Group Creativity

This paper explores Mary Catherine Bateson's critique of individualism and argument for the recognition and development of interdependence. Individualism is presented as a cornerstone of American culture, forming a constellation along with analytic thinking, methodological individualism and free market capitalism. This constellation stands in opposition to and is held in place by the constellation of collectivism, holistic thinking, methodological holism and socialism/ communism. These constellations and their dimensions are viewed as static and reified and polarized to the extent that they are no longer useful. Creativity is introduced as a factor for change and the elements of process and transformation. The discussion is contextualized drawing on examples from both academia and popular culture.

The study explores students' and lecturers' experiences of group work assessment in a performing arts department that includes undergraduate studies in theatre, dance and film. Working from the perspective that assessment is a socially situated practice informed by, and mediated through, the socio-political context within which it occurs, this research takes the form of an inquiry that employs qualitative approaches to data collection using interviews and focus groups. The aim of the study was to elicit students' and lecturers' views concerning the assessment of process (also known as contribution), conceptions of fairness and the management of free-loading students. The tensions that reside in group work projects where students are marked for process as well as product are explored. The analysis shows that students navigate complex trajectories where they collaborate and fight for their marks. Reflective journals are often used as a tool to assess process in group work projects. This analysis challenges the popular view that reflective journals offer an unproblematic representation of process. Whilst this study is situated within the performing arts, the findings are relevant to any group work project where lecturers seek to design assessment approaches that disentangle group and individual contribution.

This paper presents working hypotheses with relevant theoretical discussions for examining group creativity and learning in online environments. Online resources provide indispensable means for various kinds of collaborative activities, and they will have significant influence on higher education in the future. Therefore, it is very important to examine the possibilities that will foster learning and creativity in online environments. In this paper, we examine the mechanisms of group creativity and learning. We present two propositions: First, we propose that the concept of "co-creation"-learning and creating togethercaptures most genuinely what is happening when, for example, students are collaborating together in order to meet certain learning goals. Secondly, we propose that a co-creative mood is achieved best by letting the learners collaborate in a self-organizing manner. Our suggestion for developing an empirical understanding of co-creation includes operationalization of co-creation and self-organization through the concepts of communication and network analysis. Five working hypotheses are provided for empirical examination.

“As we know, well-led groups provide many member benefits: feelings of universality, a sense of hope, altruism, acquisition of knowledge and skills, and mutual support...This text is affordable, easy to use, and very suitable for providing group work material in BSW or MSW practice courses.”

— Greg Tully, West Chester University



AN EXPERIENTIAL APPROACH TO GROUP WORK
Second Edition

Rich Furman, University of Washington, Tacoma
Kimberly Bender, University of Denver
Diana Rowan, University of North Carolina, Charlotte

An Experiential Approach to Group Work is not your typical group work text! Using dozens of exercises that build practice-tested skills, the authors' approach is in perfect step with CSWE's competence-based education requirements. The book is organized into three sections—the first addresses stages of group practice, the second looks at major types of groups, and the final section looks at examples of group work practice with special populations.

Features of the Second Edition

    Expanded! Discussion of the theory of group process and dynamics
    New! Content regarding Canadian, British, and Australian group work practices
    New! Chapters on anti-oppressive practice, group work with immigrants, and macro-practice group work
    New! Content on the use and development of technology to aid group work
    Contains customized exercises for each group work topic, designed to build the student and practitioner’s skills for use in group work sessions
    Special emphasis on how to bring individual sessions or groups to closure
    Provides examples of group work in specialized settings: conflict resolution groups within elementary schools, pregnant teens, Latinos, and HIV/AIDS clients

Human creativity is in high demand in the 21st century, and it has been acknowledged that unlocking the creative capacity of the whole population would have major effects. However, while several surveys demonstrate that many people consider creativity a personal and an economic asset associated with individual and societal wellbeing, simultaneously many of them doubt their own creative abilities.

