Systems Model Of Creativity Research Articles

Not “what”, but “where is creativity?”: towards a relational-materialist approach to generative AI

AbstractThe recent emergence of generative AI software as viable tools for use in the cultural and creative industries has sparked debates about the potential for “creativity” to be automated and “augmented” by algorithmic machines. Such discussions, however, begin from an ontological position, attempting to define creativity by either falling prey to universalism (i.e. “creativity is X”) or reductionism (i.e. “only humans can be truly creative” or “human creativity will be fully replaced by creative machines”). Furthermore, such an approach evades addressing the real and material impacts of AI on creative labour in these industries. This article thus offers more expansive methodological and conceptual approaches to the recent hype on generative AI. By combining (Csikszentmihalyi, The systems model of creativity, Springer, Dordrecht, 2014) systems view of creativity, in which we emphasise the shift from “what” to “where” is creativity, with (Lievrouw, Media technologies, The MIT Press, 2014) relational-materialist theory of “mediation”, we argue that the study of “creativity” in the context of generative AI must be attentive to the interactions between technologies, practices, and social arrangements. When exploring the relational space between these elements, three core concepts become pertinent: creative labour, automation, and distributed agency. Critiquing “creativity” through these conceptual lenses allows us to re-situate the use of generative AI within discourses of labour in post-industrial capitalism and brings us to a conceptualisation of creativity that privileges neither the human user nor machine algorithm but instead emphasises a relational and distributed form of agency.

CREATIVITY AND THE DOCTOR OF PHILOSOPHY: THE CASE FOR CREATIVITY EDUCATION WITHIN DOCTORAL PROGRAMS

Doctoral education is an increasingly prevalent part of the worldwide higher education landscape. Although there are variations in how programs are constructed and delivered, there is general agreement that evidence of creativity is expected in the final thesis. Despite the significant attention the supervisory process has received in the literature, students’ views on creativity as it applies to their candidature have not been extensively explored. This article reports on interviews with a sample of 12 current doctoral students in the areas of the arts, social sciences, and education from the theoretical perspective of the systems model of creativity. Interview participants were invited to reflect on the concept of creativity, and the factors which support or constrain their potential to be creative. The findings reveal that on reflection, students are able to identify the creative elements of their work, however the findings also indicate that creativity education should be given greater focus in doctoral programs, in order to embed this important concept and process to support students’ learning journey.

AI and the social construction of creativity

Artificial Intelligence (AI) encroaches on new terrains of human activity by dint of its efficacy and an expanding ability to autonomously incorporate information from many disciplines and sources. In this paper, we focus specifically on how AI affects the communicative practices associated with creativity. AI has the capacity to reshape discipline and taste communities by providing new content that competes with human production and by mediating between human activity and information sources. To frame these issues, we turn to the influential systems model of creativity devised by Mihaly Csikszentmihalyi (1996) , which Csikszentmihalyi and Daniel Gruner (2018) recently extended to incorporate AI, redubbing it Creativity 4.0. The model assesses how AI affects the social structure of creative practice without overly accentuating the similarity between humans and AI, or questioning whether computational devices will replace creative jobs. The paper examines Gruner and Csikszentmihalyi’s revised systems model, arguing that it does not sufficiently take into account the variety of ways that AI can be incorporated into creative practice. Prompted by a theoretical reflection on the nature of the model and the emerging features of AI, we propose a new version of the model that highlights how embedded AIs play a key role in filtering and gatekeeping, as well as the importance of generative systems in informing creative practice. We propose that any discussion of AI and the future of creative practice should look at where and how AI supported technologies are used. We examine how AI can reduce and shape the qualitative diversity of sources of inspiration drawn into the creative process, with the associated technological biases, as well as provide an emergent platform for the development of novel ideas.

#foodporn: examining Instagram food influencers through the systems model of creativity

ABSTRACT Social media influencers (SMIs) are having a profound impact on how diners seek information about culinary establishments and are redefining how the marketing industry promotes restaurants and brands. Although research has confirmed the value of an SMI’s electronic word of mouth (eWOM) endorsement on brand recognition and purchase intention, there is limited understanding of the creative practice of these individuals. To address this gap, this research examines Instagram food influencers in Australia, using the systems model of creativity to frame the research. This research found that as an individual agent in a system, Instagram food influencers are impacted by their personal experiences, their immersion in cultural domains, their understanding of the field’s preferences and engagement with its social system when creating content. These findings indicate that the systems model of creativity is a sound framework to understand the creative practice of SMIs.

