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.

Drawing on social cognitive career theory, this study aims to ascertain how social creativity influences college students’ entrepreneurial intentions, based on the mediating role of career adaptability and the moderating role of parental entrepreneurial background. A total of 715 college students completed an online survey designed to collect information on these variables. SPSS was used to test the model. The results indicate that after controlling for gender and individual entrepreneurial experience, college students with a high level of (...) class='Hi'>social creativity were likely to have a high level of entrepreneurial intention. Career adaptability partially mediates the association between social creativity and entrepreneurial intention. Moreover, both direct and indirect associations between social creativity and entrepreneurial intention were moderated by parental entrepreneurial background. Specifically, compared with college students whose parents had no entrepreneurial background, the relationships between social creativity and entrepreneurial intention, social creativity and career adaptability, and career adaptability and entrepreneurial intention were stronger among college students whose parents had an entrepreneurial background. The findings help to develop promotion programs that are more suitable for college students’ entrepreneurship intentions. (shrink)

The evolution of society, the transcendence of existing social structures, and how society creates itself rests in a function of education. In this article the author examines education's work as that of social creativity. The need for pedagogies of "educate hope" and "imaginative possibilities" is explored. Social epistemology and social imaginary are discussed as dimensions of social creativity within the postmodern society. The aesthetic imperative in education is argued as important to developing the capacities and (...) capabilities in youth to imagine alternative future possibilities of democratic society. The author concludes by examining the role of education in the evolution of society. (shrink)

This paper explores the specific contribution of a strand of contemporary French social theory founded by Cornelius Castoriadis and Claude Lefort to the understanding of human power. It formulates a conception of power that transcends its definitions in terms of physical coercion or institutionalised violence to reveal the way power is creative and institutes the social. Its reflection on the cultural nature of political power and it role in society is shown to extend the pioneering reflection of (...) Durkheim's sociology, especially as regards the homology that exists between religion and politics. The social role performed by the state explored by Durkheim prefigures Gauchet's theory of the state, which builds on Lefort's work. Gauchet's theory can be said to elaborate a critical synthesis of the two stands of Durkheim's work: the sociology of religion and the sociology of the modern state. This synthesis raises questions on the role played by the European state in the development of individualism, in both its political and economic manifestations. (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)

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 by Valerie Kokoszka, translated from French by Jacob Rump. -/- How is social creativity linked to habitual dispositions? This paper critiques Bourdieu’s answer to this question, which is related to his theory of habitus, against the background of its phenomenological evidences. his concept of habitual dispositions seems to be linked both to an internalisation of the performativity of habits as a form of Kantian schematism (in Husserlian terms: ‘noetization’), and to a static concept of the social environment, (...) which is never analysed in its own dynamic structural relation to the life of the bearer of habits. Through the genetic-phenomenological distinction between habits as noetic dispositions and types as noematic schemes, the paper seeks to show that the social environment cannot be presupposed as a given eld of social objectivities and norms that are stabilized by internalized habitual dispositions, but should instead be seen as an enactively framed habitat. When we further distinguish between passive and active habitualities, their intertwining comes to the fore, showing how in taking a position in relation to its own cultural environment the subject nds in the hiatus between disposition and the disposed leeway for a relative framework of spontaneity and personal cultivation, a space allowing for individual and, ultimately, social creativity that is absent from Bourdieu’s account. (shrink)

BERDYAEV AS A PHILOSOPHER How shall a non-Russian, above all a North American, assimilate the extraordinary assemblage of ideas which is Berdyaev's philosophy? Dr. Richardson does not exaggerate the difficulties. And he introduces us with great care (and what a formidable task it must have been) precisely to what is most strange in this writer, his fusion of historical.. eschatological-metaphysical-mystical-Christian conceptions. By some standards Berdyaev is a theologian rather than a philosopher; for he takes the truth of the Christian revelation (...) for granted and his work can readily be viewed as an elaborate apologetic for one religion against all others and against irreligion. Yet I incline to sympathize with him in his claim to be a philosopher. What an eccentric one, however! There are indeed some partial analogies in the general European tradition. Certainly this Russian is a disciple of Kant, and strong traces of Kantianism survive in him. He also moved away from Kant somewhat as did Fichte, Hegel, and, above all, Schelling in his last period. His sympathetic response to Heracleitos and Boehme recalls Hegel. The interest in Boehme and Schelling is found also in Tillich. Like the late German-American, Berdyaev rejects conceptual in favor of symbolic speech about God. Like Bergson, he stresses intuition and makes a radical distinction between scientific logical analytic thought and the mode of apprehension by which, he believes, metaphysical truth is to be appropriated. Here one thinks also of Heidegger. (shrink)

