Explaining Creativity: The Science of Human InnovationOxford University Press, 19 янв. 2006 г. - Всего страниц: 368 Explaining Creativity is an accessible introduction to the latest scientific research on creativity. In the last 50 yearss, psychologists, anthropologists, and sociologists have increasingly studied creativity, and we now know more about creativity that at any point in history. Explaining Creativity considers not only arts like painting and writing, but also science, stage performance, and business innovation. Until about a decade ago, creativity researchers tended to focus on highly valued activities like fine art painting and Nobel prize winning science. Sawyer brings this research up to date by including movies, music videos, cartoons, videogames, hypertext fiction, and computer technology. For example, this is the first book on creativity to include studies of performance and improvisation. Sawyer draws on the latest research findings to show the importance of collaboration and context in all of these creative activities. Today's science of creativity is interdisciplinary; in addition to psychological studies of creativity, Explaining Creativity includes research by anthropologists on creativity in non-Western cultures, and research by sociologists about the situations, contexts, and networks of creative activity. Explaining Creativity brings these approaches together within the sociocultural approach to creativity pioneered by Howard Becker, Mihaly Csikszentmihalyi and Howard Gardner. The sociocultural approach moves beyond the individual to consider the social and cultural contexts of creativity, emphasizing the role of collaboration and context in the creative process. |
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Стр. 13
... convention is only a few hundred years old. Before the Renaissance, creativity was associated with the ability to imitate established masters, and to accurately represent nature (Becker, 2000–2001, p. 46). Although some people ...
... convention is only a few hundred years old. Before the Renaissance, creativity was associated with the ability to imitate established masters, and to accurately represent nature (Becker, 2000–2001, p. 46). Although some people ...
Стр. 14
... Elkins, 2001, p. 17, Pierfrancesco Alberti Painter's Academy, early 17th century, Bartsch XVII.313.1. Used with permission of James Elkins. balancing the tension between the conventions of academic quality and. 14 conceptions.
... Elkins, 2001, p. 17, Pierfrancesco Alberti Painter's Academy, early 17th century, Bartsch XVII.313.1. Used with permission of James Elkins. balancing the tension between the conventions of academic quality and. 14 conceptions.
Стр. 15
The Science of Human Innovation R. Keith Sawyer. balancing the tension between the conventions of academic quality ... convention. Delacroix, Corot, and Courbet rejected the conventional hierarchy of subjects that placed historical and ...
The Science of Human Innovation R. Keith Sawyer. balancing the tension between the conventions of academic quality ... convention. Delacroix, Corot, and Courbet rejected the conventional hierarchy of subjects that placed historical and ...
Стр. 16
... convention. These ideas were not completely new; for thousands of years, scholars have connected creativity with altered or heightened states of consciousness. Plato used the term enthousiasmos, or “divine madness,” to describe ...
... convention. These ideas were not completely new; for thousands of years, scholars have connected creativity with altered or heightened states of consciousness. Plato used the term enthousiasmos, or “divine madness,” to describe ...
Стр. 21
... convention took an even stronger hold on the popular consciousness. Ironically, at the same time, artists were entering art schools in increasingly large numbers to be trained in the conventions of the art world. In the United States ...
... convention took an even stronger hold on the popular consciousness. Ironically, at the same time, artists were entering art schools in increasingly large numbers to be trained in the conventions of the art world. In the United States ...
Содержание
37 | |
Contextualist Approaches | 115 |
Artistic Creativity | 175 |
Everyday Creativity | 261 |
Epilogue | 315 |
References | 319 |
Index | 347 |
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19th century actors argued art world Artificial creators artists associated ativity audience began believe brain can’t career chapter cognitive collaborative complex composed conceptions of creativity conventions convergent thinking created creative domain creative process creative products creativity myths creativity requires creativity research Csikszentmihalyi culture culture’s developed divergent thinking doesn’t electronica emerge emphasize evaluation everyday example experience explain creativity explanation of creativity field Figure focus genius genres hard historical historiometric human idea important improvisation incubation individual innovation inspiration installation art jazz learned mental illness mini-insights modern musicians novel ofthe Organ original outsider art Pablo Picasso painters painting performance personality psychology Picasso play problem problem-finding psychologists result role Sawyer scientific scientists script selection Simonton social society sociocultural approach song stage story studies of creativity style theater theory there’s they’re thought Thought Experiments tion unique Wham-O writing Xerox PARC