Showing papers on "Creativity published in 2009"
09 Mar 2009
TL;DR: In this paper, the authors describe theoretical literatures with empirical literature on the film industry, in order to analyze creativity at the industry level, and provide an analytical framework that may be used for understanding different "models" of filmmaking in future comparative work.
Abstract: This chapter describes theoretical literatures with empirical literature on the film industry, in order to analyze creativity at the industry level. It provides an analytical framework that may be used for understanding different "models" of filmmaking in future comparative work on the film industry, but also serves as inspiration for other work on cultural industries. The chapter presents the film industry, and outlines how different film clusters of the world perform very differently in economic terms. It introduces the problems of organization and of creativity in context, in order to understand these persistent performance differences of the film industry. The chapter explores the first part of the analysis of what drives organization in the film industry: the balancing of creativity by concerns of cost. It discusses how creativity is also balanced by concerns of compensating for chance elements in the demand for films and analyses the balance of creativity by concerns of collection.
2,631 citations
TL;DR: In this article, the authors propose a Four C model of creativity that expands this dichotomy by adding the idea of "mini-c", creativity inherent in the learning process, and Pro-c, the developmental and effortful progression beyond little-c that represents professional-level expertise in any creative area.
Abstract: Most investigations of creativity tend to take one of two directions: everyday creativity (also called “little-c”), which can be found in nearly all people, and eminent creativity (also called “Big-C”), which is reserved for the great. In this paper, the authors propose a Four C model of creativity that expands this dichotomy. Specifically, the authors add the idea of “mini-c,” creativity inherent in the learning process, and Pro-c, the developmental and effortful progression beyond little-c that represents professional-level expertise in any creative area. The authors include different transitions and gradations of these four dimensions of creativity, and then discuss advantages and examples of the Four C Model.
1,601 citations
TL;DR: This paper examined the relationship between employee creativity and job performance and identified two learning-related personal and situational variables (employee learning orientation and situational factors) and found that they are related to job performance.
Abstract: We examined the relationship between employee creativity and job performance. Furthermore, we identified two learning-related personal and situational variables—employee learning orientation and tr...
1,430 citations
TL;DR: In this article, a cross-level model of individual creativity integrating goal orientation theory and team learning research was developed and tested using hierarchical linear modeling, and the authors found crosslevel interactions between individuals' goal orientation and team's learning behavior in a crossnational sample of 25 R&D teams comprising 198 employees.
Abstract: We developed and tested a cross-level model of individual creativity, integrating goal orientation theory and team learning research. Using hierarchical linear modeling, we found cross-level interactions between individuals’ goal orientation and team learning behavior in a cross-national sample of 25 R&D teams comprising 198 employees. We hypothesized and found a nonlinear interaction between individual learning orientation and team learning behavior: in teams higher in team learning behavior, the positive relationship between learning orientation and creativity was attenuated at higher levels of learning orientation. An individual approach orientation was positively related to creativity only when team learning behavior was high.
807 citations
TL;DR: A meta-analysis of 62 experimental and 10 non-experimental studies was conducted to evaluate the positive-mood-enhance-creativity generalization as mentioned in this paper, which demonstrated that positive mood enhances creativity, the strength of that effect is contingent upon the comparative or referent mood state (i.e., neutral or negative mood) as well as the type of creative task.
521 citations
TL;DR: The relationship between living abroad and creativity was consistent across a number of creativity measures (including those measuring insight, association, and generation), as well as with masters of business administration and undergraduate samples, both in the United States and Europe, demonstrating the robustness of this phenomenon.
Abstract: Despite abundant anecdotal evidence that creativity is associated with living in foreign countries, there is currently little empirical evidence for this relationship. Five studies employing a multimethod approach systematically explored the link between living abroad and creativity. Using both individual and dyadic creativity tasks, Studies 1 and 2 provided initial demonstrations that time spent living abroad (but not time spent traveling abroad) showed a positive relationship with creativity. Study 3 demonstrated that priming foreign living experiences temporarily enhanced creative tendencies for participants who had previously lived abroad. In Study 4, the degree to which individuals had adapted to different cultures while living abroad mediated the link between foreign living experience and creativity. Study 5 found that priming the experience of adapting to a foreign culture temporarily enhanced creativity for participants who had previously lived abroad. The relationship between living abroad and creativity was consistent across a number of creativity measures (including those measuring insight, association, and generation), as well as with masters of business administration and undergraduate samples, both in the United States and Europe, demonstrating the robustness of this phenomenon.
