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. 5
... historically specific. These biases must be discarded if we want to explain creativity in all societies, in all cultures, and in all historical time periods. To explain creativity, we have to consider a broad range 5 Introduction.
... historically specific. These biases must be discarded if we want to explain creativity in all societies, in all cultures, and in all historical time periods. To explain creativity, we have to consider a broad range 5 Introduction.
Стр. 6
... historical equivalent to prior bursts of creativity in European symphonic music. In the 1970s, the New Hollywood era in film was a major creative break in movie production. In the 1980s, the advent of MTV and its music videos enabled a ...
... historical equivalent to prior bursts of creativity in European symphonic music. In the 1970s, the New Hollywood era in film was a major creative break in movie production. In the 1980s, the advent of MTV and its music videos enabled a ...
Стр. 11
... historical and cultural period (Sass, 2000–2001, p. 57). Psychologists have sometimes wondered if we'll ever reach a consensus about creativity, and even whether it is a useful subject for scientific study at all (Tardif& Sternberg ...
... historical and cultural period (Sass, 2000–2001, p. 57). Psychologists have sometimes wondered if we'll ever reach a consensus about creativity, and even whether it is a useful subject for scientific study at all (Tardif& Sternberg ...
Стр. 15
... historical and heroic scenes at the top, and instead painted realistic, everyday scenes—an important early influence on impressionism. Today, at the beginning of the 21st century, most readers are likely to hold to the modern conception ...
... historical and heroic scenes at the top, and instead painted realistic, everyday scenes—an important early influence on impressionism. Today, at the beginning of the 21st century, most readers are likely to hold to the modern conception ...
Стр. 20
... historical period. When we look at paintings from 500 years ago, we can tell that those paintings are 500 years old. And 500 years from now, when future art historians look at the paintings of today, they will just as surely be stamped ...
... historical period. When we look at paintings from 500 years ago, we can tell that those paintings are 500 years old. And 500 years from now, when future art historians look at the paintings of today, they will just as surely be stamped ...
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