The aim of the paper is to contribute to call for, on one hand, systematizing the research on creativity in terms of linking ontological, epistemological, and methodological issues specifically, for a heuristic framework combining individual, team, and organizational level, creativity facets at every level as well as, on the other hand, for more focus on both unifying methodology and qualitative research methods in that field The aim has been realized through extensive literature studies and in the part concerning creativity methodology review – systematic literature review. Consequently, as the overarching findings, particular postulates concerning the creativity construct research have been formulated.
Creativity is one of the most important concepts nowadays' business environment. The purpose of this article is to determine whether neuromarketing and in-depth interviews complete each other in terms of allowing marketers to to create more creative marketing strategies on how customers really feel.Raising global competition pressure does not allow marketers to ignore it. Marketing is a field that is most sensitive to such influences. New point of view most times gives an advantage in the marketing field. It helps to develop creative strategies.Two methods of creative marketing research: neuromarketing and in-depth interview were analyzed. Creativity is a potential which must be developed as a source of further development. It is a source natural to all people, a source that has a motivational effect. Creativity may be developed. Constant education is required. It is necessary to remove barriers and establish opportunities for creative thinking, reduce habitual stereotypes, release space for searching and find further alternatives. Significance of marketing in nowadays business environment is out of any doubts. Companies world wide spend trillions of dollars each year on Advertising, Marketing, and Research and Develoment. For decades, advertisers, marketers, and product developers are making an effort to apply social psychology to discover the tools to tap into the consumer's brain. Some marketers believe that most of biases occur because of responses changed by the customer's conscious mind. Development of technology gives a wide range of opportunities for the new generation marketing research. In conclusion, it is clear, that neuromarketing and in-depth interviews may complete each other and draw together more accurate picture of what the customers really feel, that allows marketers to create more competitive creative marketing strategies.
Despite the importance to researchers and organizations of how creativity contributes to effective leadership and how leadership contributes to group and organizational creativity, our knowledge regarding this interrelationship remains largely limited. A review of the literature based on both theoretical grounds and empirical evidence reveals that studies examining the intersection between creativity and leadership in organizations are divergent in terms of how they conceptualize this relationship. A multi-level framework is used to synthesize the knowledge in both creativity and leadership disciplines, with multiple themes having been found at each level of the framework.
In recent years the concept of aesthetics has become broader and more focused on the aesthetic experience resulting from the interaction between the person and the environment. A lot has been written about the way people experience settings that are explicitly designed as sites for aesthetic engagement, such as museums and art galleries, but very little attention has been given to ordinary people and how they make sense of such experiences in their everyday lives. This research study explores the everyday aesthetic experiences that lay people find meaningful in their daily encounters through a phenomenological approach. The findings indicate that everyday aesthetic experiences result from being open to creatively engage, are a blend of serendipitous events and planned encounters and a significant dimension of lived experience.
Issues raised in the paper concern question of openness of the region as a driver of innovation and strengthening its competitive position. The paper contains an analysis based on results of the pilot studies on the openness of Wroclaw and its people against foreigners, conducted by authors. The results suggest that Wrocław is characterized by great openness to the social group analyzed, suggesting that the region has a chance to become a creative on (sic!)
Aim/purpose – The main purpose of this paper is to identify the necessity of distinguishing a particular taxonomic group termed creative projects. Is it a peculiar, distinctive type of projects, or nowadays every project can be denominated ‘creative’? The research aims at comparing the ways of understanding and defining this term in prior literature and in the opinions of practitioners involved in everyday project management and realization. Design/methodology/approach – The paper is divided into main parts corresponding to research objectives: first, the results of literature research is demonstrated briefly, and next the results of empirical research are delineated. The empirical research was conducted with mixed methods. The quantitative part conducted as CAWI was supported by Poll Everywhere platform, the qualitative investigations were supported by MAXQDA software. Findings – According to research results, there exists the inconsistency among the views of researchers, as well as practitioners. As the literature review reveals, there are various stances towards this issue: from silent assumption that the concept does not require to be defined till some analyses of the relations between routine and creative actions. Similar variety was disclosed when analyzing practitioners’ judgments. Research implications/limitations – The divergence in opinions as to the necessity of distinguishing a particular taxon of creative projects as well as the broad variety of opinions as to their specific characteristics have given rise to the call for more precise framing scientific research on creative projects. The research has numerous limitations result-ing from its scope, sampling method or sample size, however, it demonstrates the absence of coherent views and variety of arguments used. Originality/value/contribution – Apart from urging the more rigorous frames of research on creative projects, the paper indicates new avenues of investigations oriented towards determining the ways of assessing the level of project creativity. Moreover, the paper opens the further discussion on the education and training of more creative project managers, as well as on the designing creativity-supporting project environment.
