Creativity

Creativity (or creativeness) is a mental process involving the generation of new ideas or concepts, or new associations between existing ideas or concepts. From a scientific point of view, the products of creative thought (sometimes referred to as divergent thought) are usually considered to have both originality and appropriateness. An alternative, more everyday conception of creativity is that it is simply the act of making something new. Although intuitively a simple phenomenon, it is in fact quite complex. It has been studied from the perspectives of behavioural psychology, social psychology, psychometrics, cognitive science, artificial intelligence, philosophy, history, economics, design research, business, and management, among others. The studies have covered everyday creativity, exceptional creativity and even artificial creativity. Unlike many phenomena in science, there is no single, authoritative perspective or definition of creativity. Unlike many phenomena in psychology, there is no standardized measurement technique.

Creativity has been attributed variously to divine intervention, cognitive processes, the social environment, personality traits, and chance ("accident," "serendipity"). It has been associated with genius, mental illness and humour. Some say it is a trait we are born with; others say it can be taught with the application of simple techniques. Although popularly associated with art and literature, it is also an essential part of innovation and invention and is important in professions such as business, economics, architecture, industrial design, science and engineering.

Despite, or perhaps because of, the ambiguity and multi-dimensional nature of creativity, entire industries have been spawned from the pursuit of creative ideas and the development of creativity techniques. This mysterious phenomenon, though undeniably important and constantly visible, seems to lie tantalizingly beyond the grasp of scientific investigation.

"Creativity, it has been said, consists largely of re-arranging what we know in order to find out what we do not know." George Keller

Leonardo Da Vinci is well known for his creative works

Definitions of creativity

"The problem of creativity is beset with mysticism, confused definitions, value judgments, psychoanalytic admonitions, and the crushing weight of philosophical speculation dating from ancient times." Albert Rothenberg

More than 60 different definitions of creativity can be found in the psychological literature, and it is beyond the scope of this article to list them all. The etymological root of the word in English and most other European languages comes from the Latin creatus, literally "to have grown."

Perhaps the most widespread conception of creativity in the scholarly literature is that creativity is manifested in the production of a creative work (for example, a new work of art or a scientific hypothesis) that is both novel and useful. Colloquial definitions of creativity are typically descriptive of activity that results in producing or bringing about something partly or wholly new; in investing an existing object with new properties or characteristics; in imagining new possibilities that were not conceived of before; and in seeing or performing something in a manner different from what was thought possible or normal previously.

A useful distinction has been made by Rhodes between the creative person, the creative product, the creative process, and the creative 'press' or environment. Each of these factors are usually present in creative activity. This has been elaborated by Johnson, who suggested that creative activity may exhibit several dimensions including sensitivity to problems on the part of the creative agent, originality, ingenuity, unusualness, usefulness, and appropriateness in relation to the creative product, and intellectual leadership on the part of the creative agent.

Boden noted that it is important to distinguish between ideas which are psychologically creative (which are novel to the individual mind which had the idea), and those which are historically creative (which are novel with respect to the whole of human history). Drawing on ideas from artificial intelligence, she defines psychologically creative ideas as those which cannot be produced by the same set of generative rules as other, familiar ideas.

Often implied in the notion of creativity is a concomitant presence of inspiration, cognitive leaps, or intuitive insight as a part of creative thought and action. Pop psychology sometimes associates creativity with right or forehead brain activity or even specifically with lateral thinking.

Some students of creativity have emphasized an element of chance in the creative process. Linus Pauling, asked at a public lecture how one creates scientific theories, replied that one must endeavor to come up with many ideas — then discard the useless ones.

Origin of Creativity

According to many religions, God as the original Creator of the world initiated the first act of creativity.

