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Article

Dimitrios Zbainos and Todd Lubart

Creativity refers to the ability to produce original work that is meaningful and valuable within its context. Paul J. Guilford, at the American Psychological Association conference in 1950, devoted his presidential address to creativity and stressed its importance for future generations. Guilford conceptualized creativity as a factor within a general theory of intelligence, and in this regard, creativity was an individual ability involving divergent thinking that could be developed through interaction between individuals and their environments. Since then, creative thinking processes have been extensively studied, the initial conceptions have been modified, and new perspectives are being provided; for instance, neuroscientists are examining creative thinking processes using different methods and tools than those used in traditional cognitive psychology. Nevertheless, great creations have not always been the products of one person. On the contrary, many great creative achievements have involved the collaboration of several people, not as the sum of individual creativities but as the product of the whole group. Furthermore, both individual and group creativity, as any other psychological construct, cannot be studied isolated from the context within which it occurs. Even Guilford’s emphasis on creativity was the product of the sociopolitical and cultural conditions of the time (the Cold War, post–World War II intellectual malaise, and the dawning of the space race). Creative processes and acts are not solely an expression of individual abilities; they are also social, embodied, and temporal and should be studied as such. In recent decades the world is characterized by rapid change; the economic and the sociocultural conditions in a globalized economy have led creativity to be a highly socially valued ability. People consume creative products at a higher rate than any other time in history, including artistic creations such as films, music, fine arts, or countless technological innovations, which in turn raises the demand for more creative productions. Education has an important role to play to prepare students for a creativity-thirsty society. In Vygoskian terms it mediates the elements that help children to master their environments. Modern curricula stress the need for the development of students’ creativity so that they are equipped with the necessary skills for the society of tomorrow. It is possible to consider the different facets of creativity through a 7 Cs approach. These Cs provide a framework for examining creativity in terms of creators (creative people), creating (the act of producing new work), collaborations (interactions with close others during creation), context (the physical and social environment), creation (the new production and its characteristics), consumption (the uptake and adoption of creative work), and curricula (teaching and developing creativity through education). Research on creativity, across the 7 Cs, provides numerous avenues for the educational development of creativity.

Article

Allison Daniel Anders

Committed to research as an ethical and political practice, post-critical ethnographers work to center emic perspectives, local knowledges, and critiques in everyday languages in order to illuminate the exercise of power in the re/production of systemic inequities (e.g., economic, cultural, geographic, linguistic, political, racial, and social). Post-critical ethnographers underscore the importance of positionality and reflexivity in the practice of ethnography and pursue multiple, complicated understandings and complex representations, often experimental, in the writing and production of research. Informed by critical, interpretivist, and postmodern theories, post-critical ethnographers critique dominance, oppression, and inequity. In educational research, they choose schools, student, teacher, administrator experiences, and often local contexts to frame their research. Addressing both the particularities of experience and historical geopolitical contexts, post-critical ethnographers offer incisive analyses and ask their audiences to challenge systemic inequities and consider what could be otherwise in inequitable relations but is not yet.