Definition Of Creativity Research Articles

Theoretical approach to the notion of creativity: a systematic review

Introduction: The concept of creativity is a term that has been studied to find an exact definition of it. The study aims is to analyze the various existing definitions of creativity to find a diversity of meanings of the same term. Methodology: The methodology used is based on a systematic review of the literature based on the principles of the PRISMA statement and which refers to the search for research in the Dialnet Plus, Scielo and Scopus databases. Results: The results found show the diversity of existing definitions of creativity and how these can be classified depending on their meaning into person, process, product or environment; focusing therefore these studies on understanding creativity as a mental process that is used for the resolution of a conflict from something original and novel. Conclusions: In short, as a conclusion, it is necessary to point out how the construct of creativity can be understood in different ways depending on the perspective in which it is studied, which leads to the fact that there is no generalized term for creativity and that it is so ambiguous.

Making creativity explicit: A workshop to foster creativity in biomedical science education.

Previously we identified that biomedical science students commonly misunderstand "creativity," mistaking it for "freedom." In the present study, we describe and evaluate a workshop designed to increase students' awareness of creativity as a highly sought-after employability skill and cognitive process applicable to scientific endeavors. To achieve this, we developed and introduced students to a process called the "Diamond Model," utilizing a case study to contextualize and signpost the creative processes of divergent and convergent thinking. This model was introduced to students in the first workshop of a 12-week undergraduate biochemistry unit (subject) within the Bachelor of Biomedical Science at Monash University, Australia. Students completed pre- and post-workshop surveys to gauge the impact of the workshop on their conceptions of creativity and Bloom's taxonomy of learning. In addition, reflective journals were completed by a small subset of students (n = 9) following the workshop. Following the workshop, over 65% of students indicated that their conception of creativity had changed. Thematic analysis of students' survey responses and reflections indicated that this change in the conception of creativity included broadening their definition of creativity, increased awareness of creativity as a skill and science as a creative process, and that creativity can be applied to different areas of life. Students attributed the signposting of creative elements as a contributing factor to their increased awareness. These results indicate the positive impact the workshop and our novel Diamond model had on student conception of creativity, highlighting the importance of explicit communication and signposting in skill development.

Creative vision as a legal category: concept, legal nature, correlation with related categories

The article considers the main views set out in the scientific literature, as well as in judicial practice, regarding the interpretation of the creative component in the creation of objects of intellectual activity. The meaning of creative work in the creation of such objects is analyzed — from pre-revolutionary lawyers to the modern understanding. The author distinguishes between mechanically created objects and creative objects, identifies two criteria that are necessary to recognize the object created by creative way: objective and subjective. The understanding and correlation of such categories as “creativity”, “creative work”, “creative vision”, “single creative idea”, “creative conception” is analyzed. It is the use of such categories that allows the court to establish the protectability of objects of exclusive rights, to distinguish complex and composite objects, as well as objects of independent creation and repetition of someone else’s work. The author of the article comes to the conclusion that for the definition of creativity as one of the components of the legal qualification necessary for the protectability of the object the most comprehensive is the concept of “creative vision”.

Some Approaches Measuring Creativity in the World and in Vietnam

Creativity is the "key" to bringing the world to continuous development because creative thinking helps people discover and invent great works that change the world. In the digital age, people's creative thinking is more appreciated than ever. This article will present the definition of creativity according to four major approaches: process, person, products and press. Next, the research on measuring creativity will be reviewed on the basis of synthesizing studies in the world and in Vietnam. For each approach, the world's most commonly used creativity measures are introduced, the advantages and disadvantages of each approach and creativity measurement tools are discussed and analysed to guide the measurement of creativity in research and practice. Studies measuring creativity in the country are also compiled and evaluated according to these approaches to point out gaps that contribute to the direction of further studies.

