Thinking Through Creativity And Culture

Creativity and culture are inherently linked. Society and culture are part and parcel of creativity's process, outcome, and subjective experience. Equally, creativity does not reside in the individual independent of culture and society.Vlad Petre Glveanu's basic framework includes creators and community, from which new artifacts emerge and existing artifacts are developed. He points to a relationship between self and other, new and old, specific for every creative act. Using this multifaceted system requires that researchers employ ecological research in order to capture the heterogeneity and social dimensions of creativity.Glveanu uses an approach based on cultural psychology to present creativity in lay terms and within everyday settings. He concludes with a unitary cultural framework of creativity interrelating actors, audiences, actions, artifacts, and affordances.

Shweder calls for exploration of the human mind--and of one's own mind--by thinking through the ideas and practices of other peoples and their cultures. He examines evidence of cross-cultural similarities and differences in mind, self, emotion, and morality with special reference to the cultural psychology of a traditional Hindu temple town in India.

This book presents new ways of facilitating design thinking, through the combination of cognitive design strategies and information technologies. It provides readers with an in-depth understanding of the traditional and digital design processes and activities that are employed in architecture, computational design, communication design and graphic design. The book is divided into three parts: Part I, which focuses on creativity, uses evidence derived from empirical studies to develop an understanding of the way computational environments shape design thinking and may lead to more inventive outcomes. Part II considers the cognitive dimensions of design teams, crowds and collectives. It investigates the ways digital design platforms promote interactive and collective thinking. Lastly, Part III addresses culture, examining the linguistic and cultural context of the globalised design ecosystem. Providing valuable insights into design thinking, this book helps readers engage with their local and global environments. It will appeal to academics, researchers and professionals with an interest in understanding design thinking in the context of creativity, collaboration and culture.

Many scholars, practitioners, and policy-makers in the cultural sector argue that Canadian cultural policy is at a crossroads: that the environment for cultural policy-making has evolved substantially and that traditional rationales for state intervention no longer apply. The concept of cultural citizenship is a relative newcomer to the cultural policy landscape, and offers a potentially compelling alternative rationale for government intervention in the cultural sector. Likewise, the articulation and use of cultural indicators and of governance concepts are also new arrivals, emerging as potentially powerful tools for policy and program development. Accounting for Culture is a unique collection of essays from leading Canadian and international scholars that critically examines cultural citizenship, cultural indicators, and governance in the context of evolving cultural practices and cultural policy-making. It will be of great interest to scholars of cultural policy, communications, cultural studies, and public administration alike.

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.

Material culture surrounds us and yet is habitually overlooked. So integral is it to our everyday lives that we take it for granted. This attitude has also afflicted the academic analysis of material culture, although this is now beginning to change, with material culture recently emerging as a topic in its own right within the social sciences. Carl Knappett seeks to contribute to this emergent field by adopting a wide-ranging interdisciplinary approach that is rooted in archaeology and integrates anthropology, sociology, art history, semiotics, psychology, and cognitive science. His thesis is that humans both act and think through material culture; ways of knowing and ways of doing are ingrained within even the most mundane of objects. This requires that we adopt a relational perspective on material artifacts and human agents, as a means of characterizing their complex interdependencies. In order to illustrate the networks of meaning that result, Knappett discusses examples ranging from prehistoric Aegean ceramics to Zande hunting nets and contemporary art. Thinking Through Material Culture argues that, although material culture forms the bedrock of archaeology, the discipline has barely begun to address how fundamental artifacts are to human cognition and perception. This idea of codependency among mind, action, and matter opens the way for a novel and dynamic approach to all of material culture, both past and present.

Discover why and how schools must become places where thinkingis valued, visible, and actively promoted As educators, parents, and citizens, we must settle for nothingless than environments that bring out the best in people, takelearning to the next level, allow for great discoveries, and propelboth the individual and the group forward into a lifetime oflearning. This is something all teachers want and all studentsdeserve. In Creating Cultures of Thinking: The 8 Forces We MustMaster to Truly Transform Our Schools, Ron Ritchhart, author ofMaking Thinking Visible, explains how creating a culture ofthinking is more important to learning than any particularcurriculum and he outlines how any school or teacher can accomplishthis by leveraging 8 cultural forces: expectations, language, time,modeling, opportunities, routines, interactions, andenvironment. With the techniques and rich classroom vignettes throughout thisbook, Ritchhart shows that creating a culture of thinking is notabout just adhering to a particular set of practices or a generalexpectation that people should be involved in thinking. A cultureof thinking produces the feelings, energy, and even joy that canpropel learning forward and motivate us to do what at times can behard and challenging mental work.

This book offers a multidisciplinary and multi-domain approach to the most recent research results in the field of creative thinking and creativity, authored by renowned international experts. By presenting contributions from different scientific and artistic domains, the book offers a comprehensive description of the state of the art on creativity research. Specifically, the chapters are organized into four parts: 1) Theoretical Aspects of Creativity; 2) Social Aspects of Creativity; 3) Creativity in Design and Engineering; 4) Creativity in Art and Science. In this way, the book becomes a necessary platform for generative dialogue between disciplines that are typically divided by separating walls.