Schedule for the Conference
Friday, August 3rd, 2018
Creativity Conference - Day 1
7:45am Check-in begins
Parking info map of parking click here, you can also find a map of campus click here).
Check-In Process: photo ID and eTicket or printed ticket will be needed in order to check in. During check-in, you will recieve a packet containing your name tag, meal information, room information (if applicable), and other conference information.
Check-In Process: photo ID and eTicket or printed ticket will be needed in order to check in. During check-in, you will recieve a packet containing your name tag, meal information, room information (if applicable), and other conference information.
9:00am - 9:50am Conference Kickoff
Location: Rogue River Room in the Stevenson Union
Speakers: TBD
Map of Stevenson Union (SU) found here.
Speakers: TBD
Map of Stevenson Union (SU) found here.
10:00 - 10:50am Concurrent sessions
Creative Thinking Gymnastics Workshop
Speaker: Grammenos
Location: 323 in the Stevenson Union
Abstract: An engaging and fun participative workshop comprising a series of exercises coaching many ‘muscle groups’ of creative thinking (e.g., curiosity, imagination, open-mindedness, inventiveness, unconventionality, stupidity, nonsense). It is targeted to anyone interested in getting involved in, and learning, fun engaging activities for triggering creative thinking and setting the mood for conducting any type of creative activity. The CTGs consist of several steps, each of which lasts 3-4 minutes and comprises a short introduction followed by a creative exercise. All exercises use commonplace and inexpensive materials such as blank sheets of paper, paper napkins, aluminum foil, etc. Beyond the obvious impact on cost, the use of ordinary materials has another important effect - it makes people realize that creativity does not presuppose any special resources or conditions. It can be achieved with anything, anywhere, anytime.
The Universal Dynamic Creativity Process
Speaker: Corazza
Location: 319 in the Stevenson Union
Abstract: Starting from the dynamic definition of creativity, descending from a pragmatist approach to creativity studies (Corazza, 2016), the talk will dwell upon the interconnection of creativity episodes to form a dynamic universal creative process. The ultimate implications of this view are then projected onto an extended evolutionary perspective of our cosmos, encompassing rising levels of complexity from physical to biological, psychological, and social levels. Considering the exponential rise of artificial intelligence in the future post-information society, the talk is concluded with an urgent call for all creativity researchers to join forces in the diffusion of a discipline of creativity, with relevant educational programs.
Recent Developments in the Study of Team Creativity
Speaker: Reiter-Palmon
Location: 313 in the Stevenson Union
Abstract: Interest in team creativity and innovation has increased significantly in the last decade. As globalization increases, technological changes increase in pace, and knowledge becomes more critical than ever, organizations have come to realize that creativity and innovation are important to organizational survival and success. In addition, organizations have realized that teams provide important performance benefits that are not available to any single individual. It is therefore not surprising that team creativity has become an important focus of organizational researchers. In this presentation, I will review the current state of science on team creativity and discuss how it can be applied to organizations.
Creative Aerobics
Speaker: Yagnik
Location: Diversions in the Stevenson Union
Abstract: Creative Aerobics (CA) is a creativity enhancement strategy. It is a series of four specific, interrelated exercises that allows you to generate numerous solutions quickly. CA emphasizes on the process instead of solution. This changed emphasis makes generating ideas a fun-filled task free of anxiety and panic. Using CA students have won over 200 national and international awards over the past two decades. There four CA exercises systematically stretch and flex your abilities to access solutions that are available but not accessible. CA is a great asset for todays business professionals, advertisers, chambers of commerce, designers of distance learning, software companies, venture capitalists and more. Everyone who is into the business of creating content and/or designing solutions be it (governance, leaders, politicians, development managers) can benefit from CA.
TITLE
Speaker: Green
Location: Arena in the Stevenson Union
Abstract:
Speaker: Grammenos
Location: 323 in the Stevenson Union
Abstract: An engaging and fun participative workshop comprising a series of exercises coaching many ‘muscle groups’ of creative thinking (e.g., curiosity, imagination, open-mindedness, inventiveness, unconventionality, stupidity, nonsense). It is targeted to anyone interested in getting involved in, and learning, fun engaging activities for triggering creative thinking and setting the mood for conducting any type of creative activity. The CTGs consist of several steps, each of which lasts 3-4 minutes and comprises a short introduction followed by a creative exercise. All exercises use commonplace and inexpensive materials such as blank sheets of paper, paper napkins, aluminum foil, etc. Beyond the obvious impact on cost, the use of ordinary materials has another important effect - it makes people realize that creativity does not presuppose any special resources or conditions. It can be achieved with anything, anywhere, anytime.
The Universal Dynamic Creativity Process
Speaker: Corazza
Location: 319 in the Stevenson Union
Abstract: Starting from the dynamic definition of creativity, descending from a pragmatist approach to creativity studies (Corazza, 2016), the talk will dwell upon the interconnection of creativity episodes to form a dynamic universal creative process. The ultimate implications of this view are then projected onto an extended evolutionary perspective of our cosmos, encompassing rising levels of complexity from physical to biological, psychological, and social levels. Considering the exponential rise of artificial intelligence in the future post-information society, the talk is concluded with an urgent call for all creativity researchers to join forces in the diffusion of a discipline of creativity, with relevant educational programs.
Recent Developments in the Study of Team Creativity
Speaker: Reiter-Palmon
Location: 313 in the Stevenson Union
Abstract: Interest in team creativity and innovation has increased significantly in the last decade. As globalization increases, technological changes increase in pace, and knowledge becomes more critical than ever, organizations have come to realize that creativity and innovation are important to organizational survival and success. In addition, organizations have realized that teams provide important performance benefits that are not available to any single individual. It is therefore not surprising that team creativity has become an important focus of organizational researchers. In this presentation, I will review the current state of science on team creativity and discuss how it can be applied to organizations.
Creative Aerobics
Speaker: Yagnik
Location: Diversions in the Stevenson Union
Abstract: Creative Aerobics (CA) is a creativity enhancement strategy. It is a series of four specific, interrelated exercises that allows you to generate numerous solutions quickly. CA emphasizes on the process instead of solution. This changed emphasis makes generating ideas a fun-filled task free of anxiety and panic. Using CA students have won over 200 national and international awards over the past two decades. There four CA exercises systematically stretch and flex your abilities to access solutions that are available but not accessible. CA is a great asset for todays business professionals, advertisers, chambers of commerce, designers of distance learning, software companies, venture capitalists and more. Everyone who is into the business of creating content and/or designing solutions be it (governance, leaders, politicians, development managers) can benefit from CA.
TITLE
Speaker: Green
Location: Arena in the Stevenson Union
Abstract:
11:00am - 11:50am invited address &Concurrent sessions
Creative Thinking Processes: The Importance of Strategies and Expertise
Speaker: Michael Mumford, University of Oklahoma
Location: Rogue River Room in the Stevenson Union
Abstract: Creativity is not simply a matter of generating ideas. Instead, creativity is defined as the production of high quality, original, and elegant solutions to complex, novel, ill-defined problems. Thus creativity can be viewed as special form of problem solving. In this talk we will discuss the key processes that people must execute to generate creative problem solutions. The types of knowledge people employ in these problem solving efforts will be considered. In addition characteristics of problems that all or call for creative problem solving will be discussed.
Creative Classrooms!
Speaker: Charlebois
Location: 323 in the Stevenson Union
Abstract: Sir Ken Robinson defines creativity as “the process of having original ideas that have value.” Creativity in schools has long been looked at as a skill that lives exclusively in the domain of the Arts, but as schools continue to focus more and more on 21st century skills such as creativity, imagination and innovation, teachers are grappling with how they can support students in developing their creative thinking skills in all subjects. How can we as teachers move beyond simply telling students to “be creative” and implement strategies to help students develop the skills they need to think creatively? This workshop will provide practical, active strategies for teachers to use in their classrooms with students of all ages.
Creative Guiding Structures
Speaker: Feinstein
Location: 319 in the Stevenson Union
Abstract: I present evidence and a model describing the role of conceptual guiding structures in the creative process. Guiding structures are high level conceptual structures that help individuals navigate in rich, complex environments. Examples include guiding principles and imaginative conceptions. The richness of the environment in which creative individuals function‚ vast creative possibilities‚ has not been fully appreciated or developed in creativity studies. The environment can be modeled as a knowledge structure with elements arrayed in a lattice-like hierarchy. In this context a guiding structure is a set of elements, mainly higher level, that generates (and may constrain) creative possibilities. In the model I develop individuals intuit a high value guiding structure in a first stage. Then they explore possibilities developed from their guiding structure, experimenting with a sequence of projects; in addition, their thinking may branch out to related elements, fitting the notion of creativity as expanding activation. Examples of individuals whose creative processes fit the model that I discuss include Virginia Woolf, biochemist Hans Krebs, Piet Mondrian, and Lynn Conway (co-founder of VLSI nomenclature). I have also begun a creativity experiment focusing on the role of guiding structures in supporting creativity. We are soliciting novice writers and artistic photographers on the web. The experimental group is asked to formulate guiding structures, while the control group is not (there are additional prompts to create a balanced experimental environment). We then gather data over several months to test whether having been asked to develop a guiding structure influences creative outcomes.
Measuring Industry Relevance
Speaker: Weir
Location: 313 in the Stevenson Union
Abstract: Industry relevance is an essential element of all educational delivery. In some teaching areas, relevance (or currency) is determined by professional accreditation or industry groups. However, in the Creative Industries, no such measures are in place. As a result, assessing industry relevance is a subjective task and open to dispute. This research endeavoured to create an object model that was both transparent and fair and could be adapted to any discipline. For the purpose of this research, “industry currency” was defined as: "Industry currency requires an awareness and understanding of industry-related skills and knowledge, innovations, organisational culture, people, structures and networks. Industry currency refers to keeping up-to-date in an industry and/or discipline areas. It focuses on retaining, updating, and if necessary, broadening the competence required to deliver and assess in vocational education and training". This definition builds on the work of Moy (2001), Guthrie (2010), and Callan (2006). The model that was developed has undergone early testing and has been shown to inform not only managers but also teaching staff. The model has guided professional development and creative output by showing which activities are more valued by peers and colleagues across the discipline.
Mathematics For The Creative Mind
Speaker: McAnallen
Location: Diversions in the Stevenson Union
Abstract: Many learners of all ages have memorized mathematical procedures (know how) without the conceptual understanding (know why) that underlies the algorithms. Consequently, they equate mathematics with computational memorization and believe that math is dull, boring, and even scary. This presentation will demonstrate how conceptual mathematics can be creative, exciting, and downright beautiful. It will also help teachers and parents motivate their students and children to fall in love with mathematics without the use of multiple worksheets. It is important that those attending this presentation bring their sense of humor and be prepared to laugh.
Speaker: Michael Mumford, University of Oklahoma
Location: Rogue River Room in the Stevenson Union
Abstract: Creativity is not simply a matter of generating ideas. Instead, creativity is defined as the production of high quality, original, and elegant solutions to complex, novel, ill-defined problems. Thus creativity can be viewed as special form of problem solving. In this talk we will discuss the key processes that people must execute to generate creative problem solutions. The types of knowledge people employ in these problem solving efforts will be considered. In addition characteristics of problems that all or call for creative problem solving will be discussed.
Creative Classrooms!
Speaker: Charlebois
Location: 323 in the Stevenson Union
Abstract: Sir Ken Robinson defines creativity as “the process of having original ideas that have value.” Creativity in schools has long been looked at as a skill that lives exclusively in the domain of the Arts, but as schools continue to focus more and more on 21st century skills such as creativity, imagination and innovation, teachers are grappling with how they can support students in developing their creative thinking skills in all subjects. How can we as teachers move beyond simply telling students to “be creative” and implement strategies to help students develop the skills they need to think creatively? This workshop will provide practical, active strategies for teachers to use in their classrooms with students of all ages.
Creative Guiding Structures
Speaker: Feinstein
Location: 319 in the Stevenson Union
Abstract: I present evidence and a model describing the role of conceptual guiding structures in the creative process. Guiding structures are high level conceptual structures that help individuals navigate in rich, complex environments. Examples include guiding principles and imaginative conceptions. The richness of the environment in which creative individuals function‚ vast creative possibilities‚ has not been fully appreciated or developed in creativity studies. The environment can be modeled as a knowledge structure with elements arrayed in a lattice-like hierarchy. In this context a guiding structure is a set of elements, mainly higher level, that generates (and may constrain) creative possibilities. In the model I develop individuals intuit a high value guiding structure in a first stage. Then they explore possibilities developed from their guiding structure, experimenting with a sequence of projects; in addition, their thinking may branch out to related elements, fitting the notion of creativity as expanding activation. Examples of individuals whose creative processes fit the model that I discuss include Virginia Woolf, biochemist Hans Krebs, Piet Mondrian, and Lynn Conway (co-founder of VLSI nomenclature). I have also begun a creativity experiment focusing on the role of guiding structures in supporting creativity. We are soliciting novice writers and artistic photographers on the web. The experimental group is asked to formulate guiding structures, while the control group is not (there are additional prompts to create a balanced experimental environment). We then gather data over several months to test whether having been asked to develop a guiding structure influences creative outcomes.
Measuring Industry Relevance
Speaker: Weir
Location: 313 in the Stevenson Union
Abstract: Industry relevance is an essential element of all educational delivery. In some teaching areas, relevance (or currency) is determined by professional accreditation or industry groups. However, in the Creative Industries, no such measures are in place. As a result, assessing industry relevance is a subjective task and open to dispute. This research endeavoured to create an object model that was both transparent and fair and could be adapted to any discipline. For the purpose of this research, “industry currency” was defined as: "Industry currency requires an awareness and understanding of industry-related skills and knowledge, innovations, organisational culture, people, structures and networks. Industry currency refers to keeping up-to-date in an industry and/or discipline areas. It focuses on retaining, updating, and if necessary, broadening the competence required to deliver and assess in vocational education and training". This definition builds on the work of Moy (2001), Guthrie (2010), and Callan (2006). The model that was developed has undergone early testing and has been shown to inform not only managers but also teaching staff. The model has guided professional development and creative output by showing which activities are more valued by peers and colleagues across the discipline.
Mathematics For The Creative Mind
Speaker: McAnallen
Location: Diversions in the Stevenson Union
Abstract: Many learners of all ages have memorized mathematical procedures (know how) without the conceptual understanding (know why) that underlies the algorithms. Consequently, they equate mathematics with computational memorization and believe that math is dull, boring, and even scary. This presentation will demonstrate how conceptual mathematics can be creative, exciting, and downright beautiful. It will also help teachers and parents motivate their students and children to fall in love with mathematics without the use of multiple worksheets. It is important that those attending this presentation bring their sense of humor and be prepared to laugh.
12:00pm - 1:00pm Lunch
Location of the Hawk, recommendations for other lunch options. Information about meal tickets.
1:15pm - 2:15pm Panels
An urgent call for stronger and more robust cooperation between disciplines in creativity studies
Speakers: Fisher
Location: 323 in the Stevenson Union
Abstract: Understanding creativity from only one vantage point will never provide a necessary, satisfactory answer. Much as we were not able to describe cognition in the realm of one discipline, so too are we not able to crack the enigma of creativity by only using one set of tools. In this talk I will share a few remarks about the current state of creativity, collected from a wide range of disciplines and published on The Creativity Post—a thriving, multidisciplinary platform dedicated to understanding creativity from a variety of different perspectives. Mainly, I will focus my talk on the progress made in "algorithmic" approaches to creativity, including computational creativity, creative AI and philosophy of mind. I will also explore the difficult questions left unanswered by psychology that have left us stumped when attempting to teach creativity in the classroom and in the boardroom. I co-founded The Creativity Post in 2011 as a place to integrate distinct perspectives and their methodological approaches. Here I will propose that a tension between ontological and epistemological frameworks can produce a body of knowledge that is at once rigorous, applicable and relevant. I hope to engage the audience in this multifaceted discussion about new methods and their value for creativity studies as a whole.
