The Science of Creativity

2018 ◽  
pp. 67-87
Keyword(s):  
Frontal Cortex ◽  
Inhibitory Control ◽  
Creative Process ◽  
Creative Thinking ◽  
Cognitive Mechanisms ◽  
Creative Processes ◽  
Common Misconception

There is a common misconception that only certain individuals “have what it takes” to be creative and the rest of us are destined to lack creativity. However, a review of the relevant neurological and cognitive literatures suggests otherwise- that creative thinking is rooted in everyday cognitive mechanisms and processes. This chapter provides an overview of the neurological and cognitive bases of creativity, with a focus on the role of the pre-frontal cortex and inhibitory control in the creative process. The implication of the findings discussed in this chapter is that, although some people engage in more creative processes than others, we are all equipped with a brain that is complex enough for us to think creatively.

scholarly journals New Media, New Literacies and the Adolescent Learner

2009 ◽  
Vol 6 (3) ◽  
pp. 259-271 ◽  
Author(s):  
Janette Hughes
Keyword(s):  
New Media ◽  
Digital Media ◽  
Creative Process ◽  
Research Study ◽  
New Literacies ◽  
Creative Processes ◽  
Adolescent Students ◽  
The Relationship

The goal of this research study was to develop a conceptualization of the relationship between new digital media and adolescent students' writing of poetry while immersed in using new media. More specifically, the research focused on the performative affordances of new media and how these interacted with the students' creative processes as they created digital poems. The article examines eight themes that emerged during the study, including the multimodal, multilinear and collaborative nature of the poems, the role of audience and identity in the creative process, and the shifting views of poetry the students experienced.

scholarly journals A.Katz’s art of interpretation: theatre and play aspect

2021 ◽  
pp. 59-69
Author(s):  
Daria Voinova
Keyword(s):  
Creative Process ◽  
Creative Thinking ◽  
Focused Attention ◽  
Research Subject ◽  
Music Culture ◽  
Entire Region ◽  
Performance Style ◽  
Scientific Approach ◽  
Individual Interpretation

The research object is the performance art of a well-known Saratov musician Anatoly Katz (1936-2017), who was one of the brightest representatives of not only Saratov piano art, but the music culture of the entire region. The research subject is the theatre and play aspect of Katz’s interpretation considered through the example of R. Schumann’s “Coloured Leaves”, op.99. The purpose of the research is to define the techniques of music and play theatricalization in A. Katz’s art of interpretation. The author analyzes the role of a theatre and play component in the performance activity of the Saratov pianist, his attitude to the process of interpretation and play as a special type of creative thinking. The author uses the historical and art review methods, the culturological and comparative methods which help to detect the prerequisites of formation of Katz’s performance style, his views on interpretation and the mechanisms of cooperation of a composer and a performer. For the comparative analysis, the author uses the recordings of Schumann’s “Coloured leaves” made by other well-known pianists: V. Ashkenazy, V. Sofronitsky, S. Richter. The scientific novelty of the research consists in the fact that it is the first attempt to take a scientific approach to A. Katz’s art of interpretation using R. Schumann’s music. The research shows that the theatre and play aspect to a great extent defines the direction of Katz’ s creative process, and differs it from other similar interpretations. The characteristic feature of Katz as an interpreter is his focus on cooperation with a composer, search for an individual interpretation, rethinking of the original composition. It results in a “director’s” approach to composing the cycle, increase of contrast between the parts and within each of them, fantasy and personification of images, active use of agogics and, consequently, focused attention to particular details of the composition.   

scholarly journals Translaboration in the rehearsal room

Target ◽  
2020 ◽  
Vol 32 (2) ◽  
pp. 358-379
Author(s):  
Kerstin Pfeiffer ◽  
Michael Richardson ◽  
Svenja Wurm
Keyword(s):  
Creative Process ◽  
Power Relationships ◽  
Source Text ◽  
Top Down ◽  
Cultural Backgrounds ◽  
Cultural Products ◽  
Creative Processes ◽  
Devised Theatre ◽  
The Uk

Abstract This article explores the role of translaboration in an area where collaborative translation and co-creative processes intertwine: a bilingual devised theatre rehearsal room. Scholarship has tended to focus on translated plays as cultural products and on the difficulty associated with making bilingual theatrical products accessible to unilingual audiences. Here, however, our focus is on translation within the creative process. We use two bilingual projects as examples. Each project brought together participants from two cultural backgrounds: in one case, German and Czech young people; in the other, deaf and hearing people from the UK. Possessing varying bilingual competencies, these participants employed their shared communicative repertoire to ensure the collaborative creation of new, bilingual theatrical material. Their diverse communication strategies can be regarded as translanguaging: a fluid, non-hierarchical practice that challenges the notion of uni-directional translation from a source text. We argue that in this setting, translanguaging is the practice that enables translaboration. This practice is compromised by the imposition of top-down structures that inhibit the organic development of democratic and potentially transformative environments in which problematic power relationships can be reworked. Such transformativity relies on collaboration in both devising and translation, co-creation and translaboration, and the two are mutually interdependent.

