Co-creativity

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Co-creativity is specifically human, encompasses all life, and develops through emotions, shared and personal discoveries, and social participation and manifests itself through various forms of cooperation. Co-creativity is an integral approach that focuses on the connection between what goes on within and between us. This approach explores the intersection of "individual, collaborative, and collective creativity.

Christopfer Walsh, Kerry Chappell and Anns Craft define co-creativity as "novelty, which has emerged through shared ideas and actions and which involves participants taking into account the impact of that novelty” [AS1].

Different studies  have shown core dimensions of co-creativity

• Dialogue: ask questions, discuss new ideas, find ways to resolve the conflict or go in a different direction than others if the conflict is not resolved.
• Ethics and influence: generate, research, and implement new ideas that have a valuable impact on the community, discarding other ideas that have no such potential.
• Control: Take responsibility for different parts of the creative process by understanding the consequences of decisions, deciding on new ideas, and taking action.
• Emotive Lateral Thinking: express emotions and talk about how emotions affect our ideas and actions, and anticipate emotions and emotional opportunities to generate ideas.
• Reframing: use distractions from games to disrupt the thinking and actions of self and others and thereby move away from established routines and patterns.
• Co-action: Immerse yourself in the classroom. Such immersion sometimes leads to taking risks and generating surprising individual or collaborative ideas and actions.
  

History of the Term

The term "creativivity"

Co-creativity has first been mentioned in theological studies , pointing to the co-creativity between God and human

The process of creating something new is a very common thesis. For example, according to Gilles Deleuze, creativity in philosophy is associated with the creation of concepts. It is the spiritual idea and the human hand that play a major role in the creative act. Creative in science, and therefore in media education as well as in art, is the production of conceptual functions, which can be clarified with the terms "media competence" or "creativity", for example.

Dieter Baacke (2007) introduces a central distinction between innovation and creativity: innovation is the creation of something new in familiar ways, that is, the creation of new media artifacts through existing media production routines. Creativity, on the other hand, manifests itself in the disruption of existing patterns of thought and action and in the development of new forms of thought and action through media.

The difference between the terms creativity and co-creativity

Since the Italian Renaissance, "сreativity" has been understood as a purely human action. Whereas earlier the emphasizing on divine inspiration, during the Enlightenment it became individually human.  It was closely linked to the notion of creative genius.

This is where the first distinction between creativity and co-creativity comes in. In contrast to god/human co-creativity, for which the "creative genius" is often postulated in the realm of high art, co-creativity is currently studied as human/human co-creativity. Co-creativity is every day, involves action and thinking, based on dialogue and emotion and aimed at resolving personal and social conflicts

Co- creativity emerges from human interaction and is unpredictable and interactional. Co-Creativity is a process between people that is "greater than the sum of its parts".

The main aspect of co-creativity is novelty. Co-creativity is a process in which thinking and acting are intertwined as well as goes way beyond the individual through involving collaborative and communal thinking and action

Additionally, the is a field of research that studies human/computer co-creativity

Mixed-initiative co-creativity

Mixed-initiative co-creativity is consistent with the general principles of lateral thinking and creative emotional thinking. Lateral thinking is thinking that seeks solutions to problems that are displaced from stereotyped, generally accepted ones. It is also called "divergent". Since divergent thinking can be artfully developed, MI-CC embodies the very nature of that thinking.

Сreative-emotional thinking enriches the basic concepts of lateral thinking with diagrammatic, semantic and emotional dimensions. The creative act is understood as an intervention resulting in reframing;

Socratic dialogue

Co-creative learning has been studied in relation to learning both with and without digital media. Stenning et al. (2016) explored how Socratic dialogues, as a learning method, can foster collaborative creativity. They conclude that Socratic dialogues provide opportunities to identify co-creative reframings. Alexander Schmoelz (2017) conducted a study of play-based classroom activities focused on co-creativity. The results showed that facilitating mixed play pedagogy and empty meaningful spaces are pedagogical tools that can promote co-creativity.

The essence of it is that with the help of questions to reach an understanding of a certain topic or conclusion. For example, in 1989 Miki Chi observed an interesting difference between the students. She gave a textbook to the students and instructed them to read the book out loud. She noticed how some students didn't understand something in the book and started asking themselves questions in their voices that would lead them to better comprehend the material. And also when other students did not ask themselves questions about the conceptual difficulties they encountered, they ended up not understanding the material they had read. The result of this research project proved that self-questioning plays a big role in cognitive processes. Chi's results also showed that Socratic methods are themselves creative, but only if the student or pupil had not previously asked himself/herself questions, if it was a new act, not a routine.

Narrative Socratic dialogue

One case study interviewed students and teachers at the school. Two questions were asked: how do students engage in collaborative creativity and how do students and teachers experience these activities in the classroom. The data collection was conducted as part of the 4Scribes game. All group dialogues, face-to-face interviews, and student-to-student dialogues were conducted in a narrative-Socratic manner.  The goal was to provide space for reconstruction and re-discussion of shared history and common focuses. Some results were presented regarding how students were co-creative, as well as teacher and student experiences that developed through both play and narrative-Socratic dialogues. In this study, the class work using racial games gave students the opportunity to write a story together. They exhibited key categories of co-creativity, such as in terms of collaborative reframing, engaging in dialogue, expressing emotion-based thinking, and controlling the story, which was established through collaboratively defined actions.

Results and impact on learning

The examples showed that the Socratic dialogue allowed the players to think about other possibilities and how their choices contributed to a collaborative, creative change in their experience. It also showed that different questioning techniques could allow students to think about many more aspects of the gameplay.

In addition, Socratic dialogue served as a method of learning. In the history course, the Socratic dialogue functioned more as a learning procedure because the discussion focused on students' misunderstanding of the historical context and, therefore, on their attempts to revisit it. In addition to those previously mentioned, students developed their own versions of how their stories would be completed. In geography, students evaluated their conclusions and reasoned about their choices and how the random maps reformulated their thinking from initial thoughts to final choices. The random maps allowed students to think differently and overcome routine thinking.

Role of games in teaching

The pedagogical goal of " Ikonoskop - Iconoscope" is to promote collaborative creativity in learning with a special emphasis on diagrams. Special attention is given to diagrammatic reasoning.  The goal of Ikonoscope is to motivate students to creatively represent conceptual concepts in the form of visual symbols.

With the digital game " Kreative Geschichten - Creative Stories" players can create collaborative stories (digital storytelling). The pedagogical goal of "Creative Stories" is to disrupt routine thinking with semantic disruptors and thus give rise to semantic lateral thinking.

"Scribes" is a collaborative storytelling game using various word and symbol cards. There are not only semantic breakers, but also a combination of semantic and diagrammatic elements. The main goal is to create a story together, while each player tries to bring the narrative to an individual or shared ending.

The goal of "Stop The Mob" is to let players know one thing: "Your actions can make a difference." The digital game focuses on the problem of bullying in schools. Throughout the game, players encounter different bullying situations and must decide what to do in these cases. The game was designed with situational learning opportunities, reduced cognitive cognitive demands, to engage students and to purposefully teach in order to make sense of bullying incidents by reflecting on bullying incidents in school.

References

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