International creativities research in economic, education and trade policy
Speakers: Harris
Location: 319 in the Stevenson Union
Abstract: This panel brings a multinational lens to examining changes and current trends in creativities education and creative industries policy in our respective countries. Drawing on emerging theoretical and empirical work from Denmark, the UK, and the Asia Pacific region, the panelists track a current global ‘creative turn’ that alternately includes and elides arts practices in education and workplace contexts. The commodification of creativity discourses and its increasing centrality in workforce policy debate is not always reflected in education practices or policy. These panelists weave current research on intercultural creativities across the Asia Pacific and its role in regional trade; gendered participation in diverse creativities across education sectors and creative industries in the UK; and Danish government school reform, all of which look at how creativity policies engage (or not) schools, cultural institutions and artists.
The Arts, Creativity, Cognition, and Learning: A National Endowment for the Arts Research Lab
Speakers: Novak-Leonard
Location: 313 in the Stevenson Union
Abstract: Understanding how to foster creativity is an imperative that cuts across many dimensions of social policy, including education, workforce, the economy, and urban and community development. How do self-perceptions of arts-based and other domains of creativity intersect with self-perceptions of agency, which is a fundamental component underlying multiple areas of social policy. To explore and test relationships between arts-based creativity and broader types of creativity, this inaugural National Endowment for the Arts’ Research Lab is conducting a survey with a probability-based panel representative of the U.S. population survey to examine the relationships between arts participation and other forms and “domains” of creativity, measured by habits of behavior and self-perception, and stratified by socioeconomic and demographic characteristics. This presentation will report on the survey’s methods, results, and reactions to this translational research.
Filmmaking Practice Re-conceptualised through Creativity Theories
Speakers: Kerrigan
Location: Diversions
Abstract: Film is a creative product and filmmaking is a creative practice and this research, draws on inquiries conducted from the filmmaker's perspectives which find the practitioner's internalisation and embodiment of creative practice is central to the filmmaking system (Kerrigan 2016). The primary theory used to frame this practice-led filmmaking research has been Csikszentmihalyi's systems model of creativity, though Paulus and Nijstad's group creativity and Wallas' staged creative process theories are also used to describe how practice collides with processes, idea generation, skill development, collaboration and group work (Kerrigan & McIntyre 2010). By shifting the focus away from the individual's idiosyncratic background, and refocusing on the filmmakers social and cultural interactions, the systems model provides a language by which the selection, stimulation and transmission of novelty is made possible through filmmaking as a creative practice. Creativity is a complex phenomenon, a multifactorial system which when described as a practice requires a confluence approach. This paper presents creativity from a filmmaking practitioner's position and offers one way to translate these theoretical languages into the practical and creative processes of filmmaking.
TITLE
Speaker: Markus Bensen
Location: Arena in the Stevenson Union
Abstract:
Speakers: Fisher
Location: 323 in the Stevenson Union
Abstract: Understanding creativity from only one vantage point will never provide a necessary, satisfactory answer. Much as we were not able to describe cognition in the realm of one discipline, so too are we not able to crack the enigma of creativity by only using one set of tools. In this talk I will share a few remarks about the current state of creativity, collected from a wide range of disciplines and published on The Creativity Post—a thriving, multidisciplinary platform dedicated to understanding creativity from a variety of different perspectives. Mainly, I will focus my talk on the progress made in "algorithmic" approaches to creativity, including computational creativity, creative AI and philosophy of mind. I will also explore the difficult questions left unanswered by psychology that have left us stumped when attempting to teach creativity in the classroom and in the boardroom. I co-founded The Creativity Post in 2011 as a place to integrate distinct perspectives and their methodological approaches. Here I will propose that a tension between ontological and epistemological frameworks can produce a body of knowledge that is at once rigorous, applicable and relevant. I hope to engage the audience in this multifaceted discussion about new methods and their value for creativity studies as a whole.
International creativities research in economic, education and trade policy
Speakers: Harris
Location: 319 in the Stevenson Union
Abstract: This panel brings a multinational lens to examining changes and current trends in creativities education and creative industries policy in our respective countries. Drawing on emerging theoretical and empirical work from Denmark, the UK, and the Asia Pacific region, the panelists track a current global ‘creative turn’ that alternately includes and elides arts practices in education and workplace contexts. The commodification of creativity discourses and its increasing centrality in workforce policy debate is not always reflected in education practices or policy. These panelists weave current research on intercultural creativities across the Asia Pacific and its role in regional trade; gendered participation in diverse creativities across education sectors and creative industries in the UK; and Danish government school reform, all of which look at how creativity policies engage (or not) schools, cultural institutions and artists.
The Arts, Creativity, Cognition, and Learning: A National Endowment for the Arts Research Lab
Speakers: Novak-Leonard
Location: 313 in the Stevenson Union
Abstract: Understanding how to foster creativity is an imperative that cuts across many dimensions of social policy, including education, workforce, the economy, and urban and community development. How do self-perceptions of arts-based and other domains of creativity intersect with self-perceptions of agency, which is a fundamental component underlying multiple areas of social policy. To explore and test relationships between arts-based creativity and broader types of creativity, this inaugural National Endowment for the Arts’ Research Lab is conducting a survey with a probability-based panel representative of the U.S. population survey to examine the relationships between arts participation and other forms and “domains” of creativity, measured by habits of behavior and self-perception, and stratified by socioeconomic and demographic characteristics. This presentation will report on the survey’s methods, results, and reactions to this translational research.
Filmmaking Practice Re-conceptualised through Creativity Theories
Speakers: Kerrigan
Location: Diversions
Abstract: Film is a creative product and filmmaking is a creative practice and this research, draws on inquiries conducted from the filmmaker's perspectives which find the practitioner's internalisation and embodiment of creative practice is central to the filmmaking system (Kerrigan 2016). The primary theory used to frame this practice-led filmmaking research has been Csikszentmihalyi's systems model of creativity, though Paulus and Nijstad's group creativity and Wallas' staged creative process theories are also used to describe how practice collides with processes, idea generation, skill development, collaboration and group work (Kerrigan & McIntyre 2010). By shifting the focus away from the individual's idiosyncratic background, and refocusing on the filmmakers social and cultural interactions, the systems model provides a language by which the selection, stimulation and transmission of novelty is made possible through filmmaking as a creative practice. Creativity is a complex phenomenon, a multifactorial system which when described as a practice requires a confluence approach. This paper presents creativity from a filmmaking practitioner's position and offers one way to translate these theoretical languages into the practical and creative processes of filmmaking.
TITLE
Speaker: Markus Bensen
Location: Arena in the Stevenson Union
Abstract:
2:30pm - 3:10pm Invited address & concurrent sessions
TITLE
Speaker: Michelle Root-Bernstein
Location: Rogue River Room in the Stevenson Union
Abstract: I explore creativity in two ways: by objective study of imaginative thinking, play, and polymathy among productive individuals and by subjective practice of these skills and strategies in haiku and related haiku arts. Along with Robert Root-Bernstein, I take as given that creative behaviors promote the reformulation of ideas and processes within and across fields of activity. Our current joint research focuses on polymathy, the purposeful development of unusual breadth and focused depth within a single discipline or across multiple, diverse disciplines. Of particular interest to us is the manner in which a polymath integrates vocational as well as avocational interests into an idiosyncratic whole conducive to creative production. In a recent solo study of MacArthur Fellows, I examine how complex play can provide a permissive space for polymathic endeavor. The interpenetration of work and play enables the questioning of received knowledge, the recombination of ideas, and the transfer of techniques to novel effect. Together Bob and I use our ongoing study of Nobel laureates to characterize polymathy at the highest levels of creative endeavor. I use my haiku practice to consider how avocation, play, transfer, and other “game plans” affect creative fulfillment in the everyday world.
What to say when someone asks you what you do. Answering the nagging creativity questions.
Speaker: Firestien
Location: 319 in the Stevenson Union
Abstract: What does a doctor, a teacher, a government leader, an advertising executive, a priest and a farmer all have in common? They are all using Creative Problem Solving methods to create breakthroughs in their professions. Has this every happened to you? You tell someone that you are in the creativity field, and you get this response. “Creativity? Oh, you mean basket weaving?‚ “Creativity? Oh, I’m not creative. I’m not an artist‚ “Creativity? You can TEACH someone to be creative?” In this session, you will learn how deliberate creativity is being used in medicine, education, government, business, agriculture and the church. Using those examples, you will develop a strategy to answer those nagging questions and highlight the benefits of the work you do in creativity. Participants attending this session will be given access to the video series showing applications of Creative Problem Solving in a variety of fields. They can use this video series to demonstrate the value of deliberate creativity.
Speaker: Michelle Root-Bernstein
Location: Rogue River Room in the Stevenson Union
Abstract: I explore creativity in two ways: by objective study of imaginative thinking, play, and polymathy among productive individuals and by subjective practice of these skills and strategies in haiku and related haiku arts. Along with Robert Root-Bernstein, I take as given that creative behaviors promote the reformulation of ideas and processes within and across fields of activity. Our current joint research focuses on polymathy, the purposeful development of unusual breadth and focused depth within a single discipline or across multiple, diverse disciplines. Of particular interest to us is the manner in which a polymath integrates vocational as well as avocational interests into an idiosyncratic whole conducive to creative production. In a recent solo study of MacArthur Fellows, I examine how complex play can provide a permissive space for polymathic endeavor. The interpenetration of work and play enables the questioning of received knowledge, the recombination of ideas, and the transfer of techniques to novel effect. Together Bob and I use our ongoing study of Nobel laureates to characterize polymathy at the highest levels of creative endeavor. I use my haiku practice to consider how avocation, play, transfer, and other “game plans” affect creative fulfillment in the everyday world.
What to say when someone asks you what you do. Answering the nagging creativity questions.
Speaker: Firestien
Location: 319 in the Stevenson Union
Abstract: What does a doctor, a teacher, a government leader, an advertising executive, a priest and a farmer all have in common? They are all using Creative Problem Solving methods to create breakthroughs in their professions. Has this every happened to you? You tell someone that you are in the creativity field, and you get this response. “Creativity? Oh, you mean basket weaving?‚ “Creativity? Oh, I’m not creative. I’m not an artist‚ “Creativity? You can TEACH someone to be creative?” In this session, you will learn how deliberate creativity is being used in medicine, education, government, business, agriculture and the church. Using those examples, you will develop a strategy to answer those nagging questions and highlight the benefits of the work you do in creativity. Participants attending this session will be given access to the video series showing applications of Creative Problem Solving in a variety of fields. They can use this video series to demonstrate the value of deliberate creativity.
3:20PM - 4:00PM INVITED ADDRESS & CONCURRENT SESSIONS
TITLE
Speaker: Robert Root-Bernstein
Location: Rogue River Room in the Stevenson Union
Abstract:
The Liminal Teacher: Designing the Creative Classroom
Speaker: Johnson-Davis
Location: 323 in the Stevenson Union
Abstract: Creative learning environments are often chaotic, messy, and noisy spaces that run counter to the typical standardized and managed classroom. As classroom spaces work toward becoming increasingly more creative and innovative by adopting maker, project-based and personalized learning methods, educators will need to become more comfortable in the liminal, “betwixt and between,” spaces that these learning environments present. Additionally, administrators who are tasked to encourage divergent thinking in the classroom to align with innovation and creativity outcomes threaded through Common Core and 21st Century Learning standards will need to develop a deeper understanding of the professional development needs and supports for nurturing the creative “liminal” teacher that provides for flexibility in the classroom and within curriculum. Informed from the researcher’s work in a project-based learning school and findings from a three-year longitudinal study of creativity of an elementary-arts organization collaboration, this presentation presents a framework for designing the creative classroom which includes 1) Entering the Void‚ understanding a teacher’s personal level of creativity; 2) Working through the Mess‚ becoming comfortable in the creative space; and 3) Practicing Curiosity‚ the heart of the collaborative creative space.
Post-disaster creative idea enactment: who's ready?
Speaker: Cameron
Location: 319 in the Stevenson Union
Abstract: Those who enact creative ideas in a post-disaster setting may fit into one of two groups: seasoned opportunists or those who find themselves suddenly ‘at home’ in a de-stabilized community. It is the second group that is of particular interest. This exploratory, qualitative study of the influences and impacts on creative idea enactment in post-earthquakes Christchurch, New Zealand found that some personality traits, like extraversion, considered valuable in the enterprise activation process in ‘normal’ contexts, may not be essential post-disaster. This could be because ‘Mother Nature’ has already done much of the groundwork in establishing a need for new approaches and ideas. In contrast, qualities associated with the trait of agreeableness, while contributing to motivation, can ultimately be a hindrance to longer term enactment of creative ideas.
After a disaster, some individuals seem almost instantly able to enact ideas that will benefit the affected community. In a post-shock setting, unique ideas‚ that might be feared or shunned in a more routine setting‚ seem to be readily accepted. Perhaps, creative individuals, those with a less conventional mind set or lifestyle, who may have felt like an ‘outsider’, thrive after a disaster. Perhaps they are pre-adapted to instability and therefore ready to act in a post-disaster environment when others are not. Findings from the interview data of 45 participants involved in enacting creative ideas in the Christchurch setting, have revealed there may be much to learn from investigating the personalities and influences of those who choose to act creatively after a disaster.
Neuro Hacking Creativity, 21 Days to a more Creative You: How to Understand, Increase and Implement the 7 Steps of the Creative Process.
Speaker: Diluzio
Location: 313 in the Stevenson Union
Abstract: This talk will deliver concepts, tools and process to "neuro hack" creativity in 21 days. The focus is on the Creative Thinking Process (CTP) and delivers modalities and tools for innovation and creative problem solving through enhancing (hacking) divergent, lateral and design thinking and how to understand, identify and overcome functional fixedness. Participants will be given the 21 day "neuro-hack to a more creative you" exercises as well as additional tools and materials to help internalize these concepts and continue to explore CTP. Drawing from ideas reaching back to Plato's Theaetetus, the creative process is divided into seven discrete stages. Although many scientists invoke the creative process in their work regularly, the assertion is that learning the creative process and practicing creative-process thinking can help STEM and non-art faculty, students and individuals to invoke this process more fluidly, expediently, and effectively. Initial feedback from my research indicates that those who have participated in the workshops, class and/or practice the 21 day neuro hacks, report an increase in, creativity, understanding of the creative thinking process and increased comfort level with incorporating associated concepts tools and processes into their work, disciplines and classes, among other things. Again this talk will present concepts, tools and processes that if practiced 30 minutes a day or less will markedly improve and individuals Creative Thinking Process.
Speaker: Robert Root-Bernstein
Location: Rogue River Room in the Stevenson Union
Abstract:
The Liminal Teacher: Designing the Creative Classroom
Speaker: Johnson-Davis
Location: 323 in the Stevenson Union
Abstract: Creative learning environments are often chaotic, messy, and noisy spaces that run counter to the typical standardized and managed classroom. As classroom spaces work toward becoming increasingly more creative and innovative by adopting maker, project-based and personalized learning methods, educators will need to become more comfortable in the liminal, “betwixt and between,” spaces that these learning environments present. Additionally, administrators who are tasked to encourage divergent thinking in the classroom to align with innovation and creativity outcomes threaded through Common Core and 21st Century Learning standards will need to develop a deeper understanding of the professional development needs and supports for nurturing the creative “liminal” teacher that provides for flexibility in the classroom and within curriculum. Informed from the researcher’s work in a project-based learning school and findings from a three-year longitudinal study of creativity of an elementary-arts organization collaboration, this presentation presents a framework for designing the creative classroom which includes 1) Entering the Void‚ understanding a teacher’s personal level of creativity; 2) Working through the Mess‚ becoming comfortable in the creative space; and 3) Practicing Curiosity‚ the heart of the collaborative creative space.
Post-disaster creative idea enactment: who's ready?
Speaker: Cameron
Location: 319 in the Stevenson Union
Abstract: Those who enact creative ideas in a post-disaster setting may fit into one of two groups: seasoned opportunists or those who find themselves suddenly ‘at home’ in a de-stabilized community. It is the second group that is of particular interest. This exploratory, qualitative study of the influences and impacts on creative idea enactment in post-earthquakes Christchurch, New Zealand found that some personality traits, like extraversion, considered valuable in the enterprise activation process in ‘normal’ contexts, may not be essential post-disaster. This could be because ‘Mother Nature’ has already done much of the groundwork in establishing a need for new approaches and ideas. In contrast, qualities associated with the trait of agreeableness, while contributing to motivation, can ultimately be a hindrance to longer term enactment of creative ideas.
After a disaster, some individuals seem almost instantly able to enact ideas that will benefit the affected community. In a post-shock setting, unique ideas‚ that might be feared or shunned in a more routine setting‚ seem to be readily accepted. Perhaps, creative individuals, those with a less conventional mind set or lifestyle, who may have felt like an ‘outsider’, thrive after a disaster. Perhaps they are pre-adapted to instability and therefore ready to act in a post-disaster environment when others are not. Findings from the interview data of 45 participants involved in enacting creative ideas in the Christchurch setting, have revealed there may be much to learn from investigating the personalities and influences of those who choose to act creatively after a disaster.
Neuro Hacking Creativity, 21 Days to a more Creative You: How to Understand, Increase and Implement the 7 Steps of the Creative Process.
Speaker: Diluzio
Location: 313 in the Stevenson Union
Abstract: This talk will deliver concepts, tools and process to "neuro hack" creativity in 21 days. The focus is on the Creative Thinking Process (CTP) and delivers modalities and tools for innovation and creative problem solving through enhancing (hacking) divergent, lateral and design thinking and how to understand, identify and overcome functional fixedness. Participants will be given the 21 day "neuro-hack to a more creative you" exercises as well as additional tools and materials to help internalize these concepts and continue to explore CTP. Drawing from ideas reaching back to Plato's Theaetetus, the creative process is divided into seven discrete stages. Although many scientists invoke the creative process in their work regularly, the assertion is that learning the creative process and practicing creative-process thinking can help STEM and non-art faculty, students and individuals to invoke this process more fluidly, expediently, and effectively. Initial feedback from my research indicates that those who have participated in the workshops, class and/or practice the 21 day neuro hacks, report an increase in, creativity, understanding of the creative thinking process and increased comfort level with incorporating associated concepts tools and processes into their work, disciplines and classes, among other things. Again this talk will present concepts, tools and processes that if practiced 30 minutes a day or less will markedly improve and individuals Creative Thinking Process.
4:10PM - 5:10PM KEYNOTE ADDRESS - ROBERT STERNBERG
Save the World!: We Don’t Just Need Smarter or Even More Creative Kids—We Need Wiser Ones Too
Speaker: Robert Sternberg, Cornell University
Location: Rogue River Room in the Stevenson Union
Abstract: Psychologists and educators have made a serious category mistake, first in studying intelligence and then in studying creativity in isolation. Creativity, like intelligence, can be beneficial to humankind, but it also can be enormously destructive, whether through ever more powerful physical armaments or through ever more powerful social armaments-- our own social media currently being used by authoritarian governments in a so-far partially successful attempt to destroy our democratic institutions. In a similar way, the same intelligence and creativity that have brought us cellphones also have produced a society that is ever more economically stratified, with the “haves” creating innovative and powerful structures that chronically disadvantage the have-nots. In the absence of wisdom, creativity and intelligence both can be destructive as well as constructive forces. We need to develop in our children the creativity to generate novel and useful ideas, the intelligence to ensure that they are good ideas, but most of all, the wisdom to ensure that the ideas help to produce a common good, and not just a good for the already advantaged. We need to study and develop wisdom, intelligence, and creativity, synthesized (WICS), not just any one in isolation.
Speaker: Robert Sternberg, Cornell University
Location: Rogue River Room in the Stevenson Union
Abstract: Psychologists and educators have made a serious category mistake, first in studying intelligence and then in studying creativity in isolation. Creativity, like intelligence, can be beneficial to humankind, but it also can be enormously destructive, whether through ever more powerful physical armaments or through ever more powerful social armaments-- our own social media currently being used by authoritarian governments in a so-far partially successful attempt to destroy our democratic institutions. In a similar way, the same intelligence and creativity that have brought us cellphones also have produced a society that is ever more economically stratified, with the “haves” creating innovative and powerful structures that chronically disadvantage the have-nots. In the absence of wisdom, creativity and intelligence both can be destructive as well as constructive forces. We need to develop in our children the creativity to generate novel and useful ideas, the intelligence to ensure that they are good ideas, but most of all, the wisdom to ensure that the ideas help to produce a common good, and not just a good for the already advantaged. We need to study and develop wisdom, intelligence, and creativity, synthesized (WICS), not just any one in isolation.
5:00PM - 6:00PM SOCIAL HOUR-SCHNEIDER MUSEUM
Saturday, August 4th, 2018
Creativity Conference - Day 2
7:00am check-in begins
Parking info map of parking click here, you can also find a map of campus click here).
Check-In Process: photo ID and eTicket or printed ticket will be needed in order to check in. During check-in, you will recieve a packet containing your name tag, meal information, room information (if applicable), and other conference information.
Check-In Process: photo ID and eTicket or printed ticket will be needed in order to check in. During check-in, you will recieve a packet containing your name tag, meal information, room information (if applicable), and other conference information.
8:00am - 9:15am Short presentations
Novelty Seeking, Torrance Tests of Creative Thinking (TTCT), Problem Finding, Theories of Creativity, Tolerance of Ambiguity (TA)
Speakers: Golowska, Acar, Abdulla, Abdulla, de Vries
Location: 323 in the Stevenson Union
TITLE:
Speakers: Hill, Celume, C. Mayer, Ockuly, C. Mayer
Location: 319 in the Stevenson Union
TITLE:
Speakers: Koert, Miller, Tadik, Gliniecka, Akutsa
Location: 313 in the Stevenson Union
TITLE:
Speakers: Shimizu, Ravignani, Koehorst, Puente-Diaz, Vero Richards
Location: Diversions in the Stevenson Union
Speakers: Golowska, Acar, Abdulla, Abdulla, de Vries
Location: 323 in the Stevenson Union
TITLE:
Speakers: Hill, Celume, C. Mayer, Ockuly, C. Mayer
Location: 319 in the Stevenson Union
TITLE:
Speakers: Koert, Miller, Tadik, Gliniecka, Akutsa
Location: 313 in the Stevenson Union
TITLE:
Speakers: Shimizu, Ravignani, Koehorst, Puente-Diaz, Vero Richards
Location: Diversions in the Stevenson Union
9:30am - 10:30am panels
TITLE:
Speaker: Bensenes
Location: 323 in the Stevenson Union
Abstract:
Identifying and Building Creative Industry Leaders
Speaker: O'Neal
Location: 319 in the Stevenson Union
Abstract: Creative, cutting edge industries require a culture that attracts top talent. Learn to identify and build exceptional creative leaders both by drawing in unprecedented talent, and by identifying the best potential leaders from the talent pool of your own company. Creative industries carefully hire talented staff; but often don't know how to spot or assemble teams of mid-level and junior staff members who will one day serve as senior leadership, taking creative industries to the next level. Learn to find this talent and create employee experience that drives retention. This workshop based on data-driven evidence presents strategies for creative industries to identify, train, and build a highly productive and engaged workforce, drive workforce innovation in the experience economy, and stay ahead in an increasingly competitive talent environment.
Intellectual foundation by Idea-Marathon from kindergarten to graduate school
Speaker: Higuchi
Location: 313 in the Stevenson Union
Abstract: In this paper, we propose a new method for creative foundation for various stages in education by Idea-Marathon System (IMS), founded by Higuchi in 1984. Three months IMS, making habits of “thinking and writing down” will not only increase students’creative confidence but experience continuity power and even cure helplessness in the class. IMS includes special “Continuation Support System” for students, advised directly by the author and professors in charge.
When Quantity is Better than Quality: Journal Grading and Creative Performance
Speaker: Machin
Location: Diversions in the Stevenson Union
Abstract: This research examines the potential for reflective journaling to help students improve their creativity skills and identifies a grading approach that minimizes faculty burden and removes grading subjectivity. Students were informed that a semester-long journal would be graded by either a traditional written rubric, a pictorial rubric or the quantity of pages completed. To examine improvement in creative performance, the Figural Torrance® Test of Creative Thinking (TTCT) was administered at the beginning and end of the semester. Findings support the value of journaling, especially when the quantity, not quality, of journal writing determines the grade. Repeated measures ANOVA with grading condition as the between-subjects independent variable and the pre and post-TTCT Creativity Index (CI) scores as the within-subjects factor reveals a significant main effect (F(65,1)=38.56, p<.0001) such that the post CI scores were higher for all class sections (mpre = 113.7 (13.76); mpost = 123.91 (14.87). More importantly, the interaction between the pre-post scores and grading condition was significant (F(65,2) = 3.47, p=.037). As predicted, students in the quantity condition achieved a significantly higher pre-post TTCT CI increase compared to the other two grading conditions (F(65,1) = 4.93, p < 0.023). Mediation analyses find that the number of pages written mediates the relationship between grading condition and TTCT CI score. Grading on quantity reduces the subjectivity inherent in typical journal evaluation and encourages more frequent entries, giving students more opportunities to practice skills that support creativity. Focusing on quantity also minimizes the instructor's grading workload.
Speaker: Bensenes
Location: 323 in the Stevenson Union
Abstract:
Identifying and Building Creative Industry Leaders
Speaker: O'Neal
Location: 319 in the Stevenson Union
Abstract: Creative, cutting edge industries require a culture that attracts top talent. Learn to identify and build exceptional creative leaders both by drawing in unprecedented talent, and by identifying the best potential leaders from the talent pool of your own company. Creative industries carefully hire talented staff; but often don't know how to spot or assemble teams of mid-level and junior staff members who will one day serve as senior leadership, taking creative industries to the next level. Learn to find this talent and create employee experience that drives retention. This workshop based on data-driven evidence presents strategies for creative industries to identify, train, and build a highly productive and engaged workforce, drive workforce innovation in the experience economy, and stay ahead in an increasingly competitive talent environment.
Intellectual foundation by Idea-Marathon from kindergarten to graduate school
Speaker: Higuchi
Location: 313 in the Stevenson Union
Abstract: In this paper, we propose a new method for creative foundation for various stages in education by Idea-Marathon System (IMS), founded by Higuchi in 1984. Three months IMS, making habits of “thinking and writing down” will not only increase students’creative confidence but experience continuity power and even cure helplessness in the class. IMS includes special “Continuation Support System” for students, advised directly by the author and professors in charge.
When Quantity is Better than Quality: Journal Grading and Creative Performance
Speaker: Machin
Location: Diversions in the Stevenson Union
Abstract: This research examines the potential for reflective journaling to help students improve their creativity skills and identifies a grading approach that minimizes faculty burden and removes grading subjectivity. Students were informed that a semester-long journal would be graded by either a traditional written rubric, a pictorial rubric or the quantity of pages completed. To examine improvement in creative performance, the Figural Torrance® Test of Creative Thinking (TTCT) was administered at the beginning and end of the semester. Findings support the value of journaling, especially when the quantity, not quality, of journal writing determines the grade. Repeated measures ANOVA with grading condition as the between-subjects independent variable and the pre and post-TTCT Creativity Index (CI) scores as the within-subjects factor reveals a significant main effect (F(65,1)=38.56, p<.0001) such that the post CI scores were higher for all class sections (mpre = 113.7 (13.76); mpost = 123.91 (14.87). More importantly, the interaction between the pre-post scores and grading condition was significant (F(65,2) = 3.47, p=.037). As predicted, students in the quantity condition achieved a significantly higher pre-post TTCT CI increase compared to the other two grading conditions (F(65,1) = 4.93, p < 0.023). Mediation analyses find that the number of pages written mediates the relationship between grading condition and TTCT CI score. Grading on quantity reduces the subjectivity inherent in typical journal evaluation and encourages more frequent entries, giving students more opportunities to practice skills that support creativity. Focusing on quantity also minimizes the instructor's grading workload.
10:45AM - 11:30AM Concurrent sessions
Creative Pursuit in Small Groups: Investigating the Effects of Group Creative Dynamics on Creative Anxiety, Creative Motivation and Creative Performance
Speaker: Wang
Location: 323 in the Stevenson Union
Abstract: Despite the mounting research interest in group creativity today, very little attention in creativity research has been paid to the issue of how group dynamics in a creative task affects an individual’s affective perceptions of the task and task outcomes. To bridge this gap, this study aimed to probe the relationships of English-as-a-Foreign-Language (EFL) learners’ group creative dynamics to their creative anxiety, creative motivation and performances in a creative story-writing task. The purpose of this presentation is two-fold. First, it will report on the development and validation of a team innovation inventory that assesses learners’ group dynamics in creative tasks. Second, it will delineate the methodology and results of the main study. In this part, 80 university freshmen completed the team innovation inventory, Abbreviated Torrance Tests for Adults, a creative anxiety survey, a creative motivation survey, and the story-writing task. Their creative stories were later evaluated by a group of university English teachers on two dimension, creativity and linguistic accuracy. The participants’ responses to the surveys and their writing scores were analyzed to address three research issues: (1) Is group creative dynamics significantly related to an individual’s creative anxiety, creative motivation and creative performance? (2) Does creative anxiety mediate the relationship between group creative dynamics and creative performance? (3) Does creative motivation mediate the relationship between group creative dynamics and creative performance? Overall, this study intends to shed new light on research into group creativity and provide pedagogical implications as to how to enhance group creative dynamics in EFL classrooms.
TITLE:
Speaker: Li
Location: 319 in the Stevenson Union
Abstract:
TITLE:
Speaker: Cheng (Mo Yin)
Location: 313 in the Stevenson Union
Abstract:
Statistical Analysis of the Four C Model of Creativity
Speaker: Bart
Location: Diversions in the Stevenson Union
Abstract: Kaufmann and Beghetto (2009) proposed the Four C model of creativity that posited four types of creativity ranging from modest personal creativity such as boiling rutabaga to momentous professional creativity such as the Calculus of Newton: (1) mini-c; (2) little-c; (3) pro-C: and (4) Big-C. A 48-item survey was constructed with 12 items related to each of the four types of creativity. Eight blocks of six items each were arranged randomly and were provided to participants online. Participants responded to each item by indicating whether the creative activity cited in the item is "Extremely creative", "Very creative", "Creative", "Somewhat creative", or "Not at all creative". There were two studies using the item survey. Study 1 involved 61 adult participants and Study 2 involved 83 adult participants, including students and non-students. The survey item data for each of the four 12-item categories in each of the two studies was subjected to exploratory factor analysis including Principal Axis Factoring with Varimax Rotation (PAFVR) and confirmatory factor analysis including Maximum Likelihood Factor Analysis (MLFA). The Four C model would suggest that each of the four categories of 12-item would have a unifactor structure. All of the factor analyses performed provided evidence that each of the four categories of 12-items in each of the two studies has a multiple-factor structure. Both studies provided clear evidence to disconfirm the Four C model of Kaufmann and Beghetto. The proposed presentation will review the factor analyses and the educational and psychological implications of the two studies.