Creativity, pursuit and epistemic tradition

This paper revisits the standard definition of scientific creativity in the contemporary philosophical literature. The standard definition of creativity says that there are two necessary, and jointly sufficient, conditions for creativity, novelty and value. This paper proposes to characterize the value condition of creativity in terms of “pursuitworthiness”. The notion of pursuitworthiness, adopted from the recent debate on scientific pursuit in philosophy of science, refers to a form of prospective epistemic worth. It indicates that a certain object (such as a scientific hypothesis) is promising or has the potential to be epistemically fertile in the future, if further investigated. To support the claim that creative scientific instances are, qua creative, valuable in the sense of pursuitworthy, three examples of creative hypotheses taken from the history of the geosciences are introduced: MacCulloch's continuity hypothesis in mid-19th-century geology, Baron et al.‘s phylogenetic hypothesis in contemporary paleontology, and the widely discussed Anthropocene hypothesis.

Creativity: An unsolved enigma

ABSTRACT In post-millennial societies, creativity is heralded as crucial to individuals and societies, valuable for the economy, essential for leadership and vital for the future of work. In our unprecedented times, creativity is a necessary attribute that universities are embracing to ensure future-proof and employable graduates. However, there is a scant literature on how creativity is embraced in the assemblage of higher education. To ascertain if a common definition of creativity is used by higher education institutes, we conducted a systematic literature review that initially identified 2990 papers. Findings confirm that a definition of creativity in higher education does not exist nor is there a commonly cited definition, and several domains (e.g. social and cultural) influence the definition of creativity. Although creativity remains elusive, it is necessary for growth, survival and success. The potential dilemma of an agreed and shared definition of creativity applicable to the heterogeneous demands of higher education is presented

Creative mindsets are malleable: Effects of “born this way” messages and different definitions of creativity

This experimental study examined the joint effects of different definitions (Big-C vs. little-c) and biological attributions of creativity (i.e., biological determinist attribution vs. interactive attribution) on creative mindsets. We randomly assigned 312 participants to one of the four experimental conditions: (a) Big-C, biological determinist attribution, (b) little-c, biological determinist attribution, (c) Big-C, interactive attribution, (d) little-c interactive attribution. Participants in each experimental group read a passage about creativity, which started with a brief definition of creativity (Big C versus little-c), followed by fictitious scientific findings about the causes of creativity. Participants who were led to think about the Big-C definition of creativity tended to endorse higher levels of fixed and lower levels of growth mindsets of creativity, compared with those who were led to think of creativity as everyday activities of ordinary people. Within the Big-C condition, the differences were significantly stronger when individuals read a passage that highlighted the deterministic role of biology in affecting creativity levels, compared with others who read a passage that emphasized the importance of both biological and environmental factors. The experimental manipulations affected creative mindsets only, but not the implicit theories of intelligence. By contrast, the differences between the biological determinist and interactive attribution conditions were not significant in the little-c condition. Our findings suggest that researchers and the media should avoid communicating biological knowledge associated with creativity in deterministic ways. Conceptualizing creativity as something that is achievable in everyday contexts may contribute to the development of a growth mindset of creativity.

Evidencing creativity in educational settings

There is increasing interest amongst educators in transversal domains such a creativity, including not only how students can be supported to develop these skills and attributes, but how their demonstration by students can be more formally recognised. In this context, a project undertaken by the Australian Council for Educational Research (ACER) and funded by the International Baccalaureate Organisation (IB) and Jacobs Foundation focused on how student creativity can be evidenced for the purpose of developing creativity-focused student transcripts for use in IB schools. In this paper, we outline the process undertaken to develop these transcripts as well as the resources necessary to theoretically underpin them and to facilitate their use. This included the development of a definition and conceptual framework for creativity, a ‘creativity thermometer’ self-assessment tool to enable students to ‘take the temperature’ of their creativity, and various other resources designed to assist IB teachers to understand how an intentional focus on creativity might lead to an environment that supports and enables creativity in classrooms. While empirical validation of this suite of resources is yet to be undertaken, the conceptual advances in this project contribute to an enhanced understanding of how support for creativity – and indeed, other transversal domains – can be actualised in schools around the world.