God it is Who created the heavens and the earth, and that which is between them, in six days. Islam. Qur'an 32.4-9

In the beginning God created the heavens and the earth... And God said, "Let there be light"...And on the seventh day God finished his work which he had done. So God blessed the seventh day and hallowed it, because on it God rested from all his work which he had done in creation. Judaism and Christianity. Bible, Genesis 1.1-2.3

This universe existed in the shape of darkness, unperceived, destitute of distinctive marks, unattainable by reasoning, unknowable, wholly immersed, as it were, in deep sleep. Then the Divine Self-existent, himself indiscernible but making all this, the great elements and the rest, discernible, appeared with irresistible power, dispelling the darkness... But, joining minute particles even of those six, which possess measureless power, with particles of himself, he (The Divine One) created all beings. Hinduism. Laws of Manu 1.5-16

The illimitable Lord in His unattributed state of void assumed might; He, the infinite One, remaining detached: Displaying his power, He himself from the void created inanimate things. From the unattributed void were created air and water. Raising creation, He dwells as monarch in the citadel of the body. Lord! In the fire and water [of the body] exists Thy light; In Thy [original] state of void was lodged [unmanifest] the power of creation. Sikhism. Adi Granth, Maru Sohale, M.1, pp. 1035-37

Vast indeed is the sublime Creative Principle, the Source of all, co-extensive with the heavens. It causes the clouds to come forth, the rain to bestow its bounty and all objects to flow into their respective forms. Its dazzling brilliance permeates all things from first to last; its activities, symbolized by the component lines [of the hexagram], reach full completion, each at the proper time. [The superior man], mounting them when the time is ripe, is carried heavenwards as though six dragons were his steeds! The Creative Principle functions through Change; accordingly, when we rectify our way of life by conjoining it with the universal harmony, our firm persistence is richly rewarded. Confucianism. I Ching 1: The Creative

Unification Thought explains the purpose for which God created humankind and the universe as the desire to actualize joy through love. God created the universe as His object of joy and to give joy to humankind. God is a great artist and the universe is God’s work of art. God, as the artist, receives joy through creating people to resemble his characteristics (Then God said, "Let us make man in our image, after our likeness. (Genesis 1.1-2.3), and the universe resembles his characteristics symbolically. Likewise humans participate in the act of creativity from a desire to give joy to God and others, as well as find joy for themselves. The British art critic Herbert Read (1892-1968) said, "All artists have ... the desire to please; and art is ... defined as an attempt to create pleasing forms."

Alfred Whitehead, in his Process Theology, sees God in cosmological terms as an "actual occasion" functioning within nature, reflective of "the eternal urge of desire" that works "strongly and quietly by love," to guide the course of things within the world into "the creative advance into novelty." Whitehead's philosophy of the "beginningless endless creative advance into newness" inspired what is now known as Process New Thought. Human beings are considered co-creators of life with God as the senior partner. Following are the major characteristics of Process New Thought as related to creativity:

1. It accepts science's discovery of a process-relational outlook, but with a Whiteheadian recognition of the creative, living nature of the pulses or bursts of energy (called occasions of experience by Whitehead), with energy recognized as what we experience as feeling. Occasions of experience are the basic building blocks of reality.
2. Life is that in which there is (a) aim (relatively free choosing of possibilities), (b) creative activity (transforming potentiality into actuality), and (c) enjoyment of the process (of creating a new unity out of the combined many coming to an occasion from the past—which is composed of a multitude of earlier choices).
3. The creative process is the taking (prehending, feeling, including, absorbing) of the many units of the past and blending their influence with also-prehended divinely given possibilities, thus producing unique new creations. The job of all existence is the creation of new unities. "The many become one, and are increased by one. In their natures, entities are disjunctively 'many' in process of passage into conjunctive unity" . Unity is an ongoing process of unifying, not a static state of a changeless one.
4. As the new many new units of reality are created, they are added to God's awareness (prehension, inclusion), resulting in God's endless growth.
5. Living in the moment is required by serial selfhood. Since concretely one has only a moment to live, one should make the most of it. Understanding that we are new creations moment by moment can provide a powerful psychological impetus to drop old limitations and to accept divinely-given opportunities for fullest living.
6. There is no unilateral creation, by God or by any other experience. All creation is co-creation. The pattern of creation by means of blending the contrasting influences of the God-given initial aim and the past is the most basic reality, that which always has been and always will be. Our task and privilege is to learn to co-create with God in the most conscious and effective ways.

History of the term and the concept

The way in which different societies have formulated the concept of creativity has changed throughout history, as has the term creativity itself.

The ancient Greeks, who believed that the muses were the source of all inspiration, actually had no terms corresponding to "to create" or "creator." The expression "poiein" ("to make") sufficed. They believed that the inspiration for originality came from the gods and even invented heavenly creatures - the Muses - as supervisors of human creativity.

