Creative arts engagement has been shown to be related to maintaining wellbeing in older adulthood (Tymoszuk et al., 2019). For people living with dementia, music can be engaging and rewarding (Baird & Thompson, 2018), and is often presented as a therapeutic activity. It is theorised that music’s capacity to effect change is due to its engaging, emotional, physical, personal, social and persuasive qualities (Brancatisano et al., 2020). However, music itself is a complex intervention (Loui, 2020) and the ‘creative’ in music activities in the small number of studies with people living with dementia is rarely described or critiqued (Creech et al., 2020). Music is often described as passive (receptive)/active to reflect different listening or playing activities. Only a few studies detail opportunities for people living with dementia to exercise creativity (e.g. Zeilig et al., 2019).Technology to assist these musical interactions in dementia falls under distinct categories of listening to music, or playing music, with very little afforded in the way of agency, choice or control (MacRitchie et al., 2023). A few possible explanations could be: i) the musical activity is valued in terms of pre/post cognitive or social changes (Kontos & Grigorovich, 2018) i.e., the activity itself is not particularly critiqued, ii) creativity is assumed to be embedded in the activity and does not need to be enhanced or supported, iii) the locus of creativity is in cognitive processes occurring in the brain, so people living with dementia are often ascribed a passive role in creative musical interactions (Zeilig et al., 2019). We propose a new way of thinking about musical interactions for people living with dementia, building from the enactive, embodied experience of music (Schiavio et al., 2022), and considering a more relational view. Leaving aside the framing where the person with dementia is limited in what creativity they can offer, we propose instead a framework of design where subtle acts of agency and (mini-C) creativity are afforded, supporting a myriad of musical interactions that sit between listening and performing.
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The research describes and evaluates the implementation of the experimental pilot “Innovation Lab: Sustainable (Creative) Society” within a regular curriculum of International Communication major, specifically, the 4th year Public affairs specialisation.The experimental innovation lab aimed to embed creativity and innovation in the regular curriculum. The focus on creativity was chosen, because it is increasingly acknowledged that creativity and innovation are essential qualities of the future professional who needs to deal with complexity and uncertainty of our world and who aims to develop a sustainable society. In other words, the development of sustainable society is not possible without creativity, and thus, the future is of Sustainable (Creative) Society.
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This review is the first step in a long-term research project exploring how social robotics and AI-generated content can contribute to the creative experiences of older adults, with a focus on collaborative drawing and painting. We systematically searched and selected literature on human-robot co-creativity, and analyzed articles to identify methods and strategies for researching co-creative robotics. We found that none of the studies involved older adults, which shows the gap in the literature for this often involved participant group in robotics research. The analyzed literature provides valuable insights into the design of human-robot co-creativity and informs a research agenda to further investigate the topic with older adults. We argue that future research should focus on ecological and developmental perspectives on creativity, on how system behavior can be aligned with the values of older adults, and on the system structures that support this best.
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Creativity has become increasingly important for the development of tourism in cities in recent years. As competition between cities grows, they increasingly seek to distinguish themselves through creative strategies. In the field of tourism, however, such strategies may arguably be counter-productive, as the race to produce distinction often results in cities adopting similar creative development models. In particular, many cities rely on the ideas of creativity 'gurus' such as Richard Florida and Charles Landry to provide creative solutions to a wide range of cultural, social and economic problems. However, by following such exogenous prescriptions, adopting forms of 'fast policy' and copying ideas from other 'creative cities' through 'policy tourism', the result is often a form of serial reproduction, unattractive to the very tourists cities seek to attract. This review article examines the search of many cities for distinction through creativity, and analyses the development of different forms of creativity, including creative industries and creative cities strategies and creative tourism. It argues that the shift away from tangible to intangible competitive advantage is continuing, with a trend towards relational forms of tourism based on creativity and embedded knowledge. These processes are illustrated by reviews of the literature relating to cities around the world.
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Although creativity is often seen as requiring spontaneity and flexibility, recent work suggests that there is creative potential in a structured and systematic approach as well. In a series of four experiments, we show that when Personal Need for Structure (PNS) is high, either chronic (Study 1) or situationally induced (Study 2), creative performance benefits from high task structure. Further, in line with earlier work on cognitive fixation effects, we show that when high task structure contains an example of noncreative task execution, creative performance is impaired, regardless of individuals' PNS. Nevertheless, participants high in PNS react relatively favorably to high task structure (Study 3) and are more likely to adopt a structured task approach when given the choice (Study 4). In sum, our results show that task structure can both stimulate and inhibit creative performance, particularly for people high in need for structure. © 2014 John Wiley & Sons, Ltd.
