Creative Press

Creative Press
The creative process occurs within contexts rather than in a
void (Williams & Yang, 1999)
Creativity cannot take place without input from the external
world (Arieti, 1976)
Creative potential can be facilitated or inhibited by a certain

environment (Lubart, 1999)
Creative Press
Today we will be exploring environments that may or may not
facilitate creativity including:

The Social Environment
The Work Environment
The Personal Environment
Social Environment – The Lonely Genius

From a developmental psychology perspective, experiencing
isolation and social rejection in childhood may foster creativity
in children who cope with stressful interpersonal situations by
retreating into a rich fantasy life (Olszewski‐ Kubilius, 2000).
Alternatively, it may be that isolation imposed by circumstance
does not necessarily facilitate creativity, but rather that creative
individuals have a greater internal need for time alone (Ochse,
1991)
The Intrinsic Motivation Hypothesis of Creativity posits “the
intrinsically motivated state is conducive to creativity, whereas
the extrinsically motivated state is detrimental” (Amabile, 1983,
p.76)
Social Environment – The Supported Creative

An environment that is tolerant of new ideas and offers
feedback that does not discourage the individual, but rather
helps direct him or her to refine new ideas (Sternberg & Lubart,
1992).
Amabile (2001) proposed that certain types of extrinsic
motivators, which give support to the development of
competence and work involvement, complement intrinsic
motivation through a process that she denominates motivational
synergy.
Sternberg & Lubart, 1995 investigated motivators from
professionals that have given creative contributions in several
areas. Extrinsic motivators included the wish to obtain domain
on a given problem, to be recognized by peers, to have self-
esteem, to reach immortality and to discover an underlying
order in things.

Creativity in the Workplace
Creativity is an essential resource for corporate competitive
advantage (McShane, Olekalns and Travaglione, 2013)
Creativity is often “blocked” in a variety of ways, including

deep-seated beliefs about the world (Gurteen, 1998).
The Work Environment – Facilitating Creativity
Creativity, like a delicate flower, needs an ideal atmosphere to
flourish (Norins, 1990)
The Work Environment Inventory (Amabile & Griskiewicz,
1989) identifies features of organizations that promote
creativity

Considerable freedom regarding the means available to
complete the tasks necessary to reach the goals set
Sufficient resources, including facilities and information, as
well as time to explore, mature and develop ideas,
Challenging work, by the accomplishment of tasks that are
neither too easy nor have
a degree of difficulty perceived as an impediment to success in
performing the task.
Recognition and support by the top leaders in the organization.
Groups/working teams characterized by diversity, with
employees that have different reference structures, motivated by
the tasks under their responsibility, willing to cooperate and
share knowledge.
Supervisors’ encouragement, with recognition of the employees’
new ideas, efforts and successess
The Work Environment – Facilitating Creativity
10 Factors for creativity in the organizational environment were

identified
by Bruno-Faria and Alencar (1996; Alencar & Bruno-Faria,
1997)
Challenges
Challenging tasks or missions that require creative ideas,
Freedom and Autonomy
Freedom to decide how to perform tasks, with autonomy to take
decisions when necessary.
Manager’s support
Openness, flexibility, respect for divergent opinions, and
encouragement of new ideas on the part of the manager.

Organizational structure
Limited number of hierarchies, flexible norms, power
decentralization
Organization support
Recognition and support of the creative work in the
organization; availability of mechanisms to develop new ideas,
Physical environment
An environment described as agreeable, with adequate
illumination, furniture, space, and ventilation.
Salaries and Benefits
Adequate remuneration; a policy of benefits and reward system
that encourages innovative ideas.
Technological and material resources
Availability of equipment and materials that facilitate the
developmental processes of new ideas
Training
Availability of training to all staff with the purpose of
developing their creative potential and facilitating the process
of innovation
Work team support
Dialogue and reliance among the work group; interpersonal
relationships among team members that favor and stimulate new

ideas.
The Work Environment – Inhibiting Creativity
Amabile (1999) has identified several factors that might inhibit
creativity in the workplace, including:

A conservative, low risk attitude among top management
Lack of autonomy on how to do the job tasks or reach a certain
goal
An inappropriate evaluation system without feedback on the
tasks done and unrealistic expectations
insufficient resources, both in terms of equipment as well as
people;
Time pressure, having too much to do in too little time
Excessive emphasis on the status quo, with reluctance of
managers and employees to changing the way of doing tasks and
an unwillingness to take risks
Competition between teams and employees, which encourages a
defensive attitude
Poor project management, with the presence of managers who
are unable to establish clear goals
An inadequate communication system.

