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)

How do expert performers practice as they develop creatively? This study investigated the processes involved in the practice of new skills by expert breakdancers. A great deal of evidence supports the theory of “deliberate practice” (Ericsson, Krampe, & Tesch‐Römer, 1993,Psychological Review, 100,363) in skill acquisition; however, expert creative performers may emphasize other forms of practice for skill development. Four case studies collected through fieldwork and laboratory observation were analyzed to evaluate expert dancers’ practice processes as they developed proficiency in new, (...) specific skills. We focused on three aspects of learning: the degree of skill acquisition, the content of skills included in practice, and dancers’ stated purposes for practicing. The results showed that dancers’ practice improved skills (as suggested by deliberate practice) and engaged the exploration of new, original skills, along with coordinating skills within performance. In their practice, these dance experts went beyond deliberative practice to highly exploratory processes for skill development. (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)

This research investigates the intersubjective aspects of communication design practice through a focus on the other, and the roles that the other takes in practice. It does so in order to better understand the practice of communication design as practiced on a day-to-day basis. Communication design, as a practice, and a field, extends out of graphic design. This extension is due to a change in priorities; from privileging the graphic and artefactual aspects of practice, to prioritising the consideration of the (...) broader agency of design within a specific context. This research has been accomplished through a practice-led methodology. Communication design projects form the methods of, and the foundation for, the investigation. Seven individual research projects have been designed and carried out. These projects have each incorporated members of the different participants of communication design practice; new and existing clients, student designers and established practicing designers. This has allowed the research to investigate its concerns from a range of roles and viewpoints, incorporating different perspectives into its observations and understandings. This research extends the work of Donald Schön and his investigation into The Reflective Practitioner. It achieves this through a consideration for the roles of the other in professional practice. In order to articulate this move extensive reference is made to the thinking of the twentieth century philosophers Martin Heidegger and Emmanuel Levinas. This research has found that the other plays critical roles in the practice of communication design. These roles are ones of providing provocative disjunction. Provocative disjunction, as understood by this research, contributes directly to the generative action communication design offers artefacts, clients and designers. The observations and understandings of this practice-led research have enabled extensive insights into the practice of communication design. These insights contribute significantly to the broader communication design discourse in professional practice, education and research. (shrink)

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)

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)

Creativity is the hallmark of human cognition, yet scientific understanding of creative processes is limited. However, there is increasing interest in revealing the neural correlates of human creativity. Though many of these studies, pioneering in nature, help demystification of creativity, but the field is still dominated by popular beliefs in associating creativity with "right brain thinking", "divergent thinking", "altered states" and so on (Dietrich and Kanso, 2010). In this article, we discuss a computational framework for creativity based on Baars' global (...) workspace theory (Baars, 1988) enhanced with mechanisms based on information theory. Next we propose a neurocognitive architecture of creativity with a strong focus on various facets (i.e., unconscious thought theory, mind wandering, spontaneous brain states) of un/pre-conscious brain responses. Our principal argument is that pre-conscious creativity happens prior to conscious creativity happens prior to conscious creativity and the proposed computational model may provide a mechanism by which this transition is managed. This integrative approach, albeit unconventional, will hopefully stimulate future neuroscientific studies of the inscrutable phenomenon of creativity. (shrink)

The study of insight in problem solving and creative thinking has seen an upsurge of interest in the last 30 years. Current theorising concerning insight has taken one of two tacks. The special-process view, which grew out of the Gestalt psychologists’ theorising about insight, proposes that insight is the result of a dedicated set of processes that is activated by the individual's reaching impasse while trying to deal with a problematic situation. In contrast, the business-as-usual view argues that insight is (...) brought about by the same processes that underlie ordinary thinking . Although those two views are typically treated as being in opposition, it has recently been proposed that a complete understanding of insight will require bringing together aspects of both views. The present paper carries that proposal further. Critical analysis of those two viewpoints demonstrates that each has a positive contribution to make to our understanding of insight, but also is.. (shrink)

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: copying an artist's drawing, then producing an original drawing; producing an original drawing without having seen another's work; and copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from the (...) model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks—whether through copying or prolonged observation—change people's cognitive representations of the act of drawing to produce novel artwork. (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)

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 dynamic constraint relaxation theory predicts crucial roles of the initial diversity and evaluation in creative problem-solving. We reported the experimental evidence supporting these predictions, using an insight problem. The experiments showed that the degrees of making different types of trials and the appropriate evaluation were closely related to individual differences in insight problem-solving, and that evaluation became more appropriate by making the problem-solving goal explicit. The review of the research in related fields showed that these experimental findings were in (...) congruent with the evidence obtained from different types of creative activities. (shrink)

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