Even though findings from the field of cognitive neuroscience have shown that the phenomenon is intrinsic and we all possess creative potential, it is claimed that an average person holds stereotypical or dated ideas about creativity, which may explain why the discourse on creativity has suffered from so many misconceptions.

This study presents the hypothesis that current understandings of creativity are the result of numerous variables, such as general perceptions of the social status and the role of age. Some of these variables are then selected for in-depth investigation by using critical discourse analysis.

The results of this analysis suggest that a multitude of conceptions on creativity will remain until the science of creativity is established. Moreover, creativity is an ambiguous, socioculturally dependent and evolving phenomenon. Furthermore, miscommunication between different social groups can influence the public’s views more than the myths or misconceptions about the phenomenon per se. The implications of the results and future research directions are presented here within.

Alongside of the research, an experimental concept of Metacognitive Process in Creative Self-Confidence was developed to explore the possible causalities of ambiguous creativity complex, current sociocultural environment, and individualistic perception on one’s own creative self.

This paper aims to unfold the theory and practice of design consciousness, as both an individual 'state' and by group process. The description of DesignQuest is the development of a facilitation method whereby groups of designers can come together to refresh their perspectives on design and deepen their creative consciousness. The DesignQuest process has been continuously developed over a seven year period -firstly by the Design Transformation Group (DTG), and latterly by the nowherefoundation.

It is not possible to speak of a single systems approach. There are rather of a number of systems approaches, each loosely drawing on different aspects of a family composed mainly of, general system theory, cybernetics, information theory, chaos theory, and complexity theory. Systems approaches have been used in most of the social sciences, particularly sociology and management, but their use has extended into the arts and humanities.Creativity researchers have used systems approaches drawing on very different sources and in very different ways. The main focus has been to highlight creativity as a phenomenon that occurs in the context of multiple systems, and therefore involves a network of interactions.

Lego Serious Play is a creative, imaginative and story-telling based approach that since 2002 has been successfully adopted by businesses ad organisations all around the world.
LSP has proved to be an effective solution for team building, strategy, co-creation, concept, conflict resolution…
And its efficacy can be tracked back to the key theories that have been included in the development and formalisation of LSP: from management, Psychology of play, Imagination, Embodied cognition, Metaphors, constructionism… They are all perfectly integrated in the Lego Serious Play experience and deliver unexpected results efficiently. This presentation tells who adopted this approach and the whys.

Zgodnie z tezami prezentowanymi w literaturze socjoterapia, poza celami rozwojowymi i edukacyjnymi, realizuje tak e cele terapeutyczne (Sobolewska, 1993; za: Jagie a, 2009, s. 25-26; Strzemieczny, 1988). Warto podj dyskusj , jakie czynniki terapeutyczne s specyficzne dla socjoterapii, a nawet, w jakim zakresie w ogóle mo na uzna je ci le za terapeutyczne (ukierunkowane na zmian lub wyleczenie), a w jakim za pomocowe (ukierunkowane na wspieranie rozwoju). Uruchomienie tych czynników -pomocowych czy terapeutycznych -ma bowiem doprowadzi do realizacji celów socjoterapii. Refleksja nad tym, jakie to czynniki i jaki jest ich zakres, wydaje si by niezb dna, aby wiadomie je aktywowa w pracy grupowej.

Creativity in adults is highly valued in our society. Personal creativity contributes to inventiveness, innovation, social and cultural change as well as political development and economic progression. The creator is an innovator, a problem solver, an entrepreneur, an artist. Creative people have rapid and effective responses that help them to achieve their life goals and allow them to enjoy the journey. Creativity is both a skill set and a unique and individual character structure that is developed throughout childhood and fine-tuned in adolescence and adulthood. Education has a key role to play in its development. Positive creativity inspiring experiences at every stage of the educational journey are needed. This is especially true in early childhood. Educators who rise to the creativity challenge will be well rewarded in rich teaching experiences and the joy of seeing children reach their creative potential in supportive and integrated learning communities.

