• A cage for the muse and the limits of invention

      Brown, Michael; Wilson, Chris; University of Derby (KIE Conference Publications, 2016)
      This paper explores the notion that creativity in the arts, particularly music, benefits from constraints. Expressive freedom is often fostered within education to encourage the pursuit of artistic individualism, but straying too far from stylistic norms can often engender incoherence. This paper does not challenge the breaking of rules that define a style nor does it denigrate the benefits that may arise from conflicting ideas and unusual combinations, but explores the virtue and benefits of boundaries and suggests that freedom, from a creative perspective, is often an illusory construct; strong creative identities are achievable through and often defined by creative constraints. Conclusions focus on the potential profits of constraints that bind expressive ideas and the function and virtue of intuition within the creative process; theorizing upon whether creative confinement, or the awareness thereof, is ultimately a liberating or inhibiting experience. We determine that artistic creative freedom as a concept may indeed be illusory, but the perception of freedom for some is a necessary ingredient in the creative act.
    • Creative inhibition: how and why

      Lennox, Peter; Brown, Michael; Wilson, Chris; University of Derby (KIE Conference Publications, 2016)
      The aim in this chapter is to develop discourse on how we think (consciously or subconsciously) about creativity, how we treat it, why we do so and whether we are behaving toward creativity to the best of our ability. The proposal is that rational inquiry can build on what has been achieved by intuitive thinking. It is almost axiomatic that the people who most often say the word “creative” are not the most creative; the corollary is that the most creative people find the least occasion to use the word. Talking about the job is not doing the job. For very creative people, creativity isn’t a subject, it’s imbued in the very fabric of their universe; it doesn’t need external validation, it is its own reason. For the rest of us, it is as though we are color blind – we understand intellectually what people are talking about, but we don’t, deep down, feel it. If we did, we wouldn’t have to talk about it. Yet, there is an advantage in this; necessity is the mother of invention. That which we do not easily understand through intuition, drives us to seek rational understanding.
    • Destroying creativity

      Lennox, Peter; Wilson, Chris; Brown, Michael; University of Derby (23/06/2016)
    • Education for innovation: exploring the place of creativity, innovation and entrepreneurship in Higher Education

      Wilson, Chris; Lennox, Peter; University of Derby (IETSD, 05/09/2012)
      This paper explores the increasing focus on the value of creativity, innovation and entrepreneurship in contemporary discourse and the challenge that this presents for established educational systems and traditional pedagogy. Through analysis of key literature and exploration od educational case studies, issues of definition and interpretation are explored in parallel with consideration of wider questions of operationalization and systemization. Focusing on how educational systems impact on the development and realization of these capacities through educational processes, the paper develops an overview of key perspectives, highlights examples of variation of interpretation of key terminology and presents points for consideration in the process of educational systems design. The paper concludes that there is an evident tension in educational models related to the definition and development of graduate attributes in particular but that there are educational strategies capabl;e of developing creativity, innovation and entrepreneurship as definable outcomes of learning and teaching processes.
    • How to develop creative capacity for the fourth industrial revolution: Creativity and employability in higher education

      Wilson, Chris; Lennox, Peter; Brown, Michael; Hughes, Gareth; University of Derby (Knowledge, Innovation & Enterprise, 15/10/2017)
      With changing patterns of accountability in higher education, universities are becoming increasingly focused on performing well against a growing number of metrics. Many used as proxy measures to indicate value of educational experience, amongst the most common and perhaps most notable are those relating to graduate career destinations. Universities have never been more focused on ensuring that graduates are ‘employable’. In the midst of the fourth industrial revolution, numerous studies highlight the potential significance and value of creativity, problem-solving and critical thinking, for successful navigation of the complexities of the future. Consequently, these capacities are becoming more significant in determining graduate career development and educational strategy in higher education. This chapter presents a synthesis of related fields of research to construct an outline framework for the development of organizational creativity and creative graduates concluding that there are aspects of current pedagogical practice capable of worthwhile reform.
    • Staying creative: creative technique, habit and experience

      Wilson, Chris; Brown, Michael; University of Derby (KIE Conference Publications, 2016)
      This chapter focuses analysis on a practice-based research project exploring personal creativity in musical composition. Seeking simply to explore the process and experience of creative routines in a more focused way―most specifically through imposed constraints of discipline, productive time and working materials―the project developed in unexpected ways and the focused act of observation itself led to the development of unanticipated insights. Initial assumptions being that: 1) The right balance of challenge/constraint and creative context can stimulate creative fluency and flow, and; 2) The wrong balance of challenge/constraint and creative context can inhibit creativity, the subtle variations of experience and the delicate structures involved in framing ‘creative balance’ in the composition process developed insights into the relationship between creative boundaries, activities, and creative identity. Creative fluency and creative quality can, and routinely does, emerge from difficult and constrained creative conditions. This text presents a personal insight into the creative experience of working through a defined programme of compositional activity, deliberately designed to test and to challenge, and how the same parameters of creative activity can frame everything from the most positive and affirming of musical activity, to the most desperate and distressing. It is through both pain and pleasure that creative value can emerge.