In addition, they argue that this interaction between person and situation is repeated at each level of analysis: group creativity is a function of individual creative inputs plus the interaction between the individuals involved in the composition of the group, group characteristics (e.g., size), group processes (e.g., conflict), and contextual influences (e.g., the larger organization, task characteristics). As such, I’m launching a new series titled; The Psychology of Creativity. Based on a theory of team innovation, the authors developed a four factor model including: In contrast, Amabile and colleagues’ (1996) climate model, grounded in a theory of intrinsic motivation, focuses at the broader organizational climate. ScienceDirect ® is a registered trademark of Elsevier B.V. ScienceDirect ® is a registered trademark of Elsevier B.V. URL: https://www.sciencedirect.com/science/article/pii/B9780128040515000299, URL: https://www.sciencedirect.com/science/article/pii/B9780123750389002235, URL: https://www.sciencedirect.com/science/article/pii/B9780127999623000033, URL: https://www.sciencedirect.com/science/article/pii/B9780123750389001242, URL: https://www.sciencedirect.com/science/article/pii/B978012374714300015X, URL: https://www.sciencedirect.com/science/article/pii/B978012816400600002X, URL: https://www.sciencedirect.com/science/article/pii/B9780080441986500140, URL: https://www.sciencedirect.com/science/article/pii/B978012799962300001X, URL: https://www.sciencedirect.com/science/article/pii/B9780123750389000790, URL: https://www.sciencedirect.com/science/article/pii/B9780128006481000243, Encyclopedia of Creativity (Second Edition), Implications of Domain Specificity for Creativity Theory*, Michael A. This synthetic ability includes three knowledge-acquisition components. Motivation is central to Aamabile's research, finding that intrinsic motivation is more apt to generate creativity than extrinsic motivation (Ref. Creativity theory has only recently begun to accommodate research evidence suggesting that creativity is task specific, although the hierarchical approach discussed above is promising. Amabile gives the environment a critical role in this model. However, much of human creativity theory can be applied to animal behavior. Collectively, large swaths of literature exist that examine both associative processing (e.g., Aiello, Jarosz, Cushen, & Wiley, 2012; Ansburg & Hill, 2003; Baird et al., 2012; Bowden, Jung-Beeman, Fleck, & Kounios, 2005; Dijksterhuis & Meurs, 2006; Kim, Hasher, & Zacks, 2007; Kounios et al., 2006; Reverberi, Toraldo, D'Agostini, & Skrap, 2005; Schooler, Ohlsson, & Brooks, 1993; Sio & Ormerod, 2009; Wieth & Zacks, 2011; Wiley & Jarosz, 2012; Zhong, Dijksterhuis, & Galinsky, 2008) and executive processing (e.g., Atchley, Strayer, & Atchley, 2012; Ball & Stevens, 2009; Beaty & Silvia, 2012, 2013; Benedek, Franz, Heene, & Neubauer, 2012; Chein & Weisberg, 2014; Gilhooly, Fioratou, Anthony, & Wynn, 2007; Gupta, Jang, Mednick, & Huber, 2012; Nusbaum & Silvia, 2011; Silvia, 2008; Silvia & Beaty, 2012) in creativity. Outstanding discoveries, insights and developments do not happen in a vacuum” (Steitz, 2010, para. Especially with all the examples of artists whose work wasn’t deemed creative until after their deaths. Establish diverse teams, perhaps from different company departments, to foster different perspectives, exploration and debate. In fact, Baer (1994a, 1994b, 1994c)1994a1994b1994c provided convincing evidence that creativity is not only content specific but is also task specific within content areas. That is why we cannot use the singular; there is no such thing as the “creative process.” Nonetheless, the various processes do share one feature: All enable the person to “think outside the box” imposed by routine thinking—to venture into territory that would otherwise be ignored (Simonton, 2011). The idea should be surprising, or at least nonobvious (to use the term used by the Patent Office). West, Claudia A. Sacramento, in, Climate is a contextual feature and therefore an understanding of the role of climate in, Amabile, 1988; George & Zhou, 2002; Pamela Tierney & Farmer, 2002, Barron & Harrington, 1981; James & Asmus, 2000; MacKinnon, 1962, Baer & Frese, 2003; Schneider & Reichers, 1983; Schneider, Wheeler, & Cox, 1992, Anderson & West, 1998; West, 1990; West & Anderson, 1996, Ekvall, 1996; Ekvall & Ryhammar, 1999; Ekvall & Tangebergandersson, 1986; Isaksen, Lauer, Ekvall, & Britz, 2000, Abbey & Dickson, 1983; Tesluk, Farr, &. Moving from the implications of domain specificity for creativity theory to its implications for creativity testing, a domain specific understanding of creativity provides a very direct challenge to existing notions of how to test creativity. Since this time, things have not slowed down, and the sheer volume of research on creativity continues to increase. Yet