By Mark A. Runco
An integrative advent to the theories and subject matters in learn on creativity, the second one variation of Creativity is either a reference paintings and textual content for classes during this burgeoning sector of study. The ebook starts with a dialogue of the theories of creativity (Person, Product, method, Place), the overall query of no matter if creativity is prompted through nature or nurture, what study has indicated of the character and elegance of inventive members from a character research viewpoint, and the way social context impacts creativity. This wide-ranging paintings then proceeds to assurance of concerns resembling gender variations, no matter if creativity could be superior, if creativity is expounded to negative psychological or actual wellbeing and fitness, and lots more and plenty extra.
The e-book includes packing containers overlaying designated curiosity goods, together with one-page biographies of well-known artistic participants, and actions for a gaggle or person to check or inspire creativity, in addition to references to websites on the subject of creativity.
- Includes all significant theories and views on creativity
- Consolidates fresh study right into a unmarried source
- Includes keyword phrases outlined and textual content bins with attention-grabbing comparable material
- Single authored for readability and consistency of presentation
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Additional resources for Creativity. Theories and Themes: Research, Development, and Practice
Decide whether or not new ideas extend a line of thought in a worthy direction). These possibilities are entirely consistent with the larger cognitive sciences, and in particular with theories of tacit knowledge, implicit theories, zeitgeist, and “knowing more than we think we know” (Wilson 1975). UNCONSCIOUS PROCESSES AND CREATIVE COGNITION Theories of incubation and intuition suggest that there are benefits to the unconscious. One benefit has not yet been discussed, namely the possibility of reconciling opposites, contradictions, and seemingly incompatible ideas.
It is preconventional in that the children have yet to develop the thinking that allows them to understand and use conventions. Not only are they unaware of what is conventional (and therefore unable to conform to those conventions and the related expectations), but they also are incapable of thinking in a conventional fashion. Eventually the child (or preadolescent) enters the conventional stage. The youth now knows many conventions, often knows what is expected by others, and gives great weight to conventional and therefore typical normative behaviors.
Adults rely on routine and may need tactics to solve problems in a creative fashion and to avoid fixedness. PERCEPTION AND CREATIVITY Two very different views of creative cognition have been described. One allows the creator to take intentional control of his or her work, often through tactics, and the other relies more on unintentional and unconscious processes. These views are not incompatible. Part of the creative process could be unconscious and random (or beyond the reasoning of our conscious mind), whereas another stage may be intentional and can be controlled.