Definition Of Creativity Research Articles

Why the standard definition of creativity fails to capture the creative act

The “standard definition” of creativity holds that a creative idea is one that is novel and useful. This judgement is customarily based on an external frame of reference as it is passed by people who are receiving the idea (the recipient). The internal frame of reference of the person who has generated the idea (the creator) is usually ignored. I make two cases in this paper. First, that employing external frames of reference in assessing creative products has been erroneously applied to understand the creative mind. Second, that any definition of creativity needs to be one that can be reasonably applied whether following an internal frame of reference of the creative experience or an external frame of reference of the creative product. With these aims in mind, I propose the following amendment to the definition of creativity: a creative idea is one that is both novel and satisfying.

Creativity and Creative Subject in the Field of Social Communications: modern understanding and basic characteristics (part I)

The article examines the dynamics of creativity perception in successive attempts to study its interpretations in the social sciences and proposes a social and communicative approach to understanding the categories of creativity and the creative subject. The authors analyze the approaches to defining creativity in various research paradigms, which shows the applicability of the socio-communicative approach with a critical view on socio-psychological and sociological definitions of creativity. The text represents the discussion of the criteria and features of creativity and consider the main parameters and criteria of creativity as a communicative phenomenon. The authors propose a new understanding of the concept of creativity and explain it through three related concepts: (1) creative process, (2) creative subject and (3) creative product. At the end, the authors substantiate the typology of creative products and discuss the essence of the consumer value of creative products, highlighting its rational and emotional dimensions.

Definitions of Creativity by Kindergarten Stakeholders: An Interview Study Based on Rhodes’ 4P Model

Abstract In 2017, Hong Kong included the notion of creativity in its official kindergarten curriculum framework. However, the curriculum did not define what creativity means in relation to 3- to 6-year-old children. Stakeholders such as teacher educators, kindergarten principals, and teachers may have different understandings of creativity, possibly leading to difficulties in implementing this notion into practice. We adopted Rhodes’ 4P model to examine Hong Kong kindergarten stakeholders’ definitions of creativity in relation to young children. We posed two research questions: (1) What are the themes and elements that Hong Kong kindergarten stakeholders refer to in their responses when defining the notion of creativity? (2) How do these stakeholders differ in their responses when defining this notion? We asked 50 kindergarten stakeholders (20 teacher educators, 10 principals, and 20 teachers) to define the notion of creativity using their own words. Content analysis, descriptive statistics, and multiple Fisher’s exact tests (2 × 2) were used to analyze their responses. We found that all stakeholders possessed a partial understanding of creativity, especially teachers. Stakeholders’ definitions mainly focused on the importance of creative processes. Other components such as the learning environment, the traits of a person, and the creation of products were rarely alluded to in their definitions. We conclude that there is an urgent need to explicitly articulate and conceptualize the notion of creativity in kindergarten curriculum frameworks, such as Hong Kong’s curriculum Guide. This would allow stakeholders to find common ground in the teaching and learning of creativity. Implications for the enhancement of creativity education are discussed.

Exploring the multimodal affordances of digital coding devices in fostering creative thinking in early childhood education

Digital technologies are increasingly acknowledged for their potential to enrich early childhood learning experiences, particularly in the area of creativity. However, research has tended to focus upon end products and skill development, and little is known about creative development processes. This study sought to explore young children's creative processes as they engaged with three digital coding devices over an eight-week period as part of a Digital Discovery Program. It employed a microethnography to provide nuanced observations of five young children's (aged 4–5 years) interactions and behaviours. Data was collected through approximately 40 hours of video recordings, capturing the dynamic and multimodal aspects of the childrenʼs play and learning experiences. A multimodal interaction analysis was used to examine the multimodal design affordances of each device as mapped against Murcia et al.'s (2020) A-E of Creativity Framework. The findings revealed a clear interplay between digital technologies and various modes of communication, with children demonstrating creativity through their verbal expressions, manipulation of the devices, and spatial understanding of their physical environment. By understanding the multimodal affordances of digital devices aligned with educational frameworks and embracing child-specific definitions of creativity, educators, curriculum designers, policymakers, and researchers can collectively promote creativity and enrich digital learning and play for young children.