what is creativity in the first place? Next we briefly outline a number of climate for creativity and innovation taxonomies that, in line with this trend, have been suggested in the literature. These skills include tolerance for ambiguity, self-discipline, and risk-taking. Similarly, domain specificity of creativity means that creativity testing as currently practiced is necessarily inadequate and of limited validity. Most of the research that was conducted within this framework aimed to identify personality characteristics associated with creativity in different domains (e.g., Barron & Harrington, 1981; James & Asmus, 2000; MacKinnon, 1962). restructuring; cf. If creativity is domain specific, it means that a single theory of creativity – such as the theory that divergent thinking is a basic component of all creative thinking – cannot account for the diversity of creativity across domains. Creativity happens when someone comes up with a creative idea. This idea is the foundation for a rich stream of research that has strongly contributed to the understanding of organizational creativity and innovation. People often have difficulty describing where their creative ideas came from. Guilford (1950), for instance, defined divergent thinking as the generation of many alternatives and ideationally branching out from a single starting point, and convergent thinking as homing in on a singular solution and evaluation of fit. They explain, in detail, the considerable deviation in conceptualizations mentioned above—that dual-process theories of cognition predominantly focus on distinctions of autonomy and control in dividing types of processing, whereas creativity researchers tend to focus on the difference between generative and evaluative processes, and divergent and convergent thinking. [Image: Linus Bohman]. Promising areas for further psychological study of creativity include computational modeling, and work on the neurobiological basis of creativity, as … The answer is spider (black widow spider, spider bite, spider monkey). Here are the four main approaches to this area of psychology. Klein, 1997). The RAT consists of items that require the respondent to identify a word that can be associated to three rather distinct stimulus words. In other words, intrinsic motivation determines the extent to which domain relevant skills and creativity-relevant skills will be fully and appropriately applied towards successful creative performance. West’s team climate model (1990) and Amabile and colleagues’ work environment model (1996) are arguably the most widely validated models of climate for creativity and innovation. Michael A. Creativity training, on the other hand, can accommodate domain specificity of creativity rather easily. In another task, positive mood was detrimental to performance, whereas in a third task, no significant differences between the different moods appeared. Figure 3. Observations of the importance of cognitive control in creative thinking are also apparent in research on creative analogical reasoning. Kvintological approach to the construction of a unified theory of creativity. ), R.J. Sternberg, J.C. Kaufman, in Encyclopedia of Creativity (Second Edition), 2011. One such theory is Sternberg and Lubart's ‘investment’ theory of creativity, in which the key to being creative is to buy low and sell high in the world of ideas. West, Claudia A. Sacramento, in Handbook of Organizational Creativity, 2012. Albert Einstein’s special theory of relativity certainly satisfied this criterion. To this end, the book contains 22 chapters covering a wide range of issues and topics in this field, all written by distinguished leaders. The two articles that constituted that debate (Baer, 1998b; Plucker, 1998) addressed this crucial domain specificity/generality question, a hugely significant one for creativity research and theory. Indeed, it often should be unique. Therefore, we are interested in knowing whether creativity is defined and measured in a static versus dynamic way in the empirical literature on children’s creativity. Wiley and Jarosz (2012) agree that creative problem-solving requires a mixture of “non-goal-directed processes and more controlled, attention-demanding processes” (p. 260) and call for “a dual-process model of problem solving that incorporates both analytic and nonanalytic processes” (p. 261). Nathaniel Barr, ... Paul Seli, in Creativity and the Wandering Mind, 2020. In the article, The shifting sands of creative thinking: Connections to dual-process theory, Sowden, Pringle, and Gabora (2015) systematically review the multiple theories in creativity that can be conceptualized as dual-process in nature. The everyday expression of creativity often takes the form of trying out a new approach to a familiar dilemma. To name just a few, we highlight KEYS (Amabile, et al., 1996); the Team Climate for Innovation (TCI; Anderson & West, 1998; West & Farr, 1989); the Siegal Scale of Support for Innovation (SSSI; Siegel & Kaemmerer, 1978), and the Creative Climate Questionnaire (CCQ, Ekvall, 1996). (Plucker, 1998, p. 179), J. Baer, in Encyclopedia of Creativity (Second Edition), 2011. Other theories emphasize a confluence of different elements and include intellectual and cognitive abilities in the equation. Commit Yourself to Creativity. Main article: creativity techniques 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. Sense creation in the structure of processes of meaning dynamics. [Image: Simon Hooks]. We’d love your input. Freud later retracted this view. Think of a time when your creativity was sparked by a conversation with a friend or classmate. As valuable as such approaches have been in isolating processes involved in creative thinking, given the considerable bodies of empirical evidence supporting roles for both associative and executive processing, researchers are increasingly seeking a deeper understanding of the interaction between these modes of thought and, accordingly, are adopting more global approaches. Specifically, we really have to speak of degree to which an idea satisfies each of the three criteria. The importance of context was further stressed by Woodman, Sawyer and Griffin (1993). It has a long history of research in many disciplines, and involves a variety of conceptual and methodological approaches. For example, what word can be associated with the words “widow, bite, monkey”? James suggests that individuals develop a global or holistic perception of their work environment (e.g., James & Jones, 1974), which could be applied to any number of contexts and industries. People who are high in synthetic ability but low in analytical ability may need someone else to evaluate and judge their work for them. For example, a solution must, in fact, solve the problem. For example, Allen and Thomas (2011) revisited modern conceptions of Wallas's famous stages of creativity and argued that associative and executive processes are active throughout all stages, with different stages differentially associated with each type of thinking process. Klein, 1997, Dorfman, Shames, & Kihlstrom, 1996; Slepian, Weisbuch, Rutchick, Newman, & Ambady, 2010, Kounios & Beeman, 2014; Chein & Weisberg, 2014, Barr, Pennycook, Stolz, and Fugelsang (2015a), Aiello, Jarosz, Cushen, & Wiley, 2012; Ansburg & Hill, 2003; Baird et al., 2012; Bowden, Jung-Beeman, Fleck, & Kounios, 2005; Dijksterhuis & Meurs, 2006; Kim, Hasher, & Zacks, 2007; Kounios et al., 2006; Reverberi, Toraldo, D'Agostini, & Skrap, 2005; Schooler, Ohlsson, & Brooks, 1993; Sio & Ormerod, 2009; Wieth & Zacks, 2011; Wiley & Jarosz, 2012; Zhong, Dijksterhuis, & Galinsky, 2008. It should be noted that the research evidence pointing toward domain specificity of creativity is fairly new, and, like the research that preceded it, this research may not tell the whole story. Copyright © 2021 Elsevier B.V. or its licensors or contributors. The major contribution of this book, beyond the many original ideas that sparkle throughout the text, is its successful demonstration that the basic issues of creativity, previously relegated to mystifying pop psychology or cognitively barren psychometric approaches, can be successfully examined with the tools of cognitive psychology. Divergent thinking as a general class of thinking skills is still a useful construct, however, both (a) because it makes this wide range of skills more coherent and easy to conceptualize and (b) because it makes it simpler to postulate and identify the appropriate domain-specific divergent thinking skills that will be important within any given domain or microdomain. The third and last criterion is surprise. And finally, creativity training programs cannot be assumed to increase creativity across all domains simply because they successfully promote creativity in one domain. For example, analyses of scientific and artistic achievements suggest that the median-rated creativity of work in a domain tends to fall toward the lower end of the distribution and the upper - high creativity - tail extends quite far. Barr, Pennycook, Stolz, and Fugelsang (2015a) carried out behavioral work that showed a key role for analytic, controlled thinking in processing creative analogies as well. (2015) also deeply considered the connections between creativity theories that are dual-process, and in more general dual-process theories of cognition. Our vision was for a dialog between those who study creativity in animals and those who study the same topic in humans. For this reason, and because creativity theories have historically been one-size-fits-all theories, domain general theories of creativity continue to have great appeal. Indeed, many so-called “creativity tests” are actually measures of the thought processes believed to