The Creative Momentum Assessment Model (CMAM) is a criterion-based assessment system which applies the phenomenon of psychological momentum to creative ideas, products and expressions. It embodies, and extends, previous theoretical and experimental approaches to measuring creative contributions. It implements accountable self-grading, critical reflection, expert assessment, and timely feedback in conjunction with a criterion-baseline comprised of paradigm-related creative movements, novelty, problem resolution, elaboration and synthesis. Multiple creative contributions, completed by seventy-seven undergraduates participating in a general education creative thinking class, were both self-graded and assessed by a group of design experts using the Consensual Assessment Technique (CAT) plus by a small panel of tutors with access to criteria definitions, rubrics, critical reflection reports and self-grades. CAT assessors exhibited much higher inter-rater reliabilities and creativity grade alignment with the subjects than did tutors, highlighting the diversifying influence of conceptual versus perceptual activity, and novelty detection. More general criteria exhibited higher reliabilities than specific ones. Subjects tended to over-grade themselves at first, followed by more realistic assessments.

Starting from a practitioner's standpoint, this study investigates creativity as a system in which individual talent, desire and ambition operate. In the context of sustaining these motivations, personally and Contents Abstract 1 Chapter 1. Introduction 5 Creative industries beginnings 7 The 13 segments of the creative industries sector 8 Creativity industries as a response to changing conditions 9 Key questions arising from creative industries discourse 10 Chapter 2. Definitions of creativity: Creation, divinity, philosophy, problem-solving 12 Creation 13 Early distinctions 14 Evolution 15 Philosophy 16 Divine creators, production and problem-posing 17 Aesthetics, struggle and conniving 18 The creative process explained 20 Chapter 3. Mainstreaming culture: Arts to industry 23 Creative industries: A product not of industry but of history 23 New conditions 23 Civic humanism 24 Creative industries: A new personal identity 25

This paper explores the relationship between the creative process and social intelligence. Creativity has established value in modern, knowledge-based economies but is complex, multi-faceted and often group-led. Social intelligence is one method for navigating this complexity using intuition, communication, collaboration and empathy. A ‘creative vortex’ model (originally derived from PhD thesis research) has been proposed. This forms the basis of theoretical framework from which further empirical research on social intelligence and the creative process can be conducted.

In this article it is proposed that approached in the right way, literature reviews can be an opportunity for creative inquiry. The process of the literature review is framed as a participation in a community, a dialogue with those who are part of the community now, and with one’s “ancestors.” The literature review can also explore the deeper underlying assumptions of the larger community or communities of inquiry one is joining and one’s own beliefs, assumptions, and attachments. Three levels are proposed that each provide a different perspective on the construction of knowledge. The article concludes with a brief overview of the way inquiry, specifically in the context
of the literature review, can also be an opportunity for self-inquiry.

This article outlines the philosophical and pedagogical underpinnings of a masters degree in Transformative Leadership with a specific focus on the role of creativity and self-creation. It uses the design of the degree as a way of address some of the considerable complexities of the field of leadership, but also the larger planetary and personal challenges facing individuals who are committed to contributing to positive social change.

If you were driving toward a destination and a road was closed, wouldn’t you just find another route and keep going? People who achieve goals may get delayed on occasion but they do not stop moving forward because of excuses – They just go around them

Creativity and imagination are the most important ingredients for coping with post-normal times, according to Sardar.This paper looks at the way creativity itself is being transformed in the West, from the individualistic/atomistic view of Modernity towards a more contextual, collaborative, complex approach. It explores the potential and possibilities for this more participatory creativity to help go beyond the ‘‘crisis of the
future,’’and argues that the centrality of creativity must go beyond the mythology of genius and inspiration to inform philosophy, ethics, and action. Philosophical reflection and the imagination of desirable futures can emerge from a creative ethic that stresses the value of generative interactions and contexts that support creativity.