Reading the Creative Industries With Deleuze: How Creative Are the Creative Industries?

This article develops a definition of creativity that is informed by the work of Gilles Deleuze, Dan Harris, Susan Luckman, and others. We explore its application in the context of the creative industries in Australia. Through our empirical interviews conducted as part of an Australian Research Council–funded project called Vital Arts, we delve into the multifaceted nature of creativity, which we argue is not always accounted for in the bureaucratic organization, categorization, and funding of the creative industries. We outline the measurements used by key governmental, nongovernmental, and policymaking bodies in Australia to categorize and fund the creative industries. These metrics reveal blind spots in how the creative industries are institutionally organized and treated when considering the Deleuzian ontology of creativity that actually motors creative work. We argue that many creative jobs and industries exist outside traditional bureaucratic definitions and categories, and through the concepts of affect, becoming, the major and the minor, as well as fabulation, from Deleuze and Guattari’s philosophy, we explore these dynamics further.

Evaluating Poetry: Navigating the Divide between Aesthetical and Creativity Judgments

ABSTRACTThe comprehension and appreciation of poetry are inherently subjective, involving both creativity and aesthetic appeal. However, do these assessments of aesthetics and creativity rely on identical criteria, or do they vary depending on underlying factors? We addressed this question in this study. Participants (N = 96) evaluated 25 English poems across nine subjective characteristics: reading fluency, vivid imagery, perceived emotions (valence and arousal), surprise, originality, usefulness, aesthetic appeal, and creativity. Linear mixed‐model analysis revealed that a poem's creativity was primarily predicted by its originality, followed by its usefulness and vivid imagery. Conversely, the evaluation of a poem's aesthetic appeal followed a different route; it was mainly predicted by a poem's reading fluency, followed by arousal, valence, and vivid imagery. Additionally, the association between creativity and originality was significantly moderated by participants' personality traits, specifically, openness, vividness of visual imagery, and curiosity. The relationship between aesthetic appeal and reading fluency was moderated by the vividness of auditory imagery trait. These findings suggest that a poem's creativity evaluation closely aligns with the standard definition of creativity, relying on its originality and usefulness. The study provides novel insights into the implicit internal models in the evaluation of poetry.

Aiming at Creativity and Ending up with a Range from Low‐Hanging Fruits to Foolishness: A Reflective Model of Creativity

ABSTRACTThe term “creative” is commonly used in everyday language and in academic discourse to discuss the nature of artistic and innovative productions. This usage inherently implies the existence of a variable of creativity that allows different creative works to be compared. The standard definition of creativity asserts that a production must possess both value and novelty in order to be considered truly creative. However, previous psychometric studies aimed at establishing the existence of such a creativity variable based on these two dimensions have produced results that seem to demonstrate their independence or even negative association, based on a weak to negative correlation between value and novelty. These widely replicated empirical results seem to call into question the notion of a single creativity variable associated with productions, leading to a paradoxical use of the term “creative” to describe the object produced. In our study, we aimed to reproduce these results while addressing methodological errors made in previous efforts to establish construct validity. This work led us to test the existence of a common cause for the observed variations in novelty and value. The higher order factor we obtain in our analysis encompasses subtle differences from the conventional creativity axis and interacts negatively with novelty, while correlating positively with value.

The whys and wherefores of home creativity support: A cross-cultural reflexive thematic analysis between British and French parents

Although creativity research increasingly documents how parents support their children's creativity at home, previous work has been mostly quantitative in nature, while qualitative studies almost exclusively report data from mothers. Thus, we conducted online qualitative interviews of 14 parents (9 mothers and 5 fathers) of children aged between 4 and 6 years, who were living in France or in the United Kingdom during the COVID-19 pandemic. Through a cross-cultural reflexive thematic analysis, we explored questions around what views of early childhood creativity parents shared; whether (and if so why) they are motivated to engage in dyadic home creative activities with their children; and their perceptions of the benefits of these activities, both on themselves, and on their children. The parents shared views and definitions of creativity in line with creativity research. Moreover, they explained how they used creative activities to teach their children social rules, self-expression, independence, and skills development. They also appreciated creative activities as a strategy to help their children vent and calm down or, in contrast, to foster in them a sense of joy and vitality. Parents also reported the extent to which creative activities contribute to parent—child relationship quality. We discuss these findings through the lens of Self-Determination Theory.

