Is Creativity Research Viable? Linda Candy KCDCC Talk University of Sydney May 8th 2006.
-
date post
19-Dec-2015 -
Category
Documents
-
view
215 -
download
0
Transcript of Is Creativity Research Viable? Linda Candy KCDCC Talk University of Sydney May 8th 2006.
Research Problem Creativity is difficult to measure Research requires well-controlled
situations Creativity under control is problematic
Research Problem Creativity in the world is very difficult to measure
Creativity research in context requires intrinsic motivation naturalistic settings
A Model of Creativity
EXPLORATION - examine - analyse - interprete - select
GENERATION - formulate - apply - refine - transform
EVALUATION - analyse - test - refine - reformulate
CONTRIBUTORS
Model of Creative Knowledge Work
E X P L O R A T I O N
- e x a m i n e
- a n a l y s e
- i n t e r p r e t e
- s e l e c t
G E N E R A T I O N
- f o r m u l a t e
- a p p l y
- r e f i n e
- t r a n s f o r m
E V A L U A T I O N
- a n a l y s e
- t e s t
- r e f i n e
- r e f o r m u l a t e
A C T I V I T I E SA C T I V I T I E S
C O N T R I B U T O R SC O N T R I B U T O R S
K N O W L E D G E
- D o m a i n
- C o n t e x t
- S t r a t e g i c
D e s i g n B r i e f
V i s u a l I m a g e s
S t a t u t o r y R e g u l a t i o n s
M a n u f a c t u r i n g C o n s t r a i n t s
H u m a n E x p e r t i s e
C a n d i d a t e S o l u t i o n s
C l i e n t F e e d b a c k
O r g a n i s a t i o n a l
C h a n g e s
P l a n o f a c t i o n
T e s t r e s u l t s
M o d i f i c a t i o n s
N e w r e q u i r e m e n t s
F u r t h e r p l a n s
Collaborative Creative Knowledge Work
E X P L O R A T I O N
- e x a m i n e
- a n a l y s e
- i n t e r p r e t e
- s e l e c t
G E N E R A T I O N
- f o r m u l a t e
- a p p l y
- r e f i n e
- t r a n s f o r m
E V A L U A T I O N
- a n a l y s e
- t e s t
- r e f i n e
- r e f o r m u l a t e
A C T I V I T I E SA C T I V I T I E S
C O N T R I B U T O R SC O N T R I B U T O R S
K N O W L E D G E
- D o m a i n
- C o n t e x t
- S t r a t e g i c
D e s i g n B r i e f
V i s u a l I m a g e s
S t a t u t o r y R e g u l a t i o n s
M a n u f a c t u r i n g C o n s t r a i n t s
H u m a n E x p e r t i s e
C a n d i d a t e S o l u t i o n s
C l i e n t F e e d b a c k
O r g a n i s a t i o n a l
C h a n g e s
P l a n o f a c t i o n
T e s t r e s u l t s
M o d i f i c a t i o n s
N e w r e q u i r e m e n t s
F u r t h e r p l a n s
ACTORS
Interpretations of Creativity Novelty + Value
Innovation, Invention, New Useful, Purposeful, Significant
Discipline Psychological, Social, Cultural …
Domain Art, Design, Education, Engineering, Finance …
Definitions“Creativity is best described as the human capacity regularly to solve
problems or to fashion products in a domain, in a way that is initially novel but ultimately acceptable in a culture.” (Gardner, 1989)
“Creative products, be they poems, scientific theories, paintings or technological advances, are both novel and acknowledged to be valuable or useful in some way.” (Gilhooly, 1982)
“Creativity is a process that can be observed only at the intersection where individuals, domains and fields intersect.” (Csikszentmihalyi, 1999)
CREATIVITYCREATIVITYP
EO
PLE
PROCESS
PR
OD
UC
T
IND
IVID
UA
L S
OC
IETY
CU
LTU
RE
RE
CO
GN
ITION
SIM
ULA
TION
CR
ITIQU
E
BIOGRAPHY EXPERIMENT OBSERVATION
Experiments and Creativity
Can experiments address context?
Not if settings and motivation matter…
Experimental research delivers an understanding of basic elements of creative potential rather than the essence of creativity in practice
Research Approaches
Experimental studies involve active manipulation of creative performance…
Ethnographic (naturalistic) studies require non-intervention in the process…
An alternative approach is to bring the ‘subject’ perspective into ethnographic style research Participant research in user centred design Practice-based research in creative arts
Practice-Based ResearchPractitioner Led Projects Two main types
- PhD programmes in art and design institutions
- Practice-based research projects
Situated studies Creativity research in context of studios, exhibition spaces…
Observer viewpoints External researcher data collection and analysis
Practitioner accounts Personal reflections on creative process and artefacts
Practice-based Methods
Monitor events concerned with Creative process in practice… Materials and methods… Support: expertise, resources…
Practice-based Methods
Observer and Practitioner Record of Events Experiences Perceptions Reflections
Practice-based Methods
Practitioner viewpoint: Experiences
Motivation and context What is proposed, decided and acted on Stumbling blocks and actions on them
Perceptions Reflections
Practice-based Methods
Practitioner viewpoint: Experiences Perceptions
Are ideas workable, challenging etc.? How collaborations worked Reasons for success and failure
Reflections
Practice-based Methods
Practitioner viewpoint: Experiences Perceptions Reflections
A good result? If not, why not Contrasting views Lessons learnt Next steps
Acquiring Evidence
Data Collection
Data Analysis
ApproachMethodsTechniquesInstrumentsToolsEquipment
Approach:Practice-based Method: Create artefactTechnique: Reflective analysisTools: Log bookEquipment: Computer, paper and pencil
Creative Product
How does the artefact contribute to our understanding of creativity in practice?
Practitioner viewpoint: Represents practitioner’s ideas and materials Embodies current status of practitioner’s
experimentation in a creative life Central component in the practitioner’s
reflective process
Creative Product
How does the artefact contribute to our understanding of creativity in practice?
Observer-Researcher viewpoint: Example of practitioner’s ideas and materials An indication of current status of
practitioner’s experimentation in a creative life
An component in the practitioner’s reflective process
Creative Product
The practitioner learns from the artefact how to shape a specific process of creation
The researcher understands the role of the artefact in creative thought and action more generally