Everyday conversations including gossip, boasting, flirting, teasing, and informative discussions are highly creative, improvised interactions. Children's play is also an important, often improvisational activity. One of the most improvisational games among 3- to 5-year-old children is social pretend play--also called fantasy play, sociodramatic play, or role play. Children's imaginations have free reign during pretend play. Conversations in these play episodes are far more improvisational than the average adult conversation. Because pretend play occurs in a dramatized, fantasy world, it is less constrained by social and physical reality. This book adds to our understanding of preschoolers' pretend play by examining it in the context of a theory of improvisational performance genres. This theory, derived from in-depth analyses of the implicit and explicit rules of theatrical improvisation, proves to generalize to pretend play as well. The two genres share several characteristics: * There is no script; they are created in the moment. * There are loose outlines of structure which guide the performance. * They are collective; no one person decides what will happen. Because group improvisational genres are collective and unscripted, improvisational creativity is a collective social process. The pretend play literature states that this improvisational behavior is most prevalent during the same years that many other social and cognitive skills are developing. Children between the ages of 3 and 5 begin to develop representations of their own and others' mental states as well as learn to represent and construct narratives. Freudian psychologists and other personality theorists have identified these years as critical in the development of the personality. The author believes that if we can demonstrate that children's improvisational abilities develop during these years--and that their fantasy improvisations become more complex and creative--it might suggest that these social skills are linked to the child's developing ability to improvise with other creative performers.

The interdisciplinary field of the learning sciences encompasses educational psychology, cognitive science, computer science, and anthropology, among other disciplines. The Cambridge Handbook of the Learning Sciences, first published in 2006, is the definitive introduction to this innovative approach to teaching, learning, and educational technology. In this significantly revised third edition, leading scholars incorporate the latest research to provide seminal overviews of the field. This research is essential in developing effective innovations that enhance student learning - including how to write textbooks, design educational software, prepare effective teachers, and organize classrooms. The chapters illustrate the importance of creating productive learning environments both inside and outside school, including after school clubs, libraries, and museums. The Handbook has proven to be an essential resource for graduate students, researchers, consultants, software designers, and policy makers on a global scale.

"Group Creativity" explores the unique form of creativity that emerges from collaborating groups. Dr. Sawyer draws on his studies of jazz ensembles and improvisational theater groups to develop a model of creative group processes. He applies this model of group creativity to a wide range of collaborating groups, including group learning in classrooms and innovative teams in organizations.
In group creativity, a group comes together to collaboratively create in real time. The creative inspiration emerges from the interaction and communication among the members, and makes the result more than the sum of its parts. The dynamic, moment-to-moment communication among jazz musicians and improvising actors is the primary topic of the book. Sawyer explores performers' close listening and sensitivity, the submerging of the ego to the group mind, and the ways that performers work together to create something better than and different from what one solitary individual could create alone. These explorations provide insight into all forms of group creativity and collaboration.

"Group Creativity" explores the unique form of creativity that emerges from collaborating groups. Dr. Sawyer draws on his studies of jazz ensembles and improvisational theater groups to develop a model of creative group processes. He applies this model of group creativity to a wide range of collaborating groups, including group learning in classrooms and innovative teams in organizations.
In group creativity, a group comes together to collaboratively create in real time. The creative inspiration emerges from the interaction and communication among the members, and makes the result more than the sum of its parts. The dynamic, moment-to-moment communication among jazz musicians and improvising actors is the primary topic of the book. Sawyer explores performers' close listening and sensitivity, the submerging of the ego to the group mind, and the ways that performers work together to create something better than and different from what one solitary individual could create alone. These explorations provide insight into all forms of group creativity and collaboration.

Everyday conversations including gossip, boasting, flirting, teasing, and informative discussions are highly creative, "improvised" interactions. Children's play is also an important, often improvisational activity. One of the most improvisational games among 3- to 5-year-old children is "social pretend play"--also called fantasy play, sociodramatic play, or role play. Children's imaginations have free reign during pretend play. Conversations in these play episodes are far more improvisational than the average adult conversation. Because pretend play occurs in a dramatized, fantasy world, it is less constrained by social and physical reality.
This book adds to our understanding of preschoolers' pretend play by examining it in the context of a theory of improvisational performance genres. This theory, derived from in-depth analyses of the implicit and explicit rules of theatrical improvisation, proves to generalize to pretend play as well. The two genres share several characteristics:
* There is no script; they are created in the moment.
* There are loose outlines of structure which guide the performance.
* They are collective; no one person decides what will happen.
Because group improvisational genres are collective and unscripted, improvisational creativity is a collective social process.
The pretend play literature states that this improvisational behavior is most prevalent during the same years that many other social and cognitive skills are developing. Children between the ages of 3 and 5 begin to develop representations of their own and others' mental states as well as learn to represent and construct narratives. Freudian psychologists and other personality theorists have identified these years as critical in the development of the personality. The author believes that if we can demonstrate that children's improvisational abilities develop during these years--and that their fantasy improvisations become more complex and creative--it might suggest that these social skills are linked to the child's developing ability to improvise with other creative performers.