Mathematical Creativity: Student Geometrical Figure Apprehension in Geometry Problem-Solving Using New Auxiliary Elements

<p style="text-align:justify">The definition of creativity among professional mathematicians and the definition of mathematical creativity in the classroom context are significantly different. The purpose of this study was to investigate the relationship between students’ mathematical creativity (i.e., cognitive flexibility) and figure apprehension when solving geometric problems with novel auxiliary features such as straight lines and curved lines. In other words, this study determined if geometry knowledge influenced mathematical creativity (cognitive flexibility) in problem-solving. Grade-12 students participated in the intervention. The high school that is the research topic attempts to equip students with academic abilities and is, except for vocational schools, the most popular form of high school among all other types. Such a school was chosen for the study so that a significant proportion of students in Makassar could be represented. In this study, we discovered a relationship between cognitive flexibility and the geometric ability of pupils while solving problems involving auxiliary lines. This indicates that the usage of auxiliary lines as a reference for developing pupils’ creative thinking skills must be advocated. In addition, good geometric abilities (e.g., visual thinking, geometrical reasoning) will encourage pupils to generate various problem-solving concepts. This finding contributes significantly to future research by focusing on auxiliary lines.</p>

Do Saudi Arabian Educational Policies Determine the Promotion of Creativity with Gifted Students?

Educational policy plays a pivotal role in influencing educational practices in schools and can help promote creativity. In Saudi Arabia, however, few studies have focused on the analysis of these educational policies or on how they promote creativity with gifted students. Given that all schools in Saudi Arabia follow the educational policies issued by the Ministry of Education (MoE) and schools do not have separate educational policies or implementation documents to promote creativity, these policies could have a greater influence than in other countries where guidance is provided to schools on implementing national education policies. This study aimed to understand how the promotion of creativity is expressed for gifted students in Saudi Arabia by analysing educational policies issued by the MoE. To inform and guide the analysing of data, a 3Ps framework (Press, Process, and Person) was synthesised and used in the study. The findings identified two major gaps in the Saudi educational documents regarding gifted education for secondary school students. The first gap was the lack of a clear definition of creativity and giftedness, the relationship between creativity and giftedness, and the contradictions in defining creativity and giftedness. The second gap in these documents was a lack of detail about implementation mechanisms that could benefit teachers in schools. This study, therefore, suggests adding another (P) to the 3Ps framework for improvement, that is, promoting creativity in the educational context needs to include Policy, leading to four embedded circles of (P): Policy, Press, Process, and Person.

Toward Defining and Assessing Creativity in Sandbox Games

ABSTRACT Digital sandbox games such as Minecraft can be used to assess and support creativity. Doing so, however, requires an understanding of what is deemed creative in this game context. One approach is to understand how Minecrafters describe creativity in their communities, and how much those descriptions overlap with the established definitions of creativity in the literature. Based on prior work, we used a modified rubric for assessing a creative product in this study. We investigated the evaluation of a total of 52 Minecraft builds (i.e., structures that are created by the Minecrafters) from five YouTube videos. In addition to qualitatively coding the video transcripts, we also used natural language processing (NLP) for automatic coding of our data at scale. Our qualitative analysis of the YouTube transcripts revealed evidence for all but one dimension (i.e., humor) of the creativity rubric we used in our dataset. In addition, two new dimensions of creativity emerged in our qualitative coding process (i.e., realism and effort). Finally, the NLP model that we developed achieved about 80% accuracy in distinguishing the sentences that showed evidence of creativity. This study provides insights for research and educational practices of creativity in Minecraft or similar game or simulation environments.

Творческий потенциал систем искусственного интеллекта в контексте идеи нового просвещения

The modern world is confronted with a series of global problems, exacerbated by technological advancements. In this context, concerns arise in the public consciousness regarding the potential of artificial intelligence (AI) to surpass humans in intellectual and creative activities. The topic of AI creativity becomes pertinent and sparks debates within the scientific community regarding its creative potential. In response to these challenges, members of the Club of Rome in 2018 propose the concept of a new Enlightenment and the principle of balance as a response to the demands of technological development. These ideas underscore the need for a balanced approach to technical progress, taking into account global values and ethical principles. I explore the definitions of creativity and AI, formulate criteria for assessing creativity, and analyse recent achievements in modelling creative processes in AI. I also focus on the utilisation of various algorithms for implementing diverse forms of creative activities, including text, image and music generation. Additionally, I present diverse opinions of researchers regarding creativity in AI. To systematise these perspectives, I propose a classification which allows their ranking. The conclusion emphasises that currently the issue of evaluating the creative potential of AI lacks a definitive solution, underscoring the relevance of further research. The future outlook may alter this situation, prompting the necessity to focus on predicting potential consequences of technological developments and developing mechanisms for controlling AI activities; humans, after all, bear responsibility for AI actions. Such an approach aligns with the concept of a new Enlightenment which seeks a balance between technological advancements and the preservation of global harmony.