Socrates wrote that inspired thoughts originate with the gods; ideas spring forth not when a person is rational, but when someone is "beside himself", when "bereft of his senses". Since the gods took away reason before bestowing the gift of inspiration, "thinking" might actually prevent the reception of divinely inspired revelations. The word "inspiration" is based on a Greek word meaning the God within.

The poet was seen as making new things — bringing to life a new world — while the artist merely imitated. In Rome, this Greek view was modified, and Horace wrote that not only poets but painters were entitled to the privilege of daring whatever they wished. Unlike Greek, Latin had a term for "creating" ("creatio") and for "creator," and had two expressions for "to make" — "facere" and "creare".

In the visual arts, freedom was limited by the proportions that Polyclitus had established for the human frame, and which he called "the canon" (meaning, "measure"). Plato argued in Timaeus that, to execute a good work, one must contemplate an eternal model. Later the Roman, Cicero, would write that art embraces those things "of which we have knowledge" ("quae sciuntur").

In Rome, these Greek concepts were partly shaken. Horace wrote that not only poets but painters as well were entitled to the privilege of daring whatever they wished to ("quod libet audendi"). In the declining period of antiquity, Philostratus wrote that "one can discover a similarity between poetry and art and find that they have imagination in common." Callistratos averred that "Not only is the art of the poets and prosaists inspired, but likewise the hands of sculptors are gifted with the blessing of divine inspiration." This was something new: classical Greeks had not applied the concepts of imagination and inspiration to the visual arts but had restricted them to poetry. Latin was richer than Greek: it had a term for "creating" ("creatio") and for "creator," and had two expressions — "facere" and "creare" — where Greek had but one, "poiein." Still, the two Latin terms meant much the same thing.

Although neither the Greeks nor the Romans had any words that directly corresponded to the word creativity, their art, architecture, music, inventions, and discoveries provide numerous examples of what we would today describe as creative works. At the time, the concept of genius probably came closest to describing the creative talents bringing forth these works.

A fundamental change came in the Christian period: "creatio" came to designate God's act of "creation from nothing". "Creatio" thus took on a different meaning than "facere" ("to make"), and ceased to apply to human functions.

The influential Christian writer St. Augustine felt that Christianity "played a leading role in the discovery of our power to create" (Albert & Runco, 1999). However, alongside this new, religious interpretation of the expression, there persisted the ancient view that art is not a domain of creativity. This is also seen in the work of Pseudo-Dionysius. Later medieval men such as Hraban the Moor, and Robert Grosseteste in the 13th century, thought much the same way. The Middle Ages here went even further than antiquity; they made no exception of poetry: it too had its rules, was an art, and was therefore craft and not creativity.

Another shift occurred in more modern times. Renaissance men had a sense of their own independence, freedom and creativity, and sought to give voice to this sense of independence and creativity. Baltasar Gracián (1601-1658) wrote: "Art is the completion of nature, as it were a second Creator..."; Raphael, that he shapes a painting according to his idea; Leonardo da Vinci, that he employs "shapes that do not exist in nature"; Michelangelo, that the artist realizes his vision rather than imitating nature. Still more emphatic were those who wrote about poetry: G.P. Capriano held (1555) that the poet's invention springs "from nothing." Francesco Patrizi (1586) saw poetry as "fiction," "shaping," "transformation".

Finally, at long last, someone ventured to use the word, "creation." He was the 17th-century Polish poet and theoretician of poetry, Maciej Kazimierz Sarbiewski (1595-1640), known as "the last Latin poet." In his treatise, De perfecta poesi, he not only wrote that a poet "invents," "after a fashion builds," but also that the poet "creates anew" ("de novo creat"). Sarbiewski even added: "in the manner of God" ("instar Dei").

By the 18th century and the Age of Enlightenment, the concept of creativity was appearing more often in art theory, and was linked with the concept of imagination. There was still resistance to the idea of human creativity which had a triple source. The expression, "creation," was then reserved for creation ex nihilo (Latin: "from nothing"), which was inaccessible to man. Second, creation is a mysterious act, and Enlightenment psychology did not admit of mysteries. Third, artists of the age were attached to their rules, and creativity seemed irreconcilable with rules. The latter objection was the weakest, as it was already beginning to be realized (e.g., by Houdar de la Motte, 1715) that rules ultimately are a human invention.