The Work Environment – Inhibiting Creativity
Blecher (2005) interviewed 15 innovation consultants on the
enemies to creativity in organizations with the following
results:
Bureaucracy

Risk aversion
Internal disputes
Lack of resources
Deficient communication
Personal Environment
Lighting Effect (Steidle and Werth, 2013)
Priming darkness and dim light can encourage freedom of
thought; downplaying distractions and promoting focus on
‘internal reflections’
darkness elicits a feeling of being free from constraints and
triggers a risky, explorative processing style
Clutter Effect (Kathleen Vohs, 2014)
Reducing clutter may help focus
Disorder seems to prime us for breaking from convention as
well as performance motivations
Alcohol Effect (Lapp, Collins, Izzo, 1994)
No pharmacological effect of alcohol on the creative
combinations that subjects produced. However, the novelty and
structural recombination were enhanced when subjects thought
they had consumed alcohol, whether or not they had actually
done so.

The Ideal Creative Environment?
There is research that suggests some excellent ways of
improving the work environment to facilitate creativity in the
workplace.
Research along with historical events, also highlight
environments that could facilitate more creativity, more
openness to new ideas as well as sharing and collaborative
creativity
In addition, perhaps on a more personal level, each person could
be said to have their own unique creative footprint: what works
for one person may not work for another.

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1
2
Empirical research
Tenea Lewis
SOCW 6301
Locating an Empirical Research Article
July 5,2021
The need of subjective validation in human services
fundamental leadership is becoming more apparent. Subjective
confirmation associations (QES) now play an important role in
the activities of global coordinated efforts, such as the
Cochrane Collaboration, as a component of the direction
generation practices of national associations, such as the UK
National Health foundation Outstanding quality (NICE) and the
US Bureau for Accreditation Of healthcare (AHRQ), and as an
honest to be Incrementally, QES are seen as a potential tool for

moving the orderly audit "teaching" from "what occurs" to
"what occurs." Turning points in the development of the QES
process may be found all over the place. They include the
release of the primary system for subjectively amalgam
(conceptual) in 1988, the official recognition of the Johnson
Collaboration's Quantification Methods Group in 2006, and the
publication of the main Cochrane QES in 2013 (Booth, 2012).
According to data gathered for the annual Theory Building of
Research Methods in Spain (ESQUIRE) workshop in 2015,
between 40 and 70 contextual unions are divided up every
month across a wide range of orders, with 2–5 methodological
citations on subjective blend appearing within the same time
frame. The variety of research methods may be overwhelming
for novice researchers, making it difficult to choose a suitable
design of the research for a given topic. The purpose of this
article is to show novice and expert researchers with limited
experience in phenomenology how to create a comprehensive
design, replete with an explanation of how it was executed
(Kiteley, 2014).
After seven years of research procedure study (including formal
study, short courses, and self-study), I arrived at the conclusion
that only one needs a broad understanding of a wide range of
scientific methodologies in order to choose the most innovative
strategy, or combination of designs, for a given study. To carry
out excellent research practice, one must also conduct a
comprehensive examination of the methodology(ies) selected.
Authors often dispute one another, requiring researchers to
make well-informed decisions, communicate those decisions,
and back them up with evidence (In Ritchie, 2014).
I intended to do study on a particular element of teaching,
namely professional and non-education, which I discovered to
be often understood or badly practiced having an experience and
case study. After some study, I decided on phenomenology as an
appropriate exploratory research approach that would avoid or
limit my personal biases. After deciding on a study strategy, I
discovered that the Rand Afrikaner University library had a

psychology collection of over 250 volumes. The majority of the
books are in the philosophy section, with the rest in psychology,
literature/languages, education, and sociology. However, I had a
lot of trouble locating literature that gave me instructions on
how to do phenomenological research. As a result, although I do
not consider this page official, I provide it as a suggestion to
save future scholars some time and effort (Booth, 2012).
This article begins with a short overview of phenomenology as a
methodological approach, followed by a summary of findings as
it developed for a specific study. This covers the study's
participants' locations, the data collection and storage
techniques utilized, and the data's exploitation. An informed
consent agreement is also provided, as well as an illustration of
the different exploitation stages of one of the interviews.
Because the purpose of the article is to demonstrate a
phenomenological research, the actual study's literature review
is omitted, and just a summary of the results is provided. The
following is a brief summary of phenomenology (In Ritchie,
2014).
Chapter Twenty of the Cochrane Handbook, written by
professional and none of the Cochrane Quantitative Methods
Group, is the most often cited QES methodological direction.
This was the first archive to recognize the Collaboration's
potentially important role in subjective research. Due to space
constraints, the looking section was limited to three paragraphs,
which covered the value of circuits, the importance of
supplemental searching systems, an early attempt to emphasize
the need of testing options, and a brief phrase on disclosing
measures. The Cochrane Scientific Methods Group provided
further guidance through the Group's website after receiving a
strategy permit and subsequent methodological summit in
Adelaide. Part 3 of this supplemental instruction on secure
searching for considers the Cochrane Handbook's trial -focused
part on seeking (Booth, 2012).
The Center for Assessments and Dissemination began shifting
its focus on conducting efficient questionnaires about this