This Project shows some collaborative Blended Learning experiences in which the on-line tool for social networks Ning was used as a complement to the presential teaching in Fine Arts. This experience was carried out in the Faculty of Fine Arts, University Miguel Hernández, during 2008-09 and 2009-10 academical years. The two subjects in which they made the experience had as its theme the study and testing of collective creation strategies.
The main aim of these experiences was to work the key aspects in collective creation processes with the students through collaborative methodological strategies.
The methodology covers these four aspects:
1. Promoting collaborative learning through the use of a tool that boosts participation and interaction among students, widening the framework of presential teaching.
2. Practising and deepening in the search, selection and analysis of information on the Internet to encourage students critical thinking with regard to the use of new technologies and information management.
3. Creating collective files of information that allow the sharing of text, image, video and sound in order to improve knowledge and points of view.
4. Experimenting and sharing of collective creation processes through sharing ideas, public follow-up of the process of team projects creation and public exhibition of results.


Keywords: Web 2.0, Social Networking, Blended learning, collaborative learning, Fine Arts

This book/ exposition explores the question of creative justice
in creative processes and pedagogy. Through an evolving
conversation on a chat app, a mentor shares her creative
process of a painting that she is emerging with her
students at the Masters level. And interwoven through
these, they evolve a pedagogy of artistic research,
decolonization, reflective inquiry into self, aesthetic
encounters with their own cultures, Indian aesthetics and
philosophies, meandering and pondering together. The
exposition is constructed in four parts.

Part 1:Utopia and the politics of creative justice.
Part 2: The Conversations through chats.
Part 3 - Student responses and reflections.
Part 4: Teaching as philosophy of a way of being.

The mentor journeys through over twenty five years
of her practice, inviting her students to participate,
question, reflect and ponder with her, offering a creative
pedagogy for artistic research that is also bound in the
politics of creative justice.

Free improvisation is often presented as a form of musical creation where preliminary decisions or preexisting plans are kept to a strict minimum. However, long-standing groups and collaborations that span over many years are not uncommon in the free improvisation scene. One might wonder, then, how do these musicians work together? How do they manage to balance the openness, spontaneity, and unpredictability of free improvisation with the unstoppable normalizing force of familiarity? In order to answer these questions, we need to understand what is at stake during rehearsals of free improvisers. What do these improvisers do when they work and practice together, since they literally have nothing pre-established to rehearse, or at least no pre-composed material, such as standards, arrangements, chord charts, and themes?

This paper presents the results of an ethnographic study conducted with three Paris-based improvisation ensembles: the Orchestre des Nouvelles Créations, Expérimentations et Improvisations (“Orchestra of new creations, experimentations, and improvisations”); a duo comprising pianist Ève Risser and clarinetist Joris Rühl; and a quintet made up of the five founding members of the “Umlaut” collective. This data is used to show the different functions rehearsals have for these improvisers.

Over the years many training methods for creativity and innovation have been developed. Despite these programs and research, further improvement is necessary, particularly in schools of technology and engineering education, where previous efforts have focused on developing solutions to defined problems, not in identifying and defining the problems themselves in ways that promote creative outcomes. This study presents initial efforts to develop an instructional program designed to teach innovation to undergraduate technology and engineering students. Results from a pre/posttest analysis using both the Torrance Tests for Creative Thinking and a survey with self-reported data indicate that the Innovation Boot Camp was successful because it (a) encapsulated innovation into a process that students could learn and apply, (b) engaged students in multidisciplinary groups, and (c) provided a hands-on, activities-oriented curriculum explicitly designed to enhance innovation. Notwithstanding, ideas for improvement and further research and development of the curriculum are described. 1

Today's Alpha generation have high competency playing digital games. This privileged ability demands creativity in terms of cognitive and higher order thinking skills when it comes to designing and developing digital games. Therefore, this study aims to delineate the process of developing a rubric to measure primary school children's (age 7 to 12) creativity when creating games as a digital game designer. The constructs of the rubric were enthused by Torrance Creativity Theory which highlighted on originality, fluency, flexibility and elaboration that adapted to fit the concept of the game design process. The development of the rubric underwent three distinctive phases; i) library research; ii) feasibility study; and iii) expert evaluation. Cohen's Kappa Coefficient formula was used to validate with average value κ = .81 (excellent) and the reliability was measured by Cronbach's Alpha formula with value α = .88 (excellent). Researchers found that by adopting the concept of game-based learning specifically through game design activity, children's creativity was significantly enhanced. The rubric of children's creativity would be essential for sustainable performance of quality education to produce a generation of critical thinkers, problem solvers while celebrating children's uniqueness and diversity in line to develop creative personality towards digital generation.