Systemic Creativities in Sustainability and Social Innovation Education

The aim of this paper is to aid educators in sustainability or social innovation to make sense of their creativity. We use a systems model of creativity (Csikszentmihalyi 1988, 1996, 1999) as an enquiring device to tease out issues that influence creativity within these realms. Data from semi-structured interviews with senior and junior educators in two geographical locations lead us to elaborate two systems models to reflect creativity. These models portray creativity as emerging from the alignment of and connections between creators, domains and field elements as suggested by Csikszentmihalyi. However, we also identify some intermediary or absent connections between the model elements which deserve further attention, as their uncritical pursuit could potentially exacerbate exclusion or marginalisation of junior educators’ personal values and interests. Therefore, critically and creatively informed learning could be better cultivated in these realms. This and other insights could have important implications for how creativity and its nurturing in education could be advanced in the long run.

A Window Into the Bright Side of Psychology: Interview With Mihaly Csikszentmihalyi.

Mihaly Csikszentmihalyi is one of the most eminent psychologists of the modern era. His ideas, such as flow, or the systems model of creativity, have inspired numerous studies, theoretical analyses as well as pedagogic and psychological interventions. Alongside Martin Seligman, he founded positive psychology and continues to work to promote it. In this interview, he shares the stories behind his scientific interests, sources of scientific ideas and the process of promoting the concepts he had written about. He also shares his thoughts about academic work performance.

Creativity identity in Colombia: the advertising creatives’ perspective

ABSTRACTThis exploratory paper analyses the way in which context influences advertising creativity practices. To establish the role of context, this paper utilized both Social Identity theory and Systems Model of Creativity. Twenty four in-depth interviews with top creative directors of the main advertising agencies in Colombia (Latin America) were collected. Findings suggest the Colombian creative identity is under construction. This identity is influenced by the broader Colombian social context including the unique business characteristics of the country's communications industry, the level of economic hardship experienced by the population, and the actual social conflict lived situation. These findings extend the Systems Model of Creativity to include social hardships and industry level characteristics. Several practical implications not only in relation to Colombia, but also the broader global advertising industry are presented.

Constructing Creativity Indicator and Systematical Creativity Scale for Interior Design Students in College Education

This study aims to develop an assessment tool regarding creativity of college students from interior design related majors. According to Csikszentmihalyi’s systems model of creativity, this study integrates affecting factors of creativity from person, society, and culture system as its research foundation. Later, it invites 17 winning students from national interior design competition and 19 teachers with lavish teaching experiences for initial interview. After interview analysis, this study comes up with 156 creativity indicators. An expert meeting with 15 scholars and experts is followed to extract and narrow the 156 indicators to 130. The study then conducts questionnaire to 30 experts with over seven years of teaching experiences using the 130 indicators. Analysis from expert questionnaire shows that 124 indicators are filtered and selected for the final creativity assessment tool. The study results also point out that the top three dimensions that affect students’ creativity are ability, thinking, and personality accordingly, while the bottom three are family, student club, and motivation. Regarding the top three influential indicators of creativity are nimble usage of knowledge, passionate about innovation, and love to image. The results of this study can be used as references for the development of creativity scale and the implement of school creativity teaching.

THE MASTERING PROCESS AND THE SYSTEMS MODEL OF CREATIVITY

Finally in this issue Phillip McIntyre applies Csikszentmihalyi’s systems model of creativity to the collaborative, multi-contributor aspect of the creation and production of popular music, with a focus on the mastering process. Popular music matters, and here it matters for key personnel involved in its creation, not only as an artform but also a livelihood. Through pivotal interviews with key historical figures in Australia, this article represents an important case study for the history of popular music in Australia and its place in the international industry.