Research on human decision making is at the present time undergoing rapid changes. From previously being much focused on models and approaches with an origin in economy, much of the present day research finds its inspiration from disciplinary approaches concerned with incorporating more of the context that the decision making takes place in. This context includes psychological aspects of the decision maker and social-cultural aspects of the situation he or she acts in. All human decision making occurs in dynamically (...) changing contexts. One factor contributing to this is that human beings or groups in many situations act as entrepreneurs trying to improve the situation for themselves or their organization. Given that this is the case, it is of increasing interest for both researchers and practitioners interested in the social aspects of decision making to consider the relation between creativity and decision making. (shrink)

Currie (2019) has introduced a novel account of creativity within the social epistemology of science. The account is intended to capture how conservatism can be detrimental to the health of inquiry within certain scientific communities, given the aims of research there. I argue that recent remarks by Rovelli (2018) put pressure on the applicability of the account. Altogether, it seems we do not yet well understand the relationship between creativity, conservatism, and the health of inquiry in science.

In this work, starting from the social practice theory, we identified two kinds of creativity. A \textit{situational creativity} that takes place when a social practice is performed and a \textit{creativity of habit} that concerns the agents’ capacity of evoking different practices from habit. To test this hypothesis the Torrance Test of Creative Thinking (Verbal Form A) was analyzed in the light of praxeology.

Though active in the arts herself, Dr. Richards (psychology, Saybrook Graduate School, San Francisco; psychiatry, Harvard Medical School; McLean Hospital, Belmont, Massachusetts) views creativity more broadly and as essential to survival. As someone who helped break new ground in the assessment of creativity in the general population, she introduces 13 chapters in which interdisciplinary thinkers probe the "originality of everyday life" in individual and societal contexts. Perspectives range from Piaget's developmental stages and the more positive aspects of television viewing to (...) chaos theory and Zen Buddhism. In integrating these views, the editor enumerates the benefits of living creatively. (shrink)

The paper aims at identifying, explaining and illustrating the affordances of “creative nonfiction” as a style of writing social science. The first part introduces creative nonfiction as a method of writing which brings together empirical material and fiction. In the second part, based on illustrations from my ethnographic research of European “crisis reporters,” written in the form of a novel about a fictional journalist, but also based on a review of existing social science research that employs (...) a creative method of writing, I identify several main affordances of creative nonfiction in social-scientific research. In particular, I argue that creative nonfiction allows scientists to illustrate their findings, to express them in an allegorical way, to organize data into a narrative, to let their pieces of research act in the social world, and to permeate research accounts with self-reflexive moments. I also discuss some apparent negative affordances: challenges that creative nonfiction poses to readers and to the institutionalized academic discourse. Finally, I suggest that writing about sociological problems in the style of creative nonfiction can help to produce more engaging and engaged texts, and I discuss the ethical implications of the approach. (shrink)

Given that work teams have been widely used in a variety of organizations to complete critical tasks and that the use of social media in work teams has been growing, investigating whether and how team social media usage affects team creativity is imperative. However, little research has empirically explored how TSMU affects team creativity. This study divides TSMU into two categories, namely, work-related TSMU and relationship-related TSMU. Basing on communication visibility theory and social exchange theory, this study (...) constructs a moderating mediation model to understand how TSMU affects team creativity. In this model, team knowledge sharing is used as mediating role and team-member exchange is used as moderating role. Two-wave research data collected from 641 employees in 102 work teams in Chinese organizations are used for regression analysis. Results show that Work-related TSMU and relationship-related TSMU are positively affect team creativity. Team knowledge sharing plays a partly mediating effect on the relationship between work-related TSMU and team creativity and that between relationship-related TSMU and team creativity. TMX not only positively moderates the indirect effect of work-related TSMU and relationship-related TSMU on team creativity through team knowledge sharing. Theoretical and practical implications are also discussed. (shrink)