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Maker education offers opportunities to stimulate the creativity of young people in various types of education. How to guide these learning processes, however, is an unexplored area for the supervisors (teachers and librarians). In the research-project presented, a professional learning community of librarians, teacher-researchers and maker educators investigates the pedagogy of ‘making’. The learning community consisted of twelve makerspace-coaches, three maker educators and three researchers. The interventions for enhancing creativity that were developed varied from redesign of the tasks to new forms of guiding students. It was noticed that the children came up with new ideas and were motivated to push out their frontiers. Furthermore, the coaches experienced that children’s creativity is not always visible in the final products of their making process, but rather in the process of making. The learning community turned out to be a fruitful approach for professionalization of makerspace-coaches.
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The rapidly developing relationship between tourism and creativity, arguably heralds a 'creative turn' in tourism studies. Creativity has been employed to transform traditional cultural tourism, shifting from tangible heritage towards more intangible culture and greater involvement with the everyday life of the destination. The emergence of 'creative tourism' reflects the growing integration between tourism and different placemaking strategies, including promotion of the creative industries, creative cities and the 'creative class'. Creative tourism is also arguably an escape route from the serial reproduction of mass cultural tourism, offering more flexible and authentic experiences which can be co-created between host and tourist. However the gathering critique also highlights the potential dangers of creative hype and commodification of everyday life.
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There is a growing debate about the use of creativity for sustainable development, particularly in terms ofincreasing the creative potential of cities. However, studies based on the experiences and perspectives ofleading authors in this area are limited. Greg Richards is a long-standing researcher on the application ofcreativity in various socio-economic sectors, including creative tourism, creative cities, economy, and creativeindustries. This study, based on a semi-structured interview conducted with Greg Richards, seeks to presentsome reflections and ideas for ways forward, considering the scenario before, during, and after the Covid-19pandemic and its possible effects on the new economy. Particular attention is paid to the emerge of ‘glocal’creativity, especially related to the UNESCO Creative Cities.
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The dissertation Pathways of Musical Creativity shows that students’ musical creativity can develop in an intervention with Video Feedback Coaching for teachers, mediated by their support of students’ creative autonomy during classroom interactions in music lessons. Autonomy support entails fostering students' self-determined learning by providing space for their own choices and interests. The intervention introduced teachers to music-pedagogical strategies for enhancing classroom interaction in order to transition from a teacher- and method-centered style to a student-centered and autonomy-supportive interaction approach. This PhD research also took the nonverbal components of teachers' autonomy support into account because classroom interaction in music lessons is also nonverbal and musical in nature.Teachers changed their interaction style during the intervention to one that supported more autonomy, and they were less likely to return to mainly instruction and modelling. Although for verbal autonomy support a beneficial effect was observed, teachers found it more difficult to provide higher levels of non-verbal autonomy support in music teaching. In turn, students showed more originality and variation in their creative thinking and acting in music. Although over half of the classes engaged in playing more complex rhythmical patterns over the course of the intervention, at group-level no effect for this aspect was found in comparison to a control group. These findings suggest that in both primary education and teacher education, more focus should be placed on enhancing classroom interaction and supporting students’ creative autonomy support in music lessons.
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Purpose: This paper aims to present and reflect on a phenomenological research process used to elucidate the nature of creativity and innovation in haute cuisine. Design/methodology/approach: In-depth unstructured interviews and field notes capturing subjective experiences were employed to elucidate the experiences of 18 top chefs from the UK, Spain, France, Austria and Germany with regards to creativity and innovation. Findings: The findings are twofold: first, an empirical sample finding is presented in order to contextualize the type of findings obtained; second, key methodological findings are presented explaining the process of elucidating the nature of creativity and innovation through iterative learning from the descriptions of the interviewees and the subjective experiences gathered. Research limitations/implications: The underlying phenomenological study is limited to male haute cuisine chefs in five European countries. Future research is planned including female and male chefs from other countries in order to learn whether similar empirical findings can be obtained. Practical implications: The paper presents a research process for elucidating cognitive and nebulous phenomena such as creativity and innovation to make them accessible to managers, researchers, students and policy makers. Originality/value: The findings explain the process of elucidating the nature of creativity and innovation through iterative learning from the descriptions of the interviewees and the subjective experiences gathered. Further conceptual and methodological development emerges from investigating interviewees representative of the notion of the extraordinary.
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