Reclaiming disabled creativity: How cultural models make legible the creativity of people with disabilities

The field of creativity studies underrepresents—even excludes—creators who have disabilities. The underrepresentation partly reflects an approach that pathologizes disability. Disability as a pathology or marker of ineligibility makes the contributions of people with disabilities invisible or illegible to creativity research. However, disability operates as a marker of membership in a larger disability culture. Considering disability and creativity as cultural phenomena locates a means for including disabled creators in creativity studies. Cultural models describe creativity in terms of groups sharing values, experiences, and resources. People with disabilities participate in subcultures (e.g., deaf communities) and/or larger cultures (i.e., disability culture). Disability cultures encapsulate shared experiences and values as well as resources. In the following article, I pair three propositions from cultural creativity models with evidence from creators with disabilities to demonstrate that (a) members of disability culture experience the world in ways that generate creative expression, (b) encountering a world designed for abled bodies incites the creativity of disabled people, and (c) disabled and abled people collaboratively create. However, not all methodological approaches effectively include creators with disabilities. Qualitative approaches suit best when the researcher practices reflexivity and allows creators with disabilities the right to manage their own representation within the project.

Contextual Factors that Heighten Interest in Coalitional Alliances with Men Possessing Formidable Facial Structures

Individuals use facial width-to-height ratio (fWHR) to infer dominance and fighting ability of others. We hypothesized that broad assessments of target formidability from fWHR would form a basis for determining men’s coalitional value, with high-fWHR men being especially valuable in roles requiring physical strength. Across five studies (N=1,445), we identified the social affordance of male facial structures connoting formidability and how judgments influence coalitional decisions. In addition to replicating previous findings indicating high-fWHR men are more desirable for tasks requiring physical strength, we found that such men are aversive for tasks requiring creativity (Studies 1 and 2). High-fWHR men were additionally perceived as more effective in combat roles in the military (Study 3). Finally, in two pre-registered studies, we found that activation of competitive motivations heightens individuals’ interest in formidable allies during intergroup interactions (Study 4), but not interest in approaching them (Study 5). We interpret findings using evolutionary and social affordance theories and discuss hypothesized ancestral origins of selecting formidable allies.

Promoting Children’s Creativity through Drama in Education

Under the background of economic globalization, human creativity and imagination are key resources in a world dominated by technological innovations. Creative talents have become the pressing needs of the country. Promoting children’s creativity has also been one of the research interests in school education. This thesis aims to research the relationship between Drama in Education and the cultivation of children’s creativity and explore the feasibility of promoting children’s creativity through DIE in English teaching. The study employs a qualitative method utilizing classroom observation method and interview method to examine the effectiveness of children’s creativity promotion in the practical English DIE class. The findings show that the main elements of drama in education are consistent with theories proposed by some of today’s best-known scholars in the area of creativity studies and the use of DIE for English teaching has helped stimulate children’s creativity.It is hoped that the findings of this thesis will have a significance in promoting children’s creativity through DIE and provide some inspiration for teachers and researchers.

Enhancing Creativity: Using Visual Mnemonic Devices in the Teaching Process in Order to Develop Creativity in Students

(1) Background: In the field of creativity studies there is always space for expansion and new conceptualizations of the methods involved. Therefore, we will present in this paper a brief arrangement of the methods used to enhance creativity and consider whether visual mnemonic devices can increase creativity. The devices are used in the teaching process in order to ease the remembering process by creating a visual representation. Visual mnemonic devices are techniques that increase creativity as part of their own performance. (2) Methods: We will use a quasi-experimental, nonequivalent group design, the procedure involving the use of visual mnemonic devices. (3) Results: The results show that the degree of abstracting increased after using visual mnemonic devices, along with fluency and other creativity dimensions. (4) Conclusions: The paper shows that the creativity increased, based on a national percentile system (along with standard creativity index), after using the visual mnemonics devices, thus demonstrating a case for integrating the visual mnemonic devices among methods to foster creativity.

Crash, boom, bang

Audience participation is a prominent thread running through much of sound art practice, yet it remains largely absent from the sound art scholarship. In this article, I argue that the most widespread methodologies employed in sound art research – roughly split into the phenomenological branch and the object-oriented branch – are ill equipped to tackle the questions of sociality and participation. Instead, I offer a framework for the study of participation in sound art – and, more broadly, for sound aesthetics in general – rooted in the pragmatist tradition. My starting point is John Dewey’s conceptualization of an artwork as an aesthetic experience developing in cycles of doing and undergoing – a structure, he claims, present in both the creative process and the reception of artworks, putting them on equal footing. I then expand this notion by turning to the contemporary pragmatist trends in creativity studies, ANT and affordance theory, introducing the concepts of we-creativity, mediation and affordance. The second half of the article focuses specifically on affordance – a relationship between a sound artwork and its audience delimiting and facilitating the possibilities for participation. I discuss the low-level affordances (facilitating elementary action) for creative listening and soundmaking and high-level affordances (facilitating complex behaviors) for creativity, experimentation and connectivity. I conclude that the pragmatist framework allows to go beyond the subject- or object-centeredness of phenomenological or object-oriented methodologies, bringing to the foreground the relational and social character of sound art.

