Understanding social creativity amongst event professionals : an action research approach

Live events represent a significant and growing sector of the creative industries but the creative process underlying this sector is little researched in the event management context. Despite the increased consumption of virtual and online media, the live event remains a popular channel of expression for a wide range of creative art forms and commercial messages. Live events use such messages as \u27props\u27 or \u27stages\u27 to produce memorable and emotionally positive moments for audiences. The creative process behind developing a live event is in itself a live event, involving groups of event professionals working in a social context to conceptualise ideas for their audiences. This research fills the gap for event professionals in the creative industries by seeking to understand the creative process intrinsic to live events. This paper suggests that social creativity is used to develop live event concepts. The phenomenon of social creativity identified from the existing literature is explored in the context of its application to event professionals. An Action Research approach is recommended to better understand the key antecedents of social creativity and how they can influence event concept development.<br /

Computational Social Creativity

This article reviews the development of computational models of creativity where social interactions are central. We refer to this area as computational social creativity. Its context is described, including the broader study of creativity, the computational modeling of other social phenomena, and computational models of individual creativity. Computational modeling has been applied to a number of areas of social creativity and has the potential to contribute to our understanding of creativity. A number of requirements for computational models of social creativity are common in artificial life and computational social science simulations. Three key themes are identified: (1) computational social creativity research has a critical role to play in understanding creativity as a social phenomenon and advancing computational creativity by making clear epistemological contributions in ways that would be challenging for other approaches; (2) the methodologies developed in artificial life and computational social science carry over directly to computational social creativity; and (3) the combination of computational social creativity with individual models of creativity presents significant opportunities and poses interesting challenges for the development of integrated models of creativity that have yet to be realized

Volunteering and social creativity

В статье рассмотрена волонтерская деятельность в контексте социального творчества как один из значимых путей формирования и развития активности ребенка, проявления его инициативы. Волонтерская деятельность способствует развитию ключевых компетенций, придает социально значимую и личностно необходимую направленность способностям и интересам растущего человека, жизненному и профессиональному самоопределению.The article considers the volunteer activity in the context of social creativity as one of the most significant ways of formation and development of the child’s activity, the manifestation of his initiative. Volunteer activity contributes to the development of key competencies, gives a socially significant and personally necessary direction to the abilities and interests of a growing person, contributes to life and professional self-determination

The Development of Creative Abilities as a Factor of the Social Maturity of Adolescents

The article considers the concept of the social maturity of adolescents in the context of the development of creative abilities. The relationships of social maturity with socialization, social creativity and innovative thinking of adolescents are researched. It is found that girls are more likely to move from the previous to the next level of social maturity. It is found that with age, the ability to social creativity develops. There is a connection between the level of social creativity and the levels of social autonomy, social morality and social activity of adolescents

Panel: Individual and/versus social creativity

The creative act is often thought of as an individual, even lonely, one: the inspiration in the bath, the artist isolated in the garret. The research student has to demonstrate that they found new knowledge and that it was “all their own work”. But how often are these individual acts a realistic model of the creative process? Even if inspiration does come in the bath, how many conversations had taken place before that moment? How much time has the “lonely” artist spent in cafes arguing with other artists about their work? If individual research is so important why do we advise a good student to join a successful research department

Intergroup relations and strategies of minorities

This chapter addresses how asymmetric status positions work out in intergroup relations. In particular, the chapter focuses on one of the possible ways in which disadvantaged groups can deal with their situation: Social creativity. This chapter introduces social identity theory, which is fundamental for the understanding of asymmetric intergroup relations. Much in line with Tajfel’s thinking, in a study on children from different ethnic backgrounds the authors present evidence how under some circumstances social creativity can contribute to the upholding of the status quo. The authors also present empirical results from several studies in which they demonstrate how minorities are able to hold views on social reality, particularly on more inclusive superordinate categories, that are specifically, and very systematically distinct from the views held by their dominant majority outgroups. With that they provide evidence for the so far neglected emancipative potential of social creativity in studies with members of ethnic minorities in Portugal, with members of a strong belief minority (Evangelic Protestants in Portugal), and one study with people from two regions, Lisbon and Porto, the latter the allegedly “rival” of Lisbon. They claim that—compared to the alternative strategy of open social competition with the powerful outgroup—social creativity has been underestimated as a strategy of social change.info:eu-repo/semantics/acceptedVersio

“He's Still the Winner in My Mind”: Maintaining the Collective Identity in Sport through Social Creativity and Group Affirmation

Social Creativity and Group Affirmation are two strategies by which individuals that identify with a sporting activity, team, group or individual may protect that sense of identification in light of negative events. This paper explores the use of such strategies through examining reactions to doping allegations surrounding Lance Armstrong to explain how members of two brand communities (one based on the brand of Armstrong as cyclist and the other on the brand of Armstrong as cancer survivor) maintain a sense of allegiance. Through undertaking a netnographic approach, six strategies were identified by members of these communities, three of which could be identified as Social Creativity Strategies (Lance Armstrong as “superhuman”, the notion of cycling as a ‘level playing field’, Armstrong as scapegoat) and three as Group Affirmation (Armstrong as a continuing inspiration, the Armstrong legacy, and denial). The two brand communities demonstrated differing patterns of maintenance, with those within the cycling community focusing more upon Social Creativity strategies, whereas those members of the Armstrong as cancer survivor brand tended to focus upon Group Affirmation strategies