The Western view of creativity can be contrasted with the Eastern view. For the Hindus, Confucius, Taoists and Buddhists, creation was at most a kind of discovery or mimicry, and the idea of creation from "nothing" had no place in these philosophies and religions.

In the 19th century, not only was art regarded as creativity, but it alone was so regarded. When later, at the turn of the 20th century, there began to be discussion of creativity in the sciences (e.g., Jan Łukasiewicz, 1878-1956) and in nature (e.g., Henri Bergson), this was generally taken as the transference to the sciences of concepts proper to art.

The formal starting point of the scientific study of creativity is sometimes considered to be J. P. Guilford's address to the American Psychological Association in 1950, which helped to popularize the topic. Since then (and indeed, before then), researchers from a variety of fields have studied the nature of creativity from a scientific point of view. Others have taken a more pragmatic approach, teaching practical creativity techniques. Three of the best-known are Alex Osborn's brainstorming techniques (1950s to present), Genrikh Altshuller's Theory of Inventive Problem Solving (TRIZ), (1950s to present); and Edward de Bono's lateral thinking, (1960s to present).

Creativity in psychology & cognitive science

The study of the mental representations and processes underlying creative thought belongs to the domains of psychology and cognitive science.

A psychodynamic approach to understanding creativity was proposed by Sigmund Freud, who suggested that creativity arises as a result of frustrated desires for fame, fortune, and love, with the energy that was previously tied up in frustration and emotional tension in the neurosis being sublimated into creative activity. Freud later retracted this view.

Graham Wallas, in his work Art of Thought, published in 1926, presented one of the first models of the creative process. In the Wallas stage model, creative insights and illuminations may be explained by a process consisting of 5 stages:

(i) preparation (preparatory work on a problem that focuses the individual's mind on the problem and explores the problem's dimensions),

(ii) incubation (where the problem is internalized into the subconscious mind and nothing appears externally to be happening),

(iii) intimation (the creative person gets a 'feeling' that a solution is on its way),

(iv) illumination or insight (where the creative idea bursts forth from its subconscious processing into conscious awareness); and

(v) verification (where the idea is consciously verified, elaborated, and then applied).

In numerous publications, Wallas' model is just treated as four stages, with "intimation" seen as a sub-stage. There has been some empirical research looking at whether, as the concept of "incubation" in Wallas' model implies, a period of interruption or rest from a problem may aid creative problem-solving. Ward lists various hypotheses that have been advanced to explain why incubation may aid creative problem-solving, and notes how some empirical evidence is consistent with the hypothesis that incubation aids creative problem-solving in that it enables "forgetting" of misleading clues. Absence of incubation may lead the problem solver to become fixated on inappropriate strategies of solving the problem. This work disputes the earlier hypothesis that creative solutions to problems arise mysteriously from the unconscious mind while the conscious mind is occupied on other tasks.

Wallas considered creativity to be a legacy of the evolutionary process, which allowed humans to quickly adapt to rapidly changing environments. Simonton provides an updated perspective on this view in his book, Origins of genius: Darwinian perspectives on creativity.

Guilford performed important work in the field of creativity, drawing a distinction between convergent and divergent production (commonly renamed convergent and divergent thinking). Convergent thinking involves aiming for a single, correct solution to a problem, whereas divergent thinking involves creative generation of multiple answers to a set problem. Divergent thinking is sometimes used as a synonym for creativity in psychology literature. Other researchers have occasionally used the terms flexible thinking or fluid intelligence, which are roughly similar to (but not synonymous with) creativity.

In The Act of Creation, Arthur Koestler lists three types of creative individuals - the Artist, the Sage and the Jester. Believers in this trinity hold all three elements necessary in business and can identify them all in "truly creative" companies as well. Koestler introduced the concept of bisociation - that creativity arises as a result of the intersection of two quite different frames of reference.

In 1992 Finke et al. proposed the 'Geneplore' model, in which creativity takes place in two phases: a generative phase, where an individual constructs mental representations called preinventive structures, and an exploratory phase where those structures are used to come up with creative ideas. Weisberg argued, by contrast, that creativity only involves ordinary cognitive processes yielding extraordinary results.