Throughout the thesis I take symbolic communication and visual metaphors as starting points for developing a contemporary picture of diverse Craft practices in a small corner of Scotland. As a result, this thesis is both an ethnography of Craft and a craft object, explicitly made to be a theory-laden object of material culture.

Both in its analysis and its subject matter, this thesis aims to question a variety of epistemological regimes found not only in anthropology, but also in the North-East of Scotland. The main argument of this thesis is that in order to understand something about Craft and the experiences of its makers it is important to have an understanding of the ways in which they create that world as meaningful: that is, an understanding of the thirdness (or symbolism) that is an active, generative force in that world. In the following chapters I argue two interwoven points: one, that a stash (collection) is a collection of stash (craft materials) and is also a site of thirdness in which symbolic thought and action are vital. And two: that, as such, stash and the craft world in which it is embedded are well served by an approach to visual anthropology that takes seriously a study of semiotics in which poetics become more than a subject of analysis; poetics are also allowed to develop into a method(ology) of engaging both informants and audience in a meaningful dialogue of knowledge production.

By using images to contextualize ethnographic evidence and by making these previous points not only with words, but also through imagery, I aim to convince the reader of the integrity of my ethnographic analyses as well as that theories of visual anthropology are as useful for analysing anthropological subjects as for communicating ourselves.

Although the range and rapid evolution of e-learning tools can often prove daunting to many tutors in Higher Education, many educators have concluded that blogs have the potential to be a 'transformational technology for teaching and learning' (Williams and Jacobs, 2004). This paper presents an investigation into the ways in which blogs hosted on the institutional Virtual Learning Environment (VLE) might enable groups of undergraduate Film students to collaborate and share their research during self-directed study time.

The case study surveyed 96 second-year students studying on an undergraduate course in Film Production within one institution, collecting quantitative and qualitative data by asking participants to complete a questionnaire at the end of the activity. This article explores student perceptions of three aspects of the use of institutional blogs to support learner activity, namely their effectiveness as a tool for facilitating collaboration and group work, their effectiveness as a group communication tool and their usefulness in helping students meet the assessment requirement. A key implication is that the ability to see the contributions made by each member of the group may contribute to an increased transparency of the process of assessing group work.

This case study will be of interest to those involved in the use of the VLE to support student learning, and particularly to those interested in the use of institutional collaborative tools.

This article describes initial success in developing an
interdisciplinary studio for teachi ng collaborative creativity
and design, with facu lty from multiple departments
co-teaching and co-mentoring interdisciplinary student
groups engaged in social innovation. The rationale for
developing this studio has been to prepare students for
the kind of interdisciplinary creativity that will be essential
to their careers post-graduation. Some have argued
that universities are becoming increasingly irrelevant; the
author argues for the critical ro le of universities in preparing
students for successful integration into the innovation
economy. To meet this challenge, we need to evolve as
institutions and individuals in how we teach and conceptualize
the creative design process

One person alone can create and fashion a thing, but it will need many people to realize something by way of praxis. Because actions consist in volatile movements, they become political only through reactions to their being performed. Performing arts and political action thus both explore the possibilities of making a difference through doing that which—while intervening into complex symbolic and imaginary systems—strips down to the concrete, bodily effect of affecting others. Performing, therefore, has an essentially collective reality. Offering an alternative to the rhetoric of bond and rupture that grounds many theories of collectivity, this chapter accesses collectivity from the organizational potential of a relative distance between performers, both in space and in time. Certain forms of collectivity emerge for the very reason that performing bodies are energetically independent and only loosely coupled in their ways of communicating.

