Is Creativity Research Viable Linda Candy KCDCC Talk

Is Creativity Research Viable? Linda Candy KCDCC Talk University of Sydney May 8 th 2006

Research Problem Creativity is difficult to measure n Research requires well-controlled situations n Creativity under control is problematic n

Research Problem n Creativity in the world is very difficult to measure n Creativity research in context requires n n intrinsic motivation naturalistic settings

Creativity?

A Model of Creativity

Model of Creative Knowledge Work

Collaborative Creative Knowledge Work ACTORS

Creativity?

Creativity in Practice

Interpretations of Creativity n Novelty + Value n n n Discipline n n Innovation, Invention, New Useful, Purposeful, Significant Psychological, Social, Cultural … Domain n Art, Design, Education, Engineering, Finance …

Definitions “Creativity is best described as the human capacity regularly to solve problems or to fashion products in a domain, in a way that is initially novel but ultimately acceptable in a culture. ” (Gardner, 1989) “Creative products, be they poems, scientific theories, paintings or technological advances, are both novel and acknowledged to be valuable or useful in some way. ” (Gilhooly, 1982) “Creativity is a process that can be observed only at the intersection where individuals, domains and fields intersect. ” (Csikszentmihalyi, 1999)

UE CU LT UR E PL E IET Y PE O IVI IND IQ RIT NC IO AT T PROCESS UL SIM SO C N IO UC OD AL NIT PR DU G CO RE CREATIVITY Y BIOGRAPHY EXPERIMENT OBSERVATION

Experiments and Creativity n Can experiments address context? Not if settings and motivation matter… n Experimental research delivers an understanding of basic elements of creative potential rather than the essence of creativity in practice

Creativity in Practice

Research Approaches n n n Experimental studies involve active manipulation of creative performance… Ethnographic (naturalistic) studies require nonintervention in the process… An alternative approach is to bring the ‘subject’ perspective into ethnographic style research n n Participant research in user centred design Practice-based research in creative arts

Practice-Based Research Practitioner Led Projects n Two main types - Ph. D programmes in art and design institutions - Practice-based research projects n Situated studies n n Observer viewpoints n n Creativity research in context of studios, exhibition spaces… External researcher data collection and analysis Practitioner accounts n Personal reflections on creative process and artefacts

Practice-based Methods Monitor events concerned with n Creative process in practice… n Materials and methods… n Support: expertise, resources…

Practice-based Methods Observer and Practitioner Record of n Events n Experiences n Perceptions n Reflections

Practice-based Methods Practitioner viewpoint: n Experiences Motivation and context n What is proposed, decided and acted on n Stumbling blocks and actions on them n Perceptions n Reflections n

Practice-based Methods Practitioner viewpoint: n Experiences n Perceptions Are ideas workable, challenging etc. ? n How collaborations worked n Reasons for success and failure n n Reflections

Practice-based Methods Practitioner viewpoint: n Experiences n Perceptions n Reflections n n A good result? If not, why not Contrasting views Lessons learnt Next steps

Acquiring Evidence Data Collection Data Analysis Approach Methods Techniques Instruments Tools Equipment Approach: Practice-based Method: Create artefact Technique: Reflective analysis Tools: Log book Equipment: Computer, paper and pencil

Creative Product How does the artefact contribute to our understanding of creativity in practice? n Practitioner viewpoint: n Represents practitioner’s ideas and materials n Embodies current status of practitioner’s experimentation in a creative life n Central component in the practitioner’s reflective process n

Creative Product How does the artefact contribute to our understanding of creativity in practice? n Observer-Researcher viewpoint: Example of practitioner’s ideas and materials n An indication of current status of practitioner’s experimentation in a creative life n An component in the practitioner’s reflective process n

Creative Product n The practitioner learns from the artefact how to shape a specific process of creation n The researcher understands the role of the artefact in creative thought and action more generally

Creativity & Cognition 2007