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

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.

Creative Collaboration and Collaborative Creativity: A Systematic Literature Review

Studies of creativity emerging from cultural psychology and social psychology perspectives challenge individualist conceptions of creativity to argue that social interaction, communication, and collaboration are key elements in creativity. In recent work creative collaboration has been proposed to be “distributed” between audiences, materials, embodied actions, and the historico-socio-cultural affordances of the creative activity and environment, thus expanding the potentialities of creative collaboration beyond instances of direct human interaction and engagement. Music performance, improvisation and composition may be viewed as exemplary “laboratories” of creative collaboration through the combined elements of audiences, materials, embodied actions and historico-socio-cultural affordances and constraints. This article reports the findings of a systematic literature review of creative collaboration and collaborative creativity in music. We sought to identify what has been currently investigated in relation to these terms and concepts in music, with what methodologies and in what settings. Findings indicate that studies were undertaken in higher education, professional development and professional practice predominantly, leading to an emergent phenomenon of interest, collaborative creative learning. Musical genres were jazz, popular, western classical, contemporary and world musics across the musical processes of composing, improvising and performing. Studies in higher education and professional development settings focused on identifying those practices that supported learning rather than the nature of collaborative creative approaches or the outcomes of creative collaboration. Participants were primarily male, with small sample sizes. Methodologies were largely qualitative with an emphasis on case study using observation, interview and reflective diary methods. Further areas for research include: the investigation of gendered approaches to creative collaboration, collaborative creativity, and collaborative creative learning; the use of more diverse research methodologies and methods and techniques including large-scale quantitative studies and arts-based and arts-led approaches; and the investigation of more diverse music settings.

COLLABORATIVE CREATIVITY IN AD HOC VIRTUAL TEAMS: TESTING AND EVALUATING THE ACCEPTANCE AND USABILITY OF SELECTED CREATIVITY TECHNIQUES IN A VIRTUAL WORKSPACE

Creativity in the context of marketing and as the prerequisite of innovation is a group achievement, not merely a solitary feat. Whereas “group” in the past meant convening in one place, using tools and techniques to be creative together, it recently evolved into meet-ing in virtual places, sometimes with complete strangers, working together to achieve a shared goal, using state-of-the-art information and communication technologies. What stays the same is the need to use creativity techniques, to try to trigger and enhance individual and collaborative creativity, and to gather a greater number of ideas in a short time. This article addresses the acceptance and usability of some of the most popular creativity techniques for virtual ideation in a digital workspace, as well as prominent inhibiting and enhancing factors to virtual creative teamwork. In a laboratory experiment, three selected creativity techniques were tested and the participants were afterwards interviewed about their experiences via an anonymous online survey. The results indicate that creative collaboration is possible and effective also in virtual ad hoc teams. The techniques tested were easily applied and general-ly accepted by the participants and yielded numerous ideas.

The Impact of Continual Reflection Students as Partners: Becoming a/r/tographers

In this reflective essay we chronicle working together from fall 2017 through spring of 2020 to discover what Rita Irwin (2013) delineated as “becoming a/r/tography” (p. 198). Our goals are to delineate how undergraduate research as a high impact practice effected the experience of an undergraduate art and design major as she matriculated through the “sticky curriculum” (Orr & Shreeve, 2018, p. 5), and how a/r/tography as a research methodology influenced our collaborative creativity research projects during this three-year period.

A Space for Collaborative Creativity. How Collective Improvising Shapes ‘a Sense of Belonging’

In this contribution, we draw on findings from a non-formal, community music project to elaborate on the relationship between the concept of eudaimonia, as defined by Seligman, the interactive dimensions of collective free improvisation, and the concept of collaborative creativity. The project revolves around The Ostend Street Orkestra (TOSO), a music ensemble within which homeless adults and individuals with a psychiatric or alcohol/drug related background engage in collective musical improvisation. Between 2017 and 2019 data was collected through open interviews and video recordings of rehearsals and performances. Participant data was analyzed through inductive analysis based on the principles of grounded theory. One interesting finding was the discrepancy in the participant interviews between social relationships indicative of a negative affect about social group interaction versus strong feelings of group coherence and belonging. Video recordings of performances and rehearsals showed clear enjoyment and pleasure while playing music. Alongside verbal reflection through one-on-one interviews video recordings and analysis of moment-to moment observations should be used, in order to capture the complexity of community music projects with homeless people. The initial open coding was aligned with the five elements of the PERMA model. Overall, we observed more focus on Relationship (sense of belonging), Engagement (flow in rehearsals and performances) and Meaning (belonging to something greater than yourself) and less on Positive Emotion and Accomplishment (goal setting).

Metastable Coordination Dynamics of Collaborative Creativity in Educational Settings

Educational systems consider fostering creativity and cooperation as two essential aims to nurture future sustainable citizens. The cooperative learning approach proposes different pedagogical strategies for developing creativity in students. In this paper, we conceptualize collaborative creativity under the framework of coordination dynamics and, specifically, we base it on the formation of spontaneous multiscale synergies emerging in complex living systems when interacting with cooperative/competitive environments. This conception of educational agents (students, teachers, institutions) changes the understanding of the teaching/learning process and the traditional roles assigned to each agent. Under such an understanding, the design and co-design of challenging and meaningful learning environments is a key aspect to promote the spontaneous emergence of multiscale functional synergies and teams (of students, students and teachers, teachers, institutions, etc.). According to coordination dynamics, cooperative and competitive processes (within and between systems and their environments) are seen not as opposites but as complementary pairs, needed to develop collaborative creativity and increase the functional diversity potential of teams. Adequate manipulation of environmental and personal constraints, nested in different level and time scales, and the knowledge of their critical (tipping) points are key aspects for an adequate design of learning environments to develop synergistic creativity.

Agents, Design, and Creativity in Moving Image Postproduction: Conditions for Collaborative Creativity in Digital Media

This article analyzes how creativity in the making of films and TV shows is constrained as a consequence of the shift to digital production technology, and the resulting change in work activities for different crafts involved in the postproduction process. We adapt the concept of creative spaces in order to describe these constraints, and we introduce the term audiovisual assemblies to facilitate the analysis of collaboration. We argue that this study is well-accomplished by analyzing collections of existing media productions. We identify two contradicting practices: first, the development of new conventions which reallocate roles and resources in the making of audiovisual assemblies; and second, the high rate and broad range of incremental technological change which demand unconventional, but creative, problem-solving practices from everyone involved. Examples are provided from an innovative Swedish TV production.

Exploring the embodied subtleties of collaborative creativity: What organisations can learn from dance

This study illustrates the value of embodied subtleties in the process of collaborative creativity. Drawing on a sensory ethnography of two dance productions, we illustrate the fine-grained ways in which professional dancers negotiate creative processes behind the scenes. We identify three aspects through which collaborative creativity emerges from bodily subtleties: (1) moving beyond individual bodies towards collective ambitions, (2) relating to colleagues’ micro-gestures and bodily nuances, and (3) the role of ‘serious play’ between bodies in setting the scene for the first two aspects to occur. The findings will contribute to our understanding of the practice of collaborative creativity, which we treat as not only a mental but also a highly intimate bodily practice. We conclude that appreciating sensory micro-dynamics between oneself and one’s colleagues is crucial for creative collaboration, which is increasingly necessary for management learning in contemporary organisations.

Using Ideation Grids to Power Collaborative Creativity in Face-to-Face and Remote Innovation Sessions

This chapter outlines a design-led approach to ideation. Ideation is a structured way to develop innovative ideas via collaborative workshops. The chapter starts by contextualising ideation within an overview of the ways in which design supports innovation both as a definable mindset as well as via a standardised methodology. People, behavioural approaches and methods for design innovation are described in section three. Design Thinking is positioned from this analysis as a practical asset in the innovators’ toolkit and also as a natural inheritor and embodiment of applied creativity. The chapter concludes by detailing how ideation works in practice and describes an evolved set of techniques, principles and methods for maximising the value of the approach through ideation grids that can be used in face-to-face and remote innovation work.

Socialised Creation Literacy Appeared during the COVID-19 Emergency: A Case Report

In our previous study, we proposed socialized creation competency as an advanced media information literacy. The competency involves four pillars: socialized creation, collaborative creativity, a critical eye and building affordance. The characterisation of this competency consists of all the component processes that make up social capital in ICT society. In this study, we extracted a concrete example to explain the socialised creation and to promote the sustainable development of society. The case we investigated was one in which civic IT engineers collaborated to develop program codes for a COVID-19 website. We collected and analysed related documents and communication records on Twitter. The results provided a deeper understanding of the importance of collaboration among diverse citizens, IT engineers, corporate workers and members of public sectors. Those players worked using a new style of production regarding Civic Tech and GovTech. Their activities blurred the borders of various organisations. Online services, GitHub, and other SNS were used for both creation and opinion exchanges, and emerging heterarchical communication was interrelated. The creators accepted the engagement of any citizen to vet opinions for purposes of improving the website. Records demonstrated the substantial potential for the needs of advanced MIL competency to understand civil society and collaborative creation by the public sector and citizens.