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W24 - THE OU CREATIVE COLLABORATIONS - Coggle Diagram
W24 - THE OU
CREATIVE COLLABORATIONS
DEFINITIONS
CREATIVE INDUSTRIES
24.1
GRAPHIC ARTS
PERFORMING ARTS
ADVERTISING, TV, DESIGN, PUBLISHING...
CREATIVITY
24.2
2 ASSUMPTIONS
CREATIVITY IS BORN
CREATIVITY IS MADE
2 VIEWS
CREATIVE OUTPUTS
APPRECIATION IS OBJECTIVE
TIMELESS & UNIVERSAL
CREATIVE OUTPUTS
APPRECIATION IS SUBJECTIVE
CULTURALLY AND
HISTORICALLY
LOCATED
DEFINITIONS 4 & 5
Amabile 24.2.1
HEURISTIC
24.2.1
PATHWAY HAS TO BE INVENTED
Amabile
ALGORITHMIC
24.2.1
FOLLOW A CLEAR PATH
OR SET OF RULES eg recipe
Amabile
INTRODUCTION
CREATIVITY IS VALUED
& ENCOURAGED IN
OUR SOCIETIES 24.1
THE SYSTELM MODEL
OF CREATIVITY
Mihaly Csikszentmihalyi 24.3
3 SYSTEMS
THE PERSON
THE DOMAIN
THE FIELD
CREATIVITY = INTERACT° BTW PPL
FRAMEWORK 1 : THE
INDIVIDUAL IN CONTEXT
THE COMPONENTIAL
MODEL OF CREATIVITY
Teresa Amabile 24.4.1
ALTHOUGH SOME PP HAVE TALENTS,
CREATIVITY CAN BE DEVELOPED
(INFLUENCED BY ENVIRONEMENT)
3 COMPONENTS TO
THE MODEL
DOMAIN SKILLS
TECHNICAL ABILITIES
& KNOWLEDGE
CREATIVE-THINKING SKILLS
HEURISTIC PATHWAYS
MOTIVAT°
INTRINSIC
EXTRINSIC
THE IMPORTANCE
OF RELATIONSHIPS
Glăveanu and Lubart 24.4.2
WITH TRAINERS
WITH EXPERTS
FRAMEWORK 2 : CREATIVE
INTERACT° & COLLABORAT° 24.5
Vera John-Steiner
24.5.1
HOW CREATIVITY = ALWAYS
OUTCOME OF THE COLLECTIVE
(always involved RS with others)
Keith Sawyer 24.5.3
eg IMPROVISATIONAL
THEATRE
MODEL
THE GROUP CREATES
NOVEL IDEAS COME
FROM INTERACT°
UNPREDICTABLE
'EMERGENT SITUATION'
FRAMEWORK 3 :
CREATIVE GROUPS
24.6
THE SOCIAL IDENTITY
THEORY (SIT) 24.6
INDIVIDUAL BELONGS
TO MANY REAL AND
IMAGINED GROUPS
DIFF IMPORTANCES
/ RELEVANCES
IDENTIFY OR
NOT IDENTIFY
IN-GROUPS vs
OUT-GROUPS
Haslam et al 24.6.1
MOTIVAT° IS
ASSOCIATED
TO IDENTITY
WORK SHAPED BY
GROUP SHARED
VALUES etc
EVALUAT° OF CREATIVE
WORK ALSO SHAPED
BY GROUP MEMBERSHIP
to note - POSSIBLE
NEGATIVE OUTCCOMES
FROM SOCIAL RS
24.6
COMPARING THE
3 FRAMEWORKS
24.7