체화된 창의성 연구 고찰: 이론적 모형, 쟁점과 과제

초록

This study reviews empirical research on embodied creativity and discusses the theoretical and methodological issues involved. Embodied creativity is a concept based on the 4Es (extended, enactive, embedded, and embodied) model proposed as an alternative to the 4Ps (person, process, product, and press) model. The embodied perspective is a non-dualist position asserting that mind and body are inextricably linked, and it is argued that creativity conceptualized around the process of ideation should be expanded to include the process involving the body's physical relations to the environment. Embodied creativity studies analyzed the body and its motor actions in relation to creative cognition, including object-manipulation, hand gestures, body postures, arm movements, and various types of walking. While all these studies emphasized the importance of physical engagement in creative cognition, the cognitive mechanisms involved in the body-mind connection in creativity were explained differently. The cognitive mechanisms included the activation of embodied metaphors, depletion of cognitive control (disinhibition), discovery of new affordances through actions and simulated sensory-motor experiences, as well as the use of information processing styles linked to specific body cues and emotional states. Regarding methodological issues, a narrow conception of creativity, limitations of experimental research, and the need to analyze the moderation effects of various individual traits were discussed, as well as the role of ‘Alternative Uses Task’, a major creativity test used in embodied creativity research. Based on these discussions, this review suggests directions for future research on embodied creativity. Educational Impact and Implications: This study proposes the inclusion of more sensory-motor experiences in school educational activities. While creativity education has emphasized the process of ideation, the empirical research reviewed in this study shows through experimental evidence that body movements and object manipulation can produce creative cognition.

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