period. Surprisingly, this initial plan included a part on
subjective quantitative surveys. Section 6, "Fusing subjective
confirmations in or near by sufficiency audits," was 20 pages
long and included a little more than two pages labeled
"distinguishing evidence of the proof." A description of
investigation systems, short sections on evaluating methods and
additional methodologies, a lengthy discussion of pursuing
procedures and channels, and a single line on disclosing
benchmarks were among the topics covered (In Ritchie, 2014).
Despite significant advancements in QES technique, numerous
gaps need to be filled. While this is true for all stages of the
survey process, the location of gazing toward the beginning
makes it a unique need. Our understanding of scanning for
sensory research is based mostly on habit and practice. There
aren't many experimental studies that teach data recovery skills.
As a result, we have a faulty knowledge of the optimum
recovery terms, a fragmentary perspective of the personal yield
of different sources, and, in particular, a fragmented knowledge
of the appropriateness of various testing methods as they
identify with distinct types of QES.
This methodical audit was put up to assist the writer and other
Cochrane Quantitative and Implementing Methods Correlation
matrices in developing updated guidelines on writing for
subjective confirmation. The co-conveners of the Group have
developed a distribution strategy for additional guidance,
including a section on looking, in connection with a
forthcoming actual update of the Group's portion in the
Cochrane Handbook. The pending directive is not copied in this
methodical evaluation. It keeps track of the evidence that will
inform the path, just as a well-organized survey could suggest
subsequent clinical guidelines. The goal is to sketch out a proof
basis for locating QES that is not constrained by existing
understandings of the role of QES within the Cochrane
Collaboration. A classification scheme like this may be used to
inform handbooks and other guidance produced by health
technology assessment (HTA) offices, governing bodies, and

other survey organizations (Kiteley, 2014).
The author attempted to answer four primary questions in
particular:
• What is the cognitive fluid motion in relation to this portion
of the looking practice?
• How solid is this portion of the looking profession's
affirmation base
• What are the main flaws in this aspect of examining practice,
as well as future research needs?
Seven characteristics may exemplify effective methods to cope
with gazing ("the 7S structure"). Methodical recovery, as
outlined in a recent paper, necessitates a simple method for
making a coordinated survey question, the availability of
pursuit research methods (or channels) to aid in sorting
significant inspections from those that are likely to be
inconsequential, and a testable but instead confirm based
inquiry procedure that can be helped improve and adjusted to
each specific audit. A separate exam is deciding which sources
to explore and observing each source's demeanor. These
requirements extend to three more qualities: models for
introducing look methods, an informed system for evaluating
considerations, and effective use of additional inquiry tactics.
Following a breakdown of previous evaluations and guidance
for disaster recovery in QES, these seven characteristics were
used to organize findings from the survey (In Ritchie, 2014).
In order to stay faithful to the phenomena, the researcher must
enclose her or his preconceptions once again with the concept
of non-categories or themes in hand. The researcher attempts to
extract the essence of sense of units in within integrative
context by carefully analyzing the list on meaningful parts. This
requires even more judgment and expertise on the side of the
researcher, according to him.” Particularly at this phase, the
psychological researcher is engaged in one that could be exactly
defined, because here he is immersed in that ineffable
phenomenon known as related to psychological,” Colizzi says of
the researcher's "artistic" judgment (Kiteley, 2014).

The phenomena of joint educational endeavors and the dollar
quality gained from such concerted partnerships elicited a broad
range of responses. The significance of having a competent
mentor overseeing work-based learning, among other things,
was highlighted. This was linked to the significance of
employer commitment and the ability to dedicate management
efforts. However, locating appropriate experiential learning
opportunities proved challenging. Because of the inadequacies
of critical thinking and the restrictions encountered in its
effective administration, there was a sense that it did not bring
value (In Ritchie, 2014).
Conversely, based on the positive outcomes of in-service
instruction and the degree of happiness with the convergence of
practical and theoretical, an alternative viewpoint was found.
Learning opportunities as part of the National Capacity
Development Model were seen to be essential and beneficial to
society as a whole, according to the survey results. In addition,
the necessary responsiveness of schools and universities to the
demands of businesses was a significant point of consideration.
Despite the existence of certain educational partnerships that
were adapted to the requirements of organizations, the collapse
of higher education institutions and even the inflexibility of
relationships were also common occurrences (Booth, 2012).