We examine how corporate social responsibility (CSR) perceptions (association and participation) affect manager creativity at the workplace and its mediating link through organisational identification. We collected data from the National Forum of Environment and Health (NFEH) 2019 that awarded 52 companies in Pakistan. NFEH is a purely non-profit, non-governmental, and voluntary organisation registered under the Voluntary Social Welfare Agencies Ordinance 1961. We employed convenience sampling to collect data from managers of 52 CSR performing organisations in Pakistan. We analyse (...) the data with structural equation modelling (SEM) via R. Findings reveal that CSR association does not affect creativity. In contrast, CSR participation has a significant positive effect on manager creative performance. Furthermore, the decomposition analysis indicated that only in the case of CSR participation, OI has a mediating effect. (shrink)

Schumpeter's writings on the transition from capitalism to socialism, on innovative entrepreneurship, on business cycles, and on the modern corporation have attracted much attention among social scientists. Although Schumpeter's theoretical and sociological writings resemble the works of Marx, Durkheim, and Weber in that they further our understanding of the rise and nature of modern society, his contribution to social theory has yet to be assessed systematically. Arguing that Schumpeter's perspective, if understood in social theoretical terms, provides a (...) promising starting point for the sociological analysis of the changing relationship between economy and society, I concentrate on two elements of his work that are of value to theoretical sociology today: the distinction between creative action and rational action that is fundamental to his theory of the entrepreneur, and his thesis that the success of the capitalist system leads to its demise. (shrink)

This chapter examines the imagination, its relationship to “common sense,” and its recent development in the notion of the social imaginary in Western philosophy and the contributions Miki Kiyoshi and Nakamura Yūjirō can make in this regard. I trace the historical evolution of the notion of the productive imagination from its seeds in Aristotle through Kant and into the social imagination or imaginary as bearing on our collective being-in-the-world, with semantic and ontological significance, in Paul Ricoeur, Cornelius Castoriadis, (...) and Charles Taylor. The two Japanese philosophers, when brought into dialogue with the above contemporary Western thinkers, can contribute to this recent development of the imagination’s creativity into the collective sphere. Miki shows a connection between the imagination and a certain form-formlessness dynamic he inherits from Nishida. Nakamura in turn points to a connection between imagination and place via his development of the Aristotelian notion of common sense. Both have implications on how we understand the social imaginary. (shrink)

Individual creativity has been the focus of long-term research in creative industries. However, few studies have explored the impact on individual creativity from social factors. At the same time, the influence of individual creativity on the existence of subsequent factors in the creative industry is also worthy of further investigation. From a social standpoint, this research aims to explore how social norms affect individual creativity, and how individual creativity affects subsequent leadership. The present research takes (...) creative entrepreneurs in creative enterprises as the research objects, and the structural equation model is used to analyze the data obtained from 202 valid questionnaires. Besides, the mediating effect of individual creativity between social norms and individual leadership is verified. The results show that social norms can effectively promote the generation of individual creativity that has a positive impact on both transactional or transformational leadership. It is revealed that social norms are effective tools for enhancing creativity, answering the question of how creative ideas are transformed into creative work and leadership. Individual creativity plays a mediating role between social norms and individual leadership. (shrink)

This volume presents research that integrates decision making and creativity within the social contexts in which these processes occur. The volume is an essential addition to and expansion of recent approaches to decision making. Such approaches attempt to incorporate more of the psychological and socio-cultural context in which human decision making takes place. The authors come from different disciplines and also belong to a broad spectrum of research traditions. They present innovative chapters dealing with both theoretical and empirical aspects (...) of decision making in different personal and organizational contexts. All chapters are written from the perspective that human decision making is inherently social and more or less creative. The volume addresses fundamental questions about the nature of human decision making as it occurs in different social contexts. Thereby, it becomes essential reading for researchers in decision making and for advanced students in psychology, management science, informatics, and related disciplines. (shrink)

The following paper continues discussions within this journal about how the work of Delueze and Guattari can inform radical pedagogy. Building primarily on Noel Gough's 2004 paper, we take up the challenge to move towards a more creative form of 'becoming cyborg' in our teaching. In contrast to work that has focused on Deleuzian theories of the rhizome, we deploy Guattari's work on institutional schizoanalysis to explore the role of group creativity in radical pedagogy. The institutional therapies of Felix (...) Guattari's schizoanalytic practice in the 1950s and 1960s and, before him, the Francophone educationalist Celestin Freinet, who founded the Modern School Movement, are explored and used to illuminate examples of some of our own attempts to set the classroom up as a space for collective engagement. We conclude by exploring how this understanding of the class as subject group may be used to mobilise action and de-stabilise the coordinates of existing academic divisions of labour. (shrink)

This chapter introduces three economic systems related to the ageing population. The silver economy, the creative economy, and the social and solidarity economy, to some extent, correspond to the needs of older people. Moreover, they foster and use the diverse forms of older people’s capital.

