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It is a common belief that travel allows us to grow, get inspired, and reach fulfillment. Travels offer a highly conducive combination of cognitive resource maximization, positive emotions, and, most importantly, new, out-of-ordinary experiences, enabling creativity to flourish. However, for travel to affect creativity in any way, some conditions must be met. Of key importance are characteristics of travel destinations and travelers’ Openness to experience. This study explores the creativity-traveling relationship by analyzing occurring interactive, mediating, and correlational effects. Also, it compares how traveling and living abroad predict creativity to address the ongoing debate. The analysis comprising 136 participants demonstrated that the traveling-creativity link is stronger among people low on the Openness trait. Further, an indirect effect of creative self-efficacy in the relationship between traveling and creativity was observed. These findings suggest the potential of facilitating creativity through traveling experiences among some groups, but at the same time, they call for more in-depth research on the topic.
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On the Traveling-Creativity Relationship: Effects of Openness to Experience, Cultural Distance, and Creative Self-Efficacy

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Although teaching mathematics for creativity has been advocated by many researchers, it has not been widely adopted by many teachers because of two reasons: 1) researchers emphasized and investigated mathematical creativity in terms of product dimension by looking at what students have at the end of problem-solving or -posing activities, but they neglected the creative processes students use during mathematics classrooms, and 2) creativity is an abstract construct and it is hard for teachers to interpret what it means for students to be creative in mathematics without further guidance. These can be eliminated by employing techniques of mathematical connections as tools because using mathematical connections can help teachers make sense of how to promote the creative processes of students in mathematics. Because making mathematical connections is a process of linking ideas in mathematics to other ideas and this is a creative act for students to take to achieve creative ideas in mathematics, using the strategies of making mathematical connections has the potential for teachers to understand what it means for students to be creative in mathematics and what it means to teach mathematics for creativity. This paper has two aims to 1) illustrate strategies for making mathematical connections that can also help students’ creative processes in mathematics, and 2) investigate the relationship among general mathematical ability, mathematical creative ability, and mathematical connection ability by reviewing theoretical explanations of these constructs and several predictors (e.g., inductive/deductive ability, quantitative ability) that are important for these constructs. This paper does not only provide examples and techniques of mathematical connection that can be used to foster creative processes of students in mathematics, but also suggests a potential model depicting the relationship among mathematical creativity, mathematical ability, and mathematical connection considering previously suggested theoretical models. It is important to note that the hypothesized model (see Figure 4) suggested in the present paper is not tested through statistical analyses and it is suggested that future research be conducted to show the relationship among the constructs (mathematical connection, mathematical creativity, mathematical ability, and spatial reasoning ability).
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Mathematical Connection is at the Heart of Mathematical Creativity

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One of the more important questions about creativity is what makes a creative production a revolution? The present contribution follows the analysis of the development of scientific knowledge proposed by Kuhn (1962) in ‘<italic>The Structure of Scientific Revolutions</italic>,’ to propose a typology that may contribute to an answer. This typology, based on a retrospective analysis of a given domain of productions, distinguishes between two types of creativity: normal creativity and revolutionary creativity. Creative revolutions refer to ‘game changing’ productions in the domain, creating a turning point in the development of this domain. These creative revolutions constitute major disruptions within the domain, since they display both a high degree of novelty and sufficiently high value for future creative productions to take them as a new <italic>point of reference</italic>. The proposition to distinguish between normal and revolutionary creativity is explored as a complementary view to other typologies on creativity.
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The Structure of Creative Revolutions

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Lead users are invaluable resources to generate user-centric radical innovation, but they remain difficult to detect and recruit in the general population. Lead userness, which draws both on the ability to identify unstated customer needs and find creative solutions to those needs, has been conceptualized as domain-dependent: this means that a lead user may generate innovation only in a specific domain for which they are an expert. In the present study, we aim to better understand the extent to which lead userness is a domain-dependent state (as elaborated in the literature) or a domain-independent trait. Following a questionnaire survey with 126 participants, we managed to reliably assess the empathetic side of lead userness (ability to identify needs) and showed that it was related both to domain-dependent characteristics (competences) and domain-independent trait (emotional intelligence). These results open up new avenues for implementing the lead user method in innovation projects.
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Who are Lead users?

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In today’s world, humanity is confronted with an increasing number of complex challenges. The Anthropocene’s core tenet, the impact of humans on the world, leads us to aspire to a more sustainable future, putting the possible at the centre of societal development. Educational contexts provide a unique platform for future citizens to engage with the possible, calling for the advancement of strategies that can intentionally contribute to expanding opportunities for embracing the possible. This commentary explores how contemporary challenges can be a driving force to redesign educational contexts to effectively embed the possible in their practices and pedagogies, in an effort to raise awareness and elicit a sense of urgency about the importance of the possible as a field of study.
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Calling out for the Possible! Is it Our Chance to Make it Right?

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Numerous scholars, philosophers, and experts in aesthetics have underscored the profound significance of a life enriched by the presence of beauty. Consequently, the appreciation of aesthetic experiences is considered pivotal for achieving self-discovery and self-transcendence (Howell et al. 2017). Despite theoretical prominence, limited qualitative research has been conducted on this topic. To address this gap in research, this study’s objective emphasized two questions guiding the inquiry; What is the role of aesthetic encounters in aiding self-realization or individuation? and, how do these experiences foster self-transcendence?
A thematic analysis was performed on the online interviews conducted (<italic>N=25</italic>), and their results revealed seven themes pertaining to self-realization: a) Losing Yourself to Find Yourself; b) Relatability and Self-Reflection in Art; c) Identity as a Collection of Skills; d) Art as a Medium for Self-Expression and Acknowledgment; e) Aesthetic Genres and Taste as Identity; f) Belonging and Social Identity through Art; and g) Personal Interests and Choices in Artistic Consumption. Furthermore, seven themes for the second research question of self-transcendence were also discovered: a) Mother Nature’s Beauty; b) Intense, Passionate, and Overwhelming Experiences of Heightened Consciousness; c) Sacred Symbolism, Archetypal Imagery, and the Collective Unconscious; d) Collective Effervescence, Social Connection, and Shared Meaning; e) The ‘Profound’ Found in the Mundane; f) Feelings of Spiritual Elevation and Wellbeing; and g) Self-Referential Meaning-Making through Art. These findings evidenced the transformative potential of aesthetic experiences, shedding light on the facets of personal growth and meaning that individuals derive from such encounters.
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Examining the Role of Aesthetic Experiences in Self-Realization and Self-Transcendence: A Thematic Analysis

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This commentary invites creativity researchers to address an area that, to date, has received little attention: the effects of dyadic creative activities on early childhood resilience. There is, indeed, a growing body of work on how creative behaviour can contribute to resilience in older children, adolescents, and adults. There is less research on this topic for populations of children aged 3 to 6 years. Yet, young children are particularly dependent upon the bonds they form with their caregivers, notably their parents. The quality of the ties they maintain with them can promote, or on the contrary hinder, their resilience. After presenting the need to foster resilience among young children through dyadic creative activities, the commentary proposes audio recording as a method of investigating this phenomenon. It presents perspectives on the analysis of momentary processes. It concludes with perspectives creative activities at home that researchers can propose to parents and children to address their effects on young children’s resilience.
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Dyadic Parent-Child Creative Activities and Early Childhood Resilience: Audio-recordings and Home Activities as Methodological Propositions

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The aim of this study was to examine demographic, ideological, and personality trait correlates of self-assessed creativity. A large group (<italic>N</italic> = 1,299) of adults estimated their creativity score on a 100-point scale. This rating was related to participants’ demographics (sex, age, education), ideology (religious and political beliefs), self-confidence, and six personality traits. The regression indicated that those who thought of themselves as more creative were more optimistic, higher on trait Curious (Open), but lower on trait Adjustment (low Neuroticism) and trait Competitive (low Agreeableness), and had higher self-esteem. The status of self-assessed/estimated creativity is discussed alongside limitations and recommendations for future research.
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Correlates of Self-Assessed Creativity

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Creativity. Theories – Research - Applications

 The journal aims to provide a forum for the discussion of human creativity in all of its complexity - its recognition, correlates, determinants, possibilities for its encouragement and development - analyzed from the point of view of education, psychology, sociology, aesthetics, etc. Moreover, the journal will discuss issues of creative potential as well as actual creative achievements (everyday and eminent creativity). It will also consider methodological and statistical issues regarding quantitative and qualitative creativity studies in various countries. The journal is a platform for positive confrontation of the various ways of perceiving and investigating creativity and encouraging the interparadigmatic and interdiscursive dialogue of the representatives of distinct theoretical and methodological options.  Rejection Rate   65%  Archiving  Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections.  Plagiarism Policy  The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. 