445 citations
TL;DR: The authors have the beginnings of a scientific understanding of creativity, an aspect of normal human intelligence not a special faculty granted to a tiny elite, and AI techniques underlie various types of computer art.
Abstract: Creativity isn’t magical. It’s an aspect of normal human intelligence, not a special faculty granted to a tiny elite. There are three forms: combinational, exploratory, and transformational. All three can be modeled by AI—in some cases, with impressive results. AI techniques underlie various types of computer art. Whether computers could “really” be creative isn’t a scientific question but a philosophical one, to which there’s no clear answer. But we do have the beginnings of a scientific understanding of creativity.
403 citations
TL;DR: This article analyzed a series of 5 theater performances that were improvisationally developed in rehearsal by a theater group; over the course of these 5 performances, a collaborative creation emerged from the improvised dialogues of the group.
Abstract: Creativity is often considered to be a mental process that occurs within a person’s head. In this article, we analyze a group creative process: One that generates a creative product, but one in which no single participant’s contribution determines the result. We analyze a series of 5 theater performances that were improvisationally developed in rehearsal by a theater group; over the course of these 5 performances, a collaborative creation emerged from the improvised dialogues of the group. We argue that in cases of creativity such as this one, it is inaccurate to describe creativity as a purely mental process; rather, this case represents a nonindividualistic creative process that we refer to as distributed creativity. We chose this term by analogy with studies of distributed cognition, which are well established in cognitive science, but have not yet had a substantial impact on creativity research. Our study demonstrates a methodology that can be used to study distributed creative processes, provides a theoretical framework to explain these processes, and contributes to our understanding of how collaboration contributes to creativity.
364 citations
TL;DR: In this article, the authors identified creative role identity and job autonomy as two moderators that influence the relationship between benevolent leadership, a leadership style that prevails in paternalistic contexts, and creativity.
Abstract: Summary The present study identified creative role identity and job autonomy as two moderators that influence the relationship between benevolent leadership, a leadership style that prevails in paternalistic contexts, and creativity. Using 167 dyads of supervisor and subordinate as a sample, we found that both creative role identity and job autonomy have significant moderating effects: When each moderator is high, the positive relationship between benevolent leadership and creativity is stronger; when each moderator is low, this relationship is weaker. Our results suggest that the effect of benevolent leadership upon creativity is dependent on the coexistence of important individual and contextual factors. Copyright # 2009 John Wiley & Sons, Ltd.
316 citations
TL;DR: Wang et al. as discussed by the authors examined the relationship between proactive personality, employee creativity, and newcomer outcomes (i.e., career satisfaction and perceived insider status) and found that proactive personality was positively associated with employee creativity and employee creativity was associated with career satisfaction.
Abstract: Purpose To examine the relationship between proactive personality, employee creativity, and newcomer outcomes (i.e., career satisfaction and perceived insider status). Design/methodology/approach A survey was conducted using a 3-wave longitudinal design with 146 Hong Kong Chinese employees from various organizations. Structural equation modeling was used to test the research hypotheses including the mediation effects. Findings Proactive personality was positively associated with employee creativity and employee creativity was positively associated with career satisfaction and perceived insider status. In addition, employee creativity fully mediated the relationships between proactive personality and career satisfaction and perceived insider status. Implications Based on self-reported responses, these data show that newcomers with a proactive personality shape their work environments in part through creative behavior, which in turn leads to feelings of career satisfaction and perceptions of being an organizational insider. Our study’s results also show that employee creativity is positively and significantly related to workers’ career satisfaction and perceived insider status, suggesting that employee creativity can improve employees’ attitudes toward their career and perceptions as valued and contributing organizational insiders. Future research may examine other possible variables that might mediate the relationship between proactive personality and individual outcomes. Originality/value One of the few studies that have examined the intervening mechanism by which proactive personality leads to employee outcomes and examined the effects of proactive personality on employee outcomes in Asian culture.
316 citations
TL;DR: This is the first study to link cortical thickness measures to psychometric measures of creativity, and suggests that cognitive control of information flow among brain areas may be critical to understanding creative cognition.
