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Creativity is a human mental phenomenon based around the deployment of mental skills and/or conceptual tools, which, in turn, originate and develop innovation, inspiration, or insight.
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For some people, the word creativity conjures up associations strictly with artistic endeavours and with the writing of literature. Some other have also linked creativity with moments of sudden scientific or engineering insight since at least the time of Archimedes in Ancient Greece.
Pop psychology sometimes associates it with right or forehead brain activity or even specifically with lateral thinking.
Within the different modes of artistic expression, one can postulate a continuum extending from "interpretation" to "innovation". Established artistic movements and genres pull practitioners to the "interpretation" end of the scale, whereas original thinkers strive towards the "innovation" pole. Note that we conventionally expect some "creative" people (dancers, actors, orchestra-players ...) to perform (interpret) while allowing others (writers, painters, composers ...) more freedom to express the new and the different.
Since the time of Graham Wallas and his work Art of Thought, published in 1926, some have considered creativity a legacy of the evolutionary process, which allowed humans to quickly adapt to rapidly changing environments.
Today, creativity forms in some eyes the core activity of a growing section of the global economy — the so-called "creative industries" — capitalistically generating (generally non-tangible) wealth through the creation and exploitation of intellectual property or through the provision of creative services.
The word "creativity" can convey an implication of constructing novelty without relying on any existing constituent components (ex nihilo - compare creationism). Contrast alternative theories, for example:
Creativity can be assessed on several dimensions:
In The Act of Creation, Arthur Koestler (1964 and various imprints) lists three types of creative individual — the Artist, the Sage and the Jester. Paul Birch and Brian Clegg (Crash Course in Creativity, 2002) have called the three types of creativity that result "aaahhh", "ah ha", and "ha ha". The Artist creates beauty or challenge (aaahhh). The Sage creates ideas or solutions (ah ha) and the Jester creates humour (ha ha). Believers in this trinity hold all three elements necessary in business and can identify them in all in "truly creative" companies as well.
One can also categorise creativity by where and how it arises.
The ultimate test of a creativity is history. Highly creative works will survive the passage of time to remain in our memories: Michelangelo's Sistine Chapel, Isaac Newton's Laws of Motion, Shakespeare's plays. Genrich Altshuller introduced approaching creativity as an exact science with TRIZ in the 1950s. The psychologist Robert Sternberg has proposed to apply the name creatology to scientific studies of creativity.
Creativity can be measured based on a response to a variety of test scenarios:
J. P. Guilford's group constructed several tests to measure creativity:
'Creatitivity' is much praised in principle, but much derided in practice. Those in logical and ordered organisations may praise it but be reluctant to set a creative individual 'loose' in their ordered system. Business is increasingly claiming that professional "creatives" do not have a monopoly on the concept of creativity, and that problem solving in general may require a flexible mind. Employers may value lawyers, accountants, people in sales, and others more highly if such people can use a "creative" approach to their work, albeit within the confines of a logical and constraining system. The phrases "thinking outside the box" and "thinking outside the square" express this idea.
Ambivalence to creativity in the West may perhaps be due to the culture's image of creativity; the ingesting of drugs to generate visions; the celebration of eccentric behaviour; the possible cross-over between creativity and mental illness; the often bohemian sexual tastes of artists; the cultural association of artists with a life of poverty and misery.
Some see the conventional system of schooling as "stifling" of creativity and attempt (particularly in the pre-school/kindergarten and early school years) to provide a creativity-friendly, rich, imagination-fostering environment for young children. Compare Waldorf School.
A growing number of pop psychologists are making money off the idea that one can learn to become more "creative". Several different researchers have proposed several different approaches to prop up this idea, ranging from psychological-cognitive, such as:
to the highly structured such as:
See also: creativity techniques.
A study by the psychologist J. Philippe Rushton found that creativity correlated with intelligence and psychoticism (Rushton, 1990).
Essays: