Explaining Creativity: The Science of Human InnovationOxford University Press, 2006. gada 19. janv. - 368 lappuses Explaining Creativity is an accessible introduction to the latest scientific research on creativity. In the last 50 yearss, psychologists, anthropologists, and sociologists have increasingly studied creativity, and we now know more about creativity that at any point in history. Explaining Creativity considers not only arts like painting and writing, but also science, stage performance, and business innovation. Until about a decade ago, creativity researchers tended to focus on highly valued activities like fine art painting and Nobel prize winning science. Sawyer brings this research up to date by including movies, music videos, cartoons, videogames, hypertext fiction, and computer technology. For example, this is the first book on creativity to include studies of performance and improvisation. Sawyer draws on the latest research findings to show the importance of collaboration and context in all of these creative activities. Today's science of creativity is interdisciplinary; in addition to psychological studies of creativity, Explaining Creativity includes research by anthropologists on creativity in non-Western cultures, and research by sociologists about the situations, contexts, and networks of creative activity. Explaining Creativity brings these approaches together within the sociocultural approach to creativity pioneered by Howard Becker, Mihaly Csikszentmihalyi and Howard Gardner. The sociocultural approach moves beyond the individual to consider the social and cultural contexts of creativity, emphasizing the role of collaboration and context in the creative process. |
No grāmatas satura
1.–5. rezultāts no 42.
24. lappuse
... learned one's craft. Yet as Nicholas Delbanco, a director of an MFA program in writing, noted, “We've grown so committed as a culture to the ideal of originality that the artist who admits to working in the manner of another artist will ...
... learned one's craft. Yet as Nicholas Delbanco, a director of an MFA program in writing, noted, “We've grown so committed as a culture to the ideal of originality that the artist who admits to working in the manner of another artist will ...
25. lappuse
... learned how to use the new technology and then applied their aesthetic abilities there. But what actually happened was that photographers themselves did not change at all; rather, the sociocultural system around them changed. In 1890 ...
... learned how to use the new technology and then applied their aesthetic abilities there. But what actually happened was that photographers themselves did not change at all; rather, the sociocultural system around them changed. In 1890 ...
36. lappuse
... learned why psychologists have so much trouble defining creativity. It's because creativity—as we use the term in everyday language—is not a scientific concept; it's a culturally and historically specific idea that changes from one ...
... learned why psychologists have so much trouble defining creativity. It's because creativity—as we use the term in everyday language—is not a scientific concept; it's a culturally and historically specific idea that changes from one ...
43. lappuse
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58. lappuse
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Saturs
37 | |
Contextualist Approaches | 115 |
Artistic Creativity | 175 |
Everyday Creativity | 261 |
Epilogue | 315 |
References | 319 |
Index | 347 |
Citi izdevumi - Skatīt visu
Explaining Creativity: The Science of Human Innovation R. Keith Sawyer Ierobežota priekšskatīšana - 2006 |
Explaining Creativity: The Science of Human Innovation R. Keith Sawyer Ierobežota priekšskatīšana - 2011 |
Explaining Creativity: The Science of Human Innovation R. Keith Sawyer Ierobežota priekšskatīšana - 2012 |
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19th century actors argued art world Artificial creators artists associated ativity audience began believe brain can’t career chapter cognitive collaborative complex composed conceptions of creativity conventions convergent thinking created creative domain creative process creative products creativity myths creativity requires creativity research Csikszentmihalyi culture culture’s developed divergent thinking doesn’t electronica emerge emphasize evaluation everyday example experience explain creativity explanation of creativity field Figure focus genius genres hard historical historiometric human idea important improvisation incubation individual innovation inspiration installation art jazz learned mental illness mini-insights modern musicians novel ofthe Organ original outsider art Pablo Picasso painters painting performance personality psychology Picasso play problem problem-finding psychologists result role Sawyer scientific scientists script selection Simonton social society sociocultural approach song stage story studies of creativity style theater theory there’s they’re thought Thought Experiments tion unique Wham-O writing Xerox PARC
Atsauces uz šo grāmatu
Kooperative Kreativität: Theoretische Basisentwürfe und organisationale ... Stephan Sonnenburg Ierobežota priekšskatīšana - 2007 |