Explaining Creativity: The Science of Human InnovationOxford University Press, 19/01/2006 - 368 páginas 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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Página 11
... argued that globalization is expanding this Enlightenment individualism beyond Europe, into a “global ideology of creativity” (2000, p. 113). Before we can explain creativity, we need to delve into these conceptions of creativity ...
... argued that globalization is expanding this Enlightenment individualism beyond Europe, into a “global ideology of creativity” (2000, p. 113). Before we can explain creativity, we need to delve into these conceptions of creativity ...
Página 12
... argued that the poet was possessed by divine inspiration, and Plotin (204–270 CE) wrote that art could only be beautiful if it descended from God. The artist's job was not to imitate nature but rather to reveal the sacred and ...
... argued that the poet was possessed by divine inspiration, and Plotin (204–270 CE) wrote that art could only be beautiful if it descended from God. The artist's job was not to imitate nature but rather to reveal the sacred and ...
Página 13
... argued that genio should not just be imitative, but should also incorporate originality, this argument did not become widely accepted until the late Renaissance (Lange-Eichbaum, 1930–1932). The history of art reveals that our current ...
... argued that genio should not just be imitative, but should also incorporate originality, this argument did not become widely accepted until the late Renaissance (Lange-Eichbaum, 1930–1932). The history of art reveals that our current ...
Página 16
... argued that creativity requires temporary escape from the conscious ego and a liberation of instinct and emotion, “the spontaneous overflow of powerful feelings,” in Wordsworth's terms (1800/1957, p. 116). Shelley called it ...
... argued that creativity requires temporary escape from the conscious ego and a liberation of instinct and emotion, “the spontaneous overflow of powerful feelings,” in Wordsworth's terms (1800/1957, p. 116). Shelley called it ...
Página 28
... argued that only eminent people can be said to be creative (1999b). Due to the power of our creativity myths, many of my readers are likely to prefer a definition that allows us to incorporate unrecognized genius, people who are ahead ...
... argued that only eminent people can be said to be creative (1999b). Due to the power of our creativity myths, many of my readers are likely to prefer a definition that allows us to incorporate unrecognized genius, people who are ahead ...
Índice
37 | |
Contextualist Approaches | 115 |
Artistic Creativity | 175 |
Everyday Creativity | 261 |
Epilogue | 315 |
References | 319 |
Index | 347 |
Outras edições - Ver tudo
Explaining Creativity: The Science of Human Innovation R. Keith Sawyer Pré-visualização limitada - 2006 |
Explaining Creativity: The Science of Human Innovation R. Keith Sawyer Pré-visualização limitada - 2011 |
Explaining Creativity: The Science of Human Innovation R. Keith Sawyer Pré-visualização limitada - 2012 |
Palavras e frases frequentes
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