Worlds of experience in creating, performing and enjoying the arts
Speaker: Doyle
Location: Diversions in the Stevenson Union
Abstract: Experiences of creating, performing and enjoying the arts are often deeply satisfying--even if the content is sad. How can acting in tragic plays, listening to sad music, writing about the death of a beloved character be satisfying? This presentation turns to the work of Alfred Schutz and some related research for some answers. Schutz, the phenomenologist, described experience as taking place in different provinces of meaning, each with distinctive properties with respect to sense of self, time, sociality, epoche (what is taken for granted), typical form of action, and wide-awakeness to the everyday world. The arts transport creators, performers, and enrapt audiences into various aesthetic worlds for sustained periods. We will look at how these worlds differ from the everyday world. We will also look at the structure of consciousness while in these worlds, how the everyday world is typically in the background of these aesthetic worlds and how figure and ground can reverse in an instant. We will touch on the effect, particularly of the music world as the background of everyday experiences and how, as backgrounds do in perception, can affect experience and action in the everyday world. Finally, we will inquire how the trips into aesthetic worlds affect experience once people return to the everyday world.
Speaker: Wang
Location: 323 in the Stevenson Union
Abstract: Despite the mounting research interest in group creativity today, very little attention in creativity research has been paid to the issue of how group dynamics in a creative task affects an individual’s affective perceptions of the task and task outcomes. To bridge this gap, this study aimed to probe the relationships of English-as-a-Foreign-Language (EFL) learners’ group creative dynamics to their creative anxiety, creative motivation and performances in a creative story-writing task. The purpose of this presentation is two-fold. First, it will report on the development and validation of a team innovation inventory that assesses learners’ group dynamics in creative tasks. Second, it will delineate the methodology and results of the main study. In this part, 80 university freshmen completed the team innovation inventory, Abbreviated Torrance Tests for Adults, a creative anxiety survey, a creative motivation survey, and the story-writing task. Their creative stories were later evaluated by a group of university English teachers on two dimension, creativity and linguistic accuracy. The participants’ responses to the surveys and their writing scores were analyzed to address three research issues: (1) Is group creative dynamics significantly related to an individual’s creative anxiety, creative motivation and creative performance? (2) Does creative anxiety mediate the relationship between group creative dynamics and creative performance? (3) Does creative motivation mediate the relationship between group creative dynamics and creative performance? Overall, this study intends to shed new light on research into group creativity and provide pedagogical implications as to how to enhance group creative dynamics in EFL classrooms.
TITLE:
Speaker: Li
Location: 319 in the Stevenson Union
Abstract:
TITLE:
Speaker: Cheng (Mo Yin)
Location: 313 in the Stevenson Union
Abstract:
Statistical Analysis of the Four C Model of Creativity
Speaker: Bart
Location: Diversions in the Stevenson Union
Abstract: Kaufmann and Beghetto (2009) proposed the Four C model of creativity that posited four types of creativity ranging from modest personal creativity such as boiling rutabaga to momentous professional creativity such as the Calculus of Newton: (1) mini-c; (2) little-c; (3) pro-C: and (4) Big-C. A 48-item survey was constructed with 12 items related to each of the four types of creativity. Eight blocks of six items each were arranged randomly and were provided to participants online. Participants responded to each item by indicating whether the creative activity cited in the item is "Extremely creative", "Very creative", "Creative", "Somewhat creative", or "Not at all creative". There were two studies using the item survey. Study 1 involved 61 adult participants and Study 2 involved 83 adult participants, including students and non-students. The survey item data for each of the four 12-item categories in each of the two studies was subjected to exploratory factor analysis including Principal Axis Factoring with Varimax Rotation (PAFVR) and confirmatory factor analysis including Maximum Likelihood Factor Analysis (MLFA). The Four C model would suggest that each of the four categories of 12-item would have a unifactor structure. All of the factor analyses performed provided evidence that each of the four categories of 12-items in each of the two studies has a multiple-factor structure. Both studies provided clear evidence to disconfirm the Four C model of Kaufmann and Beghetto. The proposed presentation will review the factor analyses and the educational and psychological implications of the two studies.
Worlds of experience in creating, performing and enjoying the arts
Speaker: Doyle
Location: Diversions in the Stevenson Union
Abstract: Experiences of creating, performing and enjoying the arts are often deeply satisfying--even if the content is sad. How can acting in tragic plays, listening to sad music, writing about the death of a beloved character be satisfying? This presentation turns to the work of Alfred Schutz and some related research for some answers. Schutz, the phenomenologist, described experience as taking place in different provinces of meaning, each with distinctive properties with respect to sense of self, time, sociality, epoche (what is taken for granted), typical form of action, and wide-awakeness to the everyday world. The arts transport creators, performers, and enrapt audiences into various aesthetic worlds for sustained periods. We will look at how these worlds differ from the everyday world. We will also look at the structure of consciousness while in these worlds, how the everyday world is typically in the background of these aesthetic worlds and how figure and ground can reverse in an instant. We will touch on the effect, particularly of the music world as the background of everyday experiences and how, as backgrounds do in perception, can affect experience and action in the everyday world. Finally, we will inquire how the trips into aesthetic worlds affect experience once people return to the everyday world.
11:30AM - 1:00PM LUNCH
Location of the Hawk, recommendations for other lunch options. Information about meal tickets.
1:00PM - 2:15PM CONCURRENT SESSIONS
The evolution of creativity: perspectives from artificial intelligence and animal cognition
Speaker: Ravignani
Location: 323 in the Stevenson Union (Panel)
Abstract: What is human creativity? One way to address this question is to investigate creativity in non-humans. Two disciplines are particularly concerned with finding human-like traits in non-human or non-biological entities: comparative cognition and artificial intelligence. Animal research can suggest which forms of creativity exist in other animals: Human-animal similarities can be due to common ancestry or convergent evolution. Artificial intelligence can show which features of what we usually call human creativity can emerge in non-living systems, and which creative traits can only be found in humans. The aim of this panel is to show the potential of non-human research in understanding human creativity and its evolution.
TITLE:
Speaker: Sonneburg
Location: 319 in the Stevenson Union
Abstract:
SOU Virtual Reality
Speaker: Gay
Location: 313 in the Stevenson Union
Abstract: The SOU Virtual Reality Workgroup is a collective of faculty from Communication and Emerging Media & Digital Arts working on both individual and collaborative teaching, research, and creative projects involving 360 degree video production, ambisonic audio recording, and virtual reality programming and design. The group currently includes Andrew Gay, Precious Yamaguchi, Erik Palmer, Miles Inada, Bobby Arellano, Garrick Imatani, David Bithell, Warren Hedges, and Brandon Givens. While we do not have a specific abstract to offer at this time, we would like to put together a panel that highlights some of the VR projects we've been working on at SOU and demonstrate the new creative language of virtual reality and its potential for use in education.
Hope and Trauma in a Poisoned Land: Narratives Through Social Practice Art and Research
Speaker: Tidikis
Location: Diversions in the Stevenson Union
Abstract: Hope and Trauma in a Poisoned Land was a community engaged regional art exhibition that began as a mixed-method research project. The purpose was to give voices to the stories of indigenous people living in uranium-contaminated regions of the Navajo Nation. It expanded from research into social practice art, a medium that engages people through collaborations between individuals, communities, and institutions. We thought it was essential that the participating artists understand the uranium contamination issues at both the intellectual and emotional level in order to create art from an informed place. Over four days, artists attended a workshop about uranium mining to learn about its legacy and its impact today. In addition to an educational forum provided by several regional scientists, artists joined in and observed local indigenous practices and visited abandoned uranium mines with knowledgeable tribal members as the guide. As psychologists, we examined the impact of both the workshop and the exhibit, on the artists as well as our community at large. The narratives created through art in this exhibition provided a cohesive, compelling and healing story for everyone involved. We found that the greater the emotional impact of the pre-art workshop on the artists, the greater the creativity in their produced artworks. Through engaging the very people we wanted to reach on an intellectual, aesthetic, emotional, and compassionate level, we documented both the personal and educational impact of a social practice art exhibition.
Thinking, Doing and Being: Discovering Everyday Creativity
Speaker: Nolan
Location: ?? in the Stevenson Union
Abstract: This presentation and experiential workshop will address current research on forms of creativity with greater emphasis placed upon the concept of everyday creativity. While sharing similar processes with eminent creativity (i.e., Van Gogh, Einstein, Prince) everyday creativity is evenly distributed across the population and is defined as an original contribution of some sort, and one that communicates to others and is thus meaningful, rather than being random or idiosyncratic. (Richards, 2006; Richards et al. 1988b; see also Barron, 1969). The presentation will describe characteristics of everyday creativity including related conscious and unconscious mental processes, developmental processes, neuroscience contributions, along with blocks to creativity and enhancement methods for the educator, therapist, artist and for those whom they serve.
Speaker: Ravignani
Location: 323 in the Stevenson Union (Panel)
Abstract: What is human creativity? One way to address this question is to investigate creativity in non-humans. Two disciplines are particularly concerned with finding human-like traits in non-human or non-biological entities: comparative cognition and artificial intelligence. Animal research can suggest which forms of creativity exist in other animals: Human-animal similarities can be due to common ancestry or convergent evolution. Artificial intelligence can show which features of what we usually call human creativity can emerge in non-living systems, and which creative traits can only be found in humans. The aim of this panel is to show the potential of non-human research in understanding human creativity and its evolution.
TITLE:
Speaker: Sonneburg
Location: 319 in the Stevenson Union
Abstract:
SOU Virtual Reality
Speaker: Gay
Location: 313 in the Stevenson Union
Abstract: The SOU Virtual Reality Workgroup is a collective of faculty from Communication and Emerging Media & Digital Arts working on both individual and collaborative teaching, research, and creative projects involving 360 degree video production, ambisonic audio recording, and virtual reality programming and design. The group currently includes Andrew Gay, Precious Yamaguchi, Erik Palmer, Miles Inada, Bobby Arellano, Garrick Imatani, David Bithell, Warren Hedges, and Brandon Givens. While we do not have a specific abstract to offer at this time, we would like to put together a panel that highlights some of the VR projects we've been working on at SOU and demonstrate the new creative language of virtual reality and its potential for use in education.
Hope and Trauma in a Poisoned Land: Narratives Through Social Practice Art and Research
Speaker: Tidikis
Location: Diversions in the Stevenson Union
Abstract: Hope and Trauma in a Poisoned Land was a community engaged regional art exhibition that began as a mixed-method research project. The purpose was to give voices to the stories of indigenous people living in uranium-contaminated regions of the Navajo Nation. It expanded from research into social practice art, a medium that engages people through collaborations between individuals, communities, and institutions. We thought it was essential that the participating artists understand the uranium contamination issues at both the intellectual and emotional level in order to create art from an informed place. Over four days, artists attended a workshop about uranium mining to learn about its legacy and its impact today. In addition to an educational forum provided by several regional scientists, artists joined in and observed local indigenous practices and visited abandoned uranium mines with knowledgeable tribal members as the guide. As psychologists, we examined the impact of both the workshop and the exhibit, on the artists as well as our community at large. The narratives created through art in this exhibition provided a cohesive, compelling and healing story for everyone involved. We found that the greater the emotional impact of the pre-art workshop on the artists, the greater the creativity in their produced artworks. Through engaging the very people we wanted to reach on an intellectual, aesthetic, emotional, and compassionate level, we documented both the personal and educational impact of a social practice art exhibition.
Thinking, Doing and Being: Discovering Everyday Creativity
Speaker: Nolan
Location: ?? in the Stevenson Union
Abstract: This presentation and experiential workshop will address current research on forms of creativity with greater emphasis placed upon the concept of everyday creativity. While sharing similar processes with eminent creativity (i.e., Van Gogh, Einstein, Prince) everyday creativity is evenly distributed across the population and is defined as an original contribution of some sort, and one that communicates to others and is thus meaningful, rather than being random or idiosyncratic. (Richards, 2006; Richards et al. 1988b; see also Barron, 1969). The presentation will describe characteristics of everyday creativity including related conscious and unconscious mental processes, developmental processes, neuroscience contributions, along with blocks to creativity and enhancement methods for the educator, therapist, artist and for those whom they serve.
2:30PM - 3:30PM INVITED Address and concurrent sessions
The Imaginary Worlds of Middle Childhood
Speaker: Majorie Taylor
Location: Rogue River Room in the Stevenson Union
Abstract: This presentation focuses on a striking manifestation of imagination in middle childhood -- the spontaneously-created, fictional worlds known as “paracosms.” These imagined worlds are often highly elaborated and can include governments, religions, royalty, languages, customs, and many other features. Most of what is known about paracosms comes from small case studies or retrospective studies of adults reflecting on their own childhood activities. The goal of our research was to learn about paracosms from the viewpoint of the children themselves.
Best Practices in Presentation Design
Speaker: Reininger
Location: 323 in the Stevenson Union
Abstract: Have you been in a dark room, sitting in the far back, squinting and trying to read through yet another slide with 10 bullet points and small text, and you’re done reading while the ‘presenter’ is still on bullet #1? You didn’t like this experience? You thought it’s a good time check your email on your phone? You’re not alone. If you are interested to hear what TED, Nancy Duarte and Guy Kawasaki have in common, please join us to learn how to create presentations that are memorable, engaging and fun. We will look at inspiring examples, learn about dos and don’ts and leave ample time for conversation. PowerPoint was designed as a convenient way to display graphical information that would support the speaker and supplement the presentation. The slides themselves were never meant to be the “star of the show", the star, of course, is your audience. People come to hear you and be moved or informed, or both, by you and your message. Don’t let your message and your ability to tell a story get derailed by slides that are unnecessarily complicated, busy, or full of what Edward Tufte calls “chart junk.” Nothing in your slide should be superfluous, ever.
Sociocratic Intervention Tools for Leaders
Speaker: Megyesi
Location: 319 in the Stevenson Union
Abstract: When people think or decide together, the processes they use can manifest “undesirables” (i.e. tension, ineffectiveness and upset) or “desires” (i.e. inspiration, creativity and innovation). These outcomes are emergent properties of the group’s context and structure, as well as of the leader’s skill in engaging individuals. This presentation looks at mechanisms that are built into Sociocratic processes, which lead groups to manifest their desires. It also touches upon the way Sociocratic leaders can shift a process that creates undesirables and transform the experience of the group in a way that allows for inspiration, creativity and innovation to emerge.
Creativity and a human dichotomy: Individual or part of a team?
Speaker: Walton
Location: 313 in the Stevenson Union
Abstract: Creativity and innovation have finally come of age! Businesses, large and small are beginning to realize that innovation is not simply the icing on the organizational cake, it may well be the key to survival. Until now, though, there is little in the way of practical guidance regarding optimizing an organization for creative (and thus, innovative) performance. This lack of guidance stems, in part, at least, from a lack of understanding of the core processes that stimulate or undermine people’s motivation to be creative. This, in turn, may be caused by a traditional view of creativity being viewed as an attribute of ‘special’ people with little consideration for the social and environmental aspects of the structure within which innovation needs to occur. The group affiliation model of creativity presented here turns this view on its head and answers many questions that are hitherto unanswered. Many of these questions are important to organizational performance and also to our understanding of creative processes; questions such as: Why does brainstorming not live up to its originator’s expectations? Why is there a connection between creativity and mental illness? How do the skill-sets differ between creating and innovating? Why is it that although the use of teams has many important benefits to organizations, (including in the area of innovation) it seems not to benefit the generation of novel ideas? This innovative model of creative process sheds new light on possible answers to these questions.
Creativity at the Centre of the Curriculum
Speaker: Michael Anderson
Location: Diversions in the Stevenson Union
Abstract: This presentation will report on and discuss work underway to support schools making creativity central to pedagogy, curriculum and school organisation. The presentation will first consider the development of diagnostic tools for schools. The Creative Schools Index jointly developed by a group of Australian and New Zealand universities is now being implemented in primary and secondary education settings to support an understanding of the elements of creativity and each school’s readiness for learning and teaching in creativity. The panel will discuss how these approaches are developing and their potential to deliver changes in policy, attitudes and practices in primary and secondary schooling in Australia and New Zealand and the international implications for this work. The presentation will then consider pedagogical approaches to the teaching of creativity. Drawing on recent scholarship in the pedagogy of Creativity (Jefferson and Anderson, 2017) the presentation will discuss the potential and pitfalls of developing pedagogical models of creativity and will report on the responses. Finally the presentation will discuss the potential for this work in international settings to position creativity at the centre of the curriculum.
