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 7
... audience is present and interacting with the creators during the creative process itself. This leads to the importance of communication; communication with an audience is more central in performance creativity than in the high arts ...
... audience is present and interacting with the creators during the creative process itself. This leads to the importance of communication; communication with an audience is more central in performance creativity than in the high arts ...
Página 20
... audience is relatively new. In painting, the artist's message has been a focus of graduate training in MFA programs and of the contemporary art world, with its emphasis on subversive, political, and message art. It's very difficult for ...
... audience is relatively new. In painting, the artist's message has been a focus of graduate training in MFA programs and of the contemporary art world, with its emphasis on subversive, political, and message art. It's very difficult for ...
Página 23
... joined for life” or even “From henceforth you will be married” would be disturbing, generally not welcomed by the participants and audience. The idea that art should be original and should break 23 Conceptions of Creativity.
... joined for life” or even “From henceforth you will be married” would be disturbing, generally not welcomed by the participants and audience. The idea that art should be original and should break 23 Conceptions of Creativity.
Página 29
... audience would consider all of the variations to be instances of the same song, even though they are not exactly the same. Individual style provides another set of constraints that don't seem to be an- tithetical to creativity. Many ...
... audience would consider all of the variations to be instances of the same song, even though they are not exactly the same. Individual style provides another set of constraints that don't seem to be an- tithetical to creativity. Many ...
Página 31
... audience. In this kind of group improvisation, no one can predict in advance what will happen. Even the best groups, filled with extremely talented actors, fall flat much of the time; a brilliant performance on Friday night might be ...
... audience. In this kind of group improvisation, no one can predict in advance what will happen. Even the best groups, filled with extremely talented actors, fall flat much of the time; a brilliant performance on Friday night might be ...
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