underlie the creative act (Simonton, 2003b). Neuroscientific research has shown an increase in frontopolar cortex activation when individuals identify or generate more creative analogies (with higher creativity quantified by increased semantic distance between the constituent elements of an analogy; see Green, 2016 for a review; also see Kenett, 2018 for a review of quantitative measure of semantic distance in creativity research). The following two measures are among the best known. The Blind-Variation-and-Selective-Retention model of Campbell (1960), Simonton's (1999) Darwinian theory of creativity, Finke, Ward, and Smith's (1992) Genoplore model, and Howard-Jones’ (2002) dual-state model of creative thought all articulate the distinction between generating ideas and evaluating them, and the importance of this back and forth in creativity. Examples of his components of creativity include Guilford's divergent thinking components (fluency, flexibility, and originality), and being open to new experiences, curious, willing to take risks, and sensitive to aesthetic characteristics. This constitutes a deviation from a majority of cognitive psychological research, though this focus is unsurprising given that creativity has been defined by the content of generated thought and the relatively clear demarcation between the functional purpose of generation and evaluation. Another neural network identified as important for creativity is the salience network, which includes the dorsal anterior cingulate cortex and the anterior insula (Abraham, Rutter, Bantin, & Hermann, 2018; Beaty et al., 2015; Heinonen et al., 2016). These regions are implicated in the interplay between the prefrontal cortex, other regions of the central executive network, and the default network. Unlike convergent thinking, which converges on the single best answer or solution, divergent thinking comes up with multiple possibilities that might vary greatly in usefulness. Creativity, a key engineer for facilitating social harmony, sustainable human development, technological invention and scientific revolution, is manifested in human activities at different levels, from everyday life to advanced technological industries. Creativity testers will necessarily have to determine in which domain(s) of creativity they are interested, because under a domain-specific theory of creativity, general creative thinking skill becomes an empty construct. Similarly, someone who invented a parachute made entirely out of steel reinforced concrete would get lots of credit for originality—and surprise!—but none for usefulness. Primarily understood as the intervening variable between the context of an organization and the responses and behavior of its members, the concept has inspired many descriptions and operationalizations. Although psychologists have offered several definitions of creativity (Plucker, Beghetto, & Dow, 2004; Runco & Jaeger, 2012), probably the best definition is the one recently adapted from the three criteria that the U.S. Patent Office uses to decide whether an invention can receive patent protection (Simonton, 2012). Innovation can be seen as encompassing two major stages, the development of ideas— creativity; followed by their implementation—the introduction of new and improved products, services, and ways of doing things at work. Disciplinary perspectives often emerge in opposition to each other, and this can be seen in the individualist and holist approaches to creativity. It is interesting to note that the task where positive mood was found to be detrimental is a typical insight problem (the Radiation Problem; Duncker, 1945), held in the classical literature to be a representative indicator of core creative processes in creative problem-solving (e.g. convergent thinking: the opposite of divergent thinking, the capacity to narrow in on the single “correct” answer or solution to a given question or problem (e.g., giving the right response on an intelligence tests) creativity: ability to generate, create, or discover new ideas, solutions, and possibilities. For example, in a free-association task, Benedek and Neubauer (2013) explored the roles of associative hierarchies in low and high creative thinkers. To date, there is no consensus-based definition of creativity; however, according to a standard definition, creativity is often perceived as the ability to produce something new/novel and appropriate/useful. Einstein’s relativity theory was not a step-by-step deduction from classical physics but rather the theory was built upon a new foundation that challenged the very basis of traditional physics.When applying these three criteria, it is critical to recognize that originality, usefulness, and surprise are all quantitative rather than qualitative attributes of an idea. We will refer in more detail to TCI and KEYS later in this chapter (for a comprehensive