Creativity and interdisciplinarity: one creativity or many creativities?

Plucker, Jonathan A.; Zabelina, Dasha

doi:10.1007/s11858-008-0155-3

Cited by 54 publications

(24 citation statements)

References 37 publications

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“…Although popular belief of eureka moments remains, most discoveries are through systematic research and work (Sawyer 2006), which is also the case for interdisciplinary research. Plucker and Zabelina (2009) found weaknesses in conceptualising creativity as either domain (or disciplinary)-specific or domain-general, and argue for a hybrid position. Sill (1996) developed a widely-used notion of creativity that serves as a model for synthesis and integrative thought, and a foundation for Interdisciplinary Studies fields.…”

Section: Interdisciplinary Perspectivesmentioning

confidence: 99%

Leadership and creativity in higher education: the role of interdisciplinarity

Kandiko¹

2012

London Review of Education

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Many organisations are under increasing pressures to recruit and retain creative individuals as a core asset in the emerging knowledge economy. In universities, such people are often academics who focus on high impact, innovative and interdisciplinary research. Yet, instead of feeling supported, many of these academics face structural, epistemological and socio-cultural challenges. This paper reviews the role of creativity across disciplines in higher education and draws on interviews of 10 senior interdisciplinary leaders from the UK and Australia to discuss motivational aspects of creativity, challenges of pursuing creative work and how creativity through interdisciplinarity can be supported in higher education. Leadership styles based on the various conceptions of creativity are proposed and further research is discussed.

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Section: Interdisciplinary Perspectivesmentioning

confidence: 99%

Leadership and creativity in higher education: the role of interdisciplinarity

Kandiko¹

2012

London Review of Education

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“…The insight problem‐solving approach also does not differentiate between different types of creativity, assuming creativity is either all or none. However, beginning in the 1990s, growing evidence has supported the existence of domain‐specific creativity (Baer, ; Kaufman & Baer, ; Plucker & Zabelina, ). In particular, research has revealed three major types of creativity based on self‐ratings (Kaufman & Baer, ; Oral, Kaufman & Agars, ): Artistic/Bodily (‘hands‐on’ creativity in art, craft, and bodily/physical creativity), Math/Science (creativity in math and science), and Writing/Communication (creativity in interpersonal relationships, communication, and writing).…”

Section: Introductionmentioning

confidence: 97%

Creativity, visualization abilities, and visual cognitive style

Kozhevnikov

Chen

Blazhenkova

2013

Brit J of Edu Psychol

108

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The results show that object visualization relates to artistic creativity and spatial visualization relates to scientific creativity, while both are distinct from verbal creativity. Furthermore, our findings demonstrate that style predicts corresponding dimension of creativity even after removing shared variance between style and visualization ability. The results suggest that styles might be a more ecologically valid construct in predicting real-life creative behaviour, such as performance in different professional domains.

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“…An increased knowledge of these personal attributes makes it possible to elaborate programs that strive for the development of those abilities, that allow for the discovery of barriers that prevent its expression and foment the development of creative potential (Plucker & Zabelina, 2009).…”

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confidence: 99%

Rasch-Master’s Partial Credit Model in the Assessment of Children’s Creativity in Drawings

Nakano

Primi

2014

Span. J. Psychol.

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Abstract. The purpose of the present study was to use the Partial Credit Model to study the factors of the Test of Creativity in Children and identify which characteristics of the creative person would be more effective to differentiate subjects according to their ability level. A sample of 1426 students from first to eighth grades answered the instrument. The Partial Credits model was used to estimate the ability of the subjects and item difficulties on a common scale for each of the four factors, indicating which items required a higher level of creativity to be scored and will differentiate the more creative individuals. The results demonstrated that the greater part of the characteristics showed good fit indices, with values between 0.80 and 1.30 both infit and outfit, indicating a response pattern consistent with the model. The characteristics of Unusual Perspective, Expression of Emotion and Originality have been identified as better predictors of creative performance because requires greater ability level (usually above two standard deviation). These results may be used in the future development of an instrument's reduced form or simplification of the current correction model.

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Creativity and interdisciplinarity: one creativity or many creativities?

Cited by 54 publications

References 37 publications

Leadership and creativity in higher education: the role of interdisciplinarity

Leadership and creativity in higher education: the role of interdisciplinarity

Creativity, visualization abilities, and visual cognitive style

Rasch-Master’s Partial Credit Model in the Assessment of Children’s Creativity in Drawings

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