Abstract: Creativity has long been a construct of interest to philosophers, psychologists and, more recently, neuroscientists. Recent efforts have focused on cognitive processes likely to be important to the manifestation of novelty and usefulness within a given social context. One such cognitive process – divergent thinking – is the process by which one extrapolates many possible answers to an initial stimulus or target data set. We sought to link well established measures of divergent thinking and creative achievement (Creative Achievement Questionnaire – CAQ) to cortical thickness in a cohort of young (23.7 ± 4.2 years), healthy subjects. Three independent judges ranked the creative products of each subject using the consensual assessment technique (Amabile, 1982) from which a “composite creativity index” (CCI) was derived. Structural magnetic resonance imaging was obtained at 1.5 Tesla Siemens scanner. Cortical reconstruction and volumetric segmentation were performed with the FreeSurfer image analysis suite. A region within the lingual gyrus was negatively correlated with CCI; the right posterior cingulate correlated positively with the CCI. For the CAQ, lower left lateral orbitofrontal volume correlated with higher creative achievement; higher cortical thickness was related to higher scores on the CAQ in the right angular gyrus. This is the first study to link cortical thickness measures to psychometric measures of creativity. The distribution of brain regions, associated with both divergent thinking and creative achievement, suggests that cognitive control of information flow among brain areas may be critical to understanding creative cognition. Hum Brain Mapp, 2010. © 2009 Wiley-Liss, Inc.
TL;DR: A qualitative study involving five creative mathematicians was conducted by as mentioned in this paper, who found that social interaction, imagery, heuristics, intuition, and proof were common characteristics of mathematical creativ- ity.
Abstract: Mathematical creativity ensures the growth of mathematics as a whole. However the source of this growth, the creativity of the mathematician is a relatively unexplored area in mathematics and mathematics educa- tion. In order to investigate how mathematicians create mathematics; a qualitative study involving five creative mathematicians was conducted. The mathematicians in this study verbally reflected on the thought processes involved in creating mathematics. Analytic induction was used to analyze the qualitative data in the interview transcripts and to verify the theory driven hypotheses. The results indicate that in general, the mathematicians' creative process fol- lowed the four-stage Gestalt model of preparation- incubation-illumination-verification. It was found that social interaction, imagery, heuristics, intuition, and proof were the common characteristics of mathematical creativ- ity. In addition contemporary models of creativity from psychology were reviewed and used to interpret the char- acteristics of mathematical creativity.
TL;DR: In this article, the authors used a social identity analysis to predict employee creativity and found that leader inspirational motivation and leader team prototypicality would moderate the relationship between identification and creative effort.
Abstract: Summary This research uses a social identity analysis to predict employee creativity. We hypothesized that team identification leads to greater employee creative performance, mediated by the individual’s creative effort. We hypothesized that leader inspirational motivation as well as leader team prototypicality would moderate the relationship between identification and creative effort. Consistent with these predictions, data based on 115 matched pairs of employee-leader ratings in a research and development context showed an indirect relationship between team identification and creative performance mediated by creative effort. The analyses also confirmed the expectedmoderated relationships. Leader inspirational motivation enhanced the positive association between identification and creative effort, especially when leader prototypicality was high. We discuss the value of social identity analyses of employee creativity and of the integration of social identity and transformational leadership analyses. Copyright # 2009 John Wiley & Sons, Ltd.
TL;DR: This article explored institutional and organizational influences on creativity in scientific research using a method for identifying creative scientific research accomplishments in two fields of science (nanotechnology and human genetics) in Europe and the US.
TL;DR: This paper found that openness to experience is important to creativity, but little is known about plasticity, the higher-order factor that subsumes openness, and stability had several significant effects on creativity.
TL;DR: Evidence suggests that instruction to support the development of creativity requires inquiry-based teaching that includes explicit strategies to promote cognitive flexibility, and that college students' learning will be enhanced by these measures.
Abstract: Engaging learners in the excitement of science, helping them discover the value of evidence-based reasoning and higher-order cognitive skills, and teaching them to become creative problem solvers have long been goals of science education reformers. But the means to achieve these goals, especially methods to promote creative thinking in scientific problem solving, have not become widely known or used. In this essay, I review the evidence that creativity is not a single hard-to-measure property. The creative process can be explained by reference to increasingly well-understood cognitive skills such as cognitive flexibility and inhibitory control that are widely distributed in the population. I explore the relationship between creativity and the higher-order cognitive skills, review assessment methods, and describe several instructional strategies for enhancing creative problem solving in the college classroom. Evidence suggests that instruction to support the development of creativity requires inquiry-based teaching that includes explicit strategies to promote cognitive flexibility. Students need to be repeatedly reminded and shown how to be creative, to integrate material across subject areas, to question their own assumptions, and to imagine other viewpoints and possibilities. Further research is required to determine whether college students' learning will be enhanced by these measures.
