In cognitive science, creative ideas are defined as original and feasible solutions in response to problems. A common proposal is that creative ideas are generated across dedicated cognitive pathways. Only after creative ideas have emerged, they can be enacted to solve the problem. We present an alternative viewpoint, based upon the dynamic systems approach to perception and action, that creative solutions emerge in the act rather than before. Creative actions, thus, are as much a product of individual constraints as they are of the task and environment constraints. Accordingly, we understand creative motor actions as functional movement patterns that are new to the individual and/or group and adapted to satisfy the constraints on the motor problem at hand. We argue that creative motor actions are promoted by practice interventions that promote exploration by manipulating constraints. Exploration enhances variability of functional movement patterns in terms of either coordination or control solutions. At both levels, creative motor actions can emerge from finding new and degenerate adaptive motor solutions. Generally speaking, we anticipate that in most cases, when exposed to variation in constraints, people are not looking for creative motor actions, but discover them while doing an effort to satisfy constraints. For future research, this paper achieves two important aspects: it delineates how adaptive (movement) variability is at the heart of (motor) creativity, and it sets out methodologies toward stimulating adaptive variability.
Een neerslag van het onderzoek dat is gedaan door de leden van de onderzoeksgroep die verbonden is aan het lectoraat Creative Industries and Social Innovation
Introduction: The notion of autonomy in Self-Determination Theory is at the core of intrinsically motivated learning, and fulfilment of the need for autonomy is essential for thriving at school. Therefore teacher-provided autonomy support has grown into a key concern in educational research. In the present study into primary school music education, the notion of creative autonomy support is introduced. Research into autonomy support is typically focused on verbal interaction. However, from an enactive perspective, teachers’ gesturing, bodily movement, facial expression, and musical action form an integral part of the socially situated interaction in music lessons, inherently involving autonomy support. In the present study, a distinction is made between creative verbal autonomy support and creative musical and non-verbal autonomy support.Methods: Applying a process-based time-serial methodology, rooted in a Complex Dynamic Systems and Enactive perspective, the effects of an intervention with Video Feedback Coaching for teachers were investigated. Video data of 105 music lessons of 18 teachers (intervention and control condition) from six primary schools was gathered, to examine teachers’ creative autonomy support at both the individual and group level.Results: The findings show that teachers in the intervention condition, compared to the control group, achieved a meaningful increase in their ability to offer creative autonomy support verbally. Teachers also showed development for the non-verbal and musical aspects of offering creative autonomy support. However, particularly for offering higher-level creative autonomy support in the non-verbal and musical mode, significant results were found for less than half of the intervention teachers.Discussion: These results underline the importance of embracing and studying the bodily dimension as an integral part of teacher autonomy support, aimed at emergence of students’ musical creativity, in primary school music education and in teacher training. We explain how these results might be relevant for autonomy enhancing musical activities in vulnerable groups.
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The main aim of the project is to provide new research in the arts by focusing on the concept of the inter-sensorial as an essential text for the creation of art and culture. It is designed to foreground the role of the sensorium as an underpinning source for many aspects of thought and cultural heritage. This project will blend visual arts with applied arts and traditional local traditions, revealing new light on the artistic facets and customs which are usually overlooked.The extended residencies will promote transnational mobility for emerging artists, facilitating international relationships between different artistic and cultural contexts within the EU. This will promote transnational interconnectivity between artists and cultures, creating a resourceful intercultural fertilisation, endorsing cultural diversity, social inclusion and most of all, further research on the intercultural facets.Through the various side-activities to take place during the mobilities of the artists, the project aims to strengthen and develop diverse audiences by producing the necessary elements for a dialogue, illustrating interpretations of rich layers of tangible and intangible heritage and legacies of European countries related to the tradition of sensorial experiences and how they evolved around traditional customs. Furthermore, it also aims to rethink and project new and innovative ways for documenting, preserving and communicating data to different audiences.
Every organisation needs to have organised Company Emergency Response (CER) staff. The training of CER must combine knowledge acquisition with knowledge application in performing physical procedures and demonstrating skills. However, current training does not secure well-prepared CER-staff in the long term. Playful learning is that a more engaging type of training can be created which combines knowledge with skills training. But while social interactions can strongly and positively impact learning as well as motivation, this is not easily facilitated within digital learning environments Two questions are particularly important for playful learning designers: • How can playful learning make use of the combination of digital and non-digital working mechanisms to foster learning and motivation? • How can trainees learn and play together if they are not always present at the same time in within the same learning environment? The saying at IJsfontein is that individually you can progress, but only together you can persevere. The aim of this collaboration with Hanze University of Applied Sciences Groningen is to provide playful learning designers with concrete and reusable design guidelines for leveraging social processes in playful learning across the digital/non-digital boundary. As such, we seek to contribute to the practically-oriented design knowledge available to the creative industry through design research that is grounded in practice. This type of design knowledge can only be fully developed when evaluated across different contexts of application. Therefore, we will form a consortium of partners from the creative industry to write a joint follow-up funding application