Creative Behavior, Motivation, Environment and Culture: The Building of a Systems Model

AbstractWith the exception of research examining the productivity of teams, the empirical study of creativity was until recently almost exclusively focused at the level of the individual creator. Investigators and theorists typically chose to decontextualize the creative process and failed to include a consideration of anyone or anything beyond the person doing the creating. The last decade has seen a long overdue proliferation of research focused on the creative milieu and the myriad of environmental factors that impact creators and serve to boost or inhibit their creativity of performance. In particular, the increasing globalization of corporate, entrepreneurial, and educational environments has underscored the need to take into consideration the impact of cultural forces. This article chronicles the construction of a systems model of creativity designed to incorporate a consideration of creative behavior at multiple levels of analysis. Over and above an examination of individual difference variables, the argument is made that creativity must be explored at the “little‐c” cultural level (e.g., the culture of the classroom or workplace), at the societal level, and at the “Big‐C” cultural level (i.e., culture writ large). An application of this systems approach is made to classroom‐based data collected in the U.S. and Saudi Arabia.

패션디자이너의 창의성 분석 모형 개발 - 칙센트미하이와 가드너의 관점을 중심으로 -

This paper aims at developing an analytic model for examining fashion designer's creativity. This research developed the analytic model of fashion designer's creativity adding the specificity of the fashion area to The Systems Model of Creativity by Csikszentmihalyi & Gardener. The analytic model of fashion designer's creativity is composed of 3 elements: the fashion designer, the fashion domain and the fashion field. The detail factors to be examined by each of the elements are as follows. In the dimension of an individual fashion designer, detail factors influencing the manifestation of creativity contain cognitive and non-cognitive abilities (i.e: personality traits, erotic capital) and socio-psychological factors (i.e: family condition, sexual identity, marital status, health). In the dimension of the fashion domain, creativity factors are composed of socio-cultural contexts and paradigms. In the dimension of the fashion field, detail factors refer to a mentor, supporter, competitor and a follower. Fashion designer's creativity manifests itself when detail factors of an individual fashion designer, fashion domain and field interact with each other dynamically.

JOURNALISTS ON JOURNALISM

Print journalism, particularly hard news, is a form of writing that is seldom thought of as a creative practice. This situation may result from the idea that the cultural and social structures within which journalists work are often seen as constraints on their professional practice. Despite this common understanding, if a rationalist approach to creativity is used, it can be demonstrated that the structures of journalism practice and the knowledge of these structures not only constrain but also enable journalists to produce their work. Using the systems model of creativity developed by Mihaly Csikszentmihalyi, this paper provides evidence that by investigating print journalism within a rationalist framework, print journalists of any genre can be seen to be producers of creative cultural texts. Analysis of the literature demonstrates that by marrying theories and definitions from creativity research with literature from the domain of print journalism, creativity can be identified within the print journalism domain. Analysis of semi-structured interviews conducted with print journalists in Australia and observation carried out in Australian newsrooms demonstrates that journalists are very aware of the devices used, and the requirements of the field, to produce texts in their professional practice that are novel and appropriate, or creative.

Accommodating creative documentary practice within a revised systems model of creativity

ABSTRACTPractice-led research using person-centred theories of creativity is being challenged by confluence approaches to creativity. ‘The systems model of creativity’ (Csikszentmihalyi 1999: 315) represents one confluence theory, which re-conceptualizes creativity by immersing the agent in a cultural and social system that enables and constrains creative practice. Using the systems model as a theoretical foundation, this research examines my creative documentary practice during the production of an oral history documentary. Using Fort Scratchley, a linear 53-minute documentary, and an online multimedia companion, Fort Scratchley a Living History (www.fortscratchley.org), both detail the military and maritime history of Fort Scratchley, at Newcastle, Australia. Critical reflections on my embodiment and immersion in the content of the domains and fields of Fort Scratchley and documentary practice confirm the appropriateness of the systems model for creative practice research. However, an updated version of the model was generated to provide a more effective representation of how a practitioner internalizes their creative system.

A Cinematic Lens on Talent Development in Piano Prodigies: Considerations for Positive Psychology

This article examines talent development in piano prodigies through a case study of the life of Australian pianist David Helfgott as depicted in the film Shine. Utilizing theory from positive psychology, especially Csikszentmihalyi’s flow theory of motivation and optimal experience, and his sociocultural systems model of creativity, Helfgott’s development as a musical prodigy, his subsequent psychological challenges, and his ultimate psychological resilience are detailed. This case of Helfgott serves as a cinematic lens through which to explore optimal talent development more broadly. Thus, this article also makes refer- ence to other cinematic depictions of prodigies, as well as to autobiographical and biographical source materials from other talented musicians. Implications for the optimal development of talented musicians are discussed.

