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Is Creativity Research Viable?

Is Creativity Research Viable?. Linda Candy KCDCC Talk University of Sydney May 8th 2006. Research Problem. Creativity is difficult to measure Research requires well-controlled situations Creativity under control is problematic. Research Problem.

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Is Creativity Research Viable?

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  1. Is Creativity Research Viable? Linda Candy KCDCC Talk University of Sydney May 8th 2006

  2. Research Problem • Creativity is difficult to measure • Research requires well-controlled situations • Creativity under control is problematic

  3. Research Problem • Creativity in the world is very difficult to measure • Creativity research in context requires • intrinsic motivation • naturalistic settings

  4. Creativity?

  5. A Model of Creativity

  6. Model of Creative Knowledge Work

  7. Collaborative Creative Knowledge Work ACTORS

  8. Creativity?

  9. Creativity in Practice

  10. Interpretations of Creativity • Novelty + Value • Innovation, Invention, New • Useful, Purposeful, Significant • Discipline • Psychological, Social, Cultural … • Domain • Art, Design, Education, Engineering, Finance …

  11. Definitions “Creativity is best described as the human capacity regularly to solve problems or to fashion products in a domain, in a way that is initially novel but ultimately acceptable in a culture.” (Gardner, 1989) “Creative products, be they poems, scientific theories, paintings or technological advances, are both novel and acknowledged to be valuable or useful in some way.” (Gilhooly, 1982) “Creativity is aprocess that can be observed only at the intersection where individuals, domains and fields intersect.” (Csikszentmihalyi, 1999)

  12. INDIVIDUAL SOCIETY CULTURE RECOGNITION SIMULATION CRITIQUE PEOPLE PRODUCT CREATIVITY CREATIVITY PROCESS BIOGRAPHY EXPERIMENT OBSERVATION

  13. Experiments and Creativity • Can experiments address context? Not if settings and motivation matter… • Experimental research delivers an understanding of basic elements of creative potential rather than the essence of creativity in practice

  14. Creativity in Practice

  15. Research Approaches • Experimental studies involve active manipulation of creative performance… • Ethnographic (naturalistic) studies require non-intervention in the process… • An alternative approach is to bring the ‘subject’ perspective into ethnographic style research • Participant research in user centred design • Practice-based research in creative arts

  16. Practice-Based Research Practitioner Led Projects • Two main types - PhD programmes in art and design institutions - Practice-based research projects • Situated studies • Creativity research in context of studios, exhibition spaces… • Observer viewpoints • External researcher data collection and analysis • Practitioner accounts • Personal reflections on creative process and artefacts

  17. Practice-based Methods Monitor events concerned with • Creative process in practice… • Materials and methods… • Support: expertise, resources…

  18. Practice-based Methods Observer and Practitioner Record of • Events • Experiences • Perceptions • Reflections

  19. Practice-based Methods Practitioner viewpoint: • Experiences • Motivation and context • What is proposed, decided and acted on • Stumbling blocks and actions on them • Perceptions • Reflections

  20. Practice-based Methods Practitioner viewpoint: • Experiences • Perceptions • Are ideas workable, challenging etc.? • How collaborations worked • Reasons for success and failure • Reflections

  21. Practice-based Methods Practitioner viewpoint: • Experiences • Perceptions • Reflections • A good result? If not, why not • Contrasting views • Lessons learnt • Next steps

  22. Acquiring Evidence Data Collection Approach Methods Techniques Instruments Tools Equipment Approach: Practice-based Method: Create artefact Technique: Reflective analysis Tools: Log book Equipment: Computer, paper and pencil Data Analysis

  23. Creative Product • How does the artefact contribute to our understanding of creativity in practice? • Practitioner viewpoint: • Represents practitioner’s ideas and materials • Embodies current status of practitioner’s experimentation in a creative life • Central component in the practitioner’s reflective process

  24. Creative Product How does the artefact contribute to our understanding of creativity in practice? • Observer-Researcher viewpoint: • Example of practitioner’s ideas and materials • An indication of current status of practitioner’s experimentation in a creative life • An component in the practitioner’s reflective process

  25. Creative Product • The practitioner learns from the artefact how to shape a specific process of creation • The researcher understands the role of the artefact in creative thought and action more generally

  26. Creativity & Cognition 2007

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