References
Booth, A., Papagiannis, D., & Sutton, A. (2012). Systematic
approaches to a successful literature review.
In Ritchie, J., Lewis, J., McNaughton, N. C., & Ormiston, R.
(2014). Qualitative research practice: A guide for social science
students and researchers.
Kiteley, R., & Stogdon, C. (2014). Literature Reviews in Social
Work. Los Angeles, CA: SAGE.
Creswell, J. W. (2014). Research design: Qualitative,
quantitative
, and mixed methods approach. Thousand Oaks, California:
SAGE Publications.
HIStORICAL & modern PERSPECTIVES OF CREATIVITY
Introduction to Studies in Creativity
Week 2
SERIES OF EVENTS
WESTERN HISTORICAL TIMELINE

SOCIAL PSYCHOLOGY PERSPECTIVE
MODERN PERSPECTIVE
YOUR PERSPECTIVE
CREATIVE ACTIVITY
Creativity as divine – biblical
The very first acts of creativity were seen as divine
manifestation. This concept was well established in the Hebrew
Bible:
“In the beginning, God created the Heavens and the Earth”-
Genesis 1:1
God made humans in His own image, hence, humans also have
the ability to also be creative by following God and His
command to be fruitful and multiply.
According to some scholars (Wiener 2002), this understanding
of creativity is “limited” to strict following of God’s
instructions.

Creativity as divine – Early Greeks
Greek Mythology
The Muses - 9 Daughters of Zeus an example of guiding sources
of inspiration.
Greek tragedies (eg. Prometheus) warn of being “too creative”
and offending the gods, while on the other hand, gods would as
a reward, inspire people.
“In the end, a great ambivalence toward creativity emerges from
ancient times: worshipped and dangerous, moral and immoral,
harmonious but also possibly disastrous” (Glaveanu &
Kaufman, 2019 citing Mason, 2003).
CREATIVITY AS SCIENCE, Discovery & invention – The
Renaissance (14th – 17th Century)
Celebrating creativity has a human attribute rather than only
God’s.
Concept of genius (e.g Leonardo Di Vinci)
Key Inventions such as The Printing Press
“Discovery” of the The “New” World
Colonialism (Creativity as Imposition?)
Individual thinking and hard work encouraged
CREATIVITY AS progress – The enlightenment (17th & 18th
Century)
Industrial Revolution – Technological and Societal

Breakthroughs
Inventions such as the typewriter, steam engine, telegraph
communications
Accumulation of Wealth (even if it meant exploitation)
Problem solving
Challenging and questioning predominant views of creation –
period of questioning everything.
This Photo by Unknown Author is licensed under CC BY-ND
Creativity as Artistic self Expression – romanticism (18th
Century)
The era which arguably had the greatest impact on modern
perceptions of creativity.
Focus on the individuals’ self expression, imagination and
emotions
“In contrast to the rational ‘light’ of the Enlightenment,
Romanticism brought torment, unhinged fantasy, and disorder”
(Negus & Pickering, 2004)
Creativity as a psychological research subject
Joy Paul Guilford is given much credit for modern creativity
research(Runco, 2004)
Guilford proposed to the American Psychological Association
(1950) that creativity was essential for human society and
should be a subject for psychological research.
He argued that research in creativity harboured possibilities of
great benefit for society.
Guilford managed to convince and persuade researchers that

creativity could be approached scientifically (Runco, 2004). His
determination sparked the rise of modern creativity research.
Creativity as a result of motivation – A social psychology
perspective
The Intrinsic Motivation Hypothesis of Creativity (Amabile,
1983)
“The intrinsically motivated state is conducive to creativity,
whereas the extrinsically motivated state is detrimental to
creativity.”
Intrinsic motivation arises from the individual's perceived
value of engaging in the task itself (e.g., finding it interesting,
enjoyable, satisfying, or positively challenging)
Extrinsic motivation comes from outside sources (e.g., the
promise of rewards or praise, or the threat of failing to meet a
deadline or receiving a negative evaluation).
In short, extrinsic motivators and extrinsic constraints in the
social environment could alter motivational state from intrinsic
to extrinsic and, thus, undermine creative behavior.
Some studies suggest that external events (e.g. threat of
punishment, deadlines, evaluation, competition, surveillance)
diminish intrinsic motivation and hence, diminish creativity.
There is need for more specificity in research on various types
of events, types of output etc.
The modern creative

“Speed, connectivity, and travelling define this day and age and
require new, more distributed and participatory ways of
conceptualizing creativity” (Glăveanu, 2014; Clapp, 2016).
“The Internet has reinforced the contemporary idea of creativity
coming from anyone, anywhere, at any time” (Weiner, 2000, p.
107).
Creative work is recognized today as highly collaborative (e.g.
adding a witty comment to Facebook/Instagram post, creating &
recreating memes)
YOUR PERSPECTIVE
CREATIVE ACTIVITY
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The Creative
Person
So far we have…
• Discussed what creativity is
• Looked at some historical and psychological perspectives
What is creativity?
There is no “one size fits all”
definition of creativity
Creativity must be assessed
based on the situational
characteristics (Gabora 2013)
This Photo by Unknown Author is licensed under CC BY-NC-
ND
http://people-equation.com/why-one-size-recognition-doesnt-
work/one-size-does-not-fit-all/
https://creativecommons.org/licenses/by-nc-nd/3.0/
The 4 Ps of

Creativity
Person
Process
Product
Press
The Creative Person’s Personality
What is personality?
A person’s typical/consistent way of thinking feeling
and acting
What is a personality trait?
A relatively stable, consistent, and enduring internal
characteristic that is deduced from a pattern of
behaviors, attitudes, feelings, and habits in the
individual.
Culmination of Creative Characteristics (Taylor, 1961)
Studies of Air Force and NASA scientists and on reports in the
three (1955,
1957, 1959) University of Utah research conferences on the
identification of
Creative Scientific Talent.

