Timing is everything: Examining the role of constraints throughout the creative process.

2018 ◽  
Vol 12 (4) ◽  
pp. 471-488 ◽  
Author(s):  
Kelsey E. Medeiros ◽  
Logan M. Steele ◽  
Logan L. Watts ◽  
Michael D. Mumford
Keyword(s):  
Creative Process

‘A disoriented vision of … fact’: Brian Friel, Francis Bacon, and Faith Healer

2020 ◽  
Vol 50 (2) ◽  
pp. 319-336
Author(s):  
Zosia Kuczyńska
Keyword(s):  
Creative Process ◽  
Francis Bacon ◽  
Major Influence ◽  
Artistic Practice ◽  
Archival Research ◽  
Faith Healer ◽  
Brian Friel ◽  
History Of ◽  
Composition Process

The Brian Friel Papers at the NLI reveal a long and relatively unexplored history of major and minor influences on Friel's plays. As the archive attests, these influences manifest themselves in ways that range from the superficial to the deeply structural. In this article, I draw on original archival research into the composition process of Friel's genre-defining play Faith Healer (1979) to bring to light a model of influence that operates at the level of artistic practice. Specifically, I examine the extent to which Friel's officially unacknowledged encounter with a book of interviews with painter Francis Bacon influenced the play in terms of character, language, and form. I suggest that Bacon's creative process – incorporating his ideas on the role of the artist, the workings of chance, and the extent to which art does violence to fact – may have had a major influence on both the play's development and on Friel's development as an artist.

DE REDACTEUR EN HET BUITENLAND

2019 ◽  
Vol 3 (1) ◽  
pp. 2-27
Author(s):  
Wouter Egelmeers ◽  
Joris Vandendriessche
Keyword(s):  
Creative Process ◽  
General Circulation ◽  
International Level ◽  
Historical Knowledge ◽  
Historical Texts ◽  
Disciplinary Field ◽  
Dutch History ◽  
The Relationship ◽  
Selection Of

IMPORTING TEXTS FROM ABROAD Editors’ reuse of foreign historical texts in Dutch periodicals, 1780-1860 This article explores the ways in which the editors of five Dutch history journals and three magazines for general circulation copied historical texts from abroad, between 1780 and 1860. By comparing original texts with reprinted versions, we show that the editors’ work involved not only ‘passive’ duplication (reprinting in full), but also more active forms of intervention, from the selection of text fragments to their translation, modification or critical review. These varied editorial practices point to a broader creative process through which historical knowledge was tailored to an emerging and nationally-oriented academic audience. Editors here assumed the role of mediators, gatekeepers even in the sense that their judgment determined the very choice of texts. At a time when the study of history was evolving at both the national and international level, and when the relationship between actors making up the disciplinary field was also in flux, editors thus became influential figures.

scholarly journals Students’ Musical Creativity and the Role of Teachers - a Study of Compositions Written for the Music Olympiad

2017 ◽  
Vol 53 (1) ◽  
pp. 165-183
Author(s):  
Branka Rotar Pance ◽  
Ema Igličar
Keyword(s):  
Creative Process ◽  
Musical Development ◽  
Role Of Teachers ◽  
Musical Creativity

Creativity is the focus of research in various areas. The present paper focuses on creativity in music and the role of the teacher in stimulating and developing it in an individual’s musical development. It highlights the importance of evaluating musical ideas, the creative process and final products. The Music Olympiad involves a presentation of competitor’s own compositions. In the research, we analysed the characteristics of the compositions written for and performed at the first three Slovene Music Olympiads.

scholarly journals Protection of the Child’s Creative Output Including Its Legal Protection

2014 ◽  
Vol 12 (1) ◽  
Author(s):  
Anna Sokołowska
Keyword(s):  
Creative Process ◽  
Legal Protection ◽  
Legal Aspects ◽  
Rights Of The Child ◽  
Starting Point ◽  
The Subject ◽  
Education And Development ◽  
Areas Of Interest ◽  
Education Process

AbstractThis paper is an attempt to analyze the necessity of defining and extending the protection of the child’s creative process. The starting point for consideration is the key role of artistic instruction in the child’s education and development which justifies providing appropriate framework for that process. The present text defines artistic output as a personal good covered by legal protection and specifies relevant legal regulations underlying the subject. It also reveals the position of the child as a creator with his/her specific characteristics and possible dangers arising from those characteristics. Another issue discussed here is the creative process and its components. In a further part, legal aspects of the child’s situation in the context of creative activity are analyzed with references to the UN Convention on the Rights of the Child (1989), the (Polish) Family and Guardianship Code (1964), the UN Declaration on Rights of the Child (1959) and other legal acts. Finally, the paper addresses objectives of arts education in the light of the discussed issues. Conclusions include an indication of certain similarity between some areas of interest in pedagogy and in law. The main conclusion comes down to a statement that in the education process we should take into consideration so-called creative integrity which constitutes a personal good of both the adult and the child, and which is covered by legal protection.