review see Mathisen & Einarsen, 2004). (2015) suggest that to “further reconcile the associative and executive theories, a dual-process model may be the best approach” and could “provide a promising approach to understanding the relative contributions of automatic and controlled processes in creative thought” (p. 1195). It is quite possible that both domain specificity and generality are true, each in part and in its own way. Finally, we have to assume that if an idea scores zero on any one criterion then it must have zero creativity as well. Not one of them existed until somebody came up with the idea. There are a lot of definitions for creativity. Wallas outlined the stages that lead to a creative insight: preparation, incubation, illumination, and verification. The first element is synthetic ability, which is the ability to generate ideas that are novel, high in quality, and high in task appropriateness. More research will be needed to clarify the conditions under which generality or specificity of creativity is the more valid perspective. On the minus side, many theories, generally speaking, have not progressed far beyond earlier speculative claims and have often failed to spark the identification of new phenomena and counterintuitive testable hypotheses. But what makes an idea or solution creative? While it is too early to forecast the fate of theories of creativity, and the enterprise of studying creativity more generally, it seems likely that the two will rise or fall together. General, domain-transcending theories – if true – would have far greater power than domain specific theories that account only for creativity in a limited content domain. As noted above, self-report scales of creative behavior suggest more generality of creativity than do assessments of the creativity of actual creative products. Some of these theories emphasize issues such as the environment or evolution and are less relevant here. Domain-relevant skills include knowledge, technical skills, and specialized talent (i.e., a creative mathematician should know basic algebra and geometry). In the case of Einstein’s theory, his relativity principle provided explanations for what otherwise would be inexplicable empirical results. This focus on spontaneous illumination is most obviously present in the rich literature on creative insight, which reveals the ways in which new and useful ideas arise autonomously in the mind (though there is discussion of the role of controlled and volitional thought in insight; see Kounios & Beeman, 2014; Chein & Weisberg, 2014). The neuroscientific literature showcasing the relation among these networks provides a firm foundation from which to understand the structures and mechanisms in the brain responsible for such levels of processing, and the vacillation between diverse types of processing (see Chrysikou, 2018). In order to contextualize the importance of climate on organizational creativity and innovation it is useful to look at how this literature evolved. However, other theoretical approaches may approach creativity more as a trait, which should be apparent in the way creativity is measured. Much of the research devoted to creativity during the 1950s and 1960s was focused on variables which had ominous implications for dominant attitudes in psychology and the society. Creativity is the ability to generate, create, or discover new ideas, solutions, and possibilities. In the meantime, both views will continue to claim adherents among researchers and theorists. The first criterion is originality. Very creative people often have intense knowledge about something, work on it for years, look at novel solutions, seek out the advice and help of other experts, and take risks. After this introductory overview, we turn to a discussion of the aspects of team and organizational climate that influence creativity and innovation. Major test developers may not be willing to support extensive test development efforts for tests of such limited potential use. 2. Rex E. Jung, PhD, is an assistant professor of neurosurgery at the University of New Mexico, a research scientist at the Mind Research Network and a practicing clinical neuropsychologist in Albuquerque. Based on different theoretical frameworks, several models of climate have been developed identifying a number of dimensions that can influence creativity and innovation (cf. As a result of his lifetime of work, he won the Nobel Prize in Chemistry in 2009. (2015) conclude by noting that a means by which to proceed is to integrate creativity research more fulsomely within the broader cognitive psychological literature on thinking: the time is ripe to develop an integrated dual-process model of creativity that clearly specifies the nature of this interaction [between modes of thought] across different points in the creative process, and the mechanisms that underlie shifting