In the three conferences, 37 different nationally- selected
participants
presented a total of nearly 50 research reports, covering various
sub-areas
such as criteria of creativity, predictors of creativity, education
and training of
creativity, and working environments that affect creativity
Research Findings on Creative Characteristics –
Intellectual Characteristics (Taylor, 1961)
Originality Redefinition Adaptive
flexibility
Spontaneous
flexibility
Fluency of
associations
Fluency of
expressions
Fluency of
ideas
Fluency of
words
Elaboration
Motivational Characteristics

Intellectual persistence Liking to think Liking to manipulate
and toy with ideas
Need for recognition for
achievement
Need for variety Need for autonomy
Preference for complex
order and for challenges
therein
Tolerance of ambiguity
Resistance to closing up
and crystallizing things
prematurely coupled
with a strong need for
ultimate closure,
Need for mastery of a
problem,
A need to improve upon
currently accepted
systems.
High energy with vast
output through
disciplined work habits is
usually found.

Personality Characteristics
Creative persons
are more devoted to
autonomy
More self-sufficient
More independent in
judgment (contrary
to group agreement,
if needed, to be
accurate)
More open to the
irrational in
themselves
More stable
More capable of
taking greater risks
in the hope for
greater gains,
More interested in
unconventional
careers
More dominant and
self assertive

More complex as a
person More self accepting
More resourceful
and adventurous
More radical
(Bohemian)
More controlling of
their own behavior
by self concept
More emotionally
sensitive
More introverted,
but bold.
Qualities of the creative mind
• Dacey’s (1989) list is constructed around eight qualities of the
creative mind, including
tolerance for ambiguity, flexibility, androgyny (uninhibited by
gender stereotypes), and
delay of gratification
• Feist (1999) categorized more than 100 references comparing
artists and non-artists,
scientists and non-scientists. His list, distinguishing “creatives”
from “non-creatives,”
included imagination, impulsivity, lack of conscientiousness,

anxiety, emotional
sensitivity, ambition, norm-doubting, hostility, aloofness,
unfriendliness, lack of warmth,
dominance, arrogance, and autonomy
• Bruner (1973) called it “connectedness,” a blending of
apparent opposites and
contradictions. Creative individuals present an array of
“paradoxes.” They are relaxed
but attentive, confident but humble, disinterested but selfish,
detached but involved,
constructive but discontented, mindless but perceptive,
convergent and divergent, and
able to delay closure but able to stay with a decision once made
(McMullen, 1976).
The Paradox of the Creative Person
https://www.youtube.com/watch?v=vlfSebnfo9k
Big Five Personality (OCEAN)
Openness to
experience
(imaginative vs.
down to earth;
variety vs. routine)
Conscientiousness
(organized vs.

disorganized)
Extraversion (eg.
Sociable vs. not,
affectionate vs.
reserved)
Agreeableness (eg.
Soft-hearted vs.
ruthless; trusting v.
suspicious)
Neuroticism (eg.
Worried v. calm;
insecure v. secure)
Openness to
Experience
Openness to experience:
Single strongest and most consistent personality trait that
predicts creative
achievement
In particular the Big Five Personality trait of Openness to
Experience has been
positively correlated with a variety of measures of Creativity,
e.g. Divergent
thinking (DeYoung, 2015; Kaufman et al, 2016)
3 major types of cognitive engagement making up the core of

openness:
1. Intellectual engagement: an interest in searching for truth; a
love of problem
solving; a drive to engage with ideas
associated with creative achievement in the sciences
2. Affective engagement: wanting to explore the full depths of
human emotion; a
preference for using gut feeling, emotions, empathy, and
compassion to make decisions
3. Aesthetic engagement: exhibiting a drive toward exploring
fantasy and art; a
tendency to experience emotional absorption in beauty affective
and aesthetic
engagement linked with artistic creativity.
Creativity and Madness
https://www.youtube.com/watch?v=US18sczUnTk
The creative
individual
summarized
Treffinger et al. (2002), drawing from over
100 articles, described four patterns of
abilities, dispositions, styles, and personal
characteristics. The creative individual:

- Generates ideas (using divergent and
metaphorical thinking)
- “Digs more deeply” into ideas (using
convergent and critical thinking)
- Is open to and has the courage to
explore ideas
- To a greater degree, is willing to listen
to his or her inner voice.
CREATIVE ACTIVITY
THE CREAT IVE
PRODUCT
SO FAR WE HAVE LOOKED AT…
HISTORICAL AND
MODERN PERSPECTIVES
OF CREATIVITY
THE CREATIVE PERSON CREATIVE
PRESS/ENVIRONMENT
CREATIVE PROCESS