This volume offers a historical and critical analysis of the emerging field of the learning sciences, which takes an interdisciplinary approach to understanding and improving how children and adults learn. It features a wide range of authors, including established scholars who founded and guided the learning sciences through the initial turbulence of forming a new line of academic inquiry, as well as newcomers who are continuing to shape the field. This diversity allows for a broad yet selective perspective on what the learning sciences are, why they came to be, and how contributors conduct their work. Reflections on the Learning Sciences serves both as a starting point for discussion among scholars familiar with the discipline and as an introduction for those interested in learning more. It will benefit graduate students and researchers in computer science, educational psychology, instructional technology, science, engineering, and mathematics.

Creativity has long been thought of as an individual gift, best pursued alone; schools, organizations, and whole industries are built on this idea. But what if this most common belief about how creativity works is wrong? In this revised and expanded edition, psychologist Keith Sawyer tears down some of the most popular myths about creativity and erects new principles in their place. He reveals that creativity is always collaborative-even when you're alone. Sawyer draws on compelling stories of inventions and innovations: the inventors of the ATM, the mountain bike, and open source operating systems, among others, to demonstrate the freewheeling ways of true innovation. He shares the results of his own acclaimed research on jazz ensembles, improv groups, and conversation analysis, to show us how to be more creative in collaborative group settings, how to change organizational dynamics for the better, and how to tap into our own reserves of creativity. Now with a new chapter on web-based developments that have made collaboration central to everyone's lives, this revised and updated edition is a must read for anyone seeking to thrive and succeed by tapping into collaborative creativity

The interdisciplinary field of the learning sciences encompasses educational psychology, cognitive science, computer science, and anthropology, among other disciplines. The Cambridge Handbook of the Learning Sciences, first published in 2006, is the definitive introduction to this innovative approach to teaching, learning, and educational technology. In this significantly revised third edition, leading scholars incorporate the latest research to provide seminal overviews of the field. This research is essential in developing effective innovations that enhance student learning - including how to write textbooks, design educational software, prepare effective teachers, and organize classrooms. The chapters illustrate the importance of creating productive learning environments both inside and outside school, including after school clubs, libraries, and museums. The Handbook has proven to be an essential resource for graduate students, researchers, consultants, software designers, and policy makers on a global scale.

Explaining Creativity is an accessible introduction to the latest scientific research on creativity. The book summarizes and integrates a broad range of research in psychology and related scientific fields. In the last 40 years, psychologists, anthropologists, and sociologists have devoted increased attention to creativity; we now know more about creativity than at any point in history. Explaining Creativity considers not only arts like painting and writing, but also science, stage performance, business innovation, and creativity in everyday life. Sawyer's approach is interdisciplinary. In addition to examining psychological studies on creativity, he draws on anthropologists' research on creativity in non-Western cultures, sociologists' research on the situations, contexts, and networks of creative activity, and cognitive neuroscientists' studies of the brain. He moves beyond the individual to consider the social and cultural contexts of creativity, including the role of collaboration in the creative process. Features Features a unique interdisciplinary approach that incorporates psychology, anthropology, and sociology Reviews recent experimental studies in cognitive neuroscience, using brain imaging technology that reveals the brain at work during creative tasks Each chapter concludes with suggested readings for those who are interested in exploring the topics of the chapters further Key concepts and thought-provoking questions for reflection are highlighted throughout

The Creative Classroom presents an original, compelling vision of schools where teaching and learning are centered on creativity. Drawing on the latest research and his studies of jazz and improvised theater, Sawyer describes curricula and classroom practices that will help educators get started with a new style of teaching, guided improvisation, where students are given freedom to explore within structures provided by the teacher. Readers will learn how to improve learning outcomes in all subjects-from science and math to history and language arts-by helping students master content-area standards at the same time as they increase their creative potential. This book shows how teachers and school leaders can work together to overcome all-too-common barriers to creative teaching-leadership, structure, and culture-and collaborate to transform schools into creative organizations.Book Features: Presents a research-based approach to teaching and learning for creativity. Identifies which learning outcomes support creativity and offers practical advice for how to teach for these outcomes. Shows how students learn content-area knowledge while also learning to be creative with that knowledge. Describes principles and techniques that teachers can use in all subjects. Demonstrates that a combination of school structures, cultures, incentives, and leadership are needed to support creative teaching and learning.

