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Homo Creativus
This book focuses on creativity and showcases a specific approach to creativity. It uses a new 7 C’s basis for understanding creativity (creators, creating, cooperation, context, creations, consumption, and curricula). This new approach to creativity is an extension of the 4 ‘P’ approach (person, process, press, and product) which has dominated the literature since the 1960s. In each section, there are two chapters, which illustrate work on the topic and focus on some key issues.
Screenwriting from the Inside Out
This book provides aspiring screenwriters with a practical and informed way to learn how to think and write like a “creative”. It stands apart from, yet complements, other screenwriting “how to” books by connecting the transdisciplinary academic fields of screenwriting, film studies and cognitive psychology and neuroscience. Using a stepped approach, it shows the writer how to understand that how we think, shapes what we write, so that we may write better.
Multidisciplinary Contributions to the Science of Creative Thinking
This book offers a multidisciplinary and multi-domain approach to the most recent research results in the field of creative thinking and creativity, authored by renowned international experts. By presenting contributions from different scientific and artistic domains, the book offers a comprehensive description of the state of the art on creativity research. Specifically, the chapters are organized into four parts: 1) Theoretical Aspects of Creativity; 2) Social Aspects of Creativity; 3) Creativity in Design and Engineering; 4) Creativity in Art and Science. In this way, the book becomes a necessary platform for generative dialogue between disciplines that are typically divided by separating walls.
Elgar Encyclopedia of Interdisciplinarity and Transdisciplinarity
This Encyclopedia presents a comprehensive overview of the ever-evolving field of Interdisciplinarity and Transdisciplinarity across the Sciences. Authored by over 150 experts, it provides a vision of the Sciences in which scholars push boundaries and promote collaboration across diverse disciplines, scientific cultures and practices. This title contains one or more Open Access entries.
Dynamic Perspectives on Creativity
This edited volume provides a venue for scholars whose work challenges the typical, static conceptions, and methods of studying creativity. More specifically, the book will serve as an effort to introduce more dynamic definitions, conceptions, and approaches for studying creativity in the context of educational practice. By doing so, it feeds the strong contemporary need for more dynamic conceptions of creativity in educational settings. This is particularly important given the fast evolution of modern society and the widespread consensus that efforts to develop creative potential should be democratized -- extending well beyond the boundaries of the gifted subset and the walls of the classroom. This work recognizes that more dynamic perspectives on creativity are necessary for understanding its complexity, value, and meaning in educational contexts.
The Creative Process
The creative process refers to the sequence of thoughts and actions that are involved in the production of new work that is both original and valuable in its context. This book examines this process across the domains of visual art, writing, engineering, design and music. It characterizes each domain’s creative process based on evidence stemming from creators’ accounts of their own activity and a wide-range of observational material and theories specific to each field. Results from empirical research are then presented across a set of closely linked chapters, using a common set of methodologies that seek to trace the creative process as it unfolds. This highly interdisciplinary edited collection offers valuable insight into the creative process for scholars and practitioners in the fields of psychology, education, and creative studies, as well as for any other readers interested in the creative process. Todd Lubart brings together a group of authors who are themselves actively involved in their respective creative fields and invites readers to adopt a broad perspective on the creative process in order to unravel some of its mysteries.
The Director and Directing
This book critically assesses the artistry of contemporary directors. Its discussion includes the work of Declan Donnellan, Thomas Ostermeier, Deborah Warner, Simon Stone and Krzysztof Warlikowski. Alongside the work of wider theorists (Patrice Pavis and Erika Fischer-Lichte), it uses neuroaesthetic theory (Semir Zeki) and cognitive and creative process models to offer an original means to discuss the performance event, emotion, brain structures and concepts, and the actor’s body in performance. It offers first-hand observation of rehearsals led by Katie Mitchell, Ivo van Hove, Carrie Cracknell and the Steppenwolf Theatre. It also explores devising in relation to the work of Simon McBurney and contemporary groups, and scenography in relation to the work of Dmitry Krymov, Robert Wilson and Robert Lepage. The Director and Directing argues that the director creates a type of knowledge, ‘reward’ and ‘resonant experience’ (G. Gabrielle Starr) through instinctive and expert choices.
Creativity, Design Thinking and Interdisciplinarity
This book, at the crossroads of creativity, design and interdisciplinary studies, offers an overview of these major trends in scientific research, society, culture and economics. It brings together different approaches and communities around a common reflection on interdisciplinary creative design thinking. This collective effort provides a unique dialogical and convergent space that deals with the challenges and opportunities met by researchers and practitioners working on design thinking, creativity and inter- and transdisciplinarity, or at the interface between these areas.
Objects to Learn about and Objects for Learning 2
Resulting from a conference that took place in Amiens, France, in June 2019, this book examines the place and role of objects centered in teaching practices from kindergarten to university, both in the context of France and elsewhere. These “objects for learning” are considered in their physicality as productions, work or signs that are used for learning. They become “objects to learn about” when the object itself is the learning objective. This book offers a cross-disciplinary perspective, linking the different disciplinary fields studied and the many reference sources used by the authors. This two-volume work offers an overview of current research on the subject, with this second volume focusing on objects in representations of space and time, then on learners’ activities in the making or use of objects, before concluding with different cultural and philosophical perspectives on objects
