Law enforcement is increasingly reliant on technology to automate encounters with the public, identify persons to be targeted for further scrutiny, and document interpersonal interactions. As a result, public contacts with police are transitioning from traditional interpersonal interactions to interactions that are increasingly technologically mediated. This chapter reflects on that transition and speculates on the ways in which police–community relations, particularly relations with some racial minority communities, may be affected by this transition. A central argument in favor of technologically mediated law enforcement (e.g., automated license plate readers, facial recognition software, body-worn cameras) is that this new style of policing has the ability to ensure equal protection under the law, enhancing police legitimacy, and mending poor community–police relations. Some see the introduction of technology into law enforcement encounters as a solution to resolving mistrust associated with fractured relations between police and the communities that they serve, particularly for some racial minority communities.

Surveillance has always been at the heart of America’s ongoing effort to subordinate and control the first people of the land. Contrary to the mythology about scattered bands of roaming nomads in the forest, America was at least as densely populated as Europe at the time of first contact with Europeans. Charles Mann and others have successfully narrowed the population estimate of North America to somewhere around 90 million people at the time of Columbus’s arrival in the Caribbean.1 The capital city of the Aztec Empire, Tenochtitlan, was three times larger than the largest city in all of Europe, which was London. Getting the land out of native hands was no small task, and a lot of blood and treasure was expended on the effort then. America’s native nations still control substantial land and resources; and much blood and treasure are still spent today in a changed but obviously ongoing effort to take what’s left. This chapter explores how surveillance was used to subjugate and colonize the Indigenous populations of North America.

‘Stop, who goes there?’ is a precursor in World War II movies to a character presenting his papers. His identity has to be established to verify that he is not out of place, that he is authorised to be in this particular area. Who he is – his rank, age, race, or ethnicity – is of little relevance; it is much more important that he has appropriate credentials, and is therefore authorised, to pass the control point. Presenting identity papers meets the guard’s demand in this pre-digital context. Twenty-first-century digital environments still require us to submit to identification as authorisation or verification; however, these new identifications are now deeply implicated in the broader issues of identity.

Roaming around in São Paulo can be quite a stimulating experience: The city’s bustling rhythm, its effervescent cultural life, and its ethnic heterogeneity leave little room for doubt as to why Brazil’s largest city is generally considered South America’s most vibrant and cosmopolitan metropolis. Meanwhile, the city’s “tough concrete poetry”1 also bespeaks a configuration in which human bodies are dwarfed and citizens are constantly reminded of their respective place – a proverbial “city of walls”2 in which the utopia of a universally accessible and politically empowering public space has long since been thwarted by a maze of privatized streets, fortified urban enclaves, and an omnipresent array of surveillance devices. Despite the local elites’ attempts to depict São Paulo as a place which is defined by both its tolerance and its diversity,3 the city’s very material configuration thus indicates an urbanistic model which segments and separates more than it joins and unites. Rather than the clichéd melting pot, São Paulo resembles a kaleidoscope in which social class and ethnic affiliation assign each citizen a precise spatial coordinate in a cityscape defined by a mesh of internal frontiers – some brutally physical, others more subtle and ethereal – and the corresponding characteristic of an almost suffocating impermeability.

Emotions are some of the most discussed aspects of the experience of art, and it has even been argued that emotions are synonymous with art. This chapter will delve into how art simultaneously conveys and evokes emotions, a feature that helps to distinguish the experience of art from experiences in other areas of life. The chapter will also discuss the developments in research methodologies and trends in the scientific study of art that have brought our understanding of art from being based mainly on anecdotal evidence to being empirically-founded. The longstanding issues associated with emotions and art, as well as present state-of-the-art research on the role of emotions in aesthetic experiences, will also be presented. Finally, the chapter will identify some of the questions and challenges for future research in emotions and art.

This chapter explores the relationships between attention, affect, and creativity, including a discussion of creativity in the context of mindfulness and mind-wandering. First, we discuss the effects of different forms of attention on different types of creativity, such as divergent and convergent thinking, and real-world creative achievements. We then follow with a discussion of the relationship between creativity, emotional functioning, and the power of positivity on fostering creative ideas. The chapter concludes with a review on how mindfulness meditation and mind-wandering, both separately and jointly, impact creative thinking. This includes a discussion of the effects of different types of mindfulness meditation on creativity, as well as the core facets thought to constitute mindfulness. Overall, this chapter provides an engaging overview of the various attentional and emotional states thought to be implicated in creativity, as well as an intriguing look at how mindfulness and mind-wandering work independently and in tandem to influence creative thinking.

Case study method is a crucial research tool that works in dialogue with other methodologies to identify the real-world challenges of creative work. Whereas most psychological methodologies isolate variables or measure their relative importance in predicting what is likely to happen across a population, case studies attempt to understand the systemic complexity of specific instances, describing how things can happen in order to consider why. Cases can elaborate on findings from other research, offer caveats to those findings, or raise new research questions. Affect, an important topic that both draws on researchers’ insights and tests their perspectives, exemplifies the data that case work is adept at recognizing and can offer to such a dialogue. This chapter discusses how case research can examine affect and provides examples from research on creative work using the evolving systems and participatory framework approaches. Five guiding questions are provided to help researchers integrate analyses of affect into case studies and situate those findings in relation to other research. These questions address the researcher’s philosophical stance, the possibilities and limits of a given case, the functions of affect within the case, patterns in affective systems, and the potential for both insight and bias.

