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Intersections in Design Thinking and Art Thinking: Towards Interdisciplinary Innovation

References AIGA. (2017). AIGA Designer 2025: Why design education should pay attention to trends. Retrieved from https://educators.aiga.org/wp-content/uploads/2017/08/DESIGNER-2025-SUMMARY.pdf Amabile, T.M. (1988). A Model of Creativity and Innovation in Organizations. Research in Organizational Behavior, 10, 123-167. Amabile, T. (1996). Creativity in context: Update to the social psychology of creativity. Boulder, CO: Westview. Armbruster, B. (1989). Metacognition in creativity. In J. Glover, R

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10. Creativity and Innovation in Visual Arts through Form and Space Having Symbolic Value

Abstract

The numerous plastic approaches of form in the 20th century are characterized by creativity and innovation. Form, as expression of an artistic language, is the cause and effect for the cultural evolution of a particular spatial-temporal area. The invention of forms depending on the factors which will impose them in a particular socio-cultural context and location environment is not everything. The challenges of the act of creation are far more complex. For the art of the 20th century, the role of the type of expression in visual or gestural language proved much more convincing and meaningful as to the data or phenomena occurring in immediate reality. The personality of the artist, his cultural character, his media coverage and exterior influences of his inner world, his preceding experiences and receiver’s contacts in a specific area are the factors that influence the relation between the work of art and the audience against a particular spatial-temporal background. The psychological and sensory processes in works of plastic art are spatially configured in structures, which leads to self-confession. The artist filters the information and the elements of exterior reality through the vision of his imagination and power of expression specific to his inner self, and turns them into values through the involvement of his state of mind. Constantin Brâncuşi is the sculptor whose role was considered exponential as he revolutionized modern artistic vision by integrating and creating space-form relations through symbol. Throughout his complex work - the Group of Monumental Sculptures of Tg. Jiu, the artist renewed the language of the sculpture-specific means of expression, though archaic forms, by restoring traditional art. Archetypes often make reference to the initial and ideal form and they represent the primitive and native models composing it. Form attracts, polarizes and integrates the energy of the matter outside the human body, and art acquires a unifying function for the senses of our spirit. We identify the forms developed by the junction between fantastic forms, the figments of the imagination of artists who communicate deep human meanings. They invite us in a world of constructive forms and mysteries, truly innovative and elaborate creations, by underlying different directions in the compositional space with symbolic value.

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Development of the Creative Self-Concept

York: Cambridge University Press. Piaget, J. (1936). Origins of intelligence in the child. London: Routledge & Kegan Paul. Rostan, S. M. (1998). A study of the development of young artists: The emergence of on artistic and creative identity. Journal of Creative Behavior, 32, 278-301. Sawyer, R. K. (2006). Educating for innovation. Thinking Skills and Creativity,1, 41-48. Scott, C. L. (1999). Teachers' biases toward creative children. Creativity Research Journal, 12, 321-328. Simonton, D

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The Torrance Tests of Creative Thinking - Figural or Verbal: Which One Should We Use?

(TTCT). Psychology of Aesthetics, Creativity, and the Arts, 5, 314-315. Kim, K. H. (2011b). The APA 2009 Division 10 debate: Are the Torrance tests still relevant in the 21st century? Psychology of Aesthetics, Creativity, and the Arts. 5, 302-308. Kim, K. H. (2011c). The creativity crisis: The decrease in creative thinking scores on the Torrance Tests of Creative Thinking. Creativity Research Journal, 23, 285-295. Kim, K. H. (2016). The creativity challenge: How we can recapture American innovation. Amherst, NY

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Teachers’ Beliefs About Creativity and Possibilities for its Development in Polish High Schools: A Qualitative Study