DeepCreativity: measuring creativity with deep learning techniques

Measuring machine creativity is one of the most fascinating challenges in Artificial Intelligence. This paper explores the possibility of using generative learning techniques for automatic assessment of creativity. The proposed solution does not involve human judgement, it is modular and of general applicability. We introduce a new measure, namely DeepCreativity, based on Margaret Boden’s definition of creativity as composed by value, novelty and surprise. We evaluate our methodology (and related measure) considering a case study, i.e., the generation of 19th century American poetry, showing its effectiveness and expressiveness.

Where is the When of Creativity?: Specifying the Temporal Dimension of the Four Cs of Creativity

Creativity researchers typically focus on the who, what, why, where, and how of creativity. A noticeable omission is when. The when is not completely ignored in the field; it surfaces in developmental and evolutionary perspectives, the study of eminent creators, and other avenues of scholarship. In this paper, we assert that for the concept of when to be fully addressed researchers need to more actively consider the past, present, and future and how they interact. More specifically, we propose an expanded way of thinking about the when of creativity by introducing a temporal dimension to the definition of creativity. Our definition offers a broader lens for researchers to consider the temporal dimensions of originality, meaningfulness, and impact of creativity. After introducing our definition and describing its unique features, we discuss how researchers can use our definition to trace creative phenomena across a full temporal trajectory and thereby provide more nuanced and dynamic representation of how the features of creativity change across time and contexts. Finally, we apply this temporal definition to the Four Cs Model of Creativity to illustrate how considering the when can help resolve lingering questions about this perspective.

On the Diagnosis and Development of Creativity Based on the Ontology of the Game

The subject of the study is to understand the phenomenon of creativity, and the purpose is to provide recommendations for its diagnosis and development of creative abilities. Creativity is currently one of the most sought-after skills according to the forecasts of analysts of the World Economic Forum. The methodological basis of the research is the theoretical and practical results known in science in the psychology of creativity and the story-game concept of reality. Particular attention is paid to the identification in the works on the definition and diagnosis of creativity of their ontological connection with the story-game paradigm, which also intersects meaningfully with studies on situational semantics. A comparative and critical analysis of the basic concepts in these approaches is carried out. The main conclusions of the study are as follows. When teaching any subject, it is useful to diagnose the type of thinking of the audience, periodically offer various tasks that require little time, but develop analytical and creative thinking at the same time, requiring the use of broad categories, synthetics of perception of the environment and a high level of cognitive flexibility, the ability to understand and form metaphors, free association of meanings, interpretations of any text, picture, phenomenon; that is, in fact, it is teaching a creative and playful attitude to various problems. The story-game approach, both in training and in any field of activity, makes it possible to optimally maintain a balance between following the patterns – the "rules of the games" of nature and society and original, creative behavior.

Тhe development of personal creativity as a scientific and practical problem

The modern society needs individuals who can create something new, who can solve assigned tasks creatively. Thus, along with the acquisition of knowledge, through education students develop their creative abilities. The concept of creativity for the most part refers to the areas of psychology, pedagogics, and art. However, the concept is often found in other fields as well. The problem of creativity was considered by many foreign and domestic scientists in the field of psychology and pedagogics. In these sciences, creativity is defined as a complex, ambiguous phenomenon. Currently, there is no single generally accepted definition of creativity. There are many different views on the concept of creativity, its content and structure. Keywords: creativity, education, creative abilities, creative competence, creative person.

