Creativity

Specific skills

 Developing a capacity for analysis, synthesis and critical judgment, identifying and explaining causes and contexts.
- Identifying, evaluating, and using current and novel methods for the completion of projects featuring a high degree of creativity and research on their design. Taking on research and knowledge transfer activities in the professional world.-Identifying, evaluating and applying knowledge about Creativity and the skills learned in this context to new technologically related applications and developments.
- Integrating new knowledge and connecting apparently unrelated ideas, even when they come from fields different from one's background.-Working individually and on transdisciplinary teams, establishing those relationships which can help the most to foster and sustain potential collaborative efforts.

These steps are designed to immerse you in creative work and keep you from sitting at your desk, waiting for an idea to surface. Perhaps the most important thing to remember is this: creativity doesn't come from stagnation, so keep your mind moving and it'll yield better results.

Crash Course About Creativity.

This crash course is designed to explore several factors that stimulate and inhibit creativity in individuals, teams, and organizations. In each session we will focus on a different variable related to creativity, such as framing problems, challenging assumptions, and creative teams.
The course is highly experiential, requiring each student to participate actively, taking on weekly projects. Each Wednesday a new challenge will be presented, and the results are due the following Tuesday. Some of the challenges will be completed individually, and some will be done in teams. There will be a two-week project toward the end of the course that will allow you to use all the tools you have learned.
To foster collaboration and learning between the students, we will craft teams for each assignment. Each project will be done with a different team, so students get a chance to work with a wide variety of participants. All submissions will be viewed and evaluated by the course participants. There will also be a course Twitter feed and Facebook page, and several scheduled Google Hangouts that will enable active discussions on specific topics.
You need a computer that allows you to watch the video lectures, and the ability to upload your assignments, which will be images, videos, slides, and text. You will also be required to collaborate with teammates via email, skype, and other free online tools.Prerequisites 
This is an introductory course designed for anyone, anywhere in the world. There are no prerequisites. It would be helpful to have basic skills taking digital photos, creating slide, presentations, and creating short videos for your homework submissions.Course Content 
The course is designed to introduce you to a set of tools for generating new ideas individually and as part of a team, including opportunity identification, reframing problems, connecting and combining ideas, and challenging assumptions. We will also discuss team dynamics, creative communication, and cultures that support creative problem solving.Team Projects 
There are several short team projects in the course. You can bring your own team or we will create one for you.Evaluation 
Because this course focuses on creativity, evaluation of the projects is necessarily subjective. Our goal is to make sure that you get thoughtful feedback on your submissions and to showcase the most creative solutions for each challenge. To do this, the entire class will be involved in providing feedback on the assignments. The more projects you review, the more feedback you receive on your project. Also, you will be getting guidance and feedback on your evaluations in order to make sure they are as accurate and constructive as possible. The projects that are the most highly rated will be showcased on the course home page.Statement of Accomplishment Subject to satisfactory performance and course completion, you will receive a statement of accomplishment signed by the instructor. This statement will not stand in the place of a course taken at Stanford or an accredited institution.

Genius creatives are still alive

While notions of the artist as creative genius have their seeds in the Renaissance, they did not come into their own until the 18th century when the idea of artistic genius began to be articulated in relation to the specific personality traits of ‘great’ artists and their ‘inspired’ works. As Paul Kristeller noted:

for the first time, the term “creative” was applied not only to God but also to the human artist, and a whole new vocabulary was developed to characterise the artist and his activity although there were some partial or scattered precedents to be found in ancient and Renaissance thought. The artist was guided no longer by reason or by rules but by feeling and sentiment, intuition and imagination; he produced what was novel and original. And at the point of his highest achievement he was a genius (1990: 250).

Perhaps the most influential Enlightenment definition of genius is in Kant’s Critique of Judgment, which presents genius as the ‘mental aptitude’ necessary for the production of fine art, a capacity characterised by originality, and opposed to imitation. This view dominated a particular strand of the Romantic sensibility (especially the poet Samuel Taylor Coleridge), and is arguably still a strong presence in popular notions of creativity, as well as in what we call a ‘traditionalist’ academic view.

While some commentators in contemporary discussions of creativity remain implicitly attached to the idea that some people are more creative than others, few educators now wish to promote models of singular creative genius. The sociological critique of Kant proposed by Pierre Bourdieu (1984) opposes Kant’s view that a refined cultural sensibility was a universal property, arguing instead that it is the restricted taste of a particular (bourgeois) social class.

This critique offers a democratic view of popular cultural taste and, by implication, of the capacity for artistic production. In this section, we look at what a modern version of the belief in artistic genius might make of creativity and raise the question: to what extent is ‘creative practice’ a modern debasement of ‘real’ artistic endeavour on the part of lone artists? One who does propose this view, the conservative, neo-Kantian philosopher Roger Scruton, begins by expressing his fear and dislike of more democratic versions of creativity. 

Creativity About culture and education literacy

However, because Creativity, Culture and Education works by creating partnerships drawn from the widest fields of endeavour, the different stakeholders recognise that there is often a ‘knowledge gap’ between reflection, analysis and learning. In addition, the wide focus of approach – which is fundamental to the nature of creativity – means that people are often working at the limit of their disciplines.

For these reasons we have commissioned a series of literature reviews exploring the key issues in current literature and summarising the history and latest developments in each subject. Each review is written by an experienced and respected author in their field. They aim to be accessible, clearly referenced and to act as ‘stepping-stone’ resources to underpin the research conducted by and for Creativity, Culture and Education.