Rethinking the creative process: The systems model of creativity applied to popular songwriting

This article addresses innovation and creativity in compositional practice and music production by focusing on the creative processes exemplified in popular songwriting. It does so using a cross-disciplinary approach that encompasses the perspectives of psychological, sociological and popular music studies. The research on which the article is based is an ethnographic study of contemporary western popular music songwriting using participant observation, artefact and document analysis, and an extensive set of interviews with local, national- and international-level songwriters. It examines one confluence model of creativity developed within the discipline of psychology at Chicago University, that is, the systems model of creativity that the author considers to be similar in some significant and primary ways to the ideas on cultural production developed by the empirical sociologist Pierre Bourdieu. The study concludes that the author/genius model of creativity is highly problematic and provides evidence to suggest that the creativity involved in songwriting comes about from the confluence of a domain of knowledge, a field or a social organization that understands and uses the domain of knowledge and an individual person who makes novel variations to domain information.

The ‘creative treatment of actuality’: Rationalizing and reconceptualizing the notion of creativity for documentary practice

ABSTRACTGrierson defined documentary as ‘the creative treatment of actuality’. The aim of this article is to add to existing discussions of this phrase. Attention will be given to documentary as art, and the Griersonian notion of ‘artist’. An examination of the relationship between art, creativity and documentary production and consumption will rationalize and reconceptualize creativity for documentary practice. This reconceptualization of documentary creativity will result from three theoretical perspectives. First, the systems model of creativity presents a holistic view of the creative documentary system at work. Next, the staged creative process theories will be paralleled to the documentary production process. The final theory presents group creativity which accounts for collaborative documentary work. In concluding, a brief discussion on the appropriateness of creativity theories for documentary practice will be presented.

Creativity and Cultural Production: A Study of Contemporary Western Popular Music Songwriting

The contemporary Western popular music industry tends to work within a paradigm of creativity that runs counter to current academic research. This research into creativity can be categorized as falling along a continuum from individual to contextual responsibility and ranges across a number of disciplines including psychology, sociology, linguistics, philosophy, and communication and media studies. However, it is the contention of this article that it is the systems model of creativity in particular, partially coupled with the similarly complex approach to cultural production presented by Pierre Bourdieu, which provides the most useful working platform to investigate the idea of creativity. Through the use of an ethnographic research methodology, this article investigates the systems model of creativity as it applies to contemporary Western popular music songwriting. It concludes that a contemporary Western songwriter's ability to make choices, and therefore be creative, is both circumscribed and facilitated by his or her knowledge of the domain of contemporary Western popular music and his or her access to, and knowledge of, the field that holds this knowledge that allows the conclusion, at the more philosophical level, that these ideas can also be presented as an account of the interdependence of agency and structure within the workings of the creative system.

Paul McCartney and the creation of ‘Yesterday’: the systems model in operation

By applying Mihaly Csikszentmihalyi's systems model of creativity, evidence can be presented to claim that despite ‘Yesterday’s promotion as a Romantic piece of creative activity, perpetuating the myth of the mystically inspired freely expressive artist, the creation of ‘Yesterday’ can be seen as a more considered and rational process than otherwise mythologised. The definition of creativity assumes an activity whereby products, processes and ideas are generated from antecedent conditions by the agency of someone, whose knowledge to do so comes from somewhere and the resultant novel variation is seen as a valued addition to the store of human knowledge. As an example of a system at work, the song's creation satisfies more closely the characteristics ascribed to the rationalist approach to creativity. From the evidence, it can be argued that creativity is a dynamic system that works on a larger scale than that of the sole individual posited by the Romantic conception and concomitant understandings. It, instead, incorporates the actions of the person, in this case Paul McCartney, within the systemic relationships of the field and domain. These three components, person, domain and field, comprise a system with circular causality where the individual, the social organisation they create within, and the symbol system they use are all equally important and interdependent in producing creative products. ‘Yesterday’ is but one creative product of this system at work.