symphony, that a gang has robbed a bank, and so on. But what is a collective intentional action? Most accounts suggest that, for there to be a collective intentional action, at least two necessary conditions should be met. First, participants must act in accordance with, and because of, the intentions that the group perform a certain action. Second, there must (...) be common knowledge. These accounts, however, face two difficulties. On the one hand, they are uninformatively circular, for they employ in the analysis the very notion of group-action that they are trying to elucidate. On the other hand, they are too demanding, for there are cases of collective intentional action where neither of the conditions is met. The article proposes, by developing further an account put forward by Christopher Kutz, a model of collective intentional actions that overcomes these two problems. It also suggests why such a model is important for our understanding of the law. (shrink)

Ludwik Fleck is known mainly for his pioneering studies of science as a social activity. This text investigates a different aspect of Fleck’s epistemological thought—his engagement with normative aspects of medicine and public health and their political underpinnings. In his sinuous professional trajectory, Fleck navigated between two distinct thought styles: fundamental microbiological research and practice-oriented investigations of infectious diseases. Fleck’s awareness of tensions between these two approaches favored the genesis of his theoretical reflections. At the same time, his close (...) observation of medical and epidemiological practices led him to the conclusion that collectively produced scientific facts are situated and fragile. Thought collectives, Fleck explained, can err or yield to external pressures, with potentially disastrous consequences. While Fleck the reflexive experimental scientist has been creatively translated into the science studies idiom, Fleck the reflexive practical microbiologist and public health expert still awaits inspired translation. (shrink)

The article is devoted to use of the principles of ‘Pedagogy of collective creative life‘, proposed I. P. Ivanov in the educational process of modern University. The mechanisms of development of intercultural competence of students, in particular, the ability to establish interaction with other actors in their professional activities, proposed a methodology for evaluation of the level of these competencies.

The article discusses Ilyenkov's conception of the ideal, which has its roots in Marx's concept of human as a sociohistorical being, yet goes beyond Marx by developing a concrete understanding of human social activity. Defined dialectically as a form of the subjective activity of social man that has objective meaning and significance, the ideal in Ilyenkov is not simply a form of "social representation" , but it rather exists as man's ideal activity toward realization of his own (...) goals, and as such it guides creative activity in the world, opening up new horizons for human development. (shrink)