scholarly journals The impact of anger on creative process engagement: The role of social contexts

2017 ◽  
Vol 39 (4) ◽  
pp. 495-506 ◽  
Author(s):  
Carla Gomes da Costa ◽  
Qin Zhou ◽  
Aristides I. Ferreira
Keyword(s):  
Creative Process ◽  
Social Contexts ◽  
The Impact

Creativity Through the Eyes of Professional Artists in Cuba, Germany, and Russia

2017 ◽  
Vol 49 (2) ◽  
pp. 261-289 ◽  
Author(s):  
C. Dominik Güss ◽  
Ma. Teresa Tuason ◽  
Noemi Göltenboth ◽  
Anastasia Mironova
Keyword(s):  
Cultural Differences ◽  
Creative Process ◽  
Social Connectedness ◽  
Cultural Influences ◽  
Sociocultural Factors ◽  
Cultural Backgrounds ◽  
Emotional Process ◽  
Cross Cultural Differences ◽  
Fluid Process

Creativity plays an important role in the advancement of all societies around the world, yet the role of cultural influences on creativity is still unclear. Following systems theory, activity theory, and ecocultural theory, semistructured interviews with 30 renowned artists (writers, composers, and visual artists) from Cuba, Germany, and Russia were conducted to explore the complexity of the creative process and potential cultural differences. All interviews were transcribed verbatim and analyzed using consensual qualitative research methodology. The following eight main domains resulted from the interviews: How I became an artist, What being an artist means to me, Creating as a cognitive process, Creating as an emotional process, Creating as a motivational process, Fostering factors of creativity, Hindering factors, and The role of culture in creating. Artists in the three countries similarly talked about creativity being a fluid process where ideas change, and elaborated on the role of intuition and the unconscious when creating art. Meaningful cross-cultural differences were seen among the artists of three cultural backgrounds in terms of attitudes about financial instability, in how they perceive themselves, in their art’s societal function, in the cognitive and in the emotional process of creating, and in terms of social connectedness. Results highlight (a) the complexity of the creative process going beyond cognitive factors and including motivational, emotional, and sociocultural factors, and (b) the cultural differences in the creative process. Results are beneficial for further developing a comprehensive theory of the creative process taking cultural differences into consideration.

Co-Creation and social transformation: a tough issue for research

2020 ◽  
pp. 189-206
Author(s):  
Jim Segers
Keyword(s):  
Decision Making ◽  
Civil Society ◽  
Creative Process ◽  
Social Transformation ◽  
Direct Action ◽  
Transformation Process ◽  
Research Institutions ◽  
Research Methodologies ◽  
The Right

This chapter looks at social transformation through the lens of ‘tough issues’. The perspective makes the vast challenges communities are faced with more practical, which in turns allows for progress in the right direction through small wins. Many citizen and community organisations with a background in environmental, peace and third world movements have roots in direct action. Over recent decades, they have been moving from opposing developments to proposing alternatives. We use the words of de Certeau (1984) to describe it as a shift from ‘résistance’ to ‘bricolage’. This shift has brought them closer to more institutionalised partners like government, business, civil society and research institutions. While this rapprochement has proven beneficial to each party involved – research methodologies such as Co-Creation prove that notions like horizontal decision-making, anti-authoritarianism and self-organisation are no longer the preoccupation of informal actors solely – the different stakeholders have not become interchangeable. The chapter argues for the role of a third actor in a social transformation process. This actor is not a stakeholder itself, but through a creative process (“prototyping” in the case of City Mine(d), arts creation in others) becomes tactically linked to the important stakeholders.

Modeling a cocreative process: The contributions of design and management

2019 ◽  
Vol 34 (3) ◽  
pp. 111-137 ◽  
Author(s):  
Maud Dampérat ◽  
Florence Jeannot ◽  
Eline Jongmans ◽  
Alain Jolibert
Keyword(s):  
New Product Development ◽  
Creative Process ◽  
Design Thinking ◽  
Idea Generation ◽  
Mediating Role ◽  
New Product Development Teams ◽  
Development Teams ◽  
Three Stages ◽  
Individual Variables

This research focuses on the understanding of a team creative process (or co-creative process) by adding design and management inputs to the marketing approach. It proposes and empirically tests a co-creative process based on the three stages of the design thinking method: (1) need definition, (2) idea generation, and (3) solution prototyping. This model also includes the influence of individual variables –empathy, domain-relevant familiarity, and task involvement –at different stages of the co-creative process. The results validate the mediating role of idea generation between need definition and solution prototyping and the influence of the selected individual variables. The predictive validity of the co-creative process has been tested via the evaluation of the solution by experts. Several actions are proposed at each stage of the co-creative process to enable organizations to stimulate the creativity of their new product development teams.

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