Creativity, Culture and Education (CCE) is a national organisation which aims to transform the lives of children and families by harnessing the potential of creative learning and cultural opportunity to enhance their aspirations, achievements and skills.

We promote the value of creative learning and cultural opportunities by building a strong evidence base, stimulating debate amongst policy makers and opinion formers and through the delivery of high quality programmes which achieve this on the ground. We promote a systemic approach to creative and cultural initiatives and one which builds on the excellent practice which already exists to make opportunity consistent, to ensure that all children and young people are included and to place quality at the core of any creative or cultural experience. We deliver two flagship programmes – Creative Partnerships and Find Your Talent. 
Creative Partnerships - the Government’s creative learning programme fosters long-term partnerships between schools and creative professionals to inspire, open minds and harness the potential of creative learning. 

Find Your Talent - the Government’s pilot cultural offer for all children and young people which aims to ensure they have access to the wide range of quality cultural experiences essential to unlocking their talent and realising their potential. 

Fostering creativity is fundamentally important because creativity brings with it the ability to question, make connections, innovate, problem solve, communicate, collaborate and to reflect critically. These are all skills demanded by contemporary employers and will be vital for young people to play their part in a rapidly changing world. 

Our programmes can have maximum impact if teachers, parents, children, young people and practitioners themselves learn from the experience and activities delivered through the programmes. For this reason, one of the most significant legacies will be the product of our research and evaluation and how that is effectively communicated to stakeholders 

Multi platform creativity

This means that brands now have more control over how users access and interact with their content. These are huge changes. Most brands focus on desktop experiences only and leave the other devices aside. Now, more than ever, consumers are interfacing with brands from anywhere and everywhere; often they are using mobile as a way to augment or enhance another branded experience. By compromising content accessibility, brands position themselves negatively.

Access is good, but it’s not that easy. As we are dealing with multiple platforms, we have to plan ahead and prioritize the content as well as the format that it will be displayed in, to users. In our opinion, that’s the biggest challenge for brands--prioritization. The next step will be to take all that information and adapt it to a single template using the simplest code possible, making sure that it will be displayable on devices that have fewer capabilities.

This is not a simple task for huge brands with countless products and services, but some brands like Starbucks and Sony are already catching up. They’ve both launched new responsive websites that adapt to all formats and devices, thus maintaining a great user experience.
1. PLAN AHEAD

In order to create an efficient and responsive design, we must plan things properly. The design process is a little bit different than what we usually have with a traditional website, especially because we can’t base the layout on a fixed viewport size and there is no simple way to design to every single size. We’ve found that it’s easier to design as few breakpoints as possible and then interpolate the layout between these breakpoints.If the layout is based on a grid, make sure the grid still makes sense on smaller/bigger screens and that the size

Most people agree that it’s best to start your grid structure from the mobile version, focusing first on the smaller screens with as few features as possible. That way it’s possible to have a "bare bones" version of the site that works on the oldest phones/tablets, and an "enhanced" version for the most capable browsers. On this project, we worked on both dimensions (desktop and mobile) simultaneously as we wanted to ensure the best experience for each view.

The relationship that a user has with a desktop is different than with a mobile, and therefore it shouldn’t be treated as the same. Priorities change, content needs to be much more clear and concise on a mobile version than on a desktop. A good example is if you access the Chase mobile site, it only gives you three options that are very clear and probably all you need. Review your priorities and only deliver the user what they’re most likely to want.

Remember that on tablets and mobiles there are no "roll overs" and most of the navigation elements that were designed for the desktop version will not work with gestures. Lately I have been noticing that we are blending some usabilities from across platforms. For example, the new mouse from Apple utilizes the scrolling references from the iPad and iPhone. This is a good trend, as sites should adapt to us and not the other way around.

2. PROTOTYPING IS FUNDAMENTAL

Prototyping is really important for testing, validating the grid size and making sure the whole structure will scale to multiple pages. Since we won’t be doing designs for all of the possible widths, it is much easier to set some of the breakpoints on the prototype itself. Prototypes are also a good tool to introduce the project to the client. They show how the design will adapt to different screen sizes and help determine the content priorities that lead to an enhanced user experience

3. KEEP IT SIMPLE

The simpler the site is, the greater the chance that it will work across multiple devices. Simple blogs are much easier to adapt than a complex interactive site. Technical limitations should always be taken into consideration if you want the best experience on the broadest range of devices. Sometimes we need to simplify the interaction and complexity of the layout to improve accessibility.

The amount of breakpoints should be kept to a minimum, since each new breakpoint makes the system harder to test and maintain--especially if each breakpoint changes the design drastically and relies heavily on JavaScript to work.

4. BREAK THE RULES

It is important to understand why a rule was created and if it really applies to your project. Sometimes a remarkable experience is the most important thing; don’t let these rules bind you.

Miller Medeiros is Senior Developer and David Vale is Art Director at digital agency,

The creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves.

Creative Commons helps you share your knowledge and creativity with the world.

Creative Commons develops, supports, and stewards legal and technicalinfrastructure that maximizes digital creativity, sharing, andinnovation.Creativity is usually enhanced by giving people more freedom and flexibility at work. If you like structure, order and predictability, you are probably not creative. However, we are all more likely to perform more creatively in spontaneous, unpredictable circumstances — because we cannot rely on our habits. Don't constrain your creative employees; don't force them to follow processes or structures. Let them work remotely and outside normal hours; don't ask where they are, what they are doing or how they do it.

This is the secret to managing Don Draper, and why he never went to work for a bigger competitor. This is also why so many top athletes fail to make the transition from a small to a big team, and why business founders are usually unhappy to remain in charge of their ventures once they are acquired by a bigger company.