TL;DR: In this paper, the authors describe the value of latent class analysis for appraising domain generality, and report two studies that explore the latent class structure of creative accomplishments (using Carson, Peterson, and Higgins's Creative Achievement Questionnaire; n = 749) and creative self-descriptions (using Kaufman and Baer's Creativity Domain Questionnaire, n = 3,534).
Abstract: Is creativity domain-specific? We describe the value of latent class analysis for appraising domain generality, and we report two studies that explore the latent class structure of creative accomplishments (using Carson, Peterson, and Higgins’s Creative Achievement Questionnaire; n = 749) and creative self-descriptions (using Kaufman and Baer’s Creativity Domain Questionnaire; n = 3,534) For creative achievements, clear latent classes were found: the majority of people belonged to an ?uncreative? class, and smaller classes were found for visual arts and performing arts For creative self-descriptions, however, latent classes were not found: people’s views of themselves as ?creative people? varied quantitatively but not qualitatively Implications for the assessment and analysis of creativity are considered
TL;DR: In this article, the importance of size, geographical position and class legacies in theories of creativity, economic development and urban regeneration is recovered within debates about the creative economy in small cities.
Abstract: Whether advocating creativity as a means to place competition or critiquing the social dislocations that stem from creativity-led urban regeneration, research about the creative economy has tended to assume that large cities are the cores of creativity. That many workers in `creative' industries choose to live and work in small urban centres is often overlooked. In this context, this article aims to recover within debates the importance of size, geographical position and class legacies in theories of creativity, economic development and urban regeneration. Using empirical materials from a case study of one Australian city—Wollongong, in New South Wales—it is argued that what might at first appear a rather parochial example illustrates the importance of rethinking the creative economy in place. Crucially, it is shown that, regardless of the numerical population size of a city, creativity is embedded in various complex, competing and intersecting place narratives fashioned by discourses of size, proximity a...
TL;DR: In this paper, the authors examined the potential trait-trait interaction between the Big Five personality factors (Costa & McCrae, 1992) and the motivational orientations of individuals in shaping their creative performance.
Abstract: Creativity has been acknowledged as one of the most predominant factors contributing to individual performance in various domains of work, and both researchers and practitioners have been devoting increasing attention to creative performance. In this study, we examined the potential trait-trait interaction between the Big Five personality factors (Costa & McCrae, 1992) and the motivational orientations of individuals in shaping their creative performance. Our hypotheses were empirically tested using longitudinal data collected from 304 undergraduate students at a North American business school. Results showed that extraversion and openness to experience had significant positive effects on creative performance. Analysis also revealed that the positive relationship between openness to experience and creativity was stronger when the person possessed strong extrinsic motivation. Agreeableness was a positive predictor of creative performance only when the person’s extrinsic motivation was low. Patterns found relating to personality-motivation interaction as an explanatory factor of individuals’ creative performance are described.
01 Jan 2009
TL;DR: In this paper, the authors provide a brief overview of the theoretical foundations for creativity and innovation in the context of education, as a background for the other planned reports, and provide an overview of research on creativity, especially for creative learning and innovative teaching.
Abstract: This report provides a brief overview of the theoretical foundations for creativity and innovation in the context of education, as a background for the other planned reports. It attempts to define creativity and innovation in the educational context and provide an overview of research on creativity and innovation, especially for creative learning and innovative teaching. This work aims to capture the fruitful interdisciplinary debate on the role of Creativity and Innovation in the knowledge society and different schools of thought contributing to this debate. The mission of the Joint Research Centre is to provide customer-driven scientific and technical support for the conception, development, implementation and monitoring of European Union policies. As a service of the European Commission, the Joint Research Centre functions as a reference centre of science and technology for the Union. Close to the policy-making process, it serves the common interest of the Member States, while being independent of special interests, whether private or national.
01 May 2009
TL;DR: A heuristic framework to explicate the different methods by which creativity may be studied and contributes to the understanding of creativity research through the introduction of a comprehensive heuristic to guide future research and the interpretation of previous studies.
