<abstract xmlns="http://www.w3.org/1999/xhtml"> What is the life of an idea? How do some ideas result in creative outcomes? People interested in creativity often want to know the answers to these questions. Although there are numerous methods and measures for assessing creative persons and products, there is little by way of methods for documenting and analysing the trajectories of ideas. The purpose of this paper is to address this need by introducing a new approach for tracing and analysing ideational pathways. Ideational pathways refer to the trajectory of ideas in temporal and spatial dimensions. That is, how ideas travel through time and space and whether those ideas end up resulting in creative outcomes. We open the paper by providing a theoretical and conceptual background for ideational pathways. We then introduce an emerging approach for tracing these pathways and apply it to two examples. We close by discussing implications and directions for future research.</abstract>

Department of Educational Psychology, Neag School of Education, University of Connecticut, 2131 Hillside Road Storrs, CT 06269-3007

The Center for Qualitative Studies, The International Center for the Cultural Psychology of Creativity, Aalborg University, Kroghstræde 3, 9220 Aalborg, Denmark

Ideational Pathways: Toward a New Approach for Studying the Life of Ideas

<abstract xmlns="http://www.w3.org/1999/xhtml"> A measure of ideational behaviour, often used to estimate the potential for creative thinking, was administered to 796 children and their parents and teachers. Correlations among groups were explored. The data provided an opportunity to (a) compare four theories of creativity (a one-factor theory, 2 two-factor theories, and a three-factor theory) and (b) determine empirically how the measure of ideation should be scored (based on its empirical structure). Results of confirmatory factor analyses indicated that one of the twofactor theories (Process and Product) best fit the data and was useful for comparisons of the children and their parents and teachers. Practical implications of the differences between parents and teachers are explored. Any effort to fulfil creative potentials, for example, would probably be the most likely to succeed if children, parents, and teachers agreed, and just as probable are difficulties if the three groups disagreed or considered different things when judging creative potential. Limitations of the study are also discussed.</abstract>

Torrance Creativity Center, University of Georgia, Athens, 323 Aderhold Hall, Athens, GA 30602

Creativity Testing Services, LLC, Washington, DC USA

Comparison of Competing Theories about Ideation and Creativity

<abstract xmlns="http://www.w3.org/1999/xhtml"> Although the creative self-concept is more and more intensively studied in the creativity literature, little is known about its developmental characteristics. In three studies presented in this paper, several hypotheses concerning the development of the creative self-concept are tested. Specifically examined are hypotheses regarding the growing specificity and clarity of the creative self-concept during development (Studies 1 and 2) and changes in it during the lifespan (Study 3).The results show that although the creative selfconcept is formed at about 10 years of age, by 12 years old it remains somewhat poorly clarified. Changes in the creative self-concept are observed mainly in the transition period between late adolescence and early adulthood (when it grows) and medium and late adulthood (when it diminishes). Creativity - a specific interplay between imagination, improvisation, and innovation</abstract>

Development of the Creative Self-Concept

<abstract xmlns="http://www.w3.org/1999/xhtml"> The literature on creativity has often focused on the analysis of artists and scientists. The ability to generalize these findings to respective professional sub-disciplines is examined. In particular, the present study addresses the generalizability of the personality profile of creative scientists to creative social scientists. Autonomy was found to be the most important personality feature for creativity in social sciences. These results suggest the importance of fostering an autonomous working style.</abstract>

University of Luxemburg, ECCS Research Unit, Route de Diekirch, L-7201, Walferdange, Luxembourg

Laboratoire Adaptations Travail Individu (EA4469), Université Paris Descartes, Paris Cité Sorbonne, 71 Avenue Edouard Vaillant, 92100 Boulogne-Billancourt, France

University of Luxembourg, Faculté des Lettres, des Sciences Humaines, des Arts et des Sciences de l'Education, Maison des Sciences Humaines, 11, Porte des Sciences, L-4366 Esch-sur-Alzette

Creative Personality Profile in Social Sciences: The Leading Role of Autonomy

<abstract xmlns="http://www.w3.org/1999/xhtml"> In recent years the concept of aesthetics has become broader and more focused on the aesthetic experience resulting from the interaction between the person and the environment. A lot has been written about the way people experience settings that are explicitly designed as sites for aesthetic engagement, such as museums and art galleries, but very little attention has been given to ordinary people and how they make sense of such experiences in their everyday lives. This research study explores the everyday aesthetic experiences that lay people find meaningful in their daily encounters through a phenomenological approach. The findings indicate that everyday aesthetic experiences result from being open to creatively engage, are a blend of serendipitous events and planned encounters and a significant dimension of lived experience.</abstract>

Creative Engagement in Everyday Life – Learning from Aesthetic Experience

<abstract xmlns="http://www.w3.org/1999/xhtml"> The paper describes creativity in role context and how drama features and techniques can stimulate creative thinking. The first part of the article concerns the role of drama as a stimulator by encasing the participant in fiction. Aspects of development are also taken into account and the areas of differences in the use of drama at various stages of development, and thus at different stages of education are highlighted. The second part of the paper is devoted to drama techniques - heuristics based on taking on a role. The last part of the article describes how drama stimulates the process of solving problems and delineates its specificity.</abstract>

Creativity in Somebody Else's Shoes

<abstract xmlns="http://www.w3.org/1999/xhtml"> The theory of aesthetic education treats art as an educational space. It is interesting to look at theories of the end of art from a pedagogical perspective. The article presents a few selected items, symptoms of the collapse of art, which have appeared in theories of a crisis of art. Are they relevant to the theory of aesthetic education? Is education “for” and “through” art justified in the face of the end of art? In this article the author presents catastrophic visions of art from the pedagogical perspective.</abstract>

Pedagogical Analysis of Catastrophic Visions of Art

<abstract xmlns="http://www.w3.org/1999/xhtml"> The energy of a painting is born with every brush stroke. The vitality, the acerbity, the distance, the record of emotions in general - these are only a few elements of the reality in which a PAINTING is born. In the likeness of fulfilment together with the projection of dreams. A unique diary of passing thoughts that are written within a line and a dab, thoughts that would never find their way to a recipient if not for the genius of an attempt. An attempt to register a mood, the moments when one looks for respite, together with the moments infused with the fever of the creation of answers to a question of the order and the harmony. The meaning of creation, constant in its message. Give the best you may and can give, and you will get even more. May you, dear sir, keep living in a creative and unique way! May you, dear lady, keep living in a creative and unique way!</abstract>

A Few Words about Tomasz Sobczak’s Easel Painting “You Are an Artist Only from Time to Time” (Mr. Nobody)

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Creativity. Theories – Research - Applications

 The journal aims to provide a forum for the discussion of human creativity in all of its complexity - its recognition, correlates, determinants, possibilities for its encouragement and development - analyzed from the point of view of education, psychology, sociology, aesthetics, etc. Moreover, the journal will discuss issues of creative potential as well as actual creative achievements (everyday and eminent creativity). It will also consider methodological and statistical issues regarding quantitative and qualitative creativity studies in various countries. The journal is a platform for positive confrontation of the various ways of perceiving and investigating creativity and encouraging the interparadigmatic and interdiscursive dialogue of the representatives of distinct theoretical and methodological options.  Rejection Rate   65%  Archiving  Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections.  Plagiarism Policy  The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. 