The Palgrave Handbook Of Social Creativity Research

This Handbook brings together an international cast of experts to explore the social nature and context of creativity studies, focusing on methodology as a key component in advancing the social study of creativity. Two decades on from the pioneering work of Alfonso Montuori and Ronald E. Purser, the authors present a timely appraisal of past and present work in social creativity studies, and look ahead to future developments within this field. The authors collectively offer a rigorous examination of the methodological and empirical issues and techniques involved in studying social creativity. They examine the phenomenon as a form of communication and interaction within collaborative relationships; contending that creativity happens not within a vacuum but instead from a nexus of personal, social and contextual influences. This comprehensive work is organized in three parts, focusing first on the various methodological approaches applicable to the social in creativity studies. It secondly turns to empirical findings and approaches relating to the social nature of creativity. In the book’s final part, the authors offer reflections on the state of social research into creativity, pinpointing areas requiring further methodological scrutiny and empirical verification, and areas that may inspire further theoretical or applied work. Combining classic ideas with cutting-edge, emerging methods, this work provides a vital methodological ‘toolbox’ for investigators within social creativity.

This groundbreaking Handbook brings together leading international experts in creativity and culture research to provide an overview of current debates. It showcases the wealth of topics, approaches and definitions specific for this new, interdisciplinary field within creativity research. The theoretical and methodological innovations emerging from the joint study of creativity and culture highlight the role of creativity within today's innovation-based, multicultural societies. Drawing on theoretical and empirical reflections, including case studies from different continents and different creative domains, this Handbook provides a truly global outlook on current creativity research within an emergent, interdisciplinary field. This variety is highlighted by the Handbook's structure as it is divided into five sections: Creativity and Culture in the Psychology of Creativity; Creativity in Socio-Cultural Psychology; Creativity in Cultural Context; Creativity and Culture in Applied Domains; Cross-disciplinary Perspectives on Creativity and Culture. These sections provide a clear overview of the debates and questions of this research area as contributors share their interest in creativity not only as an individual but also a social and cultural phenomenon, and in culture as both the foundation and outcome of creative action. The Handbook will be an essential resource for researchers, particularly those based in social science and humanities disciplines.

This Handbook brings together an international cast of experts to explore the social nature and context of creativity studies, focusing on methodology as a key component in advancing the social study of creativity. Two decades on from the pioneering work of Alfonso Montuori and Ronald E. Purser, the authors present a timely appraisal of past and present work in social creativity studies, and look ahead to future developments within this field. The authors collectively offer a rigorous examination of the methodological and empirical issues and techniques involved in studying social creativity. They examine the phenomenon as a form of communication and interaction within collaborative relationships; contending that creativity happens not within a vacuum but instead from a nexus of personal, social and contextual influences. This comprehensive work is organized in three parts, focusing first on the various methodological approaches applicable to the social in creativity studies. It secondly turns to empirical findings and approaches relating to the social nature of creativity. In the book's final part, the authors offer reflections on the state of social research into creativity, pinpointing areas requiring further methodological scrutiny and empirical verification, and areas that may inspire further theoretical or applied work. Combining classic ideas with cutting-edge, emerging methods, this work provides a vital methodological 'toolbox' for investigators within social creativity. Izabela Lebuda is an educator and psychologist, Assistant Professor of the Psychology of Creativity Lab at the University of Wroclaw, Poland and collaborates with the Quality of Life Research Centre at Claremont Graduate University, USA. Her scientific research focuses on the determinants of creative development and achievements. Vlad Petre Glăveanu is Associate Professor and Head of the Department of Psychology and Counselling as well as Director of the Webster Center for Creativity and Innovation (WCCI) at Webster University Geneva, Switzerland, and Associate Professor II at the University of Bergen, Norway. He has written extensively on creativity from social, cultural, developmental, critical and political perspectives. His current work develops a sociocultural theory of the possible in mind and society.