How Can Contextual Variables Influence Creative Thinking? Contributions from the Optimal‐Level of Arousal Model

ABSTRACTMore and more research is showing how different environments can lead to greater or lower creative skills. The purpose of this concept paper is to introduce a novel application of the optimal‐level of arousal model that could address inconsistencies present in the literature. After introducing possible definitions of creativity, I discuss the optimal‐level of arousal theory and how considering the “arousal” and “mood changing” potentials of contexts could enlighten findings related to inter‐individual differences, domain‐specificities, developmental aspects, and gender differences. Among other things, this model will clarify the factors influencing motivation to display creative skills which could improve the external validity of creativity studies. Examples of the kinds of hypotheses that can be tested by applying this model in future creative studies will also be proposed.

Factor structure of intelligence and divergent thinking subtests: A registered report.

Psychologists have investigated creativity for 70 years, and it is now seen as being an important construct, both scientifically and because of its practical value to society. However, several fundamental unresolved problems persist, including a suitable definition of creativity and the ability of psychometric tests to measure divergent thinking—an important component of creativity—in a way that aligns with theory. It is this latter point that this registered report is designed to address. We administered two divergent thinking tests (the verbal and figural versions of the Torrance Tests of Creative Thinking; TTCT) with an intelligence test (the International Cognitive Ability Resource test; ICAR). We then subjected the subscores from these tests to confirmatory factor analysis to examine which of nine theoretically plausible models best fits the data. Results show that none of the pre-registered models fit the data well, an ambiguous result that leaves unanswered the question of whether intelligence and divergent thinking tests measure the same construct. Exploratory (i.e., not pre-registered) measurement models of each test separately shows that the TTCT-F may not measure a coherent, unitary construct—leading to model misspecification when TTCT-F subtests were included in larger models. This study was conducted in accordance with all open science practices, including pre-registration, open data and syntax, and open materials (with the exception of copyrighted and confidential test stimuli). Materials are available at https://osf.io/8rpfz/.

Conceptualization of the problem of creativity in the context of keystone fundamentals of cultural analysis

The aim of the work is to investigate the problem of creativity based on the potential of cultural analysis. The methodology of the research is based on general scientific principles, namely, terminological and systemic. The aim and objectives of the publication led to the usage of such research methods as analysis, synthesis, generalization, which made it possible to clarify the meaning of a number of concepts and terms. Scientific novelty. Emphasis is made on the importance of interdisciplinarity, and personalization as factors that “anatomize” creativity, highlighting such structural element as “artistic creativity”, deepening in this way, the idea of a creative personality that can not only create but also change the paradigm of art. The idea of “cultural turn” is involved, in the logic of which the idea of creativity is corrected. Conclusions. Based on the interpretation of the phenomenon “creativity - artistic creativity” and taking into account the experience of Ukrainian experts, a new definition of creativity is proposed: “Creativity is a purposeful activity to create fundamentally new spiritual and material values that have both universal and national historical and cultural significance”. The stated definition is based on an interdisciplinary basis and outlines areas for further theoretical investigation in the sphere of cultural knowledge, as it allows to identify topics that need deep study in the context of factors of cultural analysis. Key words: creativity, cultural analysis, “cultural turn”, “negative psychology”, avant-garde, purposeful activity, “fundamentally new”, experiment.

Creativity: A Conscious Imaginative Approach

This paper explores psychoanalytic definitions of creativity and presents a creatively relational approach working with clients presenting with cultural issues and illustrates this with a clinical example. The author explores her personal and historical contribution to the countertransferential elements of this article using the autobiographical and ethnographical to examine the emergence of and dependence on creativity. Linking the arts and psychoanalysis, she elucidates the relationship between what is personal and what is political and asks the audience as they read to keep considering what might be personal for them. She reviews concepts of Winnicott and Klein's creative in psychological terms; that of an active demonstration of the ego being different from the creative as the production of an object, the commonality being the creation of a new stimulus. She considers a case example from a socio-genetic perspective to demonstrate the creative as a response to trauma. Holding the view that an urgent need and therapeutic responsibility exists for new creative measures she concludes that it is in the articulation of the therapist's unconscious psychic reality where the potential lies to actively acknowledge and avoid the deepening of existing societal fissures.