<abstract xmlns="http://www.w3.org/1999/xhtml">As the problem-solving methodology of design thinking has gained legitimacy in business and educational environments, this article suggests we also think about incorporating “art thinking” into approaches in design pedagogy. To study what skills and techniques can be useful in other disciplines, we can first review the stages of the creative process which are centered around preparation, incubation, ideation, illumination, and evaluation. Within those stages, we can tease out specific elements unique to the artistic process that can be particularly useful, including mindsets of emotional engagement, intuition, and tolerance of ambiguity as well as cognitive strategies such as the use of metacognition, resource banks, generators and constraints, prolonged research, problem-creation, conversation with the work, closure delay, and reflection and thematic coherence. Emphasizing these elements and strategies in design pedagogy can expand possibilities for creativity and innovation.</abstract>

Intersections in Design Thinking and Art Thinking: Towards Interdisciplinary Innovation

<abstract xmlns="http://www.w3.org/1999/xhtml">Folk and scholarly conjectures on the nature of creative genius often focus on intrapsychic processes: The explanations centre on the person, the creator, transcending the more prosaic forces that shape everyday, routine cognition. Focusing on the alleged extraordinary character of a creator deflects attention from the emergent, distributed and relational nature of creativity. A more productive research agenda considers a range of factors, operating at different time scales, that guide and constrain the manufacture of creativity. We argue that a transactional perspective is particularly fruitful for the analysis of the dramatic work of William Shakespeare. Drama is an inherently relational art form created by the writer, the director, actors and audience. Further, Shakespeare’s output is a palimpsest of classical texts and writers contemporary to him, and was shaped by practical constraints. Viewing his work as situated in a historical time period and in a dialogue with other voices gives us a fuller account of the ontological locus of his creativity.</abstract>

For a Good Poet's Made, as Well as Born: The Relational Ontology of Shakespeare’s Genius

<abstract xmlns="http://www.w3.org/1999/xhtml">Personal obstacles to creativity were investigated by sampling 297 Arab women from four Gulf Cooperation Council (GCC) countries: Bahrain, Kuwait, Saudi Arabia and the United Arab Emirates. The Obstacles to Personal Creativity Inventory, as self-report, was used. It assesses four types of obstacles (a) inhibition/shyness, (b) lack of time/opportunity, (c) social repression, and (d) lack of motivation. The results showed that the highest mean was reported for the lack of time/opportunities factor, followed in order by the three other factors: lack of motivation, inhibition/shyness, and social repression. (A high mean is indicative of more obstacles.) A multivariate analysis of variance indicated that reported obstacles to creativity significantly differed by field of study. Women in the arts reported experiencing fewer obstacles related to social repression in comparison with women in engineering, who showed the highest mean. No significant effects were observed for level of education, country and income in the GCC countries. The MANOVA also showed significant interactions between (a) education and sector (i.e., government vs private), (b) country and sector, (c) income and field of study, and finally (d) between field of study and sector. Results from this study were compared to two other studies, in Brazil and Mexico, that used the Obstacles to Personal Creativity Inventory. The high mean found for the lack of motivation in GCC countries deserves further investigation, given that motivation is so important for creativity and often is something that can be encouraged.</abstract>

Obstacles to Personal Creativity Among Arab Women from the Gulf Cooperation Council Countries

<abstract xmlns="http://www.w3.org/1999/xhtml">In this paper I will attempt to compare two categories of passion and creativity. I will try to answer the question: What has passion got in common with creativity? What is the common denominator and what is different? What is the role of passion in the creative process? Searching for the mechanism of passion and its components is necessary to discover its relation to creativity I will refer to passion psychology (Vallerand, 2015). The basis of my analysis will be the Dualistic Model of Passion (Vallerand et al., 2003; Vallerand 2008, 2010, 2015), the concept of Grit: The Power of Passion and Perserverance (Duckworth et al., 2007; Duckworth &amp; Quinn, 2009, Duckworth 2016) and the concept of Flow (Csíkszentmihályi, 1996). In the process of mapping the areas that connect passion with creativity I will refer to four ways of its understanding: creativity as a process, a personality trait complex, a product and the interaction between the creative individual and the context or environment. I will also refer in my comparisons to The four C Model of Creativity (Kaufman &amp; Beghetto 2009).</abstract>

Passion and Creativity – Together or Separately?

<abstract xmlns="http://www.w3.org/1999/xhtml">The aim of this work is to reconstruct the convictions and opinions of Polish female film directors concerning work competences that actuate work and success in the field of film directing. Qualitative data are presented in the text, which were collected by the Author herself in free interviews carried out with twelve Polish female film directors.</abstract>

Professional Competences. Reconstruction of the Opinions of Polish Female Directors

<abstract xmlns="http://www.w3.org/1999/xhtml">The aim of this paper is to weigh the empirical and hypothetical evidence to assess the claim that imaginative play supports the acquisition and development of social and emotional competence. We analyse children’s play and social skills using a development-based perspective. On this basis, we describe the developmental trajectories of imaginative play and the components of socio-emotional competence during childhood, especially in the pre-school period. In addition, we review the research literature on the possible link between imaginative play and creativity in children, and on how this type of play is predictive of later life creativity. Finally, we discuss hypothetical mechanisms that may account for the relationship between imaginative play and social competence in the preschool years and beyond.</abstract>

Potential Mechanisms Underlying the Impact of Imaginative Play on Socio-Emotional Development in Childhood

<abstract xmlns="http://www.w3.org/1999/xhtml">The text is a case study report concerning research on a drama/theatre project called Jutka’s Sleeplessness that was performed in the public space of Łódź. The purpose of the research was to address the question of how this creative - new and valuable product - in the form of the drama/ theatre project Jutka’s Sleeplessness was created and what aspect of creativity decides on the success of a project that combines drama with theatre. The discussion represents an attempt to demonstrate how the four Ps of creativity work in a drama/theatre project.</abstract>

The Four Ps of Creativity in the Drama/Theatre Project Jutka’s Sleeplessness

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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. 