Divergent and Convergent Collaborative Creativity

2018 ◽  
pp. 245-262 ◽  
Author(s):  
Paul B. Paulus ◽  
Lauren E. Coursey ◽  
Jared B. Kenworthy
Keyword(s):  
Collaborative Creativity

Collaborative Creativity and Six-Thinking-Hats Virtually Enhance 21st-Century Skills

2013 ◽  
Author(s):  
Fotini Paraskeva ◽  
Aggeliki Chatziiliou ◽  
Aikaterini Alexiou
Keyword(s):  
21St Century ◽  
21St Century Skills ◽  
Collaborative Creativity

Distributed Creativity

2017 ◽  
Keyword(s):  
Contemporary Music ◽  
Division Of Labour ◽  
Conceptual Frameworks ◽  
Creative Processes ◽  
Distinctive Features ◽  
Concert Music ◽  
Collaborative Creativity ◽  
Collaborative Working ◽  
Working Practices ◽  
And Performance

Creative practice in music takes place in a distributed and interactive manner embracing the activities of composers, performers and improvisers—despite the sharp division of labour between these roles that traditional concert culture often presents. Two distinctive features of contemporary music are the greater incorporation of improvisation and the development of integrated and collaborative working practices between composers and performers. By blurring the distinction between composition and performance, improvisation and collaboration provide important perspectives on the distributed creative processes that play a central role in much contemporary concert music. This volume explores how collaboration and improvisation enable and constrain these creative processes. Organized into three parts, thirteen chapters and twelve shorter Interventions present diverse perspectives on distributed and collaborative creativity in music, on a range of collaborations between composers and performers, and on the place of improvisation within contemporary music, broadly defined. The thirteen chapters provide more substantial discussions of a variety of conceptual frameworks and particular projects, while the twelve Interventions provide more informal contributions from a variety of practitioners (composers, performers, improvisers), giving direct insights into the pleasures and problems of working creatively in music in collaborative and improvised ways.

scholarly journals Composing music, developing dialogues: An enactive perspective on children's collaborative creativity

2017 ◽  
Vol 34 (3) ◽  
pp. 259-276
Author(s):  
Ana Luísa Veloso
Keyword(s):  
Music Education ◽  
Cognitive Processes ◽  
Music Composition ◽  
Participant Observation ◽  
Theory And Practice ◽  
Collaborative Creativity ◽  
Collaborative Processes ◽  
Education Theory ◽  
Teacher Researcher ◽  
New Ideas

This study aims to provide new insights on the nature of the embodied and collaborative processes related to the emergence of new musical ideas that occur when children are composing in groups.Data was obtained by participant observation of the teacher/researcher and by ten videotaped one-hour musical sessions dedicated to the development of a music composition by two groups of children, all of whom were eight years old.It was found that when composing in groups a) children use embodied processes to transform what they experience on diverse realms of their existence into musical ideas, and that b) while creating music, children engage in several improvisatory moments where new ideas emerge through the diverse ways they enact the surroundings where the activity is occurring. Findings suggest a conception of music composing as a multidimensional phenomenon that entails cognitive processes that are distributed across and beyond the physical body. Findings also suggest that composing music in collaboration with others nurtures a set of creative possibilities that would otherwise, not occur. Considerations for music education theory and practice are addressed in the last section of the article.

Comments on Greenhow, Robelia, and Hughes: Toward a Creative Social Web for Learners and Teachers

2009 ◽  
Vol 38 (4) ◽  
pp. 274-279 ◽  
Author(s):  
Jianwei Zhang
Keyword(s):  
Web 2.0 ◽  
Teacher Learning ◽  
Knowledge Creation ◽  
Social Web ◽  
Community Knowledge ◽  
Design Based Research ◽  
Innovation Research ◽  
Collaborative Creativity ◽  
Research Questions ◽  
The Web

This article commenting on Greenhow, Robelia, and Hughes (2009) examines the potential strengths and weaknesses of Web 2.0 in supporting student collaborative creativity in light of sociocultural conditions of knowledge creation. Weaknesses and challenges are identified related to the embedded and dispersed representation of community knowledge, weak commitment and support to sustained progress, judging of contributions on the basis of popularity instead of advancement, and the conflict between the chaotic emergent Web and rigidly organized schooling. Discussion is extended to the use of the Web for supporting teacher learning and innovation. Research questions are identified calling for design-based research to advance both pedagogy and technology design.

Self-Knowledge Creation Through Collective Poetic Inquiry: Cultivating Productive Resistance as University Academics

2017 ◽  
Vol 17 (3) ◽  
pp. 262-265 ◽  
Author(s):  
Daisy Pillay ◽  
Kathleen Pithouse-Morgan ◽  
Inbanathan Naicker
Keyword(s):  
Graduate Students ◽  
South African ◽  
Knowledge Creation ◽  
Lived Experiences ◽  
Turning Point ◽  
Poetic Inquiry ◽  
Collaborative Creativity ◽  
Self Knowledge ◽  
Found Poetry ◽  
Research Analysis

We explore how using the literary arts-based methodology of collective poetic inquiry deepened our own self-knowledge as South African academics who choose to resist a neoliberal corporate model of higher education. Increasingly, poetry is recognized as a means of representing the distinctiveness, complexity and plurality of the voices of research participants and researchers. Also, poetry is understood as a mode of research analysis that can intensify creativity and reflexivity. Using found poetry in the pantoum and tanka formats, we provide an example of a poetic inquiry process in which we started off by exploring other university academics’ lived experiences of working with graduate students and came to a turning point of reflexivity and self-realization. The escape highlights our evolving understanding that collaborative creativity and experimentation in research can be acts of self-knowledge creation for nurturing productive resistance as university academics.

Collaborative Creativity—Group Creativity and Team Innovation

2012 ◽  
pp. 327-357 ◽  
Author(s):  
Paul B. Paulus ◽  
Mary Dzindolet ◽  
Nicholas W. Kohn
Keyword(s):  
Group Creativity ◽  
Team Innovation ◽  
Collaborative Creativity

Students’ Experiences in Summer Enrichment Engineering Courses: An Input–Process–Outcome Model of Collaborative Creativity

2021 ◽  
pp. 1932202X2110407
Author(s):  
Mehdi Ghahremani ◽  
Nielsen Pereira ◽  
Ophélie Allyssa Desmet ◽  
Marcia Gentry
Keyword(s):  
Group Processes ◽  
Classroom Environments ◽  
Input Process ◽  
Individual Level ◽  
Collaborative Creativity ◽  
Summer Enrichment ◽  
Challenging Tasks ◽  
Enrichment Program ◽  
Open Coding ◽  
K 12

In this study, we examined students’ experiences regarding precollege engineering curricula, classroom environments, and their experiences with the creative process in two engineering courses offered in a university-based summer enrichment program. Applying provisional and open coding to interview data from 16 participants, an Input–Process–Outcome Model of Collaborative Creativity (IPOCC model) was developed. The IPOCC model expands the 4P model of creativity to incorporate more collaborative contexts. The IPOCC model suggests that in K–12 collaborative practice, creativity involves group-level considerations in addition to individual-level components. The IPOCC model offers insights for educators in terms of input components, group processes, and mediating factors that can facilitate learners’ engagement in creative teamwork. The findings of this study indicated that a combination of challenging tasks, open-ended problems, and student teamwork provides a rich environment for learners’ engagement to think creatively.

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