The Interplay Between Culture and Creativity L'INTERACTION ENTRE LA CULTURE ET DE LA CREATIVITE
Bibliographic record
Abstract
Abstract Creativity per se is a convoluted phenomenon. With regard to distinct manifestations, the impact of culture on creativity is discussed. The belief system is embedded in the creative productions across different cultures. The exertion of culture on creativity is presented within a reciprocal process that, alongside culture, also weaves historical, societal, and individual factors. Further suggestions for cross-cultural studies of creativity are also discussed. Key Words: Creativity; Culture; Cross-cultural studies Resume La creativite en soi est un phenomene complique. En ce qui concerne les manifestations distinctes, l'impact de la culture sur la creativite est discutee. Le systeme de croyance est ancree dans les productions creatives a travers differentes cultures. L'effort de la culture sur la creativite est presentee dans un processus reciproque qui, aux cotes de la culture, tisse egalement des facteurs historiques, sociaux et individuels. D'autres suggestions pour les etudes transculturelles de la creativite sont egalement discutes. Mots Cles: La creativite; La culture; Les etudes transculturelles INTRODUCTION The study of creativity is pitfall, since creativity per se is a convoluted phenomenon. Indeed, universal theory of creativity does not exist (Craft, 2003; Ludwig, 1992; Treffinger, 2004). Through a great deal of efforts and works, creativity researchers now understand some features of creativity (Treffinger, 2004). A number of variables are identified to improve or impair creative performance, which include personality, cognition, knowledge, brain function, family background, motivation, environment, and social context (Runco, 2004). Perhaps most of the contribution is that the extent of ownership of creativity, which not only is limited to a select few but also laypeople have that property; it exists within the mundane life and beyond specific domains (e.g., science, art, and literature) (Lubart & Sternberg, 1998; Simonton, 2000). We all harbor within us creative seeds that are capable of flourishing (Edelson, 1999, p.7). The interest in the research of creativity gained grounds in North America since 1950 Guilford speech and shed light on systematic empirical research of creativity. The merits of Guilford early creativity research not only provided the foundation of subsequent research on the nature and assessment of creative thinking, but also introduced key components of divergent thinking which includes fluency, feasibility, and originality. Since then the wave of research becomes an exciting research topic for creativity researchers to explore different theoretical or methodological framework and cross-disciplinary methods (Feldman & Benjamin, 2006; Mumford, 2000; Simonton, 2000; Torrance, 1977). The present review specifically focuses on the profound effects of cultural milieu on creativity. From the lens of culture, the universality of creativity is distinct, but the manifestation of creativity is diverse (Craft, 2008; Simonton & Shing-Shiang, 2010). Different cultures have different perceptions of creativity. Throughout this review the conceptions of creativity, especially the similarityand difference between East and West, will be examined. Here, Chinese perception of creativity will be represented as the major sample of East. The main reason is that the Confucianism and Taoism have a great influence on Asian countries (Cannon, 2010). Different culture values attached to creativity also manifest on various creativity outlets. Some concrete examples will be given. Then, some theories related to social environment on creativity will be briefly discussed. Following this line, some crosscultural studies will also be presented. Finally, possible directions and further suggestions concerning the crosscultural researches on creativity will be outlined. CREATIVITY BETWEEN EAST AND WEST The similarity of concept of creativity across East and West is both valuing the positive side of creativity and praising creative individuals. …
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.007 | 0.009 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.002 | 0.002 |
| Science and technology studies | 0.003 | 0.018 |
| Scholarly communication | 0.017 | 0.005 |
| Open science | 0.001 | 0.005 |
| Research integrity | 0.001 | 0.003 |
| Insufficient payload (model declined to judge) | 0.005 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".