Creativity and intelligence

There has been debate in the psychological literature about whether intelligence and creativity are part of the same process (the conjoint hypothesis) or represent distinct mental processes (the disjoint hypothesis). Evidence from attempts to look at correlations between intelligence and creativity from the 1950s onwards, by authors such as Barron, Guilford or Wallach and Kogan, regularly suggested that correlations between these concepts were low enough to justify treating them as distinct concepts. Some researchers believe that creativity is the outcome of the same cognitive processes as intelligence, and is only judged as creativity in terms of its consequences, i.e. when the outcome of cognitive processes happen to produce something novel, a view which Perkins has termed the "nothing special" hypothesis. However, a very popular model is what has come to be known as "the threshold hypothesis", stating that intelligence and creativity are more likely to be correlated in general samples, but that this correlation is not found in people with IQs over 120. An alternative perspective, Renculli's three-rings hypothesis, sees giftedness as based on both intelligence and creativity. More on both the threshold hypothesis and Renculli's work can be found in O'Hara and Sternberg.

The frontal lobe (shown in blue) is thought to play an important role in creativity

Neurology of creativity

The neurology of creativity has been discussed by Fred Balzac in an article on "Exploring the Brain's Role in Creativity".

The study found that creative innovation requires "coactivation and communication between regions of the brain that ordinarily are not strongly connected". Highly creative people who excel at creative innovation tend to differ from others in three ways: they have a high level of specialized knowledge, they are capable of divergent thinking mediated by the frontal lobe, and they are able to modulate neurotransmitters such as norepinephrine in their frontal lobe. Thus, the frontal lobe appears to be the part of the cortex that is most important for creativity. The study also explored the links between creativity and sleep, mood and addiction disorders, and depression.

Creativity and madness

A study by the psychologist J. Philippe Rushton found that creativity correlated with intelligence and psychoticism. Additionally, a different study found that creativity is greater in schizotypal individuals than either normal or fully schizophrenic individuals. While divergent thinking was associated with bilateral activation of the prefrontal cortex, schizotypal individuals were found to have much greater activation of their right prefrontal cortex. This study hypothesizes that these individuals are better at accessing both hemispheres, allowing them to make novel associations at a faster rate. In agreement with this hypothesis, ambidexterity is also associated with schizotypal and schizophrenic individuals. Creativity has also been associated with bipolar disorder.

Creativity in various contexts

Creativity has been studied from a variety of perspectives and is important in numerous contexts. Most of these approaches are unidisciplinary, and it is therefore difficult to form a coherent overall view. The following sections examine some of the areas in which creativity is seen as being important.

Henry Moore's Reclining Figure

Creativity in art & literature

Most people associate creativity with the fields of art and literature. In these fields, originality is considered to be a sufficient condition for creativity, unlike other fields where both originality and appropriateness are necessary.

Within the different modes of artistic expression, one can postulate a continuum extending from "interpretation" to "innovation". Established artistic movements and genres pull practitioners to the "interpretation" end of the scale, whereas original thinkers strive towards the "innovation" pole. Note that we conventionally expect some "creative" people (dancers, actors, orchestral members, etc.) to perform (interpret) while allowing others (writers, painters, composers, etc.) more freedom to express the new and the different.

The word "creativity" conveys an implication of constructing novelty without relying on any existing constituent components (ex nihilo - compare creationism). Contrast alternative theories, for example:

• artistic inspiration, which provides the transmission of visions from divine sources such as the Muses; a taste of the Divine. Compare with invention.

• artistic evolution, which stresses obeying established ("classical") rules and imitating or appropriating to produce subtly different but unshockingly understandable work. Compare with crafts.

In the art practice and theory of Davor Dzalto, human creativity is taken as a basic feature of both the personal existence of human being and art production.

Creative industries & services

Today, creativity forms the core activity of a growing section of the global economy — the so-called "creative industries" — capitalistically generating (generally non-tangible) wealth through the creation and exploitation of intellectual property or through the provision of creative services. The Creative Industries Mapping Document 2001 provides an overview of the creative industries in the UK.

Creativity in other professions

Isaac Newton's law of gravity is popularly attributed to a creative leap he experienced when observing a falling apple.

Creativity is also seen as being increasingly important in a variety of other professions. Architecture and industrial design are the fields most often associated with creativity, and more generally the fields of design and design research. These fields explicitly value creativity, and journals such as Design Studies have published many studies on creativity and creative problem solving.

Fields such as science and engineering have, by contrast, experienced a less explicit (but arguably no less important) relation to creativity. Simonton shows how some of the major scientific advances of the 20th century can be attributed to the creativity of individuals. This ability will also be seen as increasingly important for engineers in years to come.

Accounting has also been associated with creativity with the popular euphemism creative accounting. Although this term often implies unethical practices, Amabile has suggested that even this profession can benefit from the (ethical) application of creative thinking.

Creativity and innovation

In many cases in the context of examining creativity in organizations, it is useful to explicitly distinguish between creativity and innovation.

In such cases, the term innovation is often used to refer to the entire process by which an organization generates creative new ideas and converts them into novel, useful and viable commercial products, services, and business practices, while the term creativity is reserved to apply specifically to the generation of novel ideas by individuals, as a necessary step within the innovation process.

For example, Amabile et al. suggest that while innovation "begins with creative ideas,"

". . . creativity by individuals and teams is a starting point for innovation; the first is a necessary but not sufficient condition for the second".

Creativity in organizations

Amabile argued that to enhance creativity in business, three components were needed: Expertise (technical, procedural & intellectual knowledge), Creative thinking skills (how flexibly and imaginatively people approach problems), and Motivation (especially intrinsic motivation). Nonaka, who examined several successful Japanese companies, similarly saw creativity and knowledge creation as being important to the success of organizations. In particular, he emphasized the role that tacit knowledge has to play in the creative process.

Economic views of creativity

In the early 20th century, Joseph Schumpeter introduced the economic theory of creative destruction, to describe the way in which old ways of doing things are endogenously destroyed and replaced by the new.

Creativity is also seen by economists such as Paul Romer as an important element in the recombination of elements to produce new technologies and products and, consequently, economic growth. Creativity leads to capital, and creative products are protected by intellectual property laws.

Creativity is also an important aspect to understanding Entrepreneurship.

The creative class is seen by some to be an important driver of modern economies. In his 2002 book, The Rise of the Creative Class, economist Richard Florida popularized the notion that regions with high concentrations of creative professionals such as hi-tech workers, artists, musicians, and creative people and a group he describes as "high bohemians", tend to have a higher level of economic development.

Creativity, music and community

Researchers at the University of Pennsylvania Social Impact of the Arts Project found that the presence of arts and culture offerings in a neighborhood has a measurable impact on the strength of the community. Arts and culture not only attract creative workers, but also is a key element in the revitalization of neighborhoods, and increases social well-being. They also found that music is one of the key arts and cultural elements that attracts and retains “creative workers”. To slow down the large emigration of young cultural workers from Pennsylvania, this study proposed enhancing school-based music education and community-based musical cultural offerings. This study discovered the following traits in creative workers: individuality; creativity; technology and innovation; participation; project orientation; and eclecticism and authenticity. They found that music education helps foster all these traits to help Americans realize their creative potential. As a result, the author claims, music education not only nurtures creativity but also plays a crucial role in the knowledge economy, and in strengthening communities.

Measuring creativity

Creativity Quotient

Several attempts have been made to develop a creativity quotient of an individual similar to the Intelligence quotient (IQ), however these have been unsuccessful. Most measures of creativity are dependent on the personal judgement of the tester, so a standardized measure is difficult to develop.

Psychometric approach

J. P. Guilford's group, developed the Torrance Tests of Creative Thinking. They involved simple tests of divergent thinking and other problem-solving skills, which were scored on:

• Fluency. The total number of interpretable, meaningful, and relevant ideas generated in response to the stimulus.
• Flexibility. The number of different categories of relevant responses.
• Originality. The statistical rarity of the responses among the test subjects.
• Elaboration. The amount of detail in the responses.

Social-personality approach

Some researchers have taken a social-personality approach to the measurement of creativity. In these studies, personality traits such as independence of judgement, self-confidence, attraction to complexity, aesthetic orientation and risk-taking are used as measures of the creativity of individuals. Other researchers have related creativity to the trait, openness to experience.