Abstract: The scientific study of creativity has proven a difficult undertaking. Researchers have employed a diversity of definitions and measurement methods. As a result, creativity research is underrepresented in the literature and the findings of different studies often prove difficult to draw into a coherent body of understanding. A heuristic framework to explicate the different methods by which creativity may be studied forms the basis of this article. Drawing upon existing conceptions of the creativity construct and previous efforts to provide structure to creativity research, the new taxonomic framework examines creativity from 3 primary perspectives in the form of a 3-dimensional matrix. The implications of the taxonomic framework for creativity research are examined. The new taxonomic framework contributes to the understanding of creativity research through the introduction of a comprehensive heuristic to guide future research and the interpretation of previous studies.
TL;DR: It is proposed that enhanced detection of patterns, including similarity within and among patterns, is one of the mechanisms responsible for operations on human codes, a type of material with which savants show particular facility.
Abstract: According to the enhanced perceptual functioning (EPF) model, autistic perception is characterized by: enhanced low-level operations; locally oriented processing as a default setting; greater activation of perceptual areas during a range of visuospatial, language, working memory or reasoning tasks; autonomy towards higher processes; and superior involvement in intelligence. EPF has been useful in accounting for autistic relative peaks of ability in the visual and auditory modalities. However, the role played by atypical perceptual mechanisms in the emergence and character of savant abilities remains underdeveloped. We now propose that enhanced detection of patterns, including similarity within and among patterns, is one of the mechanisms responsible for operations on human codes, a type of material with which savants show particular facility. This mechanism would favour an orientation towards material possessing the highest level of internal structure, through the implicit detection of within- and between-code isomorphisms. A second mechanism, related to but exceeding the existing concept of redintegration, involves completion, or filling-in, of missing information in memorized or perceived units or structures. In the context of autistics' enhanced perception, the nature and extent of these two mechanisms, and their possible contribution to the creativity evident in savant performance, are explored.
01 Apr 2009
TL;DR: A theory of how general-purpose learning-based intelligence is achieved in the mammal brain, and how to replicate it is presented, and empirical results which fit the theory are reviewed, and important new directions for research are suggested.
Abstract: This paper presents a theory of how general-purpose learning-based intelligence is achieved in the mammal brain, and how we can replicate it. It reviews four generations of ever more powerful general-purpose learning designs in Adaptive, Approximate Dynamic Programming (ADP), which includes reinforcement learning as a special case. It reviews empirical results which fit the theory, and suggests important new directions for research, within the scope of NSF's recent initiative on Cognitive Optimization and Prediction. The appendices suggest possible connections to the realms of human subjective experience, comparative cognitive neuroscience, and new challenges in electric power. The major challenge before us today in mathematical neural networks is to replicate the ''mouse level'', but the paper does contain a few thoughts about building, understanding and nourishing levels of general intelligence beyond the mouse.
01 Jan 2009
TL;DR: The Consensual Assessment Technique (CAT) as mentioned in this paper is a technique for judging the creativity of a group of artifacts in a domain, such as poems, stories, or works of art.
Abstract: The Consensual Assessment Technique (CAT) is a way of judging the creativity of a group of artifacts in a domain, such as a group of poems, stories, or works of art (the three domains in which the CAT has been used most widely, although the CAT can be used in any domain). The CAT follows the method most often used in judging creativity in the “real world” in that it is based on the combined assessments of experts in the domain. Although the word “consensual” points to the social aspect of CAT assessments, which rely on the combined judgments of groups of human experts, the CAT’s focus is on creative products; these assessments can then also be used to make inferences about thought processes, environments, and personality traits that lead to creativity. Unlike many creativity assessments, the CAT is not tied to a specific theory of creativity, making it especially useful in empirical studies comparing different theoretical predictions. The CAT is also well suited for making decisions about the creativity of applicants for educational programs and for judging the creativity of submissions to competitions of all kinds.
TL;DR: In this article, the authors identified a set of work environment characteristics that may inhibit employee creativity and empirically tested the relationships between these inhibiting factors and peer-rated creative performance.
