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LIVRES

The possible : a sociocultural theory

Glăveanu, Vlad P.
New York : Oxford University Press, 2020

This book explores an eminently human phenomenon: our capacity to engage with the possible, to go beyond what is present, visible, or given in our existence. Possibility studies are an emerging field of research including topics as diverse as creativity, imagination, innovation, anticipation, counterfactual thinking, wondering, serendipity, the future, social change, hope, agency, and utopia, among others. The present contribution to this wide field is represented by a sociocultural and pragmatist account of the possible grounded in the notions of difference, position, perspective, dialogue, action, and culture. Put simply, this theory proposes that our explorations of the possible are enabled by our human capacity to relate to the world from more than one position and perspective and to understand that any perspective we hold is, at all times, one among many. Such an account transcends the long-standing dichotomy between the possible and the real, a sterile separation that ends up portraying possibility as separate from and even opposed to reality. On the contrary, the theory of the possible advanced in this book goes back to this notion’s etymological roots (the Latin possibilis—“that can be done,” from posse—“to be able”) and considers it as both a precondition and outcome of human action and interaction. Exploring the possible doesn’t take place outside of or in addition to our experience of the world; rather, it infiltrates it from the start, infuses it with new meanings, and ends up transforming it altogether. This book aims to offer conceptual, methodological, and practical tools for all those interested in studying human possibility and cultivating it in education, the workplace, everyday life, and society.
This book explores an eminently human phenomenon: our capacity to engage with the possible, to go beyond what is present, visible, or given in our existence. Possibility studies are an emerging field of research including topics as diverse as creativity, imagination, innovation, anticipation, counterfactual thinking, wondering, serendipity, the future, social change, hope, agency, and utopia, among others. The present contribution to this wide ...


Cote : 303.490 1 G552p 2020

  • Ex. 1 — emprunté jusqu'au 2024-11-15
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ARTICLES DE PERIODIQUES

What would the idea say ? Experimenting with creative writing about creativity

Richard, Véronique ; Glăveanu, Vlad P. ; Aubertin, Patrice
the minnesota review, n°100, p. 132-150, 2023

Creativity is not linear, but writing about it often is. Creativity is messy; writing about it is not. Creativity lives in the in-between; writing about it points to the space within. Creativity involves movement—it is, in fact, a form of movement—while writing—and reading—about it makes us stand still. Creativity is represented by ideas on the move, messy, nonlinear, embodied, and in-between. And so, if ideas could describe this movement, what would they say?
Creativity is not linear, but writing about it often is. Creativity is messy; writing about it is not. Creativity lives in the in-between; writing about it points to the space within. Creativity involves movement—it is, in fact, a form of movement—while writing—and reading—about it makes us stand still. Creativity is represented by ideas on the move, messy, nonlinear, embodied, and in-between. And so, if ideas could describe this movement, what ...

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ARTICLES DE PERIODIQUES

The embodied journey of an idea : an exploration of movement creativity in circus arts

Richard, Véronique ; Glăveanu, Vlad P. ; Aubertin, Patrice
The Journal of Creative Behavior, p. 1-16, 2022

Knowledge about embodied creativity is in its infancy. In circus arts, performers are nowadays ‘owning’ their creativity making this performance domain fruitful to study embodied creativity. Building on socio-cultural creativity perspectives and radical embodied cognitive sciences, the current study aimed at exploring movement creativity by tracking the journey of embodied ideas in a Circus School. Specifically, this research questioned how the interactions between actors, audiences, affordances, and actions support the emergence and evolution of movement ideas. A narrative ethnographic research design, gathering process observations in situ, was used to scrutinize the movement ideas generated by student-artists, teachers, and artistic advisors over a 4-month period. Reflexive thematic analysis led to the design of an exhaustive mapping which illustrates the key findings. Namely, the journey of an embodied idea is influenced by stimulating spaces and collaborative socio-cultural environment which ignite the actors' desire to create. This desire, in turn, unfolds into multiple ideational pathways paved with research strategies (e.g., improvisation, constraints, variability) and emotions (i.e., pleasant and unpleasant). Embodied ideas then go through an assessment process leading (or not) to its growth. Results are discussed in light of embodied, pedagogical, and emotional considerations offering an alternative to the conceptualization of idea.
Knowledge about embodied creativity is in its infancy. In circus arts, performers are nowadays ‘owning’ their creativity making this performance domain fruitful to study embodied creativity. Building on socio-cultural creativity perspectives and radical embodied cognitive sciences, the current study aimed at exploring movement creativity by tracking the journey of embodied ideas in a Circus School. Specifically, this research questioned how the ...