The Negative Impact of Exam-Oriented Education on the Creativity of Adolescents in the 21st Century

The development of creativity in students is a crucial element of their overall growth and maturation. Creativity is an essential tool for effective problem-solving. Nonetheless, modern educational systems, which prioritize exam-oriented curricula, have created significant obstacles to the cultivation of children's creativity. Therefore, this article aims to explore the drawbacks of exam-oriented education in fostering creativity. Using the definition and significance of creativity as a foundation. Finally, this paper found that current exam-oriented educational systems hinder the development of children's creativity by depriving them of time and stifling their creative potential. As such, an education system primarily focused on examination and high scores diverges from the fundamental purpose of education, depriving children of opportunities to nurture their creativity. Therefore, the final section of this article presents suggestions for educational reforms. For example, the government needs to implement policies to alleviate student stress; Schools should offer diverse classes; Parents also need to gradually shift away from the notion that achieving high scores is the sole path to securing a promising future. These reforms could provide children with more opportunities to become creative individuals.

CHALLENGES IN CREATIVITY DEFINITION AND MEASUREMENT: EDUCATIONAL IMPLICATIONS

The article examines the complex nature of creativity with the goal to project implications for educational settings, starting from its historical evolution, and the challenges associated with its definition and measurement. The study aims at reviewing the main approaches to defining the concept of creativity with a particular focus on educational settings application. Creativity, once attributed to divine sources, is now recognized as a multifaceted human capacity encompassing cognitive, conative, and environmental factors. The research spans various definitions and assessments, including personality and biographical inventories, behavioral tests, and both objective and subjective evaluations of creative outputs. Creativity theories are highlighted, emphasizing creativity's presence across multiple domains. Despite the plethora of testing methods, the paper critiques the dichotomous view of creativity as simply present or absent, advocating for a nuanced understanding that encompasses its varied degrees and dimensions. The study further stresses the importance of considering individual traits and contextual factors as part of a dynamic interplay that influences creativity. For educators, these findings underscore the need for professional development that addresses the broad scope of creative competencies, encouraging a holistic approach to fostering creativity in students. The paper concludes with recommendations for developing clear operational definitions for creativity that can lead to more consistent and reliable assessments within educational research and practice.

Digital Tools in Education

In recent years, as we have observed, digitisation has remained a consistently debated topic, especially in education. However, we believe that increasing attention needs to be given to the issue of students' digital skills in schools, the use of digital tools in teaching, the development of creativity, and other soft skills expected of young people in the future job market. These skills are becoming increasingly crucial. In this article, we focus on using digital tools in teaching at a vocational school and their impact on the creativity of a selected research sample of students. In the first part of the article, we specifically address the definition of creativity and the specifics of a creative personality. We briefly introduce concepts such as imagination, originality, intelligence, and critical thinking. The second chapter of the article presents selected methods and techniques that support the development of students' creativity. Based on the chosen topic, we highlight the importance of digitisation and the use of ICT in teaching and briefly describe selected digital tools. The article includes an evaluation of the creativity scores of the selected research sample of students at the beginning and end of the observed period.

The cultural and philosophical foundations of the correlation of the phenomena of «artistry» and «creativity»