between generative and evaluative thinking. The 14 dimensions are: Aligned with some of the taxonomies described above, several instruments have been developed to assess a climate for creativity. Biologists or ethologists usually either focus on animal problem solving or else consider creativity to be an evolutionary adaptation. Two studies were conducted in which participants' scores on divergent thinking tests were analyzed as a function of performance on a number of measures of executive function (including broad retrieval ability and general fluid intelligence) and answers to a verbal fluency task, in which semantic distance served as a measure of associative ability. West and colleagues’ climate model is, in our awareness, the only model focusing on team level climate (Anderson & West, 1998; West, 1990; West & Anderson, 1996). We sought a wide variety of contributors and commenters, both in terms of fields (we span psychology, biology, neuroscience, engineering, business, ecology, and education) and location (the contributors come from 12 countries). Yet, before discussing the role of context, we should start by clarifying what we mean by creativity and innovation. Based on the premise that climate is relevant for creativity because it facilitates a work-context for innovation, Hunter, Bedell and Mumford (2006) conducted a thorough review of 45 existent creative climate taxonomies and developed an integrative climate taxonomy which, according to the authors, encapsulates most of the dimensions included in previous dimensional conceptualizations. He explains that creators decide to buy low and sell high in ideas, meaning that they generate and pursue ideas and concepts that seem too unusual or out-of-the mainstr… Dr. Tom Steitz, former Sterling Professor of Biochemistry and Biophysics at Yale University, spent his career looking at the structure and specific aspects of RNA molecules and how their interactions could help produce antibiotics and ward off diseases. Such analytical ability can be used to evaluate the strengths and weaknesses of the idea and determine the best steps to improve upon the idea. If you were tasked with thinking up as many uses for a brick as you could, how well would you do? Intelligence would primarily occur at the domain-relevant skill level. As the evidence surrounding the importance of interaction between associative and executive processing in creative thought continues to emerge, at both the behavioral and neural levels, many have articulated a need for dual-process theoretical frameworks that can more fully account for this interplay. In relation to the global organizational environment, James and his colleagues (James & James, 1989) describe four dimensions of global organizational climate, which have been identified across a number of different work contexts: role stress and lack of harmony (including role ambiguity, conflict and overload, subunit conflict, lack of organizational identification, and lack of management concern and awareness). Very creative people often have intense knowledge about something, work on it for years, look at novel solutions, seek out the advice and help of other experts, and take risks. The idea should be valuable or work. Their review showed that much of the historical theorization of dual-processes in creativity research has centered upon the distinction between generation and evaluation, rather than autonomy and control. There has been some empirical work on the role of metacognitive abilities in creativity. How did that person influence you and what problem did you solve using creativity? Hunter, Bedell, & Mumford, 2007). Unfortunately, many different cognitive processes have been linked to creativity (Simonton & Damian, 2013). Over the past 35 years, examination of social and environmental influences on creativity has become increasingly vigorous, with broad implications for the psychology of human performance, and with applications to education, business, and beyond. , the art of thought your motivation toward the task at hand not happen in a novel way stages lead., 2013 ) content and ads practiced is necessarily inadequate and of limited validity and in its way... 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Then it must have zero creativity as well as in a novel way the between! As the environment or evolution and are less relevant here network, and in its way. Seli, in creativity, Claudia a. Sacramento, in creativity and the mind... And convergent thinking, sparked a massive influx of research that has strongly contributed to domains..., a creative person needs to actually work or possess some degree of usefulness what did! Judge their work for them and developments do not happen in a new way effectiveness... Items that require the respondent to identify a word that can be to.

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