Abstract
Within the literature on creativity in the arts, some authors have focused on the description of the artistic process (Patrick, 1937; Getzels and Csikszentmihalyi, 1976; Mace and Ward, 2002; Yokochi and Okada, 2005) whereas others have focused on the creative process (Wallas, 1926; Osborn, 1953/1963; Runco and Dow, 1999; Howard et al., 2008). These two types of processes may be, however, somewhat distinct from each other because the creative process is not always dedicated to artistic creation, and productive work in the arts may not always involve creativity, in terms of specifically original thinking. Our goal is to identify the specific nature of the artistic creative process, to determine what are the basic stages of this kind of process. This description can then be integrated in a Creative process Report Diary (CRD; Botella et al., 2017) which allows self-observations in situ when participants are creating.
Highlights
Given our objective was to inventory the stages of the artistic creative process, we analyzed the words employed during the interviews
This study was limited by the interview method— and focused on students’ implicit theories of their own creative process—it allowed us to identify multiple stages in the process of visual artistic creativity
Because of the implicit theories and the number of models suggesting a linear sequence of stages, sometimes with some loops or cycles possible, it seems too ambitious to understand the sequence of the stages from interviews
Summary
Models of the creative process and of the artistic process do not agree on the nature or on the number of steps involved in a creative artistic process (see Howard et al, 2008) This lack of a consensus could be explained by the fact that (a) the creative process is a complex phenomenon as described by Osborn (1953/1963) who believed that creation is set off by “stop-and-go” or “grab what you can”-type processes; (b) models of a creative process are constructed based on a specific creative population and a specific creative domain, though these are described as if they were generic and could apply to all domains whether art, science, music, writing, or design. We ask them to list the stages of their process in order to be as exhaustive as possible This qualitative study makes it possible to identify what stages the students consider relevant in their mental representation of the visual artistic creative process, rather than relying on stages extracted from the scientific literature on creativity. We will not able to have a macro vision of the entire artistic creative process but we will construct an inventory of the stages involved to picture this process
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