(1997). Conservatism, creativity and social change: David Loye's dialogical perspective. World Futures: Vol. 49, The Dialatic of Evolution: Essays in Honor of David Loye, pp. 19-30.

The current pandemic and the measures taken to address it, on a global scale, are unprecedented. Times of crisis call for creative solutions, and these are not reduced to the work of scientists or politicians. In everyday life, both in online and offline spaces, people use their creativity to make sense of the current situation, to cope with it, and to learn its lessons. Social media is a privileged space for mundane and participative creativity through the production and (...) sharing of coronavirus Internet memes. In this article, we examine the creativity of such memes from a dedicated Reddit community. We ask, in particular, what makes a coronavirus meme creative and what this creativity tells us about the pandemic and popular understandings of it. To answer these questions, we use a triangulation of quantitative and qualitative methods by having 480 memes coded by three social media users for surprise, meaningfulness, elaboration, humor, and creativity and qualitatively analyzing those memes that score highly on each dimension. An interesting finding concerns the importance of elaboration and humor for the evaluation of creativity in the case of memes, above the more traditional criteria of surprise and meaningfulness, perhaps a feature unique for Internet spaces. The article ends with reflections on what these findings tell us about creativity on social media more generally and the creative processes involved in the generation and reception of coronavirus memes in particular. (shrink)

This work seeks to take seriously the common philosophical claim that individual subjects are constituted by their social world. A detailed understanding this claim requires an analysis of what is involved in being a subject, of the nature of 'the social', and of the possible constitutive relationships between these. I begin with a critical history of the idea that subjects are norm-followers, and that social groups constitute individuals by demanding their conformity to norms. I trace this 'conformity (...) theory' through the thought of Rousseau, Hegel, Mead, and Althusser, to its manifestation in contemporary continental and Anglo-American philosophy. I criticize this theory for being unable to sufficiently accommodate creativity and social resistance. I go on to develop an account of subjects as not only norm-followers but also sense-makers, who have identities in virtue of their engagement in narrative dramas. Such subjects are socially constituted in at least two ways: through their 'dialogical' interactions with particular others , and through their position in a public culture which determines what counts as a meaningful possibility for action. This understanding of subjectivity allows me to develop a new account of the nature of social groups--such as groups based on gender, class and nationality--which provides an alternative to the conformity theory. Social groups contribute to individual identities not only by imposing norms, but also by providing sense-making resources, in the form of literary and artistic traditions as well as the actual lives and dramas of members. My account allows us to understand creativity and social resistance as enabled by subjects' membership in social groups, and it reveals how the internal diversity of a group can strengthen rather than compromise its role in individual identities. I end with a discussion of the political implications of my work. (shrink)

The energy of methodologists and historians of science in our age is absorbed by the problem of the relationship between the cognitive and the social in the scientific activity. Popper's "epistemology without a knowing subject" and Lakatos's "programology without a creative subject" are being overcome. After Kuhn the concept of paradigm linked the cognitive with the social, thereby stimulating the study of scientific communities. The research interests of philosophers and historians has centered on elucidating the relations between (...) two "coordinates": one representing the knowledge of objects that conforms to the norms of truth, and the other representing the social production of this knowledge. The author of these lines has always viewed this "double-aspect" image of science as incomplete. As soon as one reflects upon it one ineluctably encounters a third aspect, the personal-psychological aspect, which cannot be reduced to, merged with, or separated from the others. (shrink)