The authors consider symbolic interactionism to be a suitable theoretical framework to analyze projects in creative sectors because it affords ample space for individual and collective creativity. Furthermore, teams working on different cultural artifacts establish a negotiated order (interactionist term coined by A. L. Strauss) among artists, managers, the audience, and sponsors, et cetera, by discussing and translating various meanings and perspectives. This is especially noticeable when projects are managed using an agile methodology. The application of agile methodologies in creative sectors is a relatively new idea, although it seems to be in harmony with the nature of artistic work. For instance, it implies the acceptance of unpredictability and flexibility while also recognizing the ability and individuality of project participants. There are also specific problems related to the personalities of the artists and the irregularities and discontinuities inherent in the process of creation. The first part of the article raises the topic of creativity in symbolic interactionism. This perspective is subsequently extended to teamwork in creative sectors employing the description of collective work in Howard Becker’s book entitled Art Worlds as an example. The authors reflect on other contemporary works explaining the cultural shift transpiring during the move from the analog age to the current digital age and its influence on the process of creation in the world of artists. This leads to a discussion of distributed agility, a concept stemming from agile management. The various agile methods are mentioned and shortly characterized; we also present a succinct depiction of historical perspective. The literature on the use of agile methods in creative sectors is referred to along with some of the challenges they face. The need to develop an agile management methodology specifically for creative industries is emphasized. This article utilizes the literature on symbolic interactionism to explain group dynamics by drawing analogies with agile management.
Aim/purpose – Despite increasing importance of fostering innovation among employees, and the growing interest in Positive Organizational Behaviour (POB) constructs, little empirical research has been conducted on the topic of innovation with POB. Moreover, though research proved significant relationship between positive psychological capital (PsyCap) and creative performance, no studies examined PsyCap with innovative behavior. Thus, the purpose of this paper is to examine the link between positive psychological capital and innovative behavior as well as the link between innovative behavior and job satisfaction as well as engagement. Design/methodology/approach – Using regression analyses, data were obtained from Egyptian professionals (N = 250). The survey included measures of psychological capital and innovative behavior as well as job satisfaction and engagement. Findings – Regression analyses reveal that PsyCap, with its four components of hope, optimism, resilience and efficacy, predict innovative behavior, which in turn affects satisfaction and engagement. Research implications/limitations – Limitations, contributions and recommendations for future research are noted. Results contribute to a better understanding of how psychological capital enhances Innovative behavior in the workplace, which in turns, enhances job satisfaction and engagement. Originality/value/contribution – The study is the first to examine the relationship between psychological capital and innovative behavior.
Art can help handle difficult experiences. Art therapy sessions (healing through art) have been recognised for years as a well-known and efficient method of treatment. At the same time, one can observe people’s tendencies – apparently inefficient in terms of their well-being (emotions, mood) – to create or experience art (e.g. watching horror movies, listening to sad songs, expressive writing about one’s ordeals). Many authors have described the way negative emotions are regulated. Their research has not, however, exhausted the subject in relation to art. In this paper I discuss the regulation of emotions through art. I am interested in the process of regulating affective experiences, particularly through expressive writing, and in the impact this way of regulation has on task-oriented functioning, especially cognitive functioning.
The aim of this study is the analysis of creativity changes across life, particularly the widely discussed crisis periods in the development of creative abilities. A large and diversified sample of Poles (N = 4898 aged from 4 to 21 years), at each educational stage of the Polish education system, from pre-schoolers, through primary school students, middle-school students, secondary-school students and finally university students completed the Test for Creative Thinking – Drawing Production. The observed changes showed a nonlinear pattern in the development of creativity with diverse declines and increases in creative abilities. These trends are different for each of the assessment criteria of the TCT-DP and at least three different trajectories were identified. The adolescent slump was confirmed for three of the 14 assessment criteria as well as the total TCT-DP score. What was not noted however was: a slump caused by entry into formal schooling, (age 6 vs 7), 4th grade slump, (age 9 vs 10) and 6th grade slump (age 11 vs 12). We discuss possible reasons for and consequences of the findings.
The aim of this article is to present the most important factors affecting the creation and content of two different genres of television series–Polish television sagas and American post-soap operas. The analysis which I have carried out in the field allows the formulation of several conclusions. The creation of the two genres is similar. In both cases the most important people are the producers and scriptwriters and the most important criteria used for the assessment of a production are audience ratings and economic factors. Polish television sagas and American post-soaps are often very different with regard to their content and the ways they present social issues. The reasons for the differences include: genre convention, expectations of viewers, social and cultural context, and the emergence of commercial subscription television in the United States. At the turn of the 21st century HBO, an American pay television provider, followed by other stations began to produce shows which, even though they have originated from older television forms, break the ties with their antecedents. Makers of post-soaps address sensitive social issues and create their characters in an original and often controversial way.