A QUICK RECAP
What is creativity?
In our discussion, we discovered that creativity is often a
personal expression and
can take many forms based on the individual. However, there
were many
similarities across personal and academic definitions that can
neatly be summed
up by Plucker et al. (2004, p. 90).
”Creativity is the interaction among aptitude [i.e. person],
process and
environment [i.e. press] by which an individual or group
produces a perceptible
product that is both novel and useful as defined within a social
context”
TODAY WE WILL
EXAMINE…
THE CREATIVE PRODUCT
WHAT MAKES A ”THING” CREAT IVE?

ACTIVITY
FIND TWO IMAGES OF ANYTHING ONLINE, ONE THAT
YOU CONSIDER TO BE
“CREATIVE” AND ONE THAT YOU CONSIDER TO BE
“NOT CREATIVE”.
WHAT IS A
PRODUCT?
According to Cropley D.H. (2017), a product can be classified
into
four options:
• Artifacts – Tangible objects (things that you can touch)
• Processes – A method or sequence of actions that lead to a
particular outcome
• Systems – A complex interaction of elements that form a unit
(e.g transportation systems, national health systems, business
information systems)
• Services – Organized systems of labor used to satisfy
particular needs (e.g. food delivery, cleaning services etc.)
WHAT ARE THE COMPONENTS THAT MAKE A PRODUCT
CREAT IVE?

NOVELTY USEFULNESS
According to Cropley (2017) and other researchers, in order to
be considered creative, products
must have BOTH qualities of:
WHAT ARE THE COMPONENTS THAT
MAKE A PRODUCT CREAT IVE?
In addition to Novelty and Usefulness, researchers suggest that
the following
enhance creativity:
• Aesthetically pleasing – the product “looks good”
• Genesis/Surprise – degree to which the product is transferable
to other use and
can continue to be rediscovered, re-envisioned in various
contexts (e.g. a
clothespin used to hang up clothes, to seal opened bags, to pin
up hair etc.)
EVALUAT ING A CREAT IVE PRODUCT,
WHO DECIDES?
• Psychometric Approaches – e.g. Consensual Assessment
Technique (CAT) which
relies on the judgments of “experts”
• Socio - cultural perspective – a dialogue between “creator”

and “audience” in a
variety of cultural contexts
• Individualist Approach – Is it creative to me?
BEING CREAT IVE
ABOUT WHAT IS
CREAT IVE
IT IS IMPORTANT TO:
- KEEP AN OPEN MIND
- TRY NOT TO CLOSE DOORS ON NEW
POSSIBILITIES OF WHAT CREATIVITY
COULD LOOK LIKE
- CONTINUE TO REVISIT MAINSTREAM
NARRATIVES WHILE KEEPING OUR
MIND OPEN TO WHAT MIGHT BE
CONSIDERED “ALTERNATIVE”
The Creative
Person

So far we have…
• Discussed what creativity is
• Looked at some historical and psychological perspectives
What is creativity?
There is no “one size fits all”
definition of creativity
Creativity must be assessed
based on the situational
characteristics (Gabora 2013)
This Photo by Unknown Author is licensed under CC BY-NC-
ND
http://people-equation.com/why-one-size-recognition-doesnt-
work/one-size-does-not-fit-all/
https://creativecommons.org/licenses/by-nc-nd/3.0/
The 4 Ps of
Creativity
Person
Process
Product

Press
The Creative Person’s Personality
What is personality?
A person’s typical/consistent way of thinking feeling
and acting
What is a personality trait?
A relatively stable, consistent, and enduring internal
characteristic that is deduced from a pattern of
behaviors, attitudes, feelings, and habits in the
individual.
Culmination of Creative Characteristics (Taylor, 1961)
Studies of Air Force and NASA scientists and on reports in the
three (1955,
1957, 1959) University of Utah research conferences on the
identification of
Creative Scientific Talent.
In the three conferences, 37 different nationally- selected
participants
presented a total of nearly 50 research reports, covering various
sub-areas
such as criteria of creativity, predictors of creativi ty, education
and training of
creativity, and working environments that affect creativity

Research Findings on Creative Characteristics –
Intellectual Characteristics (Taylor, 1961)
Originality Redefinition Adaptive
flexibility
Spontaneous
flexibility
Fluency of
associations
Fluency of
expressions
Fluency of
ideas
Fluency of
words
Elaboration
Motivational Characteristics
Intellectual persistence Liking to think Liking to manipulate
and toy with ideas
Need for recognition for
achievement

Need for variety Need for autonomy
Preference for complex
order and for challenges
therein
Tolerance of ambiguity
Resistance to closing up
and crystallizing things
prematurely coupled
with a strong need for
ultimate closure,
Need for mastery of a
problem,
A need to improve upon
currently accepted
systems.
High energy with vast
output through
disciplined work habits is
usually found.
Personality Characteristics
Creative persons
are more devoted to
autonomy