The philosophical understanding of scientific creativity cannot be limited to the analysis of cognitive abilities or ways of solving problems. It is always anthropologically-laden, based on a historically specific image image of a human being that acquires knowledge. The problem of creativity also articulates a well-known paradox of novelty: the new does not arise from the old, since it is significantly different from it, but it cannot arise from nothing, because then it remains incomprehensible. Paul Feyerabend criticizes such a “mysterianic” (...) concept of scientific creativity, which emphasizes its emergent character, i.e. its suddenness and inexplicability. The distance between subject and object, man and nature, knowledge and reality in this case remains insurmountable. To solve this problem, it is necessary to place creativity in the space between the uniqueness of the creative personality and the mechanisms of social recognition. This, in turn, requires rethinking of the ontological content of creativity, as well as the concept of “labor” with reference to its treatment by Karl Marx’ rethinking of it as the production of not only material goods, but also of the person itself. Moreover, creativity does not just form a person: it is a way of cultivating the entire social space. An unexpected move is provided by an appeal to a new social group – the precariat, which in science gives a lesson in openness to novelty and theoretical freedom. As a result, a deeper understanding of the social base of creativity arises, and a new strategy for the interaction of the scientific community with extra-paradigm groups and marginal individuals is being built. (shrink)

Creative motivation is considered in the context of personality structure and flourishing as an indicator of positive development. The aim of the present study is to explore the relationships in the field of creativity and creative motivation as factors for achieving psychological well-being and flourishing, as well as their presence within various psychological profiles. Hypotheses have been raised in order to measure the presence of creativity indicators within certain psychological types in relation to the level of creative (...) motivation and flourishing. The survey instruments used are: Myers Briggs Type Indicator, Torrance Creative motivation scale and Diener Flourishing Scale. The results presented are based on a pilot study conducted in Plovdiv. The sample includes people in early adulthood, authentic folklore dance performers. (shrink)

This study contributes to the growing literature on individual-level outcomes of corporate social responsibility. Employing a sample of 339 subordinate–supervisor dyads, we explored the differential impact of CSR attributions on employees’ creative performance in the telecom industry. We also introduced and tested the role of psychological safety as a mediator underlying this relationship. The results indicate that although intrinsic CSR attributions are not directly related to creative performance, extrinsic CSR attributions have a significant negative effect on (...) class='Hi'>creative performance. We also found that psychological safety mediates the positive relationship between intrinsic CSR and creative performance and the negative relationship between extrinsic CSR and creative performance. Directions for future research and implications for practice are discussed. (shrink)

Departing from Richard Florida's theory of the Creative Class, this article attempts to delineate the Greek creative ethos. The research involved in-depth interviews with knowledge and service workers in Greece. Adopting an existential view of creativity, which emphasizes the natural human inclination to create and engage with one's acts, and using valuing processes as tools to analyze workers? discourses opens up the elements that underpin workers? efforts to experience authenticity across life spheres and construct the meaning of work (...) and good living. These efforts were sketched against a backdrop of adverse lived realities and intersected with anxious, alienated, and disempowered constructions of selfhood. Contrary to Florida's claims, the present article goes beyond positions of more or less creative workers and examines the various meanings of creativity underpinned by different lived realities. (shrink)

The literature on aesthetics often emphasizes the need to set into motion processes that promote the overcoming of alienation. In characterizing the realm of activity and the various causes of this phenomenon, it is necessary to direct attention to the fact that in contemporary aesthetics, the social aspect of art has been given pride of place. Without going beyond the bounds of preliminary systematization of its many-faceted connections, embracing both preconditions in the realm of history as well as ideology, (...) it should be observed here that the rise of interest in problems of social aesthetics coincides in time with the appearance of Marxist philosophy and that this interest became more acute because of the revolutionary triumph of Marxism and the organization of the first socialist state. Of course, it would be oversimplifying to reduce all the problems of social aesthetics that merit attention solely to the influence of Marxism, but the role of Marxist philosophy in shaping the priorities of problems of art and society in contemporary aesthetics is beyond question. The views of the founders of Marxism are undoubtedly the impulse that stimulated the development of social aesthetics. It is no accident that Western researchers who are interested in this subject and who polemicize with Marxism, such as H. Read, W. D. Gottschalk, T. Munro, nonetheless are significantly influenced by its methodology, system of categories, and the like. (shrink)

In Esa 12th Conference: Differences, Inequalities and Sociological Imagination: Abstract Book. European Sociological Association; Institute of Sociology of the Czech Academy of Sciences. pp. 59--60 (2015) .

The article examines social and creative capitals and their interconnections. Some authors observe similarities in them as well as areas where they complement each other. Other authors argue that social and creative capitals are still mutually exclusive and cannot be compared. The article analyses various aspects of social and creative capital, searches for similarities and differences between them, and reviews measurement methodologies and issues related to the reliability of measurement indices and criteria. All this (...) is analysed in the context of the creative society. (shrink)