I would like to present research in the field of art – specifically, in the artistic education of younger school children. The natural pedagogical experiment consisted of carrying out an art education programme aimed at developing the visual perception of children with regard to visual qualities, i.e. colour, line and solid representations. In the first part of experiment the children learned about these basic visual qualities and produced free interpretations of them. In the second part of the experiment the artistic problem of contrast in the learned visual qualities appeared. During the third part of the experiment children perceived the familiar qualities in relative relations. As visual perception determines the character and quality of artistic activities in children in such a significant way, it seems worth trying to revise the system of developing their artistic activities that has been used so far in art education.
We examined the role of task-, self- and other-approach achievement goals and enjoyment as antecedents of creative self-efficacy and the influence of creative self-efficacy on divergent thinking scores among children from Mexico. Participants completed a battery of questionnaires measuring achievement goals, creative self-efficacy, enjoyment and divergent thinking skills. We used Structural Equation Modelling to test our hypotheses, treating the variables as latent. Results showed a positive influence of other-approach achievement goals and enjoyment on creative self-efficacy. The influence of creative self-efficacy on divergent thinking scores was not significant. The implications of our results are discussed.
The literature on creativity has often focused on the analysis of artists and scientists. The ability to generalize these findings to respective professional sub-disciplines is examined. In particular, the present study addresses the generalizability of the personality profile of creative scientists to creative social scientists. Autonomy was found to be the most important personality feature for creativity in social sciences. These results suggest the importance of fostering an autonomous working style.
Creativity studies seem to be a stronghold for individual-based psychological theories. The reasons for this are numerous and complex and, among them, we can identify certain limited or counter-productive ways of conceptualising the social. In this reply to comments I address both the status of the social in creativity studies and the dichotomies that follow from adopting an external view of society and culture. Among them, the separation between creative potential and achievement is particularly problematic, as it constructs a reified, static, and individual notion of potential, reflected in the measurement of divergent thinking. I propose, towards the end, a perspectival model of creativity that radically socialises divergent thinking by placing the social at the core rather than the periphery of creative production. Finally, I suggest that including time into our theory and research holds the key to overcoming many of the false dichotomies that underline creativity studies, at least in psychology. A thoroughly social perspective on creativity might seem like a daring or foolish endeavour but it is, in my view, also the most promising.
At the school, and life it continues emphasized the importance of creativity, creativity to be developed. If a creative teacher, it is expected to learn and creativity of students. The contributions highlight what is creativity. We define drama education as one of the possibilities of creative teaching and presenting short stack of games that are divided by division Valenta, who devoted years of drama and its influence on the development of pupil’s personality.
T he authors presented creativity in teaching and learning as a major driving force towards knowledge creation, social and economic advancement. They assessed the perceptions of teachers and students on the practice of creative teaching in higher education in Rwanda. All respondents shared common views on the necessity of enhancing creativity in higher education. The study recommended that there is a need to further improve the various methods of teaching and learning to effectively and successfully implement creativity in teaching and learning that is crucial to producing competent and skilled graduates that can subsequently help achieve the national goal to increase innovation.
PL
Autorzy przedstawili kreatywność w nauczaniu i uczeniu się jako główną siłę napędową tworzenia wiedzy, awansu społecznego i gospodarczego. Ocenili opinie nauczycieli i studentów na temat praktyki kreatywnego nauczania w szkolnictwie wyższym w Rwandzie. Wszyscy respondenci podzielali wspólne poglądy na temat konieczności zwiększania kreatywności w szkolnictwie wyższym. W badaniu zasugerowano, że istnieje potrzeba dalszego doskonalenia różnych metod nauczania i uczenia się, aby skutecznie wdrażać kreatywność w nauczaniu i uczeniu się, co ma kluczowe znaczenie dla wykształcenia kompetentnych i wykwalifikowanych absolwentów, którzy mogą następnie pomóc w osiągnięciu krajowego celu, jakim jest zwiększenie innowacyjności.
The subject of this article is a critical evaluation of application of competition law to the undertakings active on the copyright market. The study focuses on the conduct of the collecting organizations of copyright. Its aim is to present new aspects and methods that need to be considered in analyzing the market position of national collecting organizations. The clarification of the main problem is preceded by examination of the notion of dominant position as defined in Polish antimonopoly law. Next, the article address the implications of cross-border online copyright trade on the evaluation of the market position of national collecting societies. Further considerations argue for an integrative approach that give attention to the dynamic factors of competition and highlights public interest issues.. In this regard the claim is that the development of competition on the copyright market has to sustain the objectives of intellectual property regulations. The author point out that ratio legis of copyright law is anchored in the Constitution, that determine the need for balancing the individual and public interest in respect to the creative activity.
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