With an increasing emphasis on creativity and innovation in the twenty-first century, teachers need to be creative professionals just as students must learn to be creative. And yet, schools are institutions with many important structures and guidelines that teachers must follow. Effective creative teaching strikes a delicate balance between structure and improvisation. The authors draw on studies of jazz, theater improvisation, and dance improvisation to demonstrate that the most creative performers work within similar structures and guidelines. By looking to these creative genres, the book provides practical advice for teachers who wish to become more creative professionals.

Can we understand important social issues by studying individual personalities and decisions? Or are societies somehow more than the people in them? Sociologists have long believed that psychology can't explain what happens when people work together in complex modern societies. In contrast, most psychologists and economists believe that if we have an accurate theory of how individuals make choices and act on them, we can explain pretty much everything about social life. Social Emergence takes a new approach to these longstanding questions. Sawyer argues that societies are complex dynamical systems, and that the best way to resolve these debates is by developing the concept of emergence, focusing on multiple levels of analysis - individuals, interactions, and groups - and with a dynamic focus on how social group phenomena emerge from communication processes among individual members. This book makes a unique contribution not only to complex systems research but also to social theory.

What is creativity, and where does it come from? Creativity and Development explores the fascinating connections and tensions between creativity research and developmental psychology, two fields that have largely progressed independently of each other-until now. In this book, scholars influential in both fields explore the emergence of new ideas, and the development of the people and situations that bring them to fruition. The uniquely collaborative nature of Oxford's Counterpoints series allows them to engage in a dialogue, addressing the key issues and potential benefits of exploring the connections between creativity and development.

Creativity and Development is based on the observation that both creativity and development are processes that occur in complex systems, in which later stages or changes emerge from the prior state of the system. In the 1970s and 1980s, creativity researchers shifted their focus from personality traits to cognitive and social processes, and the co-authors of this volume are some of the most influential figures in this shift. The central focus on system processes results in three related volume themes: how the outcomes of creativity and development emerge from dynamical processes, the interrelation between individual processes and social processes, and the role of mediating artefacts and domains in developmental and creative processes. The chapters touch on a wide range of important topics, with the authors drawing on their decades of research into creativity and development. Readers will learn about the creativity of children's play, the creative aspects of children's thinking, the creative processes of scientists, the role of education and teaching in creative development, and the role of multiple intelligences in both creativity and development. The final chapter is an important dialogue between the authors, who engage in a roundtable discussion and explore key questions facing contemporary researchers, such as: Does society suppress children's creativity? Are creativity and development specific to an intelligence or a domain? What role do social and cultural contexts play in creativity and development?

Creativity and Development presents a powerful argument that both creativity scholars and developmental psychologists will benefit by becoming more familiar with each other's work.

This volume offers a historical and critical analysis of the emerging field of the learning sciences, which takes an interdisciplinary approach to understanding and improving how children and adults learn. It features a wide range of authors, including established scholars who founded and guided the learning sciences through the initial turbulence of forming a new line of academic inquiry, as well as newcomers who are continuing to shape the field. This diversity allows for a broad yet selective perspective on what the learning sciences are, why they came to be, and how contributors conduct their work. Reflections on the Learning Sciences serves both as a starting point for discussion among scholars familiar with the discipline and as an introduction for those interested in learning more. It will benefit graduate students and researchers in computer science, educational psychology, instructional technology, science, engineering, and mathematics.

With an increasing emphasis on creativity and innovation in the twenty-first century, teachers need to be creative professionals just as students must learn to be creative. And yet, schools are institutions with many important structures and guidelines that teachers must follow. Effective creative teaching strikes a delicate balance between structure and improvisation. The authors draw on studies of jazz, theater improvisation, and dance improvisation to demonstrate that the most creative performers work within similar structures and guidelines. By looking to these creative genres, the book provides practical advice for teachers who wish to become more creative professionals.