Effective leadership of creative people and efforts is more essential than ever, given the dynamic nature of many organizations today. Technology advances, automation, virtual work, and other workplace changes require creativity and innovation from both leaders and employees. Leaders play a critical role in fostering creativity and innovation. While a variety of attributes and capabilities have been linked to leading for creativity and innovation, less is known about the role of emotions and emotion capabilities in how leadership connects to creativity and innovation. Leader emotional displays, knowledge of emotions, and ability to recognize and regulate emotion in themselves and others have the potential to substantially influence creative work activities. This chapter explores the intersection of leadership, emotions, creativity, and innovation. Drawing on key theories and research, several questions will be examined. What is the nature of creative work and what is required from leaders to support creativity? Why are emotions important in creativity? What roles do leader emotions, traits, and displays play in fostering or hindering creativity? How does emotion regulation facilitate leader and employee creativity? What emotion preferences, skills and capabilities have been associated with different leadership styles? Challenges and theoretical implications are discussed.

While researchers have established that affective states play a large role in individual creativity, the relationship between affect and collective creativity is not well understood. This oversight is meaningful as, particularly in organizations, creativity is often the result of collective action. We review and integrate work on how positive and negative affective climate and discrete emotional climates impact creativity at work. Then, we propose a new definition of affective climate and four future directions for the field. First, higher-level affective states should be treated as more than manifestations of their individual-level analogs. Second, a focus on shared homogenous affect has precluded work on more complex, heterogeneous affective climates, which future work should study. Third, there is a lack of work on top-down drivers of collective affect, partially produced by a lack of work on collective affect at levels higher than the team. Fourth, more work on discrete collective affect, including social emotional climates (e.g., love, pride, envy), is needed since such work allows for the development of higher-level theory based on social perceptions, relationships, and interactions. We hope our review helps researchers address these gaps and produce a more nuanced understanding of how affective climate influences collective creativity.

Although recent research has begun examining the construct more widely, there exist several gaps in scholarship. One such area is the influence, association, and role of affective factors in determining whether and to what extent an entity engages in dark creativity. After introducing concepts like negative and malevolent creativity, this chapter reviews the existing literature on the link between affective factors and creativity. Thereafter, the features of dark personality traits, like psychopathy, are examined with reference to affective considerations such as low empathy in producing original harm. Owing to the relationship between dark creativity and moral concerns, we also examine how moral emotions like guilt and shame (or lack thereof) may contribute to an understanding of such creativity. The chapter concludes with suggestions for future research and avenues for interdisciplinary studies.

Diversifying experiences, defined as “unusual and unexpected events or situations that push people outside the realm of normality”, include a wide range of experiences, both negative and positive, which reflect difference and uncertainty. We argue that successfully managing diversifying experiences at the individual level may foster creativity. Thus, we will use the diversifying experiences and creativity framework to present empirical evidence and theoretical arguments that illustrate the link between managing uncertainty/difference and creativity. First, we will present empirical evidence for the link between four broad categories of diversifying experiences and creativity: psychopathology, adversity, enrichment, and diversity. Second, we will discuss the possible mechanism of managing such experiences (at the individual level) in a way that fosters creativity. Third, we will discuss future directions.

We adopt a multilevel view of emotions and creativity in organizations. Consistent with traditional definitions of the construct, we define creativity broadly in terms of a process that leads to ideas, products, or problem solutions that are both novel and practically useful. More recently, scholars have come to understand that organizational creativity is inherently a multi-level phenomenon that can (1) manifest as a within-person, temporally varying phenomenon, (2) be influenced by employees’ individual proclivities for creative behavior, (3) involve interpersonal communication of ideas, (4) emerge as team or group creativity, or (5) reflect a creative organizational culture or climate. In this chapter, we aim to integrate these creative processes across all five levels of analysis. We especially address circumstances under which creativity can be associated with positive or negative affect, arguing that, depending on personal and situational conditions, creativity can be associated with either positive or negative emotions. We conclude with suggestions for future research.

The neuroscience of creativity has grown significantly over the past several years. One aspect of creative ideation that has been relatively understudied, however, is how emotional processes—and the neural systems underlying them—shape creativity. Creativity, like its muse, can be ephemeral: vulnerable to internal and external environmental factors that spark new ideas or snuff them out, and emotions can modulate these effects. In this chapter, we review findings underscoring the critical interactions between cognitive and emotional neuromodulatory mechanisms during creative thinking, including the potential impact of mood, stress, and reward processes on known neurocognitive components of creative ideation. We further examine whether and under what circumstances such interactions can have positive or negative consequences for creativity. Lastly, we discuss how emotional task content may impact the generation of the creative product on the part of the creator. Across these domains, we synthesize this literature and propose a framework for future research that integrates brain function at the neurochemical, neuroanatomical, and systems levels with emotional aspects of creative thinking.

The concluding chapter reflects on the contributions across five parts of the Handbook. We consider the threads connecting specific chapters within the topical sections devoted to the methodology of studying creativity and emotion, creative process, creative person, creative product, and creative contexts. In this reflection, we pay special attention to what is missing and what are key directions for future research. We propose an integrative model describing the role of affective processes across different aspects of creativity. The model discusses the need to specify the nature of creativity being studied (in terms of time, potential vs. actualization, and locus of judgment of creativity), as well as levels in which the role of emotions in creativity manifest itself (individual, dyadic, group, institutional, cultural). The process model of affective influences on creativity describes the role of affective states, emotion-related traits, and emotion abilities at different points from facing or initiating creative problems to creative beliefs and intentions, creative behavior, and creative products or achievements.