Speaker: Majorie Taylor
Location: Rogue River Room in the Stevenson Union
Abstract: This presentation focuses on a striking manifestation of imagination in middle childhood -- the spontaneously-created, fictional worlds known as “paracosms.” These imagined worlds are often highly elaborated and can include governments, religions, royalty, languages, customs, and many other features. Most of what is known about paracosms comes from small case studies or retrospective studies of adults reflecting on their own childhood activities. The goal of our research was to learn about paracosms from the viewpoint of the children themselves.
Best Practices in Presentation Design
Speaker: Reininger
Location: 323 in the Stevenson Union
Abstract: Have you been in a dark room, sitting in the far back, squinting and trying to read through yet another slide with 10 bullet points and small text, and you’re done reading while the ‘presenter’ is still on bullet #1? You didn’t like this experience? You thought it’s a good time check your email on your phone? You’re not alone. If you are interested to hear what TED, Nancy Duarte and Guy Kawasaki have in common, please join us to learn how to create presentations that are memorable, engaging and fun. We will look at inspiring examples, learn about dos and don’ts and leave ample time for conversation. PowerPoint was designed as a convenient way to display graphical information that would support the speaker and supplement the presentation. The slides themselves were never meant to be the “star of the show", the star, of course, is your audience. People come to hear you and be moved or informed, or both, by you and your message. Don’t let your message and your ability to tell a story get derailed by slides that are unnecessarily complicated, busy, or full of what Edward Tufte calls “chart junk.” Nothing in your slide should be superfluous, ever.
Sociocratic Intervention Tools for Leaders
Speaker: Megyesi
Location: 319 in the Stevenson Union
Abstract: When people think or decide together, the processes they use can manifest “undesirables” (i.e. tension, ineffectiveness and upset) or “desires” (i.e. inspiration, creativity and innovation). These outcomes are emergent properties of the group’s context and structure, as well as of the leader’s skill in engaging individuals. This presentation looks at mechanisms that are built into Sociocratic processes, which lead groups to manifest their desires. It also touches upon the way Sociocratic leaders can shift a process that creates undesirables and transform the experience of the group in a way that allows for inspiration, creativity and innovation to emerge.
Creativity and a human dichotomy: Individual or part of a team?
Speaker: Walton
Location: 313 in the Stevenson Union
Abstract: Creativity and innovation have finally come of age! Businesses, large and small are beginning to realize that innovation is not simply the icing on the organizational cake, it may well be the key to survival. Until now, though, there is little in the way of practical guidance regarding optimizing an organization for creative (and thus, innovative) performance. This lack of guidance stems, in part, at least, from a lack of understanding of the core processes that stimulate or undermine people’s motivation to be creative. This, in turn, may be caused by a traditional view of creativity being viewed as an attribute of ‘special’ people with little consideration for the social and environmental aspects of the structure within which innovation needs to occur. The group affiliation model of creativity presented here turns this view on its head and answers many questions that are hitherto unanswered. Many of these questions are important to organizational performance and also to our understanding of creative processes; questions such as: Why does brainstorming not live up to its originator’s expectations? Why is there a connection between creativity and mental illness? How do the skill-sets differ between creating and innovating? Why is it that although the use of teams has many important benefits to organizations, (including in the area of innovation) it seems not to benefit the generation of novel ideas? This innovative model of creative process sheds new light on possible answers to these questions.
Creativity at the Centre of the Curriculum
Speaker: Michael Anderson
Location: Diversions in the Stevenson Union
Abstract: This presentation will report on and discuss work underway to support schools making creativity central to pedagogy, curriculum and school organisation. The presentation will first consider the development of diagnostic tools for schools. The Creative Schools Index jointly developed by a group of Australian and New Zealand universities is now being implemented in primary and secondary education settings to support an understanding of the elements of creativity and each school’s readiness for learning and teaching in creativity. The panel will discuss how these approaches are developing and their potential to deliver changes in policy, attitudes and practices in primary and secondary schooling in Australia and New Zealand and the international implications for this work. The presentation will then consider pedagogical approaches to the teaching of creativity. Drawing on recent scholarship in the pedagogy of Creativity (Jefferson and Anderson, 2017) the presentation will discuss the potential and pitfalls of developing pedagogical models of creativity and will report on the responses. Finally the presentation will discuss the potential for this work in international settings to position creativity at the centre of the curriculum.
3:45PM - 5:00 PM PANELS
Assessing creativity in non-music major students’ compositions: The application of Amabile’s Consensual Assessment Technique (CAT) and Higuchi’s Idea Marathon (IM)
Speaker: Saegusa
Location: 323 in the Stevenson Union
Abstract: Amabile’s Consensual Assessment Technique (CAT) is widely used to assess creative output worldwide. Although there is data available on the reliability and construct validity to assess children’s composition and improvisation, very little is known about the application to assess musical products of composition by Japanese university students. The participants (N=96) of non-music major university students, by employing Higuchi’s Idea Marathon (IM) to maximize creativity by writing down and record innovative ideas daily, spent 6 months composing as a daily exercise. In Japan, there is a vast array of simple musical works such as traditional nursery songs called warabeuta, children's song, and J-pop. Moreover, Japanese students are familiar with high technology including Launch Pad, software for composition and iPhone for recording enable anyone to compose and record the work. After the 6 months, Amabile’s CAT was applied to assess their works by group of students themselves, by music teachers, and composers. Analysis of internal consistency, reliability measures including test-retest and inter-rater correlation, and criterion validity were conducted. In addition, pre-post survey and weekly journals by participants were narratively analyzed. The results indicate the IM enables everyone to compose creatively with various different methods. There was a negative correlation among the compositions of styles or method of the composition; however, significant correlations were found among judges of amateurs and professionals.
The Role of Serious Gaming in the Development of Leadership and Creativity
Speaker: Gute
Location: 319 in the Stevenson Union (Panel)
Abstract: Building upon Csikszentmihalyi’s 50 years of creativity and flow scholarship, researchers and practitioners are actively investigating flow's potential to facilitate positive change in the workplace (Inghilleri, Riva, & Riva, 2014). In "Good Business: Leadership, Flow, and the Making of Meaning," Csikszentmihalyi (2003) reported findings from interviews with 39 visionary leaders recognized for their creative achievement and commitment to moral leadership. Principles and practices distilled from this data set, including the development of work environments conducive to flow and creativity, have been applied with impressive success by Patagonia, Google, Green Cargo, and LG. Organizations have learned to create a sustainable ecosystem in which values, meaning, flow, creativity, and well-being thrive. Inspired by "Good Business," Csikszentmihalyi and Vecsey built an award-winning online serious game that measures and develops players’ essential leadership competencies while collecting and analyzing data gained from players’ decision streams. During this session, Mihaly Csikszentmihalyi will describe the game’s development and explain how serious gaming can encourage innovation and create environments conducive to creativity. Zsadany Vecsey will provide a “behind the scenes” tour, share user analytics, and profile the game’s Fortune 500, U.S. Navy SEAL, and MBA student users. Gary Gute will share user experience data from undergraduates who have played the game in a creativity and leadership course over three semesters, as well as data on the game’s impact upon undergraduates’ self-perceived leadership and creativity.
The process of artistic creativity
Speaker: Okada
Location: 313 in the Stevenson Union (Panel)
Abstract: People often claim that artistic creation requires no effortful process and is achieved by only talented people (‘Myth of Genius’, Weisberg, 1993). However, artistic creation occurs through dynamic process. In this panel session, we present our research focusing on the process of artistic creativity, paying special attention to a social aspect, i.e., inspiration. We claim that artistic inspiration is not caused by Muses but generated in a social process of art creation. Tatiana Chemi (Aalborg University, Denmark) will talk about the possibility of a reconceptualization of the myth of the Muses. She proposes that, rather than expressing a spiritual or religious belief, the feeling of transcendence might play, for professional artists, a fundamental role in terms of their psychological experience of artistic creation. Takeshi Okada (University of Tokyo, Japan) will talk about the process of inspiration in artistic creation based on a field study data with an expert contemporary artist and data from three psychological experiments with art-novice undergraduates. He will describe how inspiration plays a role in artists’ and students’ artistic creativity. Marion Botella (University Paris Descartes, France) will talk about macro-approach of the art students’ creative process. Using the Creative Process Report Diary (Botella, Nelson & Zenasni, 2017), she will report art students’ stages of their creative process and multivariate factors involved during 4 days of workshop in the art school. With these talks, we aim to show the possibility of study on artistic creation processes and its educational application.
Transdisciplinary Learning: Nothing if not Creative
Speaker: LeHunte
Location: Diversions in the Stevenson Union
Abstract: In a restructuring of Bloom’s Hierarchy, creativity is described as a pinnacle of human learning. Yet it is often neglected in curriculum design, including in those fields considered ‘un-creative.’ This presentation explores cutting-edge practice in designing creative, immersive learning environments that enable emergence and creativity. Intersecting with research from the field, we describe how creative leaps can be encouraged in education across disciplines. Whilst there have been significant studies of creativity as a discipline, and within certain disciplines, little research has been done exploring the nature of creativity in a transdisciplinary context. Yet many of our future discoveries are said to emerge from between disciplines, not just within them. The case study we use is from the Bachelor of Creative Intelligence and Innovation‚ an internationally award-winning, transdisciplinary degree that combines with 25 other degrees and all faculties at the University of Technology Sydney. This flagship program encourages students to explore well over 100 creative methods from across disciplines: methods for transdisciplinary discovery‚ creative thinking, critical thinking, problem-solving, future-thinking, complexity, invention, entrepreneurship and social entrepreneurship. Being creative practitioners in our own right and bringing different disciplinary perspectives to our collaboration, we also share more general insights from the field on how to understand and design for learning as being creative and rigorous at its core. In a political climate that increasingly values innovation, that contemporary view of learning, though still controversial in Education, can account for how we address the demand for greater collaborative creativity within our workplaces.
Measuring Creative-Thinking Preferences: Recent Research into Gender Differences, Level-Style Relationships, Mental Health Implications, and Leadership
Speaker: Puccio
Location: Arena in the Stevenson Union
Abstract: FourSight theory maintains that individuals express different degrees of preference for the four main mental operations involved in the creative process. Over the last 20 years research using the FourSight self-report measures shows that these four creative-thinking preferences can be reliably measured (i.e., Clarifier, Ideator, Developer, and Implementer). The purpose of this panel presentation is to share three current research studies that help to expand FourSight theory and deepen our knowledge of the implications of these process preferences. Namely, the research team will briefly review the following studies using the FourSight measure: (1) differences in FourSight preferences across gender and organizational level; (2) a reexamination of creativity style and measures of creativity level; (3) relationships between creative-thinking preferences and mental health; and (4) relationships between FourSight and self-efficacy.
Speaker: Saegusa
Location: 323 in the Stevenson Union
Abstract: Amabile’s Consensual Assessment Technique (CAT) is widely used to assess creative output worldwide. Although there is data available on the reliability and construct validity to assess children’s composition and improvisation, very little is known about the application to assess musical products of composition by Japanese university students. The participants (N=96) of non-music major university students, by employing Higuchi’s Idea Marathon (IM) to maximize creativity by writing down and record innovative ideas daily, spent 6 months composing as a daily exercise. In Japan, there is a vast array of simple musical works such as traditional nursery songs called warabeuta, children's song, and J-pop. Moreover, Japanese students are familiar with high technology including Launch Pad, software for composition and iPhone for recording enable anyone to compose and record the work. After the 6 months, Amabile’s CAT was applied to assess their works by group of students themselves, by music teachers, and composers. Analysis of internal consistency, reliability measures including test-retest and inter-rater correlation, and criterion validity were conducted. In addition, pre-post survey and weekly journals by participants were narratively analyzed. The results indicate the IM enables everyone to compose creatively with various different methods. There was a negative correlation among the compositions of styles or method of the composition; however, significant correlations were found among judges of amateurs and professionals.
The Role of Serious Gaming in the Development of Leadership and Creativity
Speaker: Gute
Location: 319 in the Stevenson Union (Panel)
Abstract: Building upon Csikszentmihalyi’s 50 years of creativity and flow scholarship, researchers and practitioners are actively investigating flow's potential to facilitate positive change in the workplace (Inghilleri, Riva, & Riva, 2014). In "Good Business: Leadership, Flow, and the Making of Meaning," Csikszentmihalyi (2003) reported findings from interviews with 39 visionary leaders recognized for their creative achievement and commitment to moral leadership. Principles and practices distilled from this data set, including the development of work environments conducive to flow and creativity, have been applied with impressive success by Patagonia, Google, Green Cargo, and LG. Organizations have learned to create a sustainable ecosystem in which values, meaning, flow, creativity, and well-being thrive. Inspired by "Good Business," Csikszentmihalyi and Vecsey built an award-winning online serious game that measures and develops players’ essential leadership competencies while collecting and analyzing data gained from players’ decision streams. During this session, Mihaly Csikszentmihalyi will describe the game’s development and explain how serious gaming can encourage innovation and create environments conducive to creativity. Zsadany Vecsey will provide a “behind the scenes” tour, share user analytics, and profile the game’s Fortune 500, U.S. Navy SEAL, and MBA student users. Gary Gute will share user experience data from undergraduates who have played the game in a creativity and leadership course over three semesters, as well as data on the game’s impact upon undergraduates’ self-perceived leadership and creativity.
The process of artistic creativity
Speaker: Okada
Location: 313 in the Stevenson Union (Panel)
Abstract: People often claim that artistic creation requires no effortful process and is achieved by only talented people (‘Myth of Genius’, Weisberg, 1993). However, artistic creation occurs through dynamic process. In this panel session, we present our research focusing on the process of artistic creativity, paying special attention to a social aspect, i.e., inspiration. We claim that artistic inspiration is not caused by Muses but generated in a social process of art creation. Tatiana Chemi (Aalborg University, Denmark) will talk about the possibility of a reconceptualization of the myth of the Muses. She proposes that, rather than expressing a spiritual or religious belief, the feeling of transcendence might play, for professional artists, a fundamental role in terms of their psychological experience of artistic creation. Takeshi Okada (University of Tokyo, Japan) will talk about the process of inspiration in artistic creation based on a field study data with an expert contemporary artist and data from three psychological experiments with art-novice undergraduates. He will describe how inspiration plays a role in artists’ and students’ artistic creativity. Marion Botella (University Paris Descartes, France) will talk about macro-approach of the art students’ creative process. Using the Creative Process Report Diary (Botella, Nelson & Zenasni, 2017), she will report art students’ stages of their creative process and multivariate factors involved during 4 days of workshop in the art school. With these talks, we aim to show the possibility of study on artistic creation processes and its educational application.
Transdisciplinary Learning: Nothing if not Creative
Speaker: LeHunte
Location: Diversions in the Stevenson Union
Abstract: In a restructuring of Bloom’s Hierarchy, creativity is described as a pinnacle of human learning. Yet it is often neglected in curriculum design, including in those fields considered ‘un-creative.’ This presentation explores cutting-edge practice in designing creative, immersive learning environments that enable emergence and creativity. Intersecting with research from the field, we describe how creative leaps can be encouraged in education across disciplines. Whilst there have been significant studies of creativity as a discipline, and within certain disciplines, little research has been done exploring the nature of creativity in a transdisciplinary context. Yet many of our future discoveries are said to emerge from between disciplines, not just within them. The case study we use is from the Bachelor of Creative Intelligence and Innovation‚ an internationally award-winning, transdisciplinary degree that combines with 25 other degrees and all faculties at the University of Technology Sydney. This flagship program encourages students to explore well over 100 creative methods from across disciplines: methods for transdisciplinary discovery‚ creative thinking, critical thinking, problem-solving, future-thinking, complexity, invention, entrepreneurship and social entrepreneurship. Being creative practitioners in our own right and bringing different disciplinary perspectives to our collaboration, we also share more general insights from the field on how to understand and design for learning as being creative and rigorous at its core. In a political climate that increasingly values innovation, that contemporary view of learning, though still controversial in Education, can account for how we address the demand for greater collaborative creativity within our workplaces.