This Handbook provides authoritative up-to-date scholarship and debate concerning creativity at work, and offers a timely opportunity to re-evaluate our understanding of creativity, work, and the pivotal relationship between them. Far from being a new arrival on the scene, the context of work has always been a place shaped and sharpened by creativity, as well as a site that determines, where, when, how, and for whom creativity emerges. Structured in four parts – Working with Creativity (the present); Putting Creativity to Work (in an organizational context); Working in the Creative Industries (creative labour); and Making Creativity Work (the future) – the Handbook is an inspirational learning resource, helping us to work with creativity in innovative ways. Providing a cutting edge, interdisciplinary, diverse, and critical collection of academic and practitioner insights, this Handbook ultimately conveys a message of hope: if we take better care of creativity, our creativity will better care for us.

The Cambridge Handbook of Creativity and Emotions provides a state-of-the-art review of research on the role of emotions in creativity. This volume presents the insights and perspectives of sixty creativity scholars from thirteen countries who span multiple disciplines, including developmental, social, and personality psychology; industrial and organizational psychology; neuroscience; education; art therapy, and sociology. It discusses affective processes – emotion states, traits, and emotion abilities – in relation to the creative process, person, and product, as well as two major contexts for expression of creativity: school, and work. It is a go-to source for scholars who need to enhance their understanding of a specific topic relating to creativity and emotion, and it provides students and researchers with a comprehensive introduction to creativity and emotion broadly.

This handbook focuses on the development and nurturance of creativity across the lifespan, from early childhood to adolescence, adulthood, and later life. It answers the question: how can we help individuals turn their creative potential into achievement? Each chapter examines various contexts in which creativity exists, including school, workplace, community spaces, and family life. It covers various modalities for fostering creativity such as play, storytelling, explicit training procedures, shifting of attitudes about creative capacity, and many others. The authors review research findings across disciplines, encompassing the work of psychologists, educators, neuroscientists, and creators themselves, to describe the best practices for fostering creativity at each stage of development.

This book offers interdisciplinary, multicultural, and international perspectives on the interrelation between culture, innovation, change and creative forces. Its wide-ranging contributions present theoretical and empirical approaches and with reference to different domains across disciplines including psychology, education, social sciences, humanities, and engineering. The authors demonstrate how urgent social, environmental, technological, and economic challenges can benefit from individual, and community creativity to effect change. In this volume, “culture” refers to sociocultural differences, educational culture, media culture, organizational culture, technological culture, ethnic differences within a culture, and digital culture. Its contributors offer fresh insights on how creativity, innovation, and change can propel us forward and offer hope for the future across these many different forms of culture. They offer both granular studies of creativity and innovation at work in particular contexts and macro-level discussion on how they affect organizational culture, the culture of a discipline and society at large. This cross-cultural analysis of creativity, innovation and approaches to change will particularly appeal to practitioners and researchers in the fields of psychology, organizational behavior and education.

This open access book explores creative and collaborative forms of research praxis within the social sustainability sciences. The term co-creativity is used in reference to both individual methods and overarching research approaches. Supported by a series of in-depth examples, the edited collection critically reviews the potential of co-creative research praxis to nurture just and transformative processes of change. Included amongst the individual chapters are first-hand accounts of such as: militant research strategies and guerrilla narrative, decolonial participative approaches, appreciative inquiry and care-ethics, deep-mapping, photo-voice, community-arts, digital participatory mapping, creative workshops and living labs. The collection considers how, through socially inclusive forms of action and reflection, such co-creative methods can be used to stimulate alternative understandings of why and how things are, and how they could be. It provides illustrations of (and problematizes) the use of co-creative methods as overtly disruptive interventions in their own right, and as a means of enriching the transformative potential of transdisciplinary and more traditional forms of social science research inquiry. The positionality of the researcher, together with the emotional and embodied dimensions of engaged scholarship, are threads which run throughout the book. So too does the question of how to communicate sustainability science research in a meaningful way.