More self-sufficient
More independent in
judgment (contrary
to group agreement,
if needed, to be
accurate)
More open to the
irrational in
themselves
More stable
More capable of
taking greater risks
in the hope for
greater gains,
More interested in
unconventional
careers
More dominant and
self assertive
More complex as a
person More self accepting
More resourceful
and adventurous

More radical
(Bohemian)
More controlling of
their own behavior
by self concept
More emotionally
sensitive
More introverted,
but bold.
Qualities of the creative mind
• Dacey’s (1989) list is constructed around eight qualities of the
creative mind, including
tolerance for ambiguity, flexibility, androgyny (uninhibited by
gender stereotypes), and
delay of gratification
• Feist (1999) categorized more than 100 references comparing
artists and non-artists,
scientists and non-scientists. His list, distinguishing “creatives”
from “non-creatives,”
included imagination, impulsivity, lack of conscientiousness,
anxiety, emotional
sensitivity, ambition, norm-doubting, hostility, aloofness,
unfriendliness, lack of warmth,
dominance, arrogance, and autonomy
• Bruner (1973) called it “connectedness,” a blending of
apparent opposites and

contradictions. Creative individuals present an array of
“paradoxes.” They are relaxed
but attentive, confident but humble, disinterested but selfish,
detached but involved,
constructive but discontented, mindless but perceptive,
convergent and divergent, and
able to delay closure but able to stay with a decision once made
(McMullen, 1976).
The Paradox of the Creative Person
https://www.youtube.com/watch?v=vlfSebnfo9k
Big Five Personality (OCEAN)
Openness to
experience
(imaginative vs.
down to earth;
variety vs. routine)
Conscientiousness
(organized vs.
disorganized)
Extraversion (eg.
Sociable vs. not,
affectionate vs.
reserved)

Agreeableness (eg.
Soft-hearted vs.
ruthless; trusting v.
suspicious)
Neuroticism (eg.
Worried v. calm;
insecure v. secure)
Openness to
Experience
Openness to experience:
Single strongest and most consistent personality trait that
predicts creative
achievement
In particular the Big Five Personality trait of Openness to
Experience has been
positively correlated with a variety of measures of Creativity,
e.g. Divergent
thinking (DeYoung, 2015; Kaufman et al, 2016)
3 major types of cognitive engagement making up the core of
openness:
1. Intellectual engagement: an interest in searching for truth; a
love of problem
solving; a drive to engage with ideas
associated with creative achievement in the sciences

2. Affective engagement: wanting to explore the full depths of
human emotion; a
preference for using gut feeling, emotions, empathy, and
compassion to make decisions
3. Aesthetic engagement: exhibiting a drive toward exploring
fantasy and art; a
tendency to experience emotional absorption in beauty affective
and aesthetic
engagement linked with artistic creativity.
Creativity and Madness
https://www.youtube.com/watch?v=US18sczUnTk
The creative
individual
summarized
Treffinger et al. (2002), drawing from over
100 articles, described four patterns of
abilities, dispositions, styles, and personal
characteristics. The creative individual:
- Generates ideas (using divergent and
metaphorical thinking)
- “Digs more deeply” into ideas (using
convergent and critical thinking)

- Is open to and has the courage to
explore ideas
- To a greater degree, is willing to listen
to his or her inner voice.
CREATIVE ACTIVITY
The Creative Process
This Photo by Unknown Author is licensed under CC BY
What is the Creative Process?
The creative process is defined as “a succession of thoughts and
actions that leads to original and adapted creations” (Lubart,
Mouchiroud, Tordjman, & Zenasni, 2003, p. 85)

Creative Activity Part 1
Creative Process:
Micro and Macro Levels
The Creative Process is often described by two levels:
The macro level, which refers to the major stages of the process
The micro level, which describes the mechanisms underlying
the generation of ideas.
Thus, the models considering the whole process, from beginning
to end, are macro-processes while cognitive functioning, or a
mechanism of processing specific information, is considered a
micro-process.

Macro Processes
Note: The following are not representative of all theories and
models, they give an insight into the diversity that exists in the
discourse and research literature and the fact that ultimately,
“researchers do not agree on the number of stages” (Botella,
Zenasni, and Lubart 2018, 4)
Wallace’s Four Stage Model
In 1926, Wallas presented a four-stage model involving:
Preparation: Gathering information
1
Incubation:
Open mind to all ideas, allow the mind to wander
2
Verification
Evaluate, Analyze Build
4

Illumination
The “Aha” moment
3
Sawyer’s eight stages of the Creative Process
Ask – Why? Why not? What is? How? Etc.
Learn – Seek knowledge
Look – Intentional awareness
Play - Unstructured fun
Think – Open to new ideas
Fuse – Combining ideas
Choose: Critical idea examination
Make – Create, execute

Sternberg’s Triangular Theory of Creativity (2018)
Defying the crowd
Challenging the existing order.
Defying Oneself
Overcoming “entrenchment” in one’s own set of ideas rather
than blazing the same path over and over again.
Defying the Zeitgeist
Defying the “unconscious assumptions”. Questioning the
“presuppositions” about what is acceptable.
(Zeitgeist -the common-cultural presuppositions on which our
ﬁeld and often our world is built, Sternberg 2018)
Micro Processes
This approach of the creative process, by micro-processes,
examines the cognitive mechanisms of the process.

