Adaptation, Adaptiveness, and Creativity

Cohen, LeoNora M.

doi:10.1016/b978-0-12-375038-9.00002-9

Cited by 17 publications

(16 citation statements)

References 6 publications

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“…From a cultural psychology perspective, thinking in terms of polarities such as P-creativity (creative for the person) and H-creativity (creative for society) (Boden, 1994), creativity in the small and mature creativity (Cohen & Ambrose, 1999) or, respectively, "little c" and "big C" , is generally misleading. From the beginning these suggest a hierarchy in creativity that often trivializes the notion of everyday creativity (Bateson, 1999).…”

Section: Relevance and Implications Of The Cultural Psychology Frameworkmentioning

confidence: 99%

“…From the beginning these suggest a hierarchy in creativity that often trivializes the notion of everyday creativity (Bateson, 1999). Second, although it is largely acknowledged nowadays that there is a continuum in creative expression (for steps in this continuum see Cohen & Ambrose, 1999), the habit of dichotomizing creativity can only disconnect the different modalities of being creative. Finally, this polarization also opens the risk of unwillingly promoting the "dissolution" of creativity either by considering every human act as creative or by setting standards for creativity so high that the vast majority of people could never reach it (Negus & Pickering, 2004).…”

Section: Relevance and Implications Of The Cultural Psychology Frameworkmentioning

confidence: 99%

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Paradigms in the study of creativity: Introducing the perspective of cultural psychology

Glăveanu

2010

New Ideas in Psychology

323

185

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This article identifies three paradigms in creativity theory and research in psychology. The He-paradigm, focused on the solitary genius, has been followed, mainly after the 1950s, by the I-paradigm, equally individualistic in nature but attributing creativity to each and every individual. Extending this view, the Weparadigm incorporates what became known as the social psychology of creativity. The cultural psychology of creativity builds upon this last theoretical approach while being critical of some of its assumptions. This relatively new perspective, using the conceptual and methodological framework of cultural psychology, investigates the sociocultural roots and dynamics of all our creative acts and employs a tetradic framework of self -community -new artifact -existing artifacts in its conceptualization of creativity. The theoretical basis of the cultural psychology approach is analyzed as well as some of its main implications for both the understanding and study of creativity.

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Section: Relevance and Implications Of The Cultural Psychology Frameworkmentioning

confidence: 99%

Section: Relevance and Implications Of The Cultural Psychology Frameworkmentioning

confidence: 99%

Paradigms in the study of creativity: Introducing the perspective of cultural psychology

Glăveanu

2010

New Ideas in Psychology

323

185

View full text Add to dashboard Cite

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“…To simplify things, many authors employ a straightforward dichotomy between big C, mature creativity or H-creativity (historical creativity) on the one hand, and little c, mundane creativity or P-creativity (personal creativity) on the other (see Craft, 2001;Cohen & Ambrose, 1999;Boden, 1994). The common view behind such distinctions was metaphorically summarised by John Liep (2001, p. 12) when he said: "If "conventional creativity" spreads like an ocean on the surface of the world, "true creativity" rises like islands here and there".…”

Section: Habit Improvisation Innovationmentioning

confidence: 99%

Habitual Creativity: Revising Habit, Reconceptualizing Creativity

Glăveanu

2012

Review of General Psychology

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Current psychological scholarship is based on a dichotomy between habit, associated with automatic reflex behaviour, and creativity, which involves deliberation, purpose and heuristic procedures. However, this account is problematic and contradicts everyday experience where mastery, for instance, is one of the highest levels of creative performance achieved within a habitual practice. This article argues that such a separation misrepresents both habit and creativity with important theoretical and practical consequences. A first step towards reconciling the two terms is made by revisiting a series of foundational strands of theory from psychology and related disciplines. In light of these sources, habit is reformulated as a social, situated and open system and habitual creativity defined as the intrinsically creative nature of customary action, reflected in the way habits adjust to dynamic contexts, the way they are used, combined and ultimately perfected. Further distinctions are then made between habit, improvisation and innovation. Both improvisational and innovative creativity are embedded in habitual forms and this is well illustrated by craftwork: a practiced type of activity on the basis of which artisans improvise, whenever obstacles or difficulties are encountered, and even get to innovate, when their intention is to generate novel artefacts or work techniques.

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“…In lifelong learning practices, creativity is likely to manifest itself wherever one finds a new way of improving a situation related to some human activity: raising children, repairing the home, cooking meals, organising offices, planning campaigns, fixing electronic appliances or developing new products. Creativity in lifelong learning situations shifts the focus from 'eminent creativity', 'exceptional creativity' or 'extraordinary creativity' to 'mundane creativity', 'creativity in the small', 'everyday creativity' or 'ordinary creativity', as the 'originality of everyday life' (Cohen andAmbrose 1999, Richards 1999), although it is likely that the creative thinking or acts that an ordinary individual generates may have already occurred elsewhere with respect to certain fields or cultures in human history or society (Richards 1999: 660, Boden 2004.…”

Section: The Peculiarities Of Creativity In Lifelong Learning Practicesmentioning

confidence: 99%

Idea creation: the need to develop creativity in lifelong learning practices

2009

International Journal of Lifelong Education

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This paper considers what the idea of creativity can mean and how it can contribute when creativity becomes a key to the development of lifelong learning practices. It seeks to adapt or extend our understanding of creativity in an attempt to facilitate the development of lifelong learning. This paper argues that, while the classical concern around developing creativity mainly derives from humans' interest in the possibility of designing, producing or inventing things to change human life, the idea of creativity in relation to the development of lifelong learning practices tends more towards an emphasis on producing ideas meant to deal with unpredictability and contestability in a knowledge-based society. The main body of the paper is theoretical in its orientation. The structure of this paper is as follows. First, the essential characteristics of creativity are explored as a basis for understanding what meanings it may offer to the development of lifelong learning practices. Then, the issues of why creativity is required and how it may be seen as distinctive in lifelong learning practices are addressed. The discussion centres upon the significance of creativity and its characteristic features when it is embedded in lifelong learning practices. Finally, this paper considers Deleuze's thought concerning the principles of association and passion as useful in illuminating the formation of pedagogical practices that encourage creativity, which, in turn, could assist in the effective development of lifelong learning practices. Lifelong learning as a paradigm shiftThe development of lifelong learning practices has been recognised as an appropriate human action in response to times of uncertainty and change. With its emphasis on continuity in learning throughout one's life, the idea of lifelong learning does not simply mean the extension of the learning period but also signifies a paradigm shift (Kuhn 1996) that involves a revolutionary change in how the idea of learning is to be structured and interpreted. First of all, the idea of lifelong learning that what we learn is always only temporarily certain, and thus, that we need to relearn constantly throughout our lives, is characteristic of the transition from the modern to the postmodern. The notion of learning no longer implies a monopoly over knowledge and truth. There is no 'final vocabulary' (Rorty 1989), such that one needs to constantly learn and always prepare for relearning. Knowledge is no longer contained in absolute, grand meta-narratives (Lyotard 1984), and, therefore, no collective frames of reference or guidelines for learning have complete authority over learners.

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Adaptation, Adaptiveness, and Creativity

Cited by 17 publications

References 6 publications

Paradigms in the study of creativity: Introducing the perspective of cultural psychology

Paradigms in the study of creativity: Introducing the perspective of cultural psychology

Habitual Creativity: Revising Habit, Reconceptualizing Creativity

Idea creation: the need to develop creativity in lifelong learning practices

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