Measuring Creative-Thinking Preferences: Recent Research into Gender Differences, Level-Style Relationships, Mental Health Implications, and Leadership
Speaker: Puccio
Location: Arena in the Stevenson Union
Abstract: FourSight theory maintains that individuals express different degrees of preference for the four main mental operations involved in the creative process. Over the last 20 years research using the FourSight self-report measures shows that these four creative-thinking preferences can be reliably measured (i.e., Clarifier, Ideator, Developer, and Implementer). The purpose of this panel presentation is to share three current research studies that help to expand FourSight theory and deepen our knowledge of the implications of these process preferences. Namely, the research team will briefly review the following studies using the FourSight measure: (1) differences in FourSight preferences across gender and organizational level; (2) a reexamination of creativity style and measures of creativity level; (3) relationships between creative-thinking preferences and mental health; and (4) relationships between FourSight and self-efficacy.
Sunday, August 5th, 2018
Creativity Conference - Day 3
7:00am check-in begins
Parking info map of parking click here, you can also find a map of campus click here).
Check-In Process: photo ID and eTicket or printed ticket will be needed in order to check in. During check-in, you will recieve a packet containing your name tag, meal information, room information (if applicable), and other conference information.
Check-In Process: photo ID and eTicket or printed ticket will be needed in order to check in. During check-in, you will recieve a packet containing your name tag, meal information, room information (if applicable), and other conference information.
8:00am - 9:15am short presentations
TITLE:
Speaker: McIntyre, Loesche, Karwowski, Berlow, R. Anderson, Vong
Location: 323 in the Stevenson Union
TITLE:
Speaker: Bereczki, Ishiguro, Carruthers, Kerrigan, Kelly
Location: 319 in the Stevenson Union
TITLE:
Speaker: Hince, Atwood-Blaine, Thomson, Schoevers, Schoevers
Location: 313 in the Stevenson Union
TITLE:
Speaker: van Dijk, Stolte, Kim, Lee, Bai
Location: Diversions in the Stevenson Union
Speaker: McIntyre, Loesche, Karwowski, Berlow, R. Anderson, Vong
Location: 323 in the Stevenson Union
TITLE:
Speaker: Bereczki, Ishiguro, Carruthers, Kerrigan, Kelly
Location: 319 in the Stevenson Union
TITLE:
Speaker: Hince, Atwood-Blaine, Thomson, Schoevers, Schoevers
Location: 313 in the Stevenson Union
TITLE:
Speaker: van Dijk, Stolte, Kim, Lee, Bai
Location: Diversions in the Stevenson Union
9:30am - 10:15am concurrent sessions
TITLE:
Speaker: Dumas
Location: 323 in the Stevenson Union
Abstract: Relational reasoning (RR) and divergent thinking (DT) are two critical antecedents of creative problem solving, but the relation between them is not currently well understood psychologically, limiting efforts to support these constructs through education. The threshold hypothesis (TH) is currently the dominant explanation for the relation between RR and DT, and posits that RR fundamentally supports DT, but only up to a point. In this study, quantile regression was used to test the TH among RR and two separate dimensions of DT: originality and fluency. Results generally supported the TH in regards to originality, with RR being significantly positively related to originality, but only in students at or below the median of the originality distribution. However, the TH was not upheld for fluency, which was only significantly predicted by RR at the top (i.e. 9th decile) of the fluency distribution. In general, results suggest that direct instructional intervention of RR strategies may be most supportive of creativity for those students who are simultaneously highly fluent but low-original thinkers.
Deliberate Assessment of the Creative Process
Speaker: Rubenstein
Location: 319 in the Stevenson Union
Abstract: The creativity field has progressed beyond mystical notions that creativity begins with muses; however, current creativity assessment techniques do not capture that shift. We know specific creativity training programs are successful in helping individuals develop more creative ideas, but we are still unsure of the underlying mechanisms that influence this development. Existing assessment methods were not designed to capture how people regulate themselves throughout the creative process, specifically how motivational beliefs, external behaviors, and explicit strategies influence the creative process. This information, however, would provide important insights into which program components are most effective and if/how participants transfer their training to new situations. To address this gap, we designed the Creative Process Protocol. Within this protocol, participants are asked specific process questions while engaged in a creative task. Before they begin the task, they indicate what strategies they plan to use, their self-efficacy, and interest level. Then, as they are engaged with the task, they report which strategies they are using, and finally after task completion, they evaluate their work. Initial studies using this method indicate that strategic planning, strategy use (e.g., perspective-taking and connecting to prior experiences), as well as self-efficacy, predict creative performances. This approach provides helpful data for researchers, educators, and managers who are concerned with designing and implementing the most efficient and effective training programs.
A new systems model for organizational innovation
Speaker: Markus Bensenes
Location: 313 in the Stevenson Union
Abstract: Tinkr has developed a systems model in collaboration with our network of creativity researchers, in alignment with the upcoming ISO standard on innovation management. We offer an introduction to the model; its rationale, development, and application. Our presentation will show: How we have developed a generic structure, based on research and best practice, that offers great flexibility and is relevant in most all contexts. How we have developed a structured approach, integrating the elements of an innovation management system with applicability, value generating solutions, and relevant research. Why we focus on creativity, individuals and processes, and consider other elements only in relevant relation to these. The main focus of the presentation will how the model can be used to: Map innovation systems and creative processes. Identify relevant quantitative and qualitative tests and present complex results. Determine and justify the most relevant interventions for increased creative and innovative potential. Identify and categorize potential areas for research relevant for our practical work with clients. Finally, we will present real world cases demonstrating the value of using the system, including: Unexpected negative effect of interventions: Trying to put innovation on the agenda leads to more confusion, less engagement, negative norms, and less output. Using an innovation fund as a platform for the development of capabilities for systemic innovation. Why the existence of an innovation department weakens creative climate and culture for innovation by monopolizing the termDefining KPIs and focus areas for relevant assessments of the various elements and dynamics between them.
Conflict and Creativity
Speaker: Neilson
Location: Diversions in the Stevenson Union
Abstract: What aspects of your belief system prevent you from being more creative? Blocks to creativity and causes of conflict and are interchangeable; different sides of the same coin. This presentation offers the opportunity for participants to examine individual current creative dilemmas through the lens of conflict resolution theory and application. One’s creativity can be enhanced by breaking down limiting personal, perceptual, and cultural blocks in to their conflict lens components: differing perceptions, limited resources, unmet needs, power imbalances, and/or values. This method allows them to expand their thinking beyond their often-unconscious limiting belief about the situation. Breakthroughs happen as a result!
Speaker: Dumas
Location: 323 in the Stevenson Union
Abstract: Relational reasoning (RR) and divergent thinking (DT) are two critical antecedents of creative problem solving, but the relation between them is not currently well understood psychologically, limiting efforts to support these constructs through education. The threshold hypothesis (TH) is currently the dominant explanation for the relation between RR and DT, and posits that RR fundamentally supports DT, but only up to a point. In this study, quantile regression was used to test the TH among RR and two separate dimensions of DT: originality and fluency. Results generally supported the TH in regards to originality, with RR being significantly positively related to originality, but only in students at or below the median of the originality distribution. However, the TH was not upheld for fluency, which was only significantly predicted by RR at the top (i.e. 9th decile) of the fluency distribution. In general, results suggest that direct instructional intervention of RR strategies may be most supportive of creativity for those students who are simultaneously highly fluent but low-original thinkers.
Deliberate Assessment of the Creative Process
Speaker: Rubenstein
Location: 319 in the Stevenson Union
Abstract: The creativity field has progressed beyond mystical notions that creativity begins with muses; however, current creativity assessment techniques do not capture that shift. We know specific creativity training programs are successful in helping individuals develop more creative ideas, but we are still unsure of the underlying mechanisms that influence this development. Existing assessment methods were not designed to capture how people regulate themselves throughout the creative process, specifically how motivational beliefs, external behaviors, and explicit strategies influence the creative process. This information, however, would provide important insights into which program components are most effective and if/how participants transfer their training to new situations. To address this gap, we designed the Creative Process Protocol. Within this protocol, participants are asked specific process questions while engaged in a creative task. Before they begin the task, they indicate what strategies they plan to use, their self-efficacy, and interest level. Then, as they are engaged with the task, they report which strategies they are using, and finally after task completion, they evaluate their work. Initial studies using this method indicate that strategic planning, strategy use (e.g., perspective-taking and connecting to prior experiences), as well as self-efficacy, predict creative performances. This approach provides helpful data for researchers, educators, and managers who are concerned with designing and implementing the most efficient and effective training programs.
A new systems model for organizational innovation
Speaker: Markus Bensenes
Location: 313 in the Stevenson Union
Abstract: Tinkr has developed a systems model in collaboration with our network of creativity researchers, in alignment with the upcoming ISO standard on innovation management. We offer an introduction to the model; its rationale, development, and application. Our presentation will show: How we have developed a generic structure, based on research and best practice, that offers great flexibility and is relevant in most all contexts. How we have developed a structured approach, integrating the elements of an innovation management system with applicability, value generating solutions, and relevant research. Why we focus on creativity, individuals and processes, and consider other elements only in relevant relation to these. The main focus of the presentation will how the model can be used to: Map innovation systems and creative processes. Identify relevant quantitative and qualitative tests and present complex results. Determine and justify the most relevant interventions for increased creative and innovative potential. Identify and categorize potential areas for research relevant for our practical work with clients. Finally, we will present real world cases demonstrating the value of using the system, including: Unexpected negative effect of interventions: Trying to put innovation on the agenda leads to more confusion, less engagement, negative norms, and less output. Using an innovation fund as a platform for the development of capabilities for systemic innovation. Why the existence of an innovation department weakens creative climate and culture for innovation by monopolizing the termDefining KPIs and focus areas for relevant assessments of the various elements and dynamics between them.
Conflict and Creativity
Speaker: Neilson
Location: Diversions in the Stevenson Union
Abstract: What aspects of your belief system prevent you from being more creative? Blocks to creativity and causes of conflict and are interchangeable; different sides of the same coin. This presentation offers the opportunity for participants to examine individual current creative dilemmas through the lens of conflict resolution theory and application. One’s creativity can be enhanced by breaking down limiting personal, perceptual, and cultural blocks in to their conflict lens components: differing perceptions, limited resources, unmet needs, power imbalances, and/or values. This method allows them to expand their thinking beyond their often-unconscious limiting belief about the situation. Breakthroughs happen as a result!
10:30am - 11:30am invited address & concurrent sessions
Incubation: Past, Present and Future
Speaker: Kenneth Gilhooly
Location: 323 in the Stevenson Union
Abstract: Setting a creative problem aside for a while is often suggested as being useful when progress has stalled. Whether such “incubation” breaks are really helpful and if so, how they work, has been controversial for many years. Although we now have ample evidence supporting the value of incubation periods in creative problem solving, the mechanisms remain unclear. Intermittent conscious work, beneficial forgetting and unconscious work are possible process explanations. Current evidence and future directions will be discussed.
Homo creativus and measures of creative potential
Speaker: Lubart
Location: 323 in the Stevenson Union
Abstract: Creative potential refers to the latent ability to produce novel, valuable work. The presentation will, first, provide an overview of the history of creativity measurement and its challenges. Second, the EPoC (Evaluation of Creative Potential) battery to measure creativity (graphic, verbal, scientific, mathematic, social) in children and adolescents, will be presented with research results from international studies across ten countries. Third, research on adults using a creative profiler tool with example from higher education and business settings will be described. Both the theoretical and practical issues of creativity measurement will be discussed in terms of challenges that remain, and recommendations for best practices given the current state of the art.
Polymathy at the Heart of Creativity
Speaker: Michael Araki
Location: 319 in the Stevenson Union
Abstract: The literature on creativity has long posed that highly creative individuals tend to have a broad array of interests and they often work‚Äîsimultaneously or sequentially‚Äîon a large number of loosely interconnected problems. However, why is that so? In this presentation, I take a detailed look at the concept of polymathy (which traditionally means expertise in various domains) and explain how polymathic and creative behavior are intimately connected. The presentation is organized along three themes. First, I build upon previous literature on polymathy to examine the nature of construct, unravel its components, and differentiate polymathy from other concepts such as dilettancy and universalism. Second, I revisit relevant ideas in the field of creativity (e.g., Sternberg and Lubart’s investment theory of creativity; Rubenson and Runco’s psycho economic approach to creativity; and Simonton’s view of creativity as a constrained stochastic process) through the lens of polymathy studies. Third, I present a simple model of creativity that aims to illustrate how the concepts of polymathy and creativity are related at their core.
Feeling, Producing and Reflecting: An Approach to Studying Creative Self-Beliefs and Production
Speaker: Ross Anderson
Location: 313 in the Stevenson Union
Abstract: The field of creative studies has become more interested in understanding the role of creative self-beliefs in creative development. Past research investigated how creative self-beliefs relate to sustained effort and creative achievement in creative production. Although past research yielded mixed results about the role of creative self-beliefs, those results may indicate a lack of conceptual clarity. With greater clarity, researchers and educators can more fully consider the role and development of creative self-beliefs in the creative teaching and learning process. In this study, we used a multidimensional assessment designed with recommendations from psychological and creativity research. We measure task-specific creative self-efficacy, creative production using the consensual assessment technique, creative metacognition, and creative identity. Creative self-efficacy showed small correlations with creative production and creative metacognition. Creative metacognition demonstrated a large correlation with creative production when both the illustration and written description of the creative product were included in the scoring. These results suggest that creative self-efficacy relates to level of creative achievement, weakly. The strong relationship between creative metacognition and achievement when scores included illustrated and written descriptions of the creative product indicates a strong link between creative ideas communicated in multiple forms. The results suggest that future research and design of creative learning programs should consider multiple modalities to develop and assess creative production and metacognition.
TITLE:
Speaker: Collier
Location: Diversions in the Stevenson Union
Abstract:
Speaker: Kenneth Gilhooly
Location: 323 in the Stevenson Union
Abstract: Setting a creative problem aside for a while is often suggested as being useful when progress has stalled. Whether such “incubation” breaks are really helpful and if so, how they work, has been controversial for many years. Although we now have ample evidence supporting the value of incubation periods in creative problem solving, the mechanisms remain unclear. Intermittent conscious work, beneficial forgetting and unconscious work are possible process explanations. Current evidence and future directions will be discussed.
Homo creativus and measures of creative potential
Speaker: Lubart
Location: 323 in the Stevenson Union
Abstract: Creative potential refers to the latent ability to produce novel, valuable work. The presentation will, first, provide an overview of the history of creativity measurement and its challenges. Second, the EPoC (Evaluation of Creative Potential) battery to measure creativity (graphic, verbal, scientific, mathematic, social) in children and adolescents, will be presented with research results from international studies across ten countries. Third, research on adults using a creative profiler tool with example from higher education and business settings will be described. Both the theoretical and practical issues of creativity measurement will be discussed in terms of challenges that remain, and recommendations for best practices given the current state of the art.
Polymathy at the Heart of Creativity
Speaker: Michael Araki
Location: 319 in the Stevenson Union
Abstract: The literature on creativity has long posed that highly creative individuals tend to have a broad array of interests and they often work‚Äîsimultaneously or sequentially‚Äîon a large number of loosely interconnected problems. However, why is that so? In this presentation, I take a detailed look at the concept of polymathy (which traditionally means expertise in various domains) and explain how polymathic and creative behavior are intimately connected. The presentation is organized along three themes. First, I build upon previous literature on polymathy to examine the nature of construct, unravel its components, and differentiate polymathy from other concepts such as dilettancy and universalism. Second, I revisit relevant ideas in the field of creativity (e.g., Sternberg and Lubart’s investment theory of creativity; Rubenson and Runco’s psycho economic approach to creativity; and Simonton’s view of creativity as a constrained stochastic process) through the lens of polymathy studies. Third, I present a simple model of creativity that aims to illustrate how the concepts of polymathy and creativity are related at their core.
