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. 17
... hard to master different techniques for dripping paint, experimenting with the results, and he composed his works in advance so that they would give the appearance of maximum spontaneity. Within only a few years, the avant-garde of art ...
... hard to master different techniques for dripping paint, experimenting with the results, and he composed his works in advance so that they would give the appearance of maximum spontaneity. Within only a few years, the avant-garde of art ...
Стр. 18
... hard work. For example, we now know that very few geniuses come up with one amazingly brilliant idea and then fade from the scene. Rather, in both the sciences and the arts, the most creative innovators also tend to be the most ...
... hard work. For example, we now know that very few geniuses come up with one amazingly brilliant idea and then fade from the scene. Rather, in both the sciences and the arts, the most creative innovators also tend to be the most ...
Стр. 19
... hard to find one who was not highly productive. As a rule of thumb, half of all creative innovations in any given domain will be generated by 10 percent of the members of the field (Simonton, 1999b, pp. 149–150). Creativity can be ...
... hard to find one who was not highly productive. As a rule of thumb, half of all creative innovations in any given domain will be generated by 10 percent of the members of the field (Simonton, 1999b, pp. 149–150). Creativity can be ...
Стр. 21
... hard work, and is incredibly enjoyable for the creator. Myth: Creativity Is Spontaneous Inspiration Today most of us believe that artistic creativity is spontaneous, not overly planned or organized, and that artists reject tradition and ...
... hard work, and is incredibly enjoyable for the creator. Myth: Creativity Is Spontaneous Inspiration Today most of us believe that artistic creativity is spontaneous, not overly planned or organized, and that artists reject tradition and ...
Стр. 28
... hard to distinguish creativity from worldly success and power. In fact, the influential creativity researcher Dean Keith Simonton, a professor at the University of California at Davis, accepted the appropriateness criterion and then ...
... hard to distinguish creativity from worldly success and power. In fact, the influential creativity researcher Dean Keith Simonton, a professor at the University of California at Davis, accepted the appropriateness criterion and then ...
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