Creativity
In: Public administration review: PAR, Band 46, Heft 1, S. 3
ISSN: 1540-6210
In: Public administration review: PAR, Band 46, Heft 1, S. 3
ISSN: 1540-6210
In: Creativity studies, Band 11, Heft 1, S. 85-101
ISSN: 2345-0487
Common understandings of creativity reduce it to a flash of insight or to a personal characteristic of a highly-gifted person. This paper develops an alternative way of understanding creativity departing from a series of interviews with local painters by conceptualizing creativity as a process of articulating and getting caught up in a "meshwork" of materials, places, spaces and social encounters. Using assemblage theoretical framework, my perspective examines how different elements (both human and non-human) are brought together in flows of connections. Looking at the art world this paper takes into account also the materiality of the creative process and inquiry into how the materiality of working materials (paint, coal, brushes etc.) and the materiality of the space affect and are affected in the creativity assemblage. As such, departing from an anthropocentric perspective on artistic creativity, that takes only in consideration the meanings attributed by people (especially the artist) to forms, social uses and trajectories of artistic objects.
SSRN
Working paper
SSRN
In: Media, Culture & Society, Band 44, Heft 3, S. 601-612
ISSN: 1460-3675
This commentary reflects on how creativity is dehumanised (and rehumanised) and how its labour aspects are hindered (and highlighted) in the three recent developments in our understanding of arts, culture and creativity: the creative industries; AI creativity; and creativity in everyday life. The creative industries discourse instrumentalises and dehumanises creativity by hiding labour perspectives and treating creativity as human capital and a generator of IP. Meanwhile, contemplating AI creativity helps us to look beyond the economic paradigm and consider key traits of human creativity and the creation process, some aspects of which are successfully emulated by AI. Yet, we also observe how AI dissociates creativity from human agency and how its cost-cutting effect can challenge human creators in many sectors. Finally, the idea of everyday creativity effectively rehumanises and democratises creativity; however, it not only lacks labour perspectives but also hinders them.
SSRN
In: Politicka misao, Band 48, Heft 4, S. 7-25
This essay is about 'creativity' and the way it is perceived in modern western society. Most people tend to see creativity in a rather simple fashion as something positive, and in view of its benefits for the individual, for culture and for society, it is generally agreed that creativity should be given a more prominent role. However, in a modern, globalized society this 'angelic' view can present a misleading picture of the phenomenon. So what is its role and how should it be reconceptualized? The author takes two different ideological visions of creativity, a progressive, humane and democratic view in contrast to a market-led economic one. Paradoxically as it may be, these two opposing visions share much of the same rhetoric and the author attempts to strip away some of the confusing layers that mask these positions. Mrnarevic shows that the value of creativity is shifting from a traditional humanistic and cultural model to serve the new economic doctrine. It is believed that this shift is unwise since it ignores other aspects of creativity, which are of vital importance for society if it is constructively to deal with pressing issues that challenge it, such as reducing economic inequalities and other effects of a competition-based culture. Adapted from the source document.
In: Radical teacher: a socialist, feminist and anti-racist journal on the theory and practice of teaching, Band 125
ISSN: 1941-0832
This is the introduction to Issue 125, which honors Radical Teacher editorial board member Saul Slapikoff and explores the theme of critical creativity in his work and other essays that appear in the issue.
In: 57 Georgia Law Review, 1669 (2023)
SSRN
In: Journal of Accounting Research, Forthcoming
SSRN
In: Debats. Revista de cultura, poder i societat, S. 135-147
ISSN: 2530-3074
Creativity is The Holy Grail of the Cognitive Sciences and it is very important for researchers in the Computer Sciences and AI fields. Although all attempts to explain and replicate intelligence have so far failed, the quest remains a key part of their research. This paper takes two innovative approaches. First, we see cognitive processes as involving rule-followingand as flexible, even chaotic, heuristics. This first concept uses a multi-heuristic concept without any complexes as mixed-cognition. Second, we propose abduction which, though seldom employed in this specific debate, is nonetheless a good way to explore creativity. Using both strategies, along with analysis of specific human creativity cases, we suggesta new cognitive paradigm that is both more realistic and truthful than hitherto. The idea is to offer a new way to achieve more powerful, complex artificial reasoning systems.
SSRN
In: Creativity studies, Band 9, Heft 2, S. 116-125
ISSN: 2345-0487
Scientific progress can be credited to creative scientists, who constantly ideate new theories and experiments. I explore how the three central positions in philosophy of science – scientific realism, scientific pessimism, and instrumentalism – are related to the practical issue of how scientists' creativity can be fostered. I argue that realism encourages scientists to entertain new theories and experiments, pessimism discourages them from doing so, and instrumentalism falls in between realism and pessimism in terms of its effects on scientists' creativity. Therefore, scientists should accept realism and reject both pessimism and instrumentalism for the sake of scientific creativity and progress.
In: Executive intelligence review: EIR, Band 40, Heft 33, S. 50-57
ISSN: 0273-6314, 0146-9614
In: Creativity studies, Band 17, Heft 1, S. 165-177
ISSN: 2345-0487
Doctoral education is an increasingly prevalent part of the worldwide higher education landscape. Although there are variations in how programs are constructed and delivered, there is general agreement that evidence of creativity is expected in the final thesis. Despite the significant attention the supervisory process has received in the literature, students' views on creativity as it applies to their candidature have not been extensively explored. This article reports on interviews with a sample of 12 current doctoral students in the areas of the arts, social sciences, and education from the theoretical perspective of the systems model of creativity. Interview participants were invited to reflect on the concept of creativity, and the factors which support or constrain their potential to be creative. The findings reveal that on reflection, students are able to identify the creative elements of their work, however the findings also indicate that creativity education should be given greater focus in doctoral programs, in order to embed this important concept and process to support students' learning journey.