25.Abstract This chapter is situated in research on flow which explores optimal experience from the context of positive psychology, as it was first expounded by Mihaly Csikszentmihalyi.Ideas exchange: Understanding the Human Object Understanding the decisive moment: a unified experience of simultaneity A story of intimate spaces, visual biases and subjectivity. Creating a voice for engagement and trust
Attention, associative learning and creative thinking Moral cognition: An interdisciplinary investigation of judgement versus action Imagining Alternatives And Creative Thinking Unconscious creativity: The Eureka moment Predicting creativity from spatial ability and personality Creative technologies for behaviour change Developing creativity in cognitive robots Designing Playful Systems in Mixed Reality Individual differences in visual and auditory bistability Neurally inspired algorithms of human cognition and problem solving Creative Cognition and Deceptive Communication doi:10.26913/80s02017.0111.0021Įmma Redding Trinity Laban (TL) Conservatoire of Music & Dance experimental and observatory studies Between minds and bodies: Some insights about creativity from dance improvisation. As a result, this project combines qualitative, practice-based views on the phenomena, with experimental, quantitative evidence. I use qualitative and quantitative methods to evaluate flow phenomena in dance, and a video- cued recall tool, an online application for collecting phenomenological reports and assessing flow experiences within group tasks (Łucznik, Loesche, 2017). This project is formed as a dialogue between creative practice and psychological inquiry into the mechanisms of human interactions and shared creativity. Thus, it aims to establish the presence, features and the role of flow experience in creative dance practice through close investigation of flow in dance improvisation. While in other domains (i.e., music, theatre, drawing, problem-solving) experiencing flow was linked to better creativity outcomes, flow research in the field of dance is still limited and has not addressed creativity. They describe this experience as being fully absorbed with dancing and not being disrupted by any unnecessary thoughts. Dancers, when reflecting on their creative process, in particular, improvisation, frequently refer to the experience of ‘being in the flow’. The specific interest in flow experience came from dance practice informed observations. In this thesis, dance improvisation serves as a laboratory for group creativity research, which allows observation of dancers’ creative processes, as well as the group dynamics of their collaboration, while they happened. Within contemporary dance, it is often a vital practice of the performance itself and part of the creative process, allowing and enabling dancers to explore movement beyond their habitual patterns. Improvisation as an artistic practice emphasises real-time decision making and collaborative skills in a creative act. It proposes an interdisciplinary, multiple perspective approach to the phenomenon, drawing on dance practice and being informed by qualitative, quantitative and physiological methods of experimental psychology.
This project explores the shared creative process and the particular role of flow experience in group dance improvisation, as an example of creative practice in contemporary dance. Exploring the basis of shared creativity and the role of flow experience in dance improvisation practice.