The Creative Process of Composing for Video Games: From Pitching to Gold Master and Beyond

2020 ◽  
Author(s):  
Stephen Baysted ◽  
Tim Summers
Keyword(s):  
Video Games ◽  
Case Studies ◽  
Video Game ◽  
Creative Process ◽  
Game Development ◽  
Creative Processes ◽  
Video Game Development

This chapter explores the composer’s experience of writing music for video games. It does so by following the musical creative process through the cycle of video game development. It begins with the pitching process, examines the factors at play in establishing the musical approach to the game, considers the compositional challenges of the video game medium, outlines approaches to recording the music, and finishes by explaining the role of music in the game’s marketing. While characterizing the creative processes of game music in general, the chapter uses two contrasting racing games as case studies. At each stage, the chapter emphasizes the variety of factors and agents involved in the musical decisions. Ultimately, the chapter suggests that the creative process of game music sits in tension between the financial realities of the marketplace, the practicalities of technology, and the creative ambitions of the producers.

scholarly journals The Creative Process of Cultural Evolution

2018 ◽  
Author(s):  
Liane Gabora
Keyword(s):  
Neural Network ◽  
Cultural Evolution ◽  
Creative Process ◽  
Cultural Context ◽  
Agent Based Model ◽  
Creative Processes ◽  
Agent Based ◽  
The Relationship ◽  
Scientific Framework

This chapter explores how we can better understand culture by understanding the creative processes that fuel it, and better understand creativity by examining it from its cultural context. First, it summarizes attempts to develop a scientific framework for how culture evolves, and it explores what these frameworks imply for the role of creativity in cultural evolution. Next it examines how questions about the relationship between creativity and cultural evolution have been addressed using an agent-based model in which neural network-based agents collectively generate increasingly fit ideas by building on previous ideas and imitating neighbors’ ideas. Finally, it outlines studies of how creative outputs are influenced, in perhaps unexpected ways, by other ideas and individuals, and how individual creative styles “peek through” cultural outputs in different domains.

Timing is everything: Examining the role of constraints throughout the creative process.

2018 ◽  
Vol 12 (4) ◽  
pp. 471-488 ◽  
Author(s):  
Kelsey E. Medeiros ◽  
Logan M. Steele ◽  
Logan L. Watts ◽  
Michael D. Mumford
Keyword(s):  
Creative Process

‘A disoriented vision of … fact’: Brian Friel, Francis Bacon, and Faith Healer

2020 ◽  
Vol 50 (2) ◽  
pp. 319-336
Author(s):  
Zosia Kuczyńska
Keyword(s):  
Creative Process ◽  
Francis Bacon ◽  
Major Influence ◽  
Artistic Practice ◽  
Archival Research ◽  
Faith Healer ◽  
Brian Friel ◽  
History Of ◽  
Composition Process

The Brian Friel Papers at the NLI reveal a long and relatively unexplored history of major and minor influences on Friel's plays. As the archive attests, these influences manifest themselves in ways that range from the superficial to the deeply structural. In this article, I draw on original archival research into the composition process of Friel's genre-defining play Faith Healer (1979) to bring to light a model of influence that operates at the level of artistic practice. Specifically, I examine the extent to which Friel's officially unacknowledged encounter with a book of interviews with painter Francis Bacon influenced the play in terms of character, language, and form. I suggest that Bacon's creative process – incorporating his ideas on the role of the artist, the workings of chance, and the extent to which art does violence to fact – may have had a major influence on both the play's development and on Friel's development as an artist.

scholarly journals Inhibitory control mediates the interaction between serotonin transporter gene (5-HTTLPR) and peer victimization on adolescent depressive symptoms

2021 ◽  
Vol 11 (1) ◽  
Author(s):  
Xiaonan Lin ◽  
Yanmiao Cao ◽  
Linqin Ji ◽  
Wenxin Zhang
Keyword(s):  
Depressive Symptoms ◽  
Peer Victimization ◽  
Inhibitory Control ◽  
Serotonin Transporter ◽  
Serotonin Transporter Gene ◽  
Transporter Gene ◽  
Chinese Han ◽  
Mediating Role ◽  
Adolescent Depressive Symptoms

AbstractMany efforts have been devoted to investigating the effect of the interaction between the serotonin transporter gene (5-HTTLPR) and environment (G × E) on depression, but they yield mixed results. The inconsistency has suggested that G × E effects may be more complex than originally conceptualized, and further study is warranted. This study explored the association among 5-HTTLPR, peer victimization and depressive symptoms and the underlying mediating role of inhibitory control in this association. A total of 871 Chinese Han adolescents (Mage = 15.32 years, 50.3% girls) participated and provided saliva samples from which the 5-HTTLPR was genotyped. This study found that 5-HTTLPR interacted with peer victimization in predicting depressive symptoms. Adolescents carrying L allele reported more depressive symptoms than SS carriers when exposed to higher level of peer victimization. Furthermore, adolescents’ inhibitory control deficits mediated the association between 5-HTTLPR × peer victimization and depressive symptoms. These findings suggested that one pathway in which G × E may confer vulnerability to depressive symptoms is through disruptions to adolescents’ inhibitory control system.

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