The present article aims to distinguish between a sociocognitive and a sociocultural approach to forms of ‘collective’ creativity. While the first is well-illustrated in studies of group or team creativity the second has generally supported investigations of collaborative creativity, most of them performed in the last few decades. The comparison between these two fields takes different levels into account, from the epistemological position adopted to issues concerning the theories and methods used. Special attention is given to reviewing models of creativity from each perspective. While the literature on group creativity contains several cognitive models, there is little work yet towards building a model for collaborative creativity. This is why a secondary aim of this material is to introduce and discuss a sociocultural framework: the Shared Representational Resources Model. In the end the similarities and differences between the two paradigms are examined with reference to both theory and research and arguments are given for why it would be beneficial for sociocognitivists and socioculturalists to engage in a more consistent dialogue.

Key-words: group creativity, social psychology, social cognition.

Creativitatea managerială este însușirea managerilor de a "produce" idei noi, originale și valoroase referitoare la procesele și sistemul de management. Stimularea creativității manageriale se împarte în două grupe: metode raționale și metode intuitive sau psihosociale. La baza dezvoltării unui nou potențial manager stau metodele raționale, fiind aplicate înca de pe bancile școlii. Metodele intuitive sau psihosociale, în Republica Moldova, sunt mai rar aplicate. Savanții americani au demonstrat că dezvoltarea creativității trebuie să inceapă de la o vîrstă frageda, fiind mai eficient de aplicat metode psihosociale.

Humanity is on the threshold of recognizing the fundamental error in its view of life and death. Both death as well as active life is necessary to the vital formation of a larger, more essential whole. In this paper, I apply the sociology of knowledge and change as it pertains to death and focus on ways in which we can step outside its traditional frameworks and limitations. I also discuss topics related to death such as birth, aging, sickness, and war, and examine cultural differences in attitudes toward death. I offer varying perspectives including the Buddhist view and from these draw implications and conclusions. I apply the lenses of contemporary social scientists such as Edgar Morin, Kenneth Gergen, Edward Stewart, Milton Bennett, Mary Catherine Bateson, E. Doyle McCarthy, Philip Slater, and Piotr Sztompka. To these I add other relevant passages from the writings and speeches of key thinkers on the topic of death, in particular, Buddhist philosopher, peacebuilder, and educator, Daisaku Ikeda. To construct a more humanistic and sustainable view of life, it is first of all crucial to establish a culture which perceives death in its larger living context as but one cycle in the expansive eternity of life.

The present article starts with a discussion of group creativity and especially of creativity in heterogeneous, multicultural groups. It is argued that creativity in a group situation is a reality that needs to be compared less with individual creativity but understood in its complexity as an emergent phenomenon. This is particularly the case when group members have different socio-cultural backgrounds although increased diversity can be detrimental for creativity. In this context, the theoretical framework within which group creativity is conceptualised is offered by the cultural psychology of creativity and the theory of social representations. From a socio-cultural perspective creativity is understood as an intricate process of artefact generation and group creative dynamics is described in terms of representational resources. The Shared Representational Resources Model (SRRM) suggests that groups that share “unique representational resources” into the “common representational space” are more creative than other groups or individuals alone. The practical expression of this model is The Columbus Window, a four quadrant image of the SRRM. In the end theoretical and practical implications of this cultural approach are briefly considered as well as perspectives for future research.

Key-words: heterogeneous groups, cultural psychology of creativity, Shared Representational Resources Model, representational space, Columbus Window.

This is a report of a longitudinal study commissioned to evaluate whether a creativity training programme normally applied in a business context could be transferred to the education sector. The report offers an in-depth account of creative teaching and learning at a British primary school that had invested in the training. The study draws on classroom observations and interviews with experienced practitioners conducted over the course of a school year. The research generates important insights for primary education in relation to creative teaching and learning and teachers continuing professional development.

