This article outlines the potential for Research Higher Degree supervisors at universities and similar institutions to use ethical review as a constructive, dynamic tool in guiding RHD students in the timely completion of effective, innovative research projects. Ethical review involves a bureaucratized process for checking that researchers apply risk management strategies when dealing with human participants. Ethical review can also be a powerful instrument for RHD supervisors in the creative arts if they use it to lead students through processes of (...) imagining, articulating, and improving their methodologies and relationships with research participants. Proposed strategies involve adaptation of theories of visualization and imagination from several disciplines—imagined interaction from the social sciences and psychology, dramatic rehearsal from political science, and creative visualization from the health professions, sports coaching and many other personal–professional development contexts. By using creativity and imagination, supervisors can use ethical review to help students to ‘walk through’ the potential, progressive phases of proposed research in order to refine or redesign both ‘big picture’ strategies and specific steps taken to reach research goals. This can stimulate students to unearth possibilities that improve the quality and quantity of knowledge that their research generates and to avoid or manage problems that might disrupt their research. (shrink)

This piece is a commentary on a precis of Maggie Boden's book "The creative mind" published in Behavioral and Brain Sciences.

What is creativity? One new idea may be creative, whereas another is merely new: What's the difference? And how is creativity possible? These questions about human creativity can be answered, at least in outline, using computational concepts. There are two broad types of creativity, improbabilist and impossibilist. Improbabilist creativity involves novel combinations of familiar ideas. A deeper type involves METCS: the mapping, exploration, and transformation of conceptual spaces. It is impossibilist, in that ideas may be generated which – with respect (...) to the particular conceptual space concerned – could not have been generated before. The more clearly conceptual spaces can be defined, the better we can identify creative ideas. Defining conceptual spaces is done by musicologists, literary critics, and historians of art and science. Humanist studies, rich in intuitive subtleties, can be complemented by the comparative rigour of a computational approach. Computational modelling can help to define a space, and to show how it may be mapped, explored, and transformed. Impossibilist creativity can be thought of in “classical” Al terms, whereas connectionism illuminates improbabilist creativity. Most Al models of creativity can only explore spaces, not transform them, because they have no self-reflexive maps enabling them to change their own rules. A few, however, can do so. A scientific understanding of creativity does not destroy our wonder at it, nor does it make creative ideas predictable. Demystification does not imply dehumanization. (shrink)

The subjective experience of being an artist was examined using interpretative phenomenological analysis (IPA), focusing on the perspective of the artist but interpreted by me, a psychologist, from the perspective of artistic collaborator. Building upon a literature that has hitherto focused on clinical, elderly, or vulnerable participants, I interpreted superordinate themes of Process (Constraint, Playfulness, Movement) and Identity (The Ill-Defined Artist, Becoming, Mixing Identities, Choosing an Identity, Calling, Collaboration and Outsider). These themes are broadly similar to the existing literature, but (...) emphasise identity while de-emphasising self reflection and the need to become an ‘insider’. (shrink)

The relationship between individuals’ creativity and their ethical ideologies appears to be complex. Applying Forsyth’s (1980, 1992) personal moral philosophy model which consists of two independent ethical ideology dimensions, idealism and relativism, we hypothesized and found support for a positive relationship between creativity and relativism. It appears that creative people are less likely than non-creative people to follow universal rules in their moral decision making. However, contrary to our hypothesis and the general stereotype that creative people are less caring about (...) others, we found a positive relationship between creativity and idealism. These findings indicate that highly creative people are likely to be what Forsyth called “situationists,” individuals with both an ethic of caring and a pragmatic moral decision-making style. The finding that creative individuals tend to be situationists, and particularly that they tend to be high in idealism, appears to refute the line of reasoning that argues for a “creative personality” characterized in part by social insensitivity. Understanding the relationship between creativity and ethical ideologies has important implications for researchers, managers and teachers. (shrink)

The relationship between individuals' creativity and their ethical ideologies appears to be complex. Applying Forsyth's (1980, 1992) personal moral philosophy model which consists of two independent ethical ideology dimensions, idealism and relativism, we hypothesized and found support for a positive relationship between creativity and relativism. It appears that creative people are less likely than non-creative people to follow universal rules in their moral decision making. However, contrary to our hypothesis and the general stereotype that creative people are less caring about (...) others, we found a positive relationship between creativity and idealism. These findings indicate that highly creative people are likely to be what Forsyth called "situationists," individuals with both an ethic of caring and a pragmatic moral decision-making style. The finding that creative individuals tend to be situationists, and particularly that they tend to be high in idealism, appears to refute the line of reasoning that argues for a "creative personality" characterized in part by social insensitivity. Understanding the relationship between creativity and ethical ideologies has important implications for researchers, managers and teachers. (shrink)

The doctoral dissertation is defined as an original contribution to a field. By definition, this makes the dissertation a creative product, and the result of a creative process. The creative process of doctoral work has historically not been highlighted. The same is true for education as a whole. While there is an increasing call for greater creativity in education, they remain aspirational. In this article we describe the underlying premises and some of the practices of a doctoral degree that has (...) been designed with the intention of foregrounding the creative process. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by two (...) stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

Findlay and Lumsden have proposed a model of creative potential which accounts for divergent thinking but not for convergent thinking. This limitation impedes the applicability of the model to scientific creativity, where competence and thus convergent thinking play a fundamental role since the early stages of creation. This limitation is a natural consequence of the fact that Findlay and Lumsden's model is purely intrapsychic. This paper proposes a model of scientists' creative potential which accounts for both divergent and convergent processes. (...) First, drawing from Csikszentmihalyi's and Kuhn's theories, scientists' creative potential is defined as a matching between the cognitive structure and the epistemic and social structure of the domain. Second, based on this sociopsychological definition, an extension of Findlay and Lumsden's model is proposed. The model states that the highest creative potential is achieved by those scientists who deeply understand the core of the domain and still have cognitive power to access, and experiment on many ideas that are not presently included in the domain. The new model is shown to have greater explanatory power than Findlay and Lumsden's model and to include the latter as a limiting case. (shrink)

In free and open source software (FOSS), computer code is made freely accessible and can be modified by anyone. It is a creative domain with many unique features; the FOSS mode of creativity has also influenced many aspects of contemporary cultural production. In this article we identify a number of fundamental but unresolved general issues in the study of creativity, then examine the potential for the study of FOSS to inform these topics. Archival studies of the genesis of FOSS projects, (...) coupled with laboratory studies detailing the psychological processes involved in software creation, can provide converging evidence on the nature of creativity in software design. Such a research program has broad implications both for theories of creativity and for real-world innovation in software and other forms of digital cultural production. (shrink)

A number of art projects are currently tackling the medical domain. This activity stems from a perceived need to increase the transparency and democracy of the medical domain, and it often questions the power relations and the one-dimensionality in current medical practices. This article sheds light on how artists process medical themes, elaborates on research elements embedded in art making processes, and considers the relevance of artists' projects for researchers from other disciplines. It deliberates on the author's media and performance (...) art practice in exploring the doctor-patient relationship and discusses the artistic methods and techniques employed. The article promotes the personal, imaginative, and figurative characteristics in the discussion and signification of the body in medicine. (shrink)