. Psychology of Aesthetics, Creativity, and the Arts, 11 (3), 309-324. http://dx.doi.org/10.1037/aca0000127
Kaufman, J. (2012). Counting the muses: Development of the Kaufman Domains of Creativity Scale (K-DOCS). Psychology of Aesthetics, Creativity, and the Arts , 6, 298-308. doi: 10.1037/t17613-000
Kaufman, J. C. (2006). Self-reported differences in creativity by gender and ethnicity. Journal of Applied Cognitive Psychology, 20 , 1065-1082.
Kaufman, J. C., Beghetto, R. A., & Watson, C. (2016). Creative metacognition and self-ratings of creative
The paper deals with social and family conditions for the development of creative thinking. It is a voice in the dispute between supporters of the view that creative thinking is inherited and supporters of the thesis that it is shaped socially and within the process of education. The author presents an argument for the role of childhood and the mother in shaping creative predispositions. An attempt at polemics with concepts such as the “creative school” or the “creative teacher” is made.
Education is a sustainable human development strategic resource in postmodern society, being historically, culturally, socially, economically placed in time and space. The educational reform, based on curricular approach, involves radical changes in musical and artistic education, and this is “a precondition for the formation of an intelligent personality, with high moral and spiritual aspirations” . The valuation of the arts products will foster musical artistic scope concern and it will ensure continuity in connection with art of music.
This text is devoted to a discussion of current achievements in the psychology of creativity, as well as to the further development of the field. It is concerned with a criticism of former and current theses in the field of the psychology of creativity discussed by Glăveanu (2014). The arguments presented indicate that, despite Glăveanu’s (2014) proposition, the psychology of creativity is not in crisis. It is pointed out that the difference in views between supporters of the social psychology approach to creativity and psychology researchers oriented towards the study of creative potential on how to conduct creativity research, stems from a concentration on different levels of creativity, and not necessarily from an ineffective theory of creativity. As a consequence of these different perceptions of creativity at its particular levels, determining the prime standard of creative potential is not sufficient to understand the social conditioning of creative activity and the social assessment of creativity, and vice versa.
The commentary confirms and builds on Glăveanu’s critical scrutiny of the current stage of creativity research. The need for more actors, theories, methods and definitions will not be fulfilled until critical reflection concerning what has been done and synthesis between different research attempts are achieved. The authors first expand the creativity stage by discussing what will happen in creativity research attempts if we alternate with a “ she, you and they” perspective? They then present a new definition of creativity. Creativity is seen as a collective, generative, novel way of experiencing reality ending with the idea of a shared product that is evaluated as creative in a relevant context. This definition is in line with the development of a new creativity tool or measurement, the Test for Distributed Creativity in Organizational Groups (DOG). The DOG can be used both for measuring the products of creative groups and investigating their processes.
In the history of Lithuanian architecture, the period of soviet modernism has made very problematical mark. The architectural and urbanist changes that were made in Lithuanian cities during this period are linked with the beginning and development of modern building practice. Many discussions causes the changes in the city centres that were made from the 1960s. New modern buildings that were built in the historic context changed its individuality and singularity. This article analyses architectural changes that were made from 1960s to1990s in the historic context of Vilnius and Panevėžys centres. The article suggests that during different decades of the soviet modernism period, the new architecture had a different approach to the historic context . To prove this suggestion, the article presents the most distinctive buildings that were built in the historic context of the selected city centres.
The article explores the social essence of creativity. Two studies where interactions with others shape the development of creative processes are presented; first, theoretical perspectives on creativity as social process are discussed. The first study analyzes social aspects of creative processes developed during leisure activities. Men and women (N=150) living in Córdoba (Argentina) were interviewed in the research. The second study is a form of biographical research. The sample includes 22 Argentine personalities prominent in the scientific and artistic fields. As a main result, in the two studies we observed that links with family, teachers, peers, colleagues, mentors, tutors and disciples shape the possibilities of developing everyday creativity as well as Big-C creativity. Finally, considerations and suggestions for future research on creativity as a social process are presented. Creativity emerges from dialogues, interactions and practices with others. It is not a solitary process: it involves languages, knowledge and actions that are socially constructed.
