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.
This commentary attempts to address the question of “Why creativity matters?” from the perspective of social psychology, by pointing out processes, which promote creativity while diminishing prejudices. I argue that through enhancing creativity, stereotyping can be reduced which can translate to the further improvement of intergroup relations. The common correlates of low prejudices and creativity supporting this hypothesis, are presented in this paper and comprise: (1) cognitive flexibility, (2) openness to experience and (3) perspective taking. Further, I invoke the existing literature regarding the link between schema-inconsistencies and creativity, which highlights the interrelatedness of these processes, but views creativity as an outcome, rather than a tool for social change. The assumed relationship can be seen as an opening to numerous future research paths, as it can give rise to various detailed questions from the points of view of basic and applied psychology.
In this text, I describe a specific way of addressing the past in video games which are set in historical times but at the same time deliberately undermine the facticity of their virtual worlds. By grounding my argument in analyses of two blockbuster productions—Assassin’s Creed (Ubisoft, 2007) and Call of Duty: Black Ops (Activision, 2010)—I introduce and define the notion of “simulational realism”. Both games belong to best-selling franchises and share an interesting set of features: they relate to historical places, events, and figures, establish counter-factual narratives based around conspiracy theories, and—most importantly—display many formal similarities. Like most AAA games, Assassin’s Creed and Black Ops intend to immerse the player in the virtual reality and, for this purpose, they naturalize their interfaces as integral elements of reality. However, in the process of naturalizing simulation, objectivity of the past becomes unthinkable.
In my considerations, I situate this problem in two contexts: 1) of a cultural and epistemic shift in perceiving reality which was influenced by dissemination of digital technologies; 2) Vilém Flusser’s prognosis on the effects of computation on human knowledge. According to Flusser’s theory of communication, history—as a specific kind of human knowledge—emerged out of writing that was always linear and referential. Consequently, the crisis of literary culture resulted in the emergence of new aesthetics and forms of representations which—given their digital origin—dictate new ways of understanding reality. As history is now being substituted by timeless post-history, aesthetic conventions of realism are also transformed and replaced by digital equivalents.
Following Flusser’s theory, I assert that we should reflect on the epistemological consequences of presenting the past as simulation, especially if we consider the belief shared by many players that games like Assassin’s Creed can be great tools for learning history. I find such statements problematic, if we consider that the historical discourse, grounded on fact, is completely incompatible with the aesthetics of sim-realism which evokes no illusion of objective reality.
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