No teacher, counselor, psychotherapist, analyst, or Guru can ever know the truth of you as well as you can know it. The experiential truth of yourself has no predetermined, controlled, route to it. It is abiding within you from moment to moment, and no one else’s mind but yours has direct, unmediated access to that moment to moment experiential truth of yourself.

This paper draws on my own situation as a visual anthropologist doing doctoral research on craft as material culture. My work in the North East of Scotland, based on fieldwork undertaken in 2005-2006, combines art and documentary photography with traditional participant observation. The resulting research approaches craft from theoretical and methodological perspectives situated slightly outside those of trained crafts practitioners. The interesting questions for me do not involve debating categories, but understanding how they work; they’re not about judging the value of Art or Craft, but understanding the social mechanisms that drive their makers.

I ask questions about the role of creativity in vernacular craft, by looking how people synthesize different modes of creative agency, balancing the paradoxes that arise. Then I examine discourses of Art and Craft, femininity, and individualism as cultural categories that pervade Euro-American understandings of the individual craftsperson. The main findings of these questions that there are two modes of creativity operating within Craft, which are embraced differently in the realms of fine and hobby craft. This impacts widely held views of the individual, non-professional craftsperson by informing discourses of femininity and individualism.

In order to explore this topic, I rely on visual based, ethnographic research on skilled people who live with and make craft as part of their daily lives. And, in order to explore my results further, I am planning an exhibition for June - August 2007 in order to share these findings with the communities in which I undertook my research. The goal is to encourage community participation and critique of academic research. Additionally, I have produced a set of art/documentary photographs that I use in my fieldwork as the basis for photo elicitation interviews. A selection of them appears in the paper below.

Abstract. This paper explores the relationship between the creative process and social intelligence. Creativity has established value in modern, knowledge-based economies but is complex, multi-faceted and often group-led. Social intelligence is one method for navigating this complexity using intuition, communication, collaboration and empathy. A ‘creative vortex ’ model (originally derived from PhD thesis research) has been proposed. This forms the basis of theoretical framework from which further empirical research on social intelligence and the creative process can be conducted.

This paper builds on the analysis of factors observed at jazz jam sessions facilitating team creativity and improvisation as a model for managing organizational innovation. The model was established through detailed observations, surveys, historical research, and interviews. Even though the jazz metaphor has been used as a model for organizational improvisation the discussions rarely extend beyond the improvisational process of idea generation (Frishammar et al. in Creativity Innov Manag 2:179, 2016) towards a comprehensive model for team creativity and effective organizational management (Santos et al. in Creativity Innov Manag 24(4):645–658, 2015). The seven factor Jam Session Model for Group Creativity and Innovative Technology is built from a comprehensive analysis of the jam session process and exemplified with case studies of leading innovative companies such offering a theoretical and practical model for managing and facilitating group creativity and innovative technology.

The 21st century economy often requires the innovative production of conceptual and physical artifacts. These innovations frequently are developed collaboratively within communities of workers. Previous theories about the nature of work and learning within communities have emphasized shared meaning or shared practice, but now shared innovation is required. In this paper, I describe the development of a model for conceptualizing and studying shared innovation within communities. This model was created from merging elements of social learning and creativity/innovation theories. I explain that at an intersection of these two domains is a unique kind of social structure, called a Community of Innovation, or COI. I conclude by describing the characteristics of a Community of Innovation and its implications for design and research.

In today's knowledge-based economies, creativity in higher education has become a central focus for policy-makers. However, developing student creativity is still a challenge for higher education institutions. This paper seeks to contribute to our understanding of the creative processes at play in educational environments by using an experimental design to explore the time-of-day effect on group creativity. Examining 36 groups of university students, Experiment 1 explored differences in creative performance between morning and afternoon, and the optimal time of day for group creative exercises. Experiment 2 comprised 18 groups, and further studied the effect of chronotype on group creativity in the morning versus the afternoon. In both experiments a significant relationship was found between the timing of the group task and creative performance, with a peak in creative fluency around midday. This research thus points to a significant time of day effect in the creative process in groups.