Feeling, Producing and Reflecting: An Approach to Studying Creative Self-Beliefs and Production
Speaker: Ross Anderson
Location: 313 in the Stevenson Union
Abstract: The field of creative studies has become more interested in understanding the role of creative self-beliefs in creative development. Past research investigated how creative self-beliefs relate to sustained effort and creative achievement in creative production. Although past research yielded mixed results about the role of creative self-beliefs, those results may indicate a lack of conceptual clarity. With greater clarity, researchers and educators can more fully consider the role and development of creative self-beliefs in the creative teaching and learning process. In this study, we used a multidimensional assessment designed with recommendations from psychological and creativity research. We measure task-specific creative self-efficacy, creative production using the consensual assessment technique, creative metacognition, and creative identity. Creative self-efficacy showed small correlations with creative production and creative metacognition. Creative metacognition demonstrated a large correlation with creative production when both the illustration and written description of the creative product were included in the scoring. These results suggest that creative self-efficacy relates to level of creative achievement, weakly. The strong relationship between creative metacognition and achievement when scores included illustrated and written descriptions of the creative product indicates a strong link between creative ideas communicated in multiple forms. The results suggest that future research and design of creative learning programs should consider multiple modalities to develop and assess creative production and metacognition.
TITLE:
Speaker: Collier
Location: Diversions in the Stevenson Union
Abstract:
11:30am - 1:15pm lunch
Location of the Hawk, recommendations for other lunch options. Information about meal tickets.
1:15pm - 3:00pm poster session
28 Poster Presentations
Location: Arena in the Stevenson Union
Location: Arena in the Stevenson Union
1:30pm - 4:00pm short presentations
TITLE:
Speaker: Acar, Biskjaar, Forthmann, Cardoso, Paek
Location: 323 in the Stevenson Union
TITLE:
Speaker: Ockuly, Miller, Koehurst, Li
Location: 319 in the Stevenson Union
TITLE:
Speaker: R. Anderson, DeZutter, MacLean, Malinin, Duffy
Location: 313 in the Stevenson Union
TITLE:
Speaker: Maya Martinez, Theis, Murray, Audin, Weiping Hu
Location: Diversions in the Stevenson Union
Speaker: Acar, Biskjaar, Forthmann, Cardoso, Paek
Location: 323 in the Stevenson Union
TITLE:
Speaker: Ockuly, Miller, Koehurst, Li
Location: 319 in the Stevenson Union
TITLE:
Speaker: R. Anderson, DeZutter, MacLean, Malinin, Duffy
Location: 313 in the Stevenson Union
TITLE:
Speaker: Maya Martinez, Theis, Murray, Audin, Weiping Hu
Location: Diversions in the Stevenson Union
3:10pm - 4:00pm concurrent sessions
TITLE:
Speaker: Elisabeth
Location: 323 in the Stevenson Union
Abstract:
From here you can step anywhere - Dance as a Creative Youth Development Catalyst
Speaker: Reese
Location: 319 in the Stevenson Union
Abstract:
The development of learning experience design principles for creative problem solving on actual social problems
Speaker: Byun
Location: 313 in the Stevenson Union
Abstract: Enhancing Creativity in higher education is an important issue as well as in K-12. The undergraduate students, who work and collaborate in actual work setting after graduation, need to practice to solve the actual social problems in teams. The undergraduates who experience actual social problem solving might enhance positive attitude toward challenge, and lead naturally them to creative problem solving. The research question was how to design the meaningful learning experiences in the process of creative problem solving with actual social problems? The learning experience design principles are suggested to guide team-based creative problem solving for actual social problems. The learning experience design principles of creative problem solving for actual social problems include five principles and 24 sub-principles. The principles were developed based on review of the previous studies and analysis of students' reflection and interviews. Five principles include global citizenship, team-based learning, creative problem-solving process, social communication, and reflection. First, let students to develop the social value that they are pursuing in solving problems. Second, make the classroom climate in team-based learning to be positive, supportive and collaborative. Third, let students to understand the meaning and the process of problem solving and practice. Fourth, regarding social communication, let students to communicate effectively and persuasively within teams, between teams, and with related organizations outside of the universities. Fifth, let students reflect their own learning including process, results and further action. The advantages and limitations of this design principles need to be discussed.
Creating your own intelligence test: Implications for cognition research and education
Speaker: Jaarsveld
Location: Diversions in the Stevenson Union
Abstract: We present the Creative Reasoning Test (CRT; Jaarsveld et al., 2010, 2012), which was developed on the basis of an alternative construct of human cognitive functioning: creative reasoning is understood as a thinking process in which cognitive abilities associated with intelligent and with creative thinking are intertwined. Thereby, the CRT circumvents methodological problems regarding the validity of studies comparing results from intelligence and creativity tests, given that standard intelligence and creativity tests not only vary in the definition of their constructs, but also in problem space, and their knowledge domain. The CRT presents participants with an empty 3x3 matrix and asks them to fill it out, as original and complex as possible, by creating components and the relationships that connect them. Results of the CRT are compared with those of a standard intelligence test (Standard Progressive Matrices, SPM; Raven 1998) and a standard creativity test (Test for Creative Thinking – Drawing Production, TCT-DP; Urban & Jellen, 1985). Studies focusing on cognitive development and intelligence-creativity theory showed, respectively, that (a) in the CRT process abilities related to intelligent and creative thinking intertwine in different stages and can be assessed independently (b) problem space being well or ill-defined affects cognitive processing; cognitive development as inferred from the CRT differs from that yielded by TCT-DP and especially from that yielded by SPM, and (c) with knowledge domain controlled for the relationship between intelligence and creativity yields different results as defined in the Threshold Theory. Implications for research, methodology, and education are discussed.
Speaker: Elisabeth
Location: 323 in the Stevenson Union
Abstract:
From here you can step anywhere - Dance as a Creative Youth Development Catalyst
Speaker: Reese
Location: 319 in the Stevenson Union
Abstract:
The development of learning experience design principles for creative problem solving on actual social problems
Speaker: Byun
Location: 313 in the Stevenson Union
Abstract: Enhancing Creativity in higher education is an important issue as well as in K-12. The undergraduate students, who work and collaborate in actual work setting after graduation, need to practice to solve the actual social problems in teams. The undergraduates who experience actual social problem solving might enhance positive attitude toward challenge, and lead naturally them to creative problem solving. The research question was how to design the meaningful learning experiences in the process of creative problem solving with actual social problems? The learning experience design principles are suggested to guide team-based creative problem solving for actual social problems. The learning experience design principles of creative problem solving for actual social problems include five principles and 24 sub-principles. The principles were developed based on review of the previous studies and analysis of students' reflection and interviews. Five principles include global citizenship, team-based learning, creative problem-solving process, social communication, and reflection. First, let students to develop the social value that they are pursuing in solving problems. Second, make the classroom climate in team-based learning to be positive, supportive and collaborative. Third, let students to understand the meaning and the process of problem solving and practice. Fourth, regarding social communication, let students to communicate effectively and persuasively within teams, between teams, and with related organizations outside of the universities. Fifth, let students reflect their own learning including process, results and further action. The advantages and limitations of this design principles need to be discussed.
Creating your own intelligence test: Implications for cognition research and education
Speaker: Jaarsveld
Location: Diversions in the Stevenson Union
Abstract: We present the Creative Reasoning Test (CRT; Jaarsveld et al., 2010, 2012), which was developed on the basis of an alternative construct of human cognitive functioning: creative reasoning is understood as a thinking process in which cognitive abilities associated with intelligent and with creative thinking are intertwined. Thereby, the CRT circumvents methodological problems regarding the validity of studies comparing results from intelligence and creativity tests, given that standard intelligence and creativity tests not only vary in the definition of their constructs, but also in problem space, and their knowledge domain. The CRT presents participants with an empty 3x3 matrix and asks them to fill it out, as original and complex as possible, by creating components and the relationships that connect them. Results of the CRT are compared with those of a standard intelligence test (Standard Progressive Matrices, SPM; Raven 1998) and a standard creativity test (Test for Creative Thinking – Drawing Production, TCT-DP; Urban & Jellen, 1985). Studies focusing on cognitive development and intelligence-creativity theory showed, respectively, that (a) in the CRT process abilities related to intelligent and creative thinking intertwine in different stages and can be assessed independently (b) problem space being well or ill-defined affects cognitive processing; cognitive development as inferred from the CRT differs from that yielded by TCT-DP and especially from that yielded by SPM, and (c) with knowledge domain controlled for the relationship between intelligence and creativity yields different results as defined in the Threshold Theory. Implications for research, methodology, and education are discussed.
4:15pm - 5:15pm keynote address - mihaly csikszentmihalyi
TITLE
Speaker: Mihaly Csikzentmihalyi, Claremont Graduate University
Location: Rogue River Room in the Stevenson Union
Abstract:
Speaker: Mihaly Csikzentmihalyi, Claremont Graduate University
Location: Rogue River Room in the Stevenson Union
Abstract:
Monday, August 6th, 2018
Creativity Conference - Day 4
8:00am - 9:15am short presentations
TITLE:
Speakers: Xinfa, Hacieminoglu, Bogner, Zagorac-Uremovic
Location: 323 in the Stevenson Union
TITLE:
Speakers: Mesplic, Chai, Smith, Lemmetty
Location: 319 in the Stevenson Union
TITLE:
Speakers: Park, Pyo, Kwon, Yagolkovskiy, Lebuda
Location: 313 in the Stevenson Union
TITLE:
Speakers: Carola, Yazgin, Mikhailova, Long, Vong
Location: Diversions in the Stevenson Union
Speakers: Xinfa, Hacieminoglu, Bogner, Zagorac-Uremovic
Location: 323 in the Stevenson Union
TITLE:
Speakers: Mesplic, Chai, Smith, Lemmetty
Location: 319 in the Stevenson Union
TITLE:
Speakers: Park, Pyo, Kwon, Yagolkovskiy, Lebuda
Location: 313 in the Stevenson Union
TITLE:
Speakers: Carola, Yazgin, Mikhailova, Long, Vong
Location: Diversions in the Stevenson Union
9:15am - 10:15am concurrent sessions
Smells Like Innovative Spirit. A music thinking mindset for fearless innovation.
Speaker: Flecker
Location: 323 in the Stevenson Union
Abstract: In this session, participants learn to express and overcome roadblocks of innovation through the process of songwriting and musical storytelling. Songwriters like Lady Gaga and Sia are universally recognized as innovators and music disruptors. Their persistent and risk-taking exposure of novel ideas sets them apart, embracing uncertainty as a prerequisite for lasting musical and business success. In this session, you immerse in the process of innovation-minded songwriting and learn to utilize artistic tools in your work environment.
The Creativity Landscape Framework and Design of Learning
Speaker: Donaldson
Location: 319 in the Stevenson Union
Abstract: This study applied the Creativity Landscape conceptual framework (Donaldson, 2016) as a diagnostic tool in evaluating the strengths and weaknesses of the instructional design of a course in terms of facilitating development of learner creativity. The purpose of the study was to determine the effectiveness of the framework as a diagnostic tool. The findings suggest that the framework is effective for this purpose, particularly in identifying areas for potential enhancement of creativity in a course design. These findings fill a gap in the literature in terms of instruments and frameworks for evaluating facilitation of learner creativity in the design of learning.
What Teachers Talk About When They Talk About Creativity
Speaker: Duffy
Location: 313 in the Stevenson Union
Abstract: Two researchers will share survey and interview data conducted with teachers (n=300) about their opinions of their own and their students’ creativity in the classroom as a piece of performed research. Looking to the ethnographer Dwight Conquergood and the theatre researcher Johnny Salda the investigators crafted a theatrical script from the rich blended research methods used in this project. The researchers used verbatim text from hundreds of hours of interviews as well as the survey data to create a piece of theatre that captures the feelings, frustrations and joys of teachers in relationship to their and their students’ creativity. The research will be summarized before the performance, and a twenty-five minute piece will be presented with a discussion to follow. The research examines how teachers define creativity, whether they feel as if they are creative teachers, whether they encourage their students to be creative, and what impediments do they face in the process. Furthermore, the piece asks what is missing to make schools more creative and engaging spaces. Students and teachers have some surprising answers.
Death of the Father: A Poet’s Healing Journey
Speaker: Barrett
Location: Diversions in the Stevenson Union
Abstract: Multiple theories of how original creative writing may support healing will be reviewed in light of the author’s experience navigating the death of her father, and teaching graduate courses on poetry and healing. Theories derived from both the psychological literature and the field of poetry therapy will be assessed from the phenomenological perspective of the adult child experiencing this loss. Poems written decades before the loss, during the final illness, days before the death, and after the father’s death will be shared to explore the healing potential in such creative acts. The presenter will examine the felt experience of the poem’s birth, and explore its impact in the process of revision, in subsequent publication in literary or medical journals, and in recitation at a memorial service. The audience will be encouraged in their own healing efforts in the face of loss, based on the potential benefits of the creative process using language. Limitations where the loss involves significant trauma will be acknowledged, and further studies of the phenomenology of healing will be called for.
Thinking, Doing and Being: Discovering Everyday Creativity
Speaker: Nolan
Location: Arena in the Stevenson Union
Abstract: This presentation and experiential workshop will address current research on forms of creativity with greater emphasis placed upon the concept of everyday creativity. While sharing similar processes with eminent creativity (i.e., Van Gogh, Einstein, Prince) everyday creativity is evenly distributed across the population and is defined as an original contribution of some sort, and one that communicates to others and is thus meaningful, rather than being random or idiosyncratic. (Richards, 2006; Richards et al. 1988b; see also Barron, 1969).
Speaker: Flecker
Location: 323 in the Stevenson Union
Abstract: In this session, participants learn to express and overcome roadblocks of innovation through the process of songwriting and musical storytelling. Songwriters like Lady Gaga and Sia are universally recognized as innovators and music disruptors. Their persistent and risk-taking exposure of novel ideas sets them apart, embracing uncertainty as a prerequisite for lasting musical and business success. In this session, you immerse in the process of innovation-minded songwriting and learn to utilize artistic tools in your work environment.
The Creativity Landscape Framework and Design of Learning
Speaker: Donaldson
Location: 319 in the Stevenson Union
Abstract: This study applied the Creativity Landscape conceptual framework (Donaldson, 2016) as a diagnostic tool in evaluating the strengths and weaknesses of the instructional design of a course in terms of facilitating development of learner creativity. The purpose of the study was to determine the effectiveness of the framework as a diagnostic tool. The findings suggest that the framework is effective for this purpose, particularly in identifying areas for potential enhancement of creativity in a course design. These findings fill a gap in the literature in terms of instruments and frameworks for evaluating facilitation of learner creativity in the design of learning.
What Teachers Talk About When They Talk About Creativity
Speaker: Duffy
Location: 313 in the Stevenson Union
Abstract: Two researchers will share survey and interview data conducted with teachers (n=300) about their opinions of their own and their students’ creativity in the classroom as a piece of performed research. Looking to the ethnographer Dwight Conquergood and the theatre researcher Johnny Salda the investigators crafted a theatrical script from the rich blended research methods used in this project. The researchers used verbatim text from hundreds of hours of interviews as well as the survey data to create a piece of theatre that captures the feelings, frustrations and joys of teachers in relationship to their and their students’ creativity. The research will be summarized before the performance, and a twenty-five minute piece will be presented with a discussion to follow. The research examines how teachers define creativity, whether they feel as if they are creative teachers, whether they encourage their students to be creative, and what impediments do they face in the process. Furthermore, the piece asks what is missing to make schools more creative and engaging spaces. Students and teachers have some surprising answers.