Abstract: This study highlights the importance of negative predictors of employee creativity. The authors identified a set of work environment characteristics that may inhibit employee creativity. Using data collected from 123 Canadian employees in various industries, the authors empirically tested the relationships between these inhibiting factors and peer-rated creative performance. Aversive leadership and unsupportive organizational climate were negatively related to creativity, whereas close monitoring was positively associated with creativity. Interaction analyses indicate that creative ability of employees may either enhance or attenuate the detrimental effects of inhibitory contextual factors. Complementing the existing studies that have largely focused on facilitators of creativity, the present study introduces a more balanced perspective to the organizational creativity literature by examining inhibitory contextual factors.
TL;DR: In this paper, a self-report questionnaire was used as an instrument to gather qualitative and quantitative data from 132 Greek in-service and prospective teachers, and the authors concluded that further research is needed in order to reveal more on teachers' conceptions on creativity and understand and classify teachers' particular needs to facilitate the creative potential of primary school students.
TL;DR: In this article, a tourism experience sphere is presented and described that seeks to overcome some of the limitations of our current conceptualization and understanding of tourists' experiences, and a special emphasis is placed on the relationship the Creative Class has with technology, in particular consumer-generated media.
Abstract: Increasing mobilities and an ever greater amount of technologies that support creativity have led to the emergence of a so-called Creative Class in our postmodern society. Creative Class members have distinctive experiences that blur the boundaries between everyday and touristic life. These experiences challenge conventional typologies of the tourist experience and have tremendous implications for tourism research and practice. In this article we discuss first what the Creative Class is, what experiences it has, and how it uses emerging technologies to create, mediate, and reconstruct these experiences. A special emphasis is placed on the relationship the Creative Class has with technology, in particular consumer-generated media. The discussion draws on literature from different fields, stressing the need for an interdisciplinary perspective to analyze and understand the phenomenon. Next, the article proposes that there is indeed an emergence of a creative tourist class with distinct tourism experiences. We then argue that these insights call for a new conceptualization of tourism experiences in general. A tourism experience sphere is presented and described that seeks to overcome some of the limitations of our current conceptualization and understanding of tourists' experiences. The sphere represents a multidimensional space enabling combinations of experience aspects and dimensions (these are illustrative items and not meant to be an exhaustive categorization). The article closes with an agenda for future research regarding tourism experiences, creative tourists, tourism product development, and tourism marketing.
09 Mar 2009
TL;DR: Pratt and Jeffcutt as discussed by the authors studied the relationship between tradition and innovation in German Theatres and found that the tradition of the German theatre is linked with creativity and innovation.
Abstract: 1.Introduction Andy C Pratt and Paul Jeffcutt 2.Advertising: a. Relocating Creativity in Advertising: From Creativity versus Strategy, to Creative Strategy, and Strategic Creativity? Chris Bilton b. Provincial Parvenus: the Subaltern Sensibility of London Advertising creatives Sean Nixon 3.Music: a. Digitalisation, Music and Copyright David Hesmondhalgh b. On music as a Creative Industry Simon Frith, Martin Cloonan and John Williamson 4. Film and TV: a. Creativity in Context: Content, Cost, Chance, and Collection in the Organization of the Film Industry Mark Lorenzen b. The Governance of Innovation in the Film and Television Industry: a case study of London, UK Andy C Pratt & Galina Gornostaeva 5. New Media: a. Cultural Production in the Transnational City. A Study of New Media in Vancouver Tom Hutton b. Creative Biographies in New Media: Social Innovation in Web work Rosalind Gill 6. Design: a. Situating the Design Sector: Insights from the Case of Montreal, Canada. Debborah Leslie and Norma Rantisi b. Creativity and Innovation in the Scandinavian Design Industry Dominic Power 7. Museums/Visual Arts/Performance: a. Museums, Galleries and the Visual arts Sara Selwood b. Does Hamlet have to be Naked? Art between Tradition and Innovation in German Theatres Doris Eikhof 8. Conclusion Andy C Pratt and Paul Jeffcutt
TL;DR: This paper deals with computational approaches to storytelling, or the production of stories by computers, with a particular attention on the way human creativity is modelled or emulated, also in computational terms.
Abstract: This paper deals with computational approaches to storytelling, or the production of stories by computers, with a particular attention on the way human creativity is modelled or emulated, also in computational terms. Features relevant to creativity and to stories are analysed, and existing systems are reviewed under the light of that analysis. The extent to which they implement the key features proposed in recent models of computational creativity is discussed. Limitations, avenues of future research and expected trends are outlined.