Other approaches to measurement

Genrich Altshuller in the 1950s introduced approaching creativity as an exact science with TRIZ and a Level-of-Invention measure.

The creativity of thousands of Japanese, expressed in terms of their problem-solving and problem-recognizing capabilities, has been measured in Japanese firms.

Fostering creativity

Daniel Pink, in his 2005 book A Whole New Mind, repeating arguments posed throughout the 20th century, argues that we are entering a new age where creativity is becoming increasingly important. In this conceptual age, we will need to foster and encourage right-directed thinking (representing creativity and emotion) over left-directed thinking (representing logical, analytical thought).

Nickerson provides a summary of the various creativity techniques that have been proposed. These include approaches that have been developed by both academia and industry:

1. Establishing purpose and intention
2. Building basic skills
3. Encouraging acquisitions of domain-specific knowledge
4. Stimulating and rewarding curiosity and exploration
5. Building motivation, especially internal motivation
6. Encouraging confidence and a willingness to take risks
7. Focusing on mastery and self-competition
8. Promoting supportable beliefs about creativity
9. Providing opportunities for choice and discovery
10. Developing self-management (metacognitive skills)
11. Teaching techniques and strategies for facilitating creative performance
12. Providing balance

Some see the conventional system of schooling as "stifling" of creativity and attempt (particularly in the pre-school/kindergarten and early school years) to provide a creativity-friendly, rich, imagination-fostering environment for young children. Compare Waldorf School.

A growing number of psychologists are advocating the idea that one can learn to become more "creative". Several different researchers have proposed approaches to prop up this idea, ranging from psychological-cognitive, such as:

• Osborn-Parnes Creative problem solving
• Synectics;
• Purdue Creative Thinking Program;

and

• lateral thinking (courtesy of Edward de Bono),

to the highly-structured, such as:

• TRIZ (the Theory of Inventive Problem-Solving);
• ARIZ (the Algorithm of Inventive Problem-Solving), both developed by the Russian scientist Genrich Altshuller; and
• Computer-Aided Morphological analysis (presented at Swedish Morphological Society).

Social attitudes to creativity

"The man who invented fire was probably burned at the stake." Ayn Rand</blockquote.>

"To be creative means to become profoundly individualized thus separating one's self from the crowd." Paul Palnik</blockquote.>

Although the benefits of creativity to society as a whole have been noted, social attitudes about this topic remain divided. The wealth of literature regarding the development of creativity and the profusion of creativity techniques indicate wide acceptance, at least among academics, that creativity is desirable.

There is, however, a dark side to creativity, in that it represents a "quest for a radical autonomy apart from the constraints of social responsibility". In other words, by encouraging creativity we are encouraging a departure from society's existing norms and values. Expectation of conformity runs contrary to the spirit of creativity. Nevertheless, employers are increasingly valuing creative skills. A report by the Business Council of Australia, for example, has called for a higher level of creativity in graduates. The ability to "think outside the box" is highly sought after. However, the above-mentioned paradox may well imply that firms pay lipservice to thinking outside the box while maintaining traditional, hierarchical organization structures in which individual creativity is not rewarded.

Notes

References

ISBN links support NWE through referral fees

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External links

• Creativity Portal - Explores the multi-faceted world of creativity through articles and coaching modules on the creative process, inspiration, imagination, and play.
• Creativethinking.net, By Michael Michalko.
• A wiki for Creativity Techniques With a list of Creativity Techniques
• General Morphological Analysis: A General Method for Non-Quantified Modelling From the Swedish Morphological Society
• Creativity & Innovation Tube line - a novel visual representation of the creativity & innovation process
• About Fritz Zwicky From the Swedish Morphological Society
• Knowledge Machine - Online book with chapters on creativity including 1) creativity fallacies, 2) the sum of creative method, and 3) intelligence, genius, creativity, and knowledge creation
• The Creativity Force - Writings about creativity, education, democracy and more
• Creativity Web
• Stanford Encyclopedia of Philosophy
• Process Philosophy and the New Thought Movement

Essays:

• The Creative Act by Marcel Duchamp. (1957)
• Metaphor and Mental Duality
• Creativity: Method or Magic?

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