Death of the Father: A Poet’s Healing Journey
Speaker: Barrett
Location: Diversions in the Stevenson Union
Abstract: Multiple theories of how original creative writing may support healing will be reviewed in light of the author’s experience navigating the death of her father, and teaching graduate courses on poetry and healing. Theories derived from both the psychological literature and the field of poetry therapy will be assessed from the phenomenological perspective of the adult child experiencing this loss. Poems written decades before the loss, during the final illness, days before the death, and after the father’s death will be shared to explore the healing potential in such creative acts. The presenter will examine the felt experience of the poem’s birth, and explore its impact in the process of revision, in subsequent publication in literary or medical journals, and in recitation at a memorial service. The audience will be encouraged in their own healing efforts in the face of loss, based on the potential benefits of the creative process using language. Limitations where the loss involves significant trauma will be acknowledged, and further studies of the phenomenology of healing will be called for.
Thinking, Doing and Being: Discovering Everyday Creativity
Speaker: Nolan
Location: Arena in the Stevenson Union
Abstract: This presentation and experiential workshop will address current research on forms of creativity with greater emphasis placed upon the concept of everyday creativity. While sharing similar processes with eminent creativity (i.e., Van Gogh, Einstein, Prince) everyday creativity is evenly distributed across the population and is defined as an original contribution of some sort, and one that communicates to others and is thus meaningful, rather than being random or idiosyncratic. (Richards, 2006; Richards et al. 1988b; see also Barron, 1969).
10:30am - 11:30am invited address & concurrent sessions
Creativity in Perspective
Speaker: Vlad Glaveneau
Location: Rogue River Room in the Stevenson Union
Abstract: In this talk I will explore a new, sociocultural way of thinking about creativity as a dialogue of perspectives. The notion of perspective, popular within art history and photography, is highly relevant for discussions of creativity given the fact that it designates the particular relationship established between person and his or her situation. The creative process is are often considered, in lay discussions, to involve a ‘change in perspective’. What this means, from a psychological point of view, is that creativity often requires a re-positioning of the person (in physical, social and/or symbolic terms), towards the problem at hand, in order to develop new ways of looking or thinking about it. Oftentimes, this implies moving beyond conventional, usual or dominant perspectives and towards the unconventional, the unique and the marginal. Essentially, what matters most for creativity researchers is how these unique positions and perspectives are reached. I will propose and illustrate here a perspectival model of creativity that considers different kind of dialogues between perspectives, resulting either in their reduction, synthesis or multiplication. My hope is that such a sociocultural framework - grounded in notions of position, perspective, dialogue and reflexivity - can take us beyond individualistic and ‘mentalist’ accounts of creativity and towards a more comprehensive theory that bridges the psychological, the material, the social and the cultural.
Who will succeed? Creativity and motivation in college students
Speaker: Rojas
Location: 323 in the Stevenson Union
Abstract: Creativity is an important individual difference among college students that is not typically measured in educational research. In this study, the relationships among measures of creativity, perseverance (grit), two measures of academic motivation (academic self-efficacy and avoidance of novelty), and self-reported grades were examined among two samples of college students (N = 817; N = 187). Correlations were examined and hierarchical multiple regressions controlling for gender, age, and ethnicity were conducted to determine which of these variables significantly predicted participants’ self-reported grades. No relationship emerged between creative ideation and grades, although grit did predict grades in one sample. Traditional academic motivation measures robustly predicted grades. Limitations and implications of these findings and future research directions are discussed.
CREATE: Designing learning experiences that boost creative problem solving
Speaker: Hadani
Location: 319 in the Stevenson Union
Abstract: Creative problem solving is a fundamental skill in the 21st century, yet all too often education experiences are not designed to build creativity or link it to problem solving. To help educators reimagine their approach, the Center for Childhood Creativity conducted a comprehensive review of empirical studies on creativity, cognitive development, and learning to develop the CREATE framework, which describes the key components of experiences and environments that build creative problem-solving skills.
Building Creative Information Systems
Speaker: Santos
Location: 313 in the Stevenson Union
Abstract: A “Creative Information System” (CIS) could be defined as an information system that facing a concrete problem in a certain context and using an adapted creativity technique, is able to generate automatically a set of answers potentially innovative for the solution of a problem. In this presentation, it will be proposed concrete software architectures to build Creative Information Systems based in some popular creativity techniques, namely: “Brute Thinking, “Whiteboard” and SCAMPER.
TITLE:
Speaker: Pieroux
Location: Diversions in the Stevenson Union
Abstract:
Speaker: Vlad Glaveneau
Location: Rogue River Room in the Stevenson Union
Abstract: In this talk I will explore a new, sociocultural way of thinking about creativity as a dialogue of perspectives. The notion of perspective, popular within art history and photography, is highly relevant for discussions of creativity given the fact that it designates the particular relationship established between person and his or her situation. The creative process is are often considered, in lay discussions, to involve a ‘change in perspective’. What this means, from a psychological point of view, is that creativity often requires a re-positioning of the person (in physical, social and/or symbolic terms), towards the problem at hand, in order to develop new ways of looking or thinking about it. Oftentimes, this implies moving beyond conventional, usual or dominant perspectives and towards the unconventional, the unique and the marginal. Essentially, what matters most for creativity researchers is how these unique positions and perspectives are reached. I will propose and illustrate here a perspectival model of creativity that considers different kind of dialogues between perspectives, resulting either in their reduction, synthesis or multiplication. My hope is that such a sociocultural framework - grounded in notions of position, perspective, dialogue and reflexivity - can take us beyond individualistic and ‘mentalist’ accounts of creativity and towards a more comprehensive theory that bridges the psychological, the material, the social and the cultural.
Who will succeed? Creativity and motivation in college students
Speaker: Rojas
Location: 323 in the Stevenson Union
Abstract: Creativity is an important individual difference among college students that is not typically measured in educational research. In this study, the relationships among measures of creativity, perseverance (grit), two measures of academic motivation (academic self-efficacy and avoidance of novelty), and self-reported grades were examined among two samples of college students (N = 817; N = 187). Correlations were examined and hierarchical multiple regressions controlling for gender, age, and ethnicity were conducted to determine which of these variables significantly predicted participants’ self-reported grades. No relationship emerged between creative ideation and grades, although grit did predict grades in one sample. Traditional academic motivation measures robustly predicted grades. Limitations and implications of these findings and future research directions are discussed.
CREATE: Designing learning experiences that boost creative problem solving
Speaker: Hadani
Location: 319 in the Stevenson Union
Abstract: Creative problem solving is a fundamental skill in the 21st century, yet all too often education experiences are not designed to build creativity or link it to problem solving. To help educators reimagine their approach, the Center for Childhood Creativity conducted a comprehensive review of empirical studies on creativity, cognitive development, and learning to develop the CREATE framework, which describes the key components of experiences and environments that build creative problem-solving skills.
Building Creative Information Systems
Speaker: Santos
Location: 313 in the Stevenson Union
Abstract: A “Creative Information System” (CIS) could be defined as an information system that facing a concrete problem in a certain context and using an adapted creativity technique, is able to generate automatically a set of answers potentially innovative for the solution of a problem. In this presentation, it will be proposed concrete software architectures to build Creative Information Systems based in some popular creativity techniques, namely: “Brute Thinking, “Whiteboard” and SCAMPER.
TITLE:
Speaker: Pieroux
Location: Diversions in the Stevenson Union
Abstract:
11:30am - 1:15pm lunch
Location of the Hawk, recommendations for other lunch options. Information about meal tickets.
1:15pm - 2:15pm invited address & concurrent sessions
Structured Uncertainty: A Dynamic Approach for Inducing and Studying Creative Expression in Educational Contexts
Speaker: Ronald Beghetto
Location: Rogue River Room in the Stevenson Union
Abstract: The purpose of this talk is highlight how providing opportunities for students to engage with uncertainty — in an otherwise structured learning environment — can serve as a catalyst for inducing and studying creative expression in educational contexts. Implications for creativity theory, research, and practice will also be discussed.
Music and Animation: A Perfect Pairing for Students with Autism
Speaker: Randles
Location: 323 in the Stevenson Union
Abstract: Media is ubiquitous in the lives of adolescent students (Coleman, 2012). Given the proliferation of web and software-based composition platforms music teachers have valuable tools at their disposal for introducing and sustaining meaningful music creation experiences. The presenter has worked as a professional performing musician on a tablet over the past eight years and has used musical skills developed in this area in an assortment of teaching and research applications (_______, 2015, 2017, in press). This session will be the author/researcher/teacher’s reporting on summer camps where tablets are being utilized in a multitrack recording and performance instrument sense as a means for composing music for animation and film with students with autism. Strategies for harnessing the power of media in the classroom will be presented along with the ongoing results of how music and animation experiences are being used to connect students with autism with careers in the Arts (including music).
How the ‘Asset-based Approach’ Enhances Social Creativity
Speaker: Maclurcan
Location: 319 in the Stevenson Union
Abstract: In every social interaction or task-oriented activity, we can engage people’s creativity from the very outset. By beginning processes with a focus on what’s already good or working, we engage people’s imaginative neocortex, rather than the part of their brains associated with ‘flight, fight or freeze’ responses. Building on Asset-based Community Development (ABCD) and Appreciative Inquiry (AI), and drawing from cognitive science, the author’s informal, experiential research suggests this ‘Asset-based Approach’ consistently results in pro-social interactions, greater participant engagement, and more effective community outcomes. This presentation will explain the Asset-based Approach, as well as how it can be applied to build trust and stimulate creativity in social interactions, team building processes and the development of community-oriented projects.
Speaker: Ronald Beghetto
Location: Rogue River Room in the Stevenson Union
Abstract: The purpose of this talk is highlight how providing opportunities for students to engage with uncertainty — in an otherwise structured learning environment — can serve as a catalyst for inducing and studying creative expression in educational contexts. Implications for creativity theory, research, and practice will also be discussed.
Music and Animation: A Perfect Pairing for Students with Autism
Speaker: Randles
Location: 323 in the Stevenson Union
Abstract: Media is ubiquitous in the lives of adolescent students (Coleman, 2012). Given the proliferation of web and software-based composition platforms music teachers have valuable tools at their disposal for introducing and sustaining meaningful music creation experiences. The presenter has worked as a professional performing musician on a tablet over the past eight years and has used musical skills developed in this area in an assortment of teaching and research applications (_______, 2015, 2017, in press). This session will be the author/researcher/teacher’s reporting on summer camps where tablets are being utilized in a multitrack recording and performance instrument sense as a means for composing music for animation and film with students with autism. Strategies for harnessing the power of media in the classroom will be presented along with the ongoing results of how music and animation experiences are being used to connect students with autism with careers in the Arts (including music).
How the ‘Asset-based Approach’ Enhances Social Creativity
Speaker: Maclurcan
Location: 319 in the Stevenson Union
Abstract: In every social interaction or task-oriented activity, we can engage people’s creativity from the very outset. By beginning processes with a focus on what’s already good or working, we engage people’s imaginative neocortex, rather than the part of their brains associated with ‘flight, fight or freeze’ responses. Building on Asset-based Community Development (ABCD) and Appreciative Inquiry (AI), and drawing from cognitive science, the author’s informal, experiential research suggests this ‘Asset-based Approach’ consistently results in pro-social interactions, greater participant engagement, and more effective community outcomes. This presentation will explain the Asset-based Approach, as well as how it can be applied to build trust and stimulate creativity in social interactions, team building processes and the development of community-oriented projects.
2:30pm - 3:30pm concurrent sessions
TITLE:
Speaker: Collier
Location: 323 in the Stevenson Union
Abstract:
Acknowledging Creative Thinking Skills
Speaker: Holt
Location: 319 in the Stevenson Union
Abstract: In this talk I will outline and illustrate the results of the international, EU-funded, ACTS project, (Acknowledging Creative Thinking Skills), which set out in a practical and pragmatic way to rethink high school qualifications and design a rigorous, yet widely relevant, valid and portable system of qualifications. The ACTS qualification design is based upon a redefined spectrum of creative thinking skills that can be enabled and enhanced within transdisciplinary learning and the inclusion of non-formal and informal learning opportunities. The innovative core certificates within each diploma level have been designed to overarch any content, allowing the greatest flexibility to trial the approach without disruption to existing programmes. The project is currently in its final, piloting phase and has received positive international support for its potential to raise attainment for all and maximise creativity without increasing stress. Enhanced creative thinking is highly relevant in relation to the mounting global issues that face the young people of today and tomorrow. In an increasingly complex and uncertain world, they will need these skills as never before. I will also illustrate how these skills may be similarly relevant to higher education, business or any other area of human endeavour, since they work cooperatively with the natural process of learning and autonomy of thinking. In combination, they help pave the way to the ‘A-ha’ moment; to insight, or to a personal conviction based upon objective understanding and self-understanding. They can also enable and enhance meaningful creative action.
An urgent call for stronger and more robust cooperation between disciplines in creativity studies
Speaker: Fisher
Location: 313 in the Stevenson Union
Abstract: Understanding creativity from only one vantage point will never provide a necessary, satisfactory answer. Much as we were not able to describe cognition in the realm of one discipline, so too are we not able to crack the enigma of creativity by only using one set of tools. In this talk I will share a few remarks about the current state of creativity, collected from a wide range of disciplines and published on The Creativity Post—a thriving, multidisciplinary platform dedicated to understanding creativity from a variety of different perspectives. Mainly, I will focus my talk on the progress made in "algorithmic" approaches to creativity, including computational creativity, creative AI and philosophy of mind. I will also explore the difficult questions left unanswered by psychology that have left us stumped when attempting to teach creativity in the classroom and in the boardroom.
TITLE:
Speaker: Gina Scott
Location: Diversions in the Stevenson Union
Abstract:
Speaker: Collier
Location: 323 in the Stevenson Union
Abstract:
Acknowledging Creative Thinking Skills
Speaker: Holt
Location: 319 in the Stevenson Union
Abstract: In this talk I will outline and illustrate the results of the international, EU-funded, ACTS project, (Acknowledging Creative Thinking Skills), which set out in a practical and pragmatic way to rethink high school qualifications and design a rigorous, yet widely relevant, valid and portable system of qualifications. The ACTS qualification design is based upon a redefined spectrum of creative thinking skills that can be enabled and enhanced within transdisciplinary learning and the inclusion of non-formal and informal learning opportunities. The innovative core certificates within each diploma level have been designed to overarch any content, allowing the greatest flexibility to trial the approach without disruption to existing programmes. The project is currently in its final, piloting phase and has received positive international support for its potential to raise attainment for all and maximise creativity without increasing stress. Enhanced creative thinking is highly relevant in relation to the mounting global issues that face the young people of today and tomorrow. In an increasingly complex and uncertain world, they will need these skills as never before. I will also illustrate how these skills may be similarly relevant to higher education, business or any other area of human endeavour, since they work cooperatively with the natural process of learning and autonomy of thinking. In combination, they help pave the way to the ‘A-ha’ moment; to insight, or to a personal conviction based upon objective understanding and self-understanding. They can also enable and enhance meaningful creative action.
An urgent call for stronger and more robust cooperation between disciplines in creativity studies
Speaker: Fisher
Location: 313 in the Stevenson Union
Abstract: Understanding creativity from only one vantage point will never provide a necessary, satisfactory answer. Much as we were not able to describe cognition in the realm of one discipline, so too are we not able to crack the enigma of creativity by only using one set of tools. In this talk I will share a few remarks about the current state of creativity, collected from a wide range of disciplines and published on The Creativity Post—a thriving, multidisciplinary platform dedicated to understanding creativity from a variety of different perspectives. Mainly, I will focus my talk on the progress made in "algorithmic" approaches to creativity, including computational creativity, creative AI and philosophy of mind. I will also explore the difficult questions left unanswered by psychology that have left us stumped when attempting to teach creativity in the classroom and in the boardroom.
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Speaker: Gina Scott
Location: Diversions in the Stevenson Union
Abstract:
3:40pm - 4:15pm Closing Remarks
Location: Rogue River Room in the Stevenson Union