Abstract

The aim of the present study was to research teachers’ beliefs about creativity and possibilities for its development in Polish high schools. The study consisted of in-depth interviews. It was conducted with a group of 15 high school teachers, all of whom taught the key subjects (math, Polish and foreign languages) for the final school-leaving examination. The qualitative thematic analysis applied to the collected data revealed eight themes. Each of them concerned the teachers’ understanding of what creativity really is, their attitude towards students’ creative activity at school, aims that they formulated to stimulate their creativity, as well as the role and place of students’ creative activity at school. In addition, the themes referred to actions that had been taken by the teachers to stimulate their students’ creativity and factors that inhibited or stimulated the development of students’ creativity at school. The teachers, who were the subject of the analysis, understood creativity as creative potential, that is, the ability to think independently, to give new and original solutions to all sorts of tasks and problems, as well as creative activity oriented towards everyday innovation. Additionally, the study revealed that there exists a creativity gap between verbal support for developing students’ creativity at school and classroom practice.

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Creativity’s Need for Relevance in Research and Real Life: Let’s Set a New Agenda for Positive Outcomes

, 17-34. Amabile, T. M., Schatzel, E. A., Moneta, G. B., & Kramer, S. J. (2004). Leader behaviors and the work environment for creativity: Perceived leader support. The Leadership Quarterly , 15 , 5-32. Adarves-Yorno, I., Haslam, S. A, & Postmes, T. (2008). And now for something completely different? The impact of group membership on perceptions of creativity. Social Influence, 3 , 248-266. Adarves-Yorno, I., Postmes, T., & Haslam, S. A. (2007). Creative innovation or crazy irrelevance? The contribution of group norms and social identity to

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Creativity and Leadership in Organizations: A Literature Review

REFERENCES Achrol, R. S. (1991). Evolution of the marketing organization: New forms for turbulent environments. Journal of Marketing, 55 (4), 77-93. Ahuja, G., & Katila, R. (2001). Technological acquisitions and the innovation performance of acquiring firms: A longitudinal study. Strategic Management Journal, 22 , 197-220. Amabile, T. M., Schatzel, E. A., Moneta, G. B., & Kramer, S. J. (2004). Leader behaviors and the work environment for creativity: Perceived leader support. The Leadership Quarterly, 15 , 5-32. Amabile, T. M. (1983

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Comment on “The Psychology of Creativity: A Critical Reading” by Vlad Petre Glăveanu

–598. Glăveanu, V. P. (2014). The psychology of creativity: A critical reading. Creativity. Theories – Research – Applications, 1 , 10-32; DOI: 10.15290/ctra.2014.01.01.02. Hennessey, B.A. (2003). Is the social psychology of creativity really social?: Moving beyond a focus on the individual. In P. Paulus, & B. Nijstad (Eds.), Group creativity: Innovation through collaboration (pp. 181-201). New York: Oxford University Press. Hennessey, B.A. (1994). The consensual assessment technique: An examination of there lationship between ratings of product and process

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The Psychology of Creativity: A Discussion Between Creative Potential and Its Realization

Psychological Association. Popper, K. R. (1974). The logic of scientific discovery . London: Hutchinson Publishing Group Ltd. Runco, M. A. (2003). Education for creative potential. Scandinavian Journal of Educational Research, 47, 317-324. Runco, M. A. (2004). Everyone has creative potential. In R. J. Sternberg, E. L. Grigorenko, & J. L. Singer (Eds.), Creativity from potential to realization (pp. 21-30). Washington, DC: American Psychological Association. Sawyer, R. K. (2006). Explaining creativity. The science of human innovation . New York

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Creativity and Social Interactions

perspectives on giftedness (pp. 127-147). Washington: APA. Gruber, D. B., & Wallace, D. C. (1999), (Eds), Creative People at Work . New York: Oxford University Press. Guilford, J. P. (1950). Creativity. American Psychologist, 5 , 444-454. Hennessey, B. (2003a). Is the social psychology of creativity really social? Moving beyond a focus on the individual. In P. Paulus, & B. Nijstad (Eds.), Group creativity: Innovation through collaboration (pp. 181-201). New York: Oxford University Press. Hennessey, B. (2003b). The social psychology of creativity

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