The present time is a period of dynamic development of new media, which should be accompanied by a more profound reflection over their impact on human development. The research on the impact of new media on children seems to be important as children become increasingly exposed to the virtual world, at the same time exploring reality. The time and commitment with which they “absorb” media images is bound to take its toll on a child’s psyche, which manifests itself in the imaging. The article presents the research on drawing activity of children from 3 to 12 years old in the context of changes occurring in these activities brought about by the visual language of new media. The fact that this extensive research has been carried out over an interval of 10 years (in 2004 I carried out an analysis of 4180 drawings of children and youth aged 3 to 18 years, while in the study repeated in 2014 I examined 2134 drawings of children aged 3 to 12 years), makes it possible to compare the results of the two studies, and also to confront them with descriptions of children’s drawings found in the specialized literature. In this way, the obtained characteristics may be referred to the visual language used to construct the new media image. Qualitative and quantitative analyses, as well as a comparison of the results, have allowed not only changes in the children’s drawing activities to be determined, but also indicate the direction of these changes. For the research, it was also important to find arguments in favour of media education with reference to visual education and defined as training, that pertains to the entire contemporary iconosphere.
In recent science-fiction literature, we can witness a proliferation of new counterfactual narratives which take the 17th century as their point of departure. Unlike steampunk narratives, however, their aim is not to criticise the socio-political effects caused by contemporary technological development. Such authors as Neal Stephenson or Ian Tregillis, among others, are interested in revisiting the model of development in Western societies, routing around the logic of progress. Moreover, they demonstrate that modernity is but an effect of manifold contingent and indeterminate encounters of humans and nonhumans and their distinct temporalities. Even the slightest modification of their ways of being could have changed Western societies and cultures. Thus, they necessitate a rather non-anthropocentric model of counterfactuality which is not tantamount to the traditional alternative histories which depart from official narratives of the past.
By drawing on contemporary multispecies ethnography, I put forward a new understanding of counter-factuality which aims to reveal multiple entangled human and nonhuman stories already embedded in the seemingly unified history of the West. In this context, the concept of “polyphonic assemblage” (Lowenhaupt-Tsing) is employed to conceptualize the contingent and open-ended encounters of human and nonhuman historical actors which cut across different discourses and practices. I analyse Stephenson’s The Baroque Cycle to show the entangled stories of humans and nonhumans in 17th century sciences, hardly present in traditional historiographies. In particular, Stephenson’s depiction of quicksilver and coffeehouse as nonhuman historical actors is scrutinized to show their vital role in the production of knowledge at the dawn of modernity.
This article aims to present the main aspects of the New Museology theory and discuss the possibilities of its adaptation in Lithuanian museum practice. To date, the New Museology theory, which was formed in the 1980’s and places the emphasis on the contextual presentation of artworks and the social role museums play in public cultural life, is not widely used in Lithuanian museum practice and a comprehensive survey of art museum permanent collection displays has not been carried out in regards to this particular framework. The first part of this article presents the New Museology theory and its historiography, including main authors, who have contributed to the formation and development of the ‘new’ theory. The second part presents an overview of different methods of display, including aesthetic, contextual/educational and white cube models. The third part shows how a recent establishment of the National Gallery of Art (NGA) in Lithuania completely ignored the New Museology theory and was based on the modernist view of art history, made popular in the Soviet period. Thus, it comes as no surprise, that the permanent collection display at the NGA has received a lot of criticism from various cultural and art historians and other academics. It is expected that the presentation of the main aspects of the New Museology theory and an assessment of a permanent collection display at the National Gallery of Art will help inform Lithuanian museum practice and form a basis for further studies in Lithuanian museological research.