The object of this research is artistry and creativity as sociocultural phenomena. The subject of this research is the cultural and philosophical foundations of the correlation of the desired phenomena. The developed foundations represent the criterion foundation for differentiating artistry and creativity from the point of view of ontological, epistemological, axiological, sociocultural, anthropological, praxiological, ethical and aesthetic approaches. The phenomenon of «artistry» is justified as the creation of a previously non-existent or original, meaningful and qualitative transformation of existing being, which manifests itself in the establishment of a work of art that is valuable to the subject itself, society and culture due to its actual exclusivity. In turn, creativity is defined as a combinatorial and plagiarized comparison or formal and quantitative redistribution of heterogeneous fragments of being, which manifests itself in the emergence of an artistic work that has a certain price for a mass consumer audience due to its superficial «elitism». The methodological foundation of this research is a systematic approach, comparative-historical and analytical-interpretative methods, as well as hermeneutic and phenomenological approaches. The scientific novelty of the conducted research lies in a holistic, systematic and poly-aspect substantiation of the essence of the phenomena of artistry and creativity and the disclosure of the features of their sources, process, subject and orientation. On the basis of the developed cultural and philosophical foundations, multidimensional definitions of artistry and creativity are formulated, including the designated critical features. The research also outlines the contours of a special philosophical discipline – the philosophy of creativity and its separate subsections. The main conclusion of the research is the position on the inadmissibility of replacing artistry with creativity in order to avoid the dangers of depersonalization of the creative subject, dehumanization of social relations and degradation of cultural traditions.

Creativity and Mirror Effect: Teaching Creative Skills Through Non-traditional Pedagogies

Design pedagogy is crucial for transferring project methodologies and fostering creative skills. However, the technological and social transformations of this century have challenged traditional educational canons and the very definition of creativity. This article proposes that this challenge can be analyzed through non-traditional educational paradigms to address this challenge from a design methodology perspective. It first reviews the existing literature on creativity training and presents a case study on training methodologies. This case was incorporated into an undergraduate design course, providing insight into design pedagogy itself. Then, the article discusses the future challenges and projections of Design education and the cultivation of creative skills for the 21st century. Finally, by examining alternative educational approaches, this research contributes to the current discourse on design pedagogy and its adaptation to the changing needs of contemporary society.

SOCIAL CREATIVITY: A COMPARATIVE ANALYSIS OF DOMESTIC AND FOREIGN SCIENTIFIC WORKS

The article presents the results of the theoretical analysis of works devoted to social creativity. The problem of “doubling” of terms related to translation of the term “creativity” from English into Russian is considered. The author carries out a comparative analysis of domestic and foreign scientific papers on the topic under study, as well as an analysis of the existing definitions of the term “social creativity”. As a result, the criteria for differentiation between domestic and foreign approaches to the study of social creativity are highlighted, the definitions of the “social creativity” concept are systematised according to the representation of the studied construct in the reality of interpersonal and social relations. Based on the results obtained, a definition of social creativity is proposed.

창의성에 대한 제거주의 정의 비판 : 가치 있는 산물의 제작은 창의성에서 정말 불필요한가?

창의성에 대한 제거주의 정의 비판 : 가치 있는 산물의 제작은 창의성에서 정말 불필요한가?

Who, or Rather, What Painted This? Generation Z's Attitudes Towards Artificial Intelligence Artworks

Throughout art history, the exact boundaries of what can and cannot be considered art has long been debated, and the rise of artificial intelligence (AI) algorithms that produce artworks has rekindled this debate in the context of technology. History indicates that the answer to what is considered “art” largely depends on the evaluator’s personal definition of creativity and their perception of the artist, which gives reason to investigate people’s attitudes towards AI art. Pre-existing research has discovered a negative perception bias towards AI artists in adult generations. However, no studies have been conducted on Generation Z specifically. Gen Z possesses a close association to technology which distinguishes them from previous generations, and could therefore produce differing attitudes towards AI art. Therefore, this study seeks to investigate: what are Generation Z’s attitudes towards AI art? This study defined “attitudes” to combine attitudes towards the artist, and attitudes towards the artworks. Therefore, a mixed method study consisting of 1) a ratings test to examine any perception biases towards AI artists, and 2) a questionnaire to investigate the criteria Gen Z used to determine value in AI artworks were combined to answer this question. It was concluded that Generation Z had a neutral attitude towards AI artists and responded rather well to AI art styles of landscape paintings.