The two most studied micro-processes are divergent thinking
and associative thinking (Botella, Nelson, Zenasni, 2017)
Divergent Thinking
Divergent thinking is the capacity to produce many different
ideas (Runco, 1991)
Exercise: How many uses can you think of for a fork?
Associative Thinking
Associative thinking is the capacity to make links between
different ideas, that may involve memories, emotions, physical
sensations etc. (Simonton, 1999)
Exercises:
1. Think of a word that could go next in this sequence

Lavender Bubbles Towel ?
2. What comes to mind when you hear:
Blue
11
Creative Activity Part 2

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you will write a comparative reflection, discussing a
experience/moment/product of creativity that you are

happy/excited about, and comparing that to a
experience/moment/product of creativity that you consider less
than successful. The goal of this reflection, is to be able to
conclude what you have learned so far that facilitates your most
creative self. This reflection will be illustrated by a pathway
(similar to creative activity 4) with each stop point being the 4
topics so far in class:
1. History of Creativity
2. Creative Person
3. Creative Press
4. Creative Process
PART A
1. Draw/create your path.
2. The “START” point on your path will be two images; one
representing the experience/moment/product that you are happy
with and the second representing the
experience/moment/product that you are less than happy with.
This can be an actual image of your creative output, or an image
that represents that. Include a word or sentence that describes
what the images mean.
3. At different points along your path, include “stop points”.
Illustrate these stop points with two symbols, one for each
creative experience, that illustrate two concepts under each
topic that relates to your experiences. You are not limited to
only discussing two concepts, however you only need to
illustrate two, one for each experience. Include a word or
sentence to describe what the symbols are/mean.
PART B

Under each stop point, or beneath your complete drawing (the
choice is yours!) compare your experiences, relating them to
specific theory that we discussed in class. Remember, it is not
enough just to state what concepts you relate to (or don’t relate
to), but you should also thoughtfully explain why. You will find
Power Points on Slate, as well as some additional sources that
elaborate on the topics we have discussed that you may find
helpful. You may use the following questions to help guide you
as you write:
a) Which perspective/s do your experiences most closely relate
to? Compare/contrast. (Week 2 – History of Creativity)
b) After some reflecting, do you recognize any characteristics
of yourself in discussions of the creative person as a part of
your experiences? Were your characteristics consistent across
both experiences? Did they bring out different sides of you?
Elaborate! (Week 3 – Creative Person)
c) Consider the environments you were in for each creative
experience, compare and contrast your work using theory in
class as context, and express whether you think anything in this
environment contributed your difference in how you feel about
each piece of work. (Week 4 – Creative Press)
d) Compare your creative process with what we discuss in class,
and consider any similarities differences that contributed to the
final product. (Week 5 – Creative Process)
e) Conclude with a summary of what you consider so far in your
learning journey to be ideas that facilitate your most creative
self.
FORMAT
You are free to decide how you want to structure this
assignment. Please however, adhere to the following:

MAXIMUM 7 PAGES DOUBLE SPACED (not including
references and reference page).
Your written work under PART B must be typed!!
Submit ALL of your work on ONE DOCUMENT. That is, if you
draw, take a picture etc, include all images on ONE
DOCUMENT. I will only mark the last document you submit.
Ensure that all work taken from another source (whether from
the Power Points, or additional outside sources) are properly
referenced and a list of all sources included in a reference pa ge
at the end of your work.
PLEASE NOTE THE FOLLOWING
Your work must be your own! All images, pictures, drawings
should be your own and not taken from the internet. Remember
I am not marking you based on your drawing skills so don’t
worry!
Plagiarism is not tolerated.
This is a reflection, so it expected that you write in the first
person. However, (as highlighted in the rubric below) I will
expect a professionally presented document, clear and well
written, free of grammar errors and completely referenced!
Rubric
Content and Engagement
You engage well with the assignment, and provide well thought
out and reflective perspectives. You include content from theory
discussed in class and thoughtfully relate concepts and ideas to
your own experience. Your work shows genuine understanding

of concepts discussed in class.
/15
Presentation
Your work is clear and well written. Free from grammar,
spelling, punctuation mistakes. Professionally presented,
consistent font. Work is properly referenced in text and a
Reference Section provided at the end with a list of references.
/5

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