The Intersections of Creativity, Technology, and the Mind

This chapter examines the relationships between technology, the human mind, and creativity. The chapter cannot possibly cover the whole spectrum of the aforementioned; nonetheless, it covers highlights that especially apply to new immersive technologies. The nature of creativity, creativity studies, the tools, languages, and technology used to promote creativity are discussed. The part that the mind and the senses—particularly vision—play in immersive media technology, as well as robotics, artificial intelligence (AI), computer vision, and motion capture are also discussed. The immersive transmedia project Robot Prayers is offered as a case study of the application of creativity and technology working hand in hand.

Export performance of India and its impact on GDP during post economic-reforms period

Mindfulness is defined as the attentiveness that surfaces through awareness on reason, in the current moment, and non-judgmentally to the recitation of occurrence, instant by instant. It has been found to influence individual’s openness to experience, attention span, and creativity. Studies in the western context, have suggested the influence of mindfulness on several facets of an entrepreneur. The present study tests the influence of demography on the level of mindfulness among entrepreneurs in the Indian context. Data is collected using the survey method, from 114 entrepreneurs in Bengaluru. Snowballing sampling technique is used to conduct the study. The 14 item Freiburg Mindfulness Inventory scale developed by Walach et al. (2006), is used to measure the level of mindfulness among the entrepreneurs. The reliability of the instrument was found to be 0.75, which is acceptable. T- test and ANOVA were employed to test the hypothesized relationships between the study variables. The current research did not find any evidence of demography on the levels of mindfulness among entrepreneurs in the Indian context.The findings of this study reaffirms the limited role of demography on the mindfulness of individuals and suggests that mindfulness can be developed using mindfulness improvement techniques irrespective of their demography. The study was cross-sectional, so the inferences about causality are limited. Future studies can collect data at different points in the career of an entrepreneur and compare the same.

Measuring Mindfulness among Entrepreneurs: An empirical study in India

Mindfulness is defined as the attentiveness that surfaces through awareness on reason, in the current moment, and non-judgmentally to the recitation of occurrence, instant by instant. It has been found to influence individual’s openness to experience, attention span, and creativity. Studies in the western context, have suggested the influence of mindfulness on several facets of an entrepreneur. The present study tests the influence of demography on the level of mindfulness among entrepreneurs in the Indian context. Data is collected using the survey method, from 114 entrepreneurs in Bengaluru. Snowballing sampling technique is used to conduct the study. The 14 item Freiburg Mindfulness Inventory scale developed by Walach et al. (2006), is used to measure the level of mindfulness among the entrepreneurs. The reliability of the instrument was found to be 0.75, which is acceptable. T- test and ANOVA were employed to test the hypothesized relationships between the study variables. The current research did not find any evidence of demography on the levels of mindfulness among entrepreneurs in the Indian context.The findings of this study reaffirms the limited role of demography on the mindfulness of individuals and suggests that mindfulness can be developed using mindfulness improvement techniques irrespective of their demography. The study was cross-sectional, so the inferences about causality are limited. Future studies can collect data at different points in the career of an entrepreneur and compare the same.

AUDIOVISUALITY AND THE CITY OF MARSEILLE, FRANCE: CREATIVITY, COMMUNICATION, REPRESENTATION

The Wicked City (director Peter Mak, 1992), House on the Waterfront (director Edmond T. Gréville, 1955), The French Connection (director William Friedkin, 1971), the obvious Borsalino (director Jacques Deray, 1970)… up to the recent Netflix series Marseille (creator Dan Franck, 2016–2018): when browsing the titles of the most important audiovisual representations of Marseille, one immediately notices how this city seems to (be made to) communicate a few recurrent topoi: the frontier city, site of mostly illegal activities and inhabited by a multi-ethnic (or rather stateless) community of gangsters, sailors, adventurers and prostitutes – ingredients often mixed with an abundant amount of charm and nostalgic fascination. Mostly informed by the theories and methodologies of film studies, musicology, creativity studies and communication studies, the present article aims to emphasize the consistence of significations conveyed by both visual and musical sources. As a case-study, the article shall focus on Borsalino, possibly – at the same time – the most famous film placed in Marseille and the most famous soundtrack (by jazz composer Claude Bolling) – both, it is argued, perfect syntheses of the above-mentioned topoi.