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ARTICLES DE PERIODIQUES

Creativity and wonder

Glăveanu, Vlad P.
The Journal of Creative Behavior, special issue, 7 pages, 2017

The experience of wonder is often said to be at the origin of acts of creativity, both historical and mundane, from big breakthroughs in science to the everyday discoveries of children at play. And yet, wonder and wondering have rarely been theorized until now, at least in the psychology of creativity. Understood as one of the main ways in which we engage with the possible, wonder presents us, upon closer inspection, with a paradox typical for creativity—experiencing what is present (the here and now) through the lenses of what is absent (the not-yet-here). Wondering is grounded in the possibility of adopting multiple perspectives on a certain reality; many of which are yet unknown to the creator while anticipated and actively looked for. In this paper, the creative process fuelled by the experience of wonder is described as a cyclical interplay between awareness, excitement, and exploration of the possible. Thus, one of the main consequences of reflecting on wonder and wondering is not only a renewed focus on process in creativity research
but, most of all, a new emphasis on the less “visible” and yet essential aspects of creative action as it bridges the actual and the possible.
The experience of wonder is often said to be at the origin of acts of creativity, both historical and mundane, from big breakthroughs in science to the everyday discoveries of children at play. And yet, wonder and wondering have rarely been theorized until now, at least in the psychology of creativity. Understood as one of the main ways in which we engage with the possible, wonder presents us, upon closer inspection, with a paradox typical for ...

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ARTICLES DE PERIODIQUES

Educating which creativity ?

Glăveanu, Vlad P.
Thinking Skills and Creativity, vol. 27, p. 25-32, 2017

This paper explores the sociocultural construction of creativity and reflects on its implications for how we understand and educate creative potential. Drawing on a historical analysis of creativity and related concepts, such as genius and talent, from Antiquity onwards, I identify three prototypical ways of defining creativity. The first and most common one, continuing the legacy of the Renaissance and Romanticism, associates creativity with the arts and emphasizes self-expression, originality, and divergent thinking. The second one, related to the ideals of the Enlightenment, connects creativity with science and discovery and brings to the fore its functional, problem solving aspects. Last but not least, post-modernity advances new metaphors for creativity and invites us to rethink its everyday life dynamic. One of them is that of the craftsmen, ready to mix and match, to experiment and reflect on the role of tradition and habit in creativity. Each one of these paradigmatic positions – the artist, the inventor, and the craftsmen – propose different relations between creativity and society and have deep implications for how we discover and cultivate creativity in education and beyond.
This paper explores the sociocultural construction of creativity and reflects on its implications for how we understand and educate creative potential. Drawing on a historical analysis of creativity and related concepts, such as genius and talent, from Antiquity onwards, I identify three prototypical ways of defining creativity. The first and most common one, continuing the legacy of the Renaissance and Romanticism, associates creativity with ...

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ARTICLES DE PERIODIQUES

Rewriting the language of creativity : the five A’s framework

Glăveanu, Vlad P.
Review of General Psychology, vol. 17 n°1, p. 69–81, 2013

For the past 5 decades the psychology of creativity has been influenced by what is known as the 4 P's of creative expression: person, process, product, and press. This conceptual schema, initially proposed by Rhodes (1961), helped researchers structure their thinking about the phenomenon. However, it also supported an individualistic, static, and oftentimes disjointed vision of creativity. The present article aims to rewrite this fundamental language of the discipline by using terms that explicitly endorse a systemic, contextual, and dynamic approach. The 5 A's framework—actor, action, artifact, audience, affordances—is grounded in current literature from sociocultural and ecological psychology as well as theories of the distributed mind and tries to achieve a more comprehensive and unitary perspective on creativity. Several theoretical, methodological, and practical implications are considered.
For the past 5 decades the psychology of creativity has been influenced by what is known as the 4 P's of creative expression: person, process, product, and press. This conceptual schema, initially proposed by Rhodes (1961), helped researchers structure their thinking about the phenomenon. However, it also supported an individualistic, static, and oftentimes disjointed vision of creativity. The present article aims to rewrite this fundamental ...

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