Creative Assets and Program Content Guide: To Build Social and Emotional Learning and Promote Trauma Mitigation and Healing

In 2016, the Adolescent Girl and Creativity Network was commissioned by the Population Council’s Community of Practice to utilize their wealth of knowledge and field experience to critically examine, adapt, and expand the Council’s Building Assets Toolkit© and complementary Asset Exercise. The question explored was: What are the essential assets pertinent to the most-at-risk girls and how can they be built through creative techniques/activities? This guide is the result of that activity—13 creative assets and 50 activities (program content) to build social and emotional learning, mitigate and manage trauma, and promote healing. The 50 creative program content activities to build the 13 creative assets are described in detail. Multiple activities can build each asset

Four PPPPerspectives on Computational Creativity

From what perspective should creativity of a system be considered? Are we interested in the creativity of the system’s out- put? The creativity of the system itself? Or of its creative processes? Creativity as measured by internal features or by external feedback? Traditionally within computational creativity the focus had been on the creativity of the system’s Products or of its Processes, though this focus has widened recently regarding the role of the audience or the field surrounding the creative system. In the wider creativity research community a broader take is prevalent: the creative Person is considered as well as the environment or Press within which the creative entity operates in. Here we have the Four Ps of creativity: Person, Product, Process and Press. This paper presents the Four Ps, explaining each of the Four Ps in the context of creativity research and how it relates to computational creativity. To illustrate how useful the Four Ps can be in taking a fuller perspective on creativity, the concepts of novelty and value explored from each of the Four P perspectives, uncovering aspects that may otherwise be overlooked. This paper argues that the broader view of creativity afforded by the Four Ps is vital in guiding us towards more encompassing and comprehensive computational investigations of creativity

Is Creativity Lost in Translation? A discussion of the cultural underpinnings of creativity

Abstract In the interrelated knowledge economy the fostering of creativity is key and as such is the focus of many government initiatives internationally. But is an international definition of creativity achievable or even desirable? Comparisons of different cultures’ propensities for creativity are problematic when we consider that most creativity research has taken place in Western cultures, with Western measures; and when creativity is defined as revolutionary this has often presented a dichotomous view of creativity that equates Westernisation with modernity. As a form of communication, creativity is open to mis- translation across cultures and despite some consensus between the West and Confucian heritage cultures on the desirable attributes to facilitate creativity, misunderstandings of creative practice based on cultural general tendencies such as individualism and collectivism remain. This paper reviews the literature on the development of concepts of creativity in Western and Confucian heritage cultures as well as reporting on a qualitative research study into the understandings and practice of creativity in a London art and design college in order to comment on the existence of a cross-cultural creativity divide and suggest that rather than be set against each other, creativity is enhanced by cultural creativity exchange and cross-cultural collaboration

Explaining Creativity

Creativity has often been declared, especially by philosophers, as the last frontier of science. The assumption is that it will defy explanation forever. I will defend two claims in order to oppose this assumption and to demystify creativity: (1) the perspective that creativity cannot be explained wrongly identifies creativity with what I shall call metaphysical freedom; (2) the Darwinian approach to creativity, a prominent naturalistic account of creativity, fails to give an explanation of creativity, because it confuses conceptual issues with explanation. I will close with some remarks on the status and differences in some explanations available in contemporary cognitive science

Creativity in the Brazilian Culture

Research has pointed out creativity as a sociocultural and contextually embedded phenomenon. As a consequence, the effect of cultural factors on the manifestation of creativity has been discussed worldwide. The purpose of this chapter is, therefore, to analyze the development of creativity in the Brazilian culture. A brief description of the Brazilian culture is provided. Models of creativity developed by Brazilian researchers, as well as a review of creativity studies conducted in the educational environment, are presented. Guidelines for future cross-cultural studies on creativity are also suggested