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Creativity: Sociology, Education, and Psychology (EDUCATION (Pedagogical…

- - - - Garden: its role in relation to creativity and the human mind. Cole (1996) - the etymological roots in relation to culture. Vygotsky (1978) rarely used to understand adult creativity
        
        Dialogue: Gla veanu (2010): sensitive to acts of small "c" creativity and its role in psychological health. Markova (2003) points out that authors can operate differently in theory vs methodologically.
        
        "Sternberg and Lubart (1999) defined, in this context, six approaches to creativity based on their scientific value: mystical, psycho-analytic, pragmatic, psychometric, cognitive, and social personality. " (VP Glaveanu, 2010)
        
        Diffusion - creative nature of cultural transmission. Bartlett (1932) and Sperber (1996) said the epistemological account spread representations through culture
- - - - Alexander and Smith (2001): no consensus among sociologists over study of culture in the traditions typical way of studying subjects
        
        Williams (1981) Sociology entered study of culture quite late
        
        "In the mid-80s, Wuthnow et al. ( 1984 ) examined the contributions of
        four prominent theoretical perspectives to the study of culture: phenomenology
        (represented by the work of Peter L Berger), cultural anthropology
        (Mary Douglas), neo-structuralism (Michel Foucault) and critical theory
        (Jürgen Habermas)." (Palgrave, p. 641)
        
        Chan (2011) Creativity was traditionally a marginal position in sociology until last few decades
        
        Two scholars stick out as having made contributions towards useful sociology of creativity: Han Joas and Pierre Bourdieu
        
        Joas (1996): Argues that 2 predominant models of action (national action and normative oriented action). "There is a creative dimension to all human action" (1996, p. 4).
        
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- - - - "The Central Intelligence Agency used American modern art - including the works of such artists as Jackson Pollock, Robert Motherwell, Willem de Kooning and Mark Rothko - as a weapon in the Cold War." Link: http://www.independent.co.uk/news/world/modern-art-was-cia-weapon-1578808.html
      - Nelson argues that today's concept of creativity was created by the "Cold War" for US democratic/totalitarian purposes. It is argued that this is why "creativity" is defined in such Western/individualistic ways
- - - - behaviourist: Skinner discussion of chance mutation
        
        humanistic (Rogers, May, Maslow), a focus on self-realization and inner potential
        
        Guilford cited by several sources as a key influence on bringing creativity to the forefront in education
        
        1950s: creativity becomes more important because psychological work on genius and giftedness
        
        "Many would argue that this era of research was launched by Guilford’s
        (1950) examination of the limitations of intelligence tests and his investigation of ‘divergent thinking’.
        There followed a large amount of research which attempted to test and measure creativity, to pin down
        its characteristics and to foster it through specific teaching approaches."
        
        1950s research led to three major lines of development
        
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  - - - "Working with Osborn, researcher Sidney Parnes used the rules of brainstorming, as well as other techniques, to develop the Creative Problem Solving (CPS) training program; initial tests of the program were promising (Parnes, 1967). " (Harvard Business School)
        
        Crutchfield (1955, 1962): influential papers on the situational forces that might influence conformity and creativity
        
        Kruglanski, Friedman, & Zeevi (1971): Manipulated social environmental factors can impact creativity
- - - - "after World War II, many intellectuals emphasized the importance of creativity to individual fulfillment and to society—not only in childhood, but throughout the lifespan. Humanist psychologists (Maslow, 1959; Rogers, 1954) argued that creativity was the fullest realization of the human spirit, a fulfilling peak experience" (Sawyer)
        
        "One of the most influential modern scholars advocating a domain general approach to creativity in education was the late E. Paul Torrance (Sawyer, 2012a). At a conference in 1959, Torrance and Parnes (in Taylor, 1959) reported some results that showed that domain general creativity training could work. These initial findings led to a burst of creative education efforts during the 1960s." (Sawyer)
  - - - Early years should have props, drama play spaces, etc. (Bancroft et al., 2008; Davies, 2011)
        
        Providing a wide range of materials, tools is a key to fostering creativity (Addison et al., 2010; Bancroft et al., 2008; Gandini et al., 2005; Gkolia, Brundett, & Switzer, 2009; Grainger, Craft, & Burnard, 2007; Halsey et al., 2006; Robson & Jaaniste, 2010).
        
