Divergent production in gifted adolescents using timed vs. untimed stimuli with creative prompting

Although creativity and expertise are related, they are nonetheless very different things. Expertise does not usually require creativity, but creativity generally does require a certain level of expertise. There are similarities in the relationships of both expertise and creativity to domains, however. Research has shown that just as expertise in one domain does not predict expertise in other, unrelated domains, creativity in one domain does not predict creativity in other, unrelated domains. People may be expert, and people may be creative, in many domains, or they may be expert, or creative, in few domains or none at all, and one cannot simply transfer expertise, or creativity, from one domain to another, unrelated domain. The domain specificity of creativity matters crucially for creativity training, creativity assessment, creativity research, and creativity theory. The domain specificity of creativity also means that interdisciplinary thinking, interdisciplinary collaboration, and interdisciplinary creativity are even more important than one would assume if creativity were domain general.     

Localized Representation of Formative Assessment in China: A Regional Study from a Sociocultural Perspective

Formative assessment originated and developed in a Western context. With its function of learning improvement being evidenced in research, formative assessment has been adopted in assessment initiatives in multiple contexts including that of China. Research, however, reveals that formative assessment as implemented in Chinese contexts is by no means equivalent to what is understood and implemented in the West; rather, in many cases, it is decontextualised and recontextualised, or culturally appropriated. This paper presents findings of a study which examined the culturally appropriated representation of formative assessment within eight universities in a mid-western province of China. Senior administrators in each university were interviewed face-to-face and individually to fulfill three purposes: (1) To clarify understandings of formative assessment in the area of college English education; (2) To explore the existing gap between formative assessment principles and their representation in College English Curriculum Requirements (CECR), and the gap between formative assessment initiatives at the national level and local contexts; and (3) To distill implications for policy-borrowing and effective implementation in the Chinese context.     

‘Social Skills’: Following a Travelling Concept from American Academic Discourse to Contemporary Danish Welfare Institutions

The article traces the origin and development of the concept of social skills in first and foremost American academic discourse. As soon as the concept of social skills was coined, the concern for people lacking such skills started and has been on the increase ever since (now sharing public attention with related concepts such as self-control, emotional intelligence and empathy). After the analysis of the academic history of the concept follows an examination of the implementation of a range of assessment instruments and training programmes related to social skills (and lack hereof) in contemporary Danish welfare institutions (more specifically, day nurseries and schools, employment and penal services). The analysis forwarded in the article thus demonstrates how an intellectual idea may develop and travel - and on its journey connect to pre-existing cultural logics and societal concerns. The idea of social skills has through its development been made uncontroversial – everybody wants to be skilful. The concept does, however, convey an individualistic view on social life and imposes a reflexivity over own performance on the participants. Further, its normative character contributes to a problematization of those who are perceived to lack these skills.     

Breaking up is hard to do: the resilience of the rock group as an organizational form for creating music

Though there is a long tradition of band members quitting the group or taking a hiatus, the rock group as an organization to produce music continues to be both popular and economically viable. The research question addressed in this paper is whether or not it is a good idea to quit or take a hiatus from the group. We begin with a discussion of the framework for understanding why groups are formed and why they may be difficult to keep together. We then discuss differences between groups in the decade of the 1960s versus today. We argue that there is something unique about the output of the group even with the changes in the structure of contracts, compensation, and consumer focus on the artist that explain the resilience of the rock band as an organizational form within which to create music. We compare the charting success of bands that have members leave the group with the charting success of the members who left the group. We identified the groups in five representative years: 1965, 1975, 1985, 1995, and 2005. We then analyzed the entire Billboard Hot 100 charting careers of those groups and the artists who quit those groups. Our main finding is that when charting success is divided equally among members, going solo pays off—there is a clear economic rationale because solo acts have greater average charting success than the original bands they started in. The other ensuing side projects: duos, collaborations, and other groups are not as lucrative as the original bands. These findings are valid for members of charting groups from each of the 5 years examined. Despite the difficulties in keeping a rock band together, there are fewer band breakups today and remaining with the group generally results in a longer and more productive charting career. Thus, the rock group remains an important organization for producing contemporary music. However, there remains a compelling incentive to go solo. Superstars may benefit from solo projects, but for the average, non-superstar group member, in many circumstances it is better for the band to stay together if the income is divided equally.     

The impacts of fundraising periods and geographic distance on financing music production via crowdfunding in Brazil

We conduct an analysis of 1835 pledges to 10 music production projects hosted on the largest Brazilian crowdfunding platform, namely the Catarse Web site, and we assess the relation between the fundraising accumulation period, the donor–entrepreneur distance and the propensity of donors to back projects. Our results suggest a significantly negative association between distance and the value of capital pledged to projects, which is consistent with the notion that the entrepreneur’s network of close contacts might play a central role in funding. Furthermore, our results contradict the idea that crowdfunding reduces the inhibiting effect of donor–entrepreneur distance. In addition, the results show that a long project exposure is associated with higher values of pledges. These results suggest practical implications for the study of crowdfunding as a financing platform. This study contributes to the literature on the use of crowdfunding as an alternative funding source in a major emerging market.