ARTISTIC CREATIVITY AND DEVELOPMENT OF AESTHETIC THOUGHT: PHILOSOPHICAL REFLECTION

The research objective. The purpose of the study is to determine the nature, features, functioning mechanisms of artistic creativity, to consider the main stages of the development of aesthetic views. To solve the task, it is necessary to consider the philosophical and aesthetic thought of the past: philosophical searches of thinkers of antiquity, the Middle Ages, the Renaissance, and the New Age, the aesthetic views of German classical idealism, non-classical philosophy and the role of irrational motives in the artistic creativity of the 19th and 20th centuries, modern aesthetic views. A detailed examination of artistic creativity will also contribute to the understanding of the specifics of the artist's creativity in each specific art form, the aesthetic and educational role of artistic works. The statement of basic materials. Aesthetic thought, like world science, has deep roots, traditions of aesthetic analysis have been formed since ancient times. There are various definitions of artistic creativity, but the properties of works of art and their impact on people are considered through the concept of the beautiful, which is central to aesthetic science. Artistic creativity is able to evoke strong feelings, promotes the development of imagination, fantasy, stimulates and directs the creative activity itself. In aesthetic thought, a huge amount of material was collected and various views were expressed regarding the nature and peculiarities of the functioning of artistic creativity. Artistic creativity has always been the center of attention of researchers, and in the future, it will attract attention, contribute to new creative discoveries, and will be admired.

Updating the Standard Definition of Creativity to Account for the Artificial Creativity of AI

ABSTRACT Recent developments in AI compel an update of the “standard definition of creativity.” This short article cites various proposed additions to the standard definition, which point to Surprise, Value, Authenticity, and Intentionality. The latter two are the most useful when distinguishing human from artificial (machine) creativity. Artificial creativity can be contrasted with pseudo-creativity as well as human creativity. Artificial creativity may be the best way to describe the output from AI. Even when that output is original and effective, it lacks the authenticity and intentionality that is apparent in human creativity.

Creativity and Healthy Ageing: Future Research Directions

AbstractThe fact that the world population is ageing brings about societal challenges, but at the same time creates new opportunities for more creative and meaningful lives at older age. In this article, we investigate existing gaps in several fields of research that aim to better understand the role of creativity in later life and its effects on healthy ageing. We present an overview of the diverse definitions of creativity and culture, review current approaches to wellbeing, and summarise findings from research on the effects of creative activities on wellbeing and healthy ageing. In addition, we discuss recent research on the impact of environmental contexts and relations on creative wellbeing. Through identifying the definitions and scope of research on creativity and wellbeing in the lives of older adults, we aim to provide promising future research directions. Our review shows that current research on the impact of artistic and creative activities on wellbeing in later life generally does not consider older adults’ own subjective and relational experiences, and too often ignores elements of the complex environmental conditions in healthy ageing. Therefore, we conclude that there is a sustained need for holistic and relational approaches that address the entanglement of social and natural environments with healthy ageing and creative wellbeing.

Manager’s Professional Creativity as a Practice-Oriented Level of Performing Professional Activities

The aim of our article is: to explain manager’s professional creativity as a practice-oriented level of performing professional activities, taking into attention measurement of creative abilities, intellectual initiative, a cognitive-motivational component of professional creativity, the reflective aspect of self-awareness, the processes of reflection of the activity, transcendence, self-identification and other self-transforming processes. Methods of the research. The following theoretical methods of the research were used to solve the tasks formulated in the article: a categorical method, structural and functional methods, the methods of the analysis, systematization, modeling, generalization. The results of the research. The systematic solution of the problem of professional creativity allows us to define it as an expedient, purposeful theoretical and practical activity of the manager, which is distinguished by novelty, originality, non-standardity in general social, group or individual plans. In the process of professional creativity the realization of the bioenergetic, intellectual, emotional, and physical forces of a person directly leads to a socially significant result. This content of the concept of “professional creativity” can be considered as a starting point for clarifying the essence of the professional creativity of a manager in any field of his/her activity. In contrast to the existing definitions of professional creativity, it fixes the main, basic feature – professional activity that is the most appropriate for a person, which is characterized by novelty both in terms of the content of the activity and in the relation to its results. Conclusions. Therefore, the development of professional creativity as a process of qualitatively new creation becomes possible if a person as a bearer of creative intentions is transformed to the status of a self-creative, self-competent individual. In other words, professional creativity requires the use of considerable personal potential and the ability to fully utilize it. Professional creativity, embedded in the process of professional innovations, innovations in any spheres of professional activity, is realized in the processes of reflection of activity, transcendence, self-identification and other self-transforming processes.