        "children attending Montessori schools showed greater originality in thinking than those in other types of primary school (Besancon & Lubart, 2008)"
        
        "It is important, however, not to over-emphasise the need for structure, as this may be seen as perpetuating models of pedagogy favouring performativity (Troman et al., 2007). Hall et al. (2007, p. 615), in their ESRC-funded ethnographic study of a primary school engaged in three Creative Partnerships projects using Bernstein's analytical frame, found that arts activities with strong framing and classification of space and time, and with marked ‘performance pedagogies’ fit most easily into primary school culture. " (Dan Davies, et. al)
    - - "A growing number of colleges and universities are seeking to teach creative thinking through a variety of campus initiatives. Centers and institutes dedicated to creativity and innovation are spreading, such as Stanford University’s d.school, Harvard University's i-lab, Oklahoma State University’s Institute for Creativity and Innovation and Ball State University's Center for Creative Inquiry. These centers teach approaches to creative problem-solving, including design thinking, which has long been a core part of engineering education." Source: Forbes (https://www.forbes.com/sites/mariaklawe/2017/05/04/teaching-creativity-is-a-necessary-part-of-undergraduate-education/#7308cd972cab)
      - Stephen Petrina
        
        “technology education is resituated as a cultural study.”
        
        “Whereas industrial education had been shaped as a social study by Frederick Bonser, W.E.B.
        DuBois, John Dewey and Lois Mossman, their intent had been disregarded
        in the conservative politics of the 1940s and 1950s (Foster, 1995; Petrina
        & Volk, 1995a, 1995b).”
        
        P 186: “The use of technological literacy
        in economic discourses gained utility as a meaningful link between an
        ideology of competitive supremacy and an action of school reform. Indeed,
        the construct was more than the ‘slogan . . . [with] emotional appeal’ that
        Waks (1986, p. 331; Todd, 1991) had described. In addition to its utility
        as a slogan, technological literacy began to play a role in governing a
        political course of action. While the construct was socially distributed and
        shared ideologically across groups with contradictory articulations and
        meanings, its use in a context of American decline signified an individualised
        disposition toward economic competition.”
        
        Do you want me to research these scholars to outline their involvement?
        
        There are also a number of movements mentioned in the article? Is it helpful for me to try to figure out who was a “leader” in each of these mentions?
  - - - 1963, answered the question about why the most outstanding creative people have been "predominantly men." "There are three possible positions one can take about male and female creativity.
        The first is that males are inherently more creative in all fields. The second is that if it were not for the greater appeal of creating and cherishing young human beings, females would be as creative as males. If this were the case, then if men were permitted the enjoyment women have always had in rearing young children, male creativity might be reduced also… The third possible position is that certain forms of creativity are more congenial to one sex than to the other and that the great creative acts will therefore come from only one sex in a given field.
        There is some reason to believe that males may always excel — by just the small degree that makes the difference between good capacity and great talent — in such fields as music and mathematics, where creativity involves imposing form rather
        than finding it. There is also reason to believe that women have a slightly greater potential in those fields in which it is necessary to listen and learn, to find forms in nature or in their own hearts rather than to make entirely new ones; these fields could include certain areas of literature, and some forms of science that depend on observation and recognition of pattern, such as the study of living creatures or children or societies.
        
        "When women work in a creative field, even one that is particularly congenial to
        them, they must generally work with forms that were created by men, or else
        struggle against special odds to develop new forms. Until we have an educational
        system that permits enough women to work within any field — music,
        mathematics, painting, literature, biology and so on — so that forms which are
        equally congenial to both sexes are developed, we shall not have a fair test of this
        third possibility.
        We do not know that what one sex has developed, members of the other sex can
        learn — from cookery to calculus. In those countries of the Eastern bloc in which
        women are expected to play an equal part with men in the sciences, great numbers
        of women have shown a previously unsuspected ability. We run a great risk of
        squandering half of our human gifts by arbitrarily denying any field to either sex or
        by penalizing women who try to use their gifts creatively."
        
        1963 publication of The Feminine Mystique and the introduction of oral contraceptive pills in the early 1960s, Mead discusses how women can counter claims of "defeminization" in old/male values/ideals