Creativity enhancement with emerging technologies (original) (raw)
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Creativity: Flow and the psychology of discovery and invention
1997
This is a fascinating book by Mihaly Csikszentmihalyi one of the less well known but probably one of the most serious management scholars of recent times. He brings out the importance of creativity, outlines its building blocks and explains how we can all become more creative.
Creativity is explained in the different perspectives of psychology as a mental and social process. The different dimensions of creativity from available theories were based on influences, description of the task, ability, and characteristics of individuals who experience it. In the present article, creativity is explained in five major themes: (1) attributes of creativity, (2) forms and outlets, (3) factors that stimulate it, (4) situations where it is facilitated, and (5) situations that hinder it. There is a connection between how one conceptualizes creativity and the process involved in stimulating and facilitating it. The connection is explained in some common clusters that come out for each major theme. Creativity is generally explained to have multiple attributes. Creativity is stimulated and facilitated based on one's belief. The self and social factors can hinder creativity.
SSRN Electronic Journal, 2013
This paper challenges 11 fundamentals in current models of creating, and current systems for "supporting" creating. It also questions the importance and amount of creativity needed and produced in industry. A model of 60 models of creativity is presented along with mention of 4 pilot studies underway with it. The kind of challenges to usual research on computer supports of creativity made here are illustrated by the following points. 1) There is little evidence that creativity is one process and solid evidence that it is myriad related processes 2) Systems, therefore, that "support" one of those myriad models well, will possibly, if there are negative trade-off relations among models, shut down and eliminate more creativity in collateral models than they "support" in their one intended model 3) In several areas of mental performance what makes generation and access easy hinders recall and application-by making "creating" faster or easier involving less of the brain less strenuously, we may be reducing later processing, imagining, elaboration, and recall, hence, reducing later creativity achieved. 4) Vendors push technologies on everyone and today push more connectedness. At first more connections join isolated entities, fostering idea blends and creation, however, familiarity grows rapidly till people tire of pawing through reams of the same old same old = involvement plummets. Pulsed systems, with alternating rhythms of engagement/detachment, connection/isolation, reason/emotion may outperform mere "more connectedness" systems for attaining many kinds of creativity. These and related fundamental omissions in current norms and cultures in computational support for creativity are examined and pilot study results of countering them with particular tools in major corporation creativity efforts are described. Among such tools one stands out, a model of 60 models of creativity, presented .
Introductory Chapter: Super Creativity—Mind, Men, and Machine
Toward Super-Creativity - Improving Creativity in Humans, Machines, and Human - Machine Collaborations, 2020
Creativity is a much-requested attitude nowadays that anything and anyone can pass without it. More than this, it turns in a way of life, fundamentally in investigation tasks, in the business procedures, in the family environment, in the learning processes and health diagnosis, and in all aspects of our daily routines. Thus, to increase this, there is the necessity to conjugate synergies of three elements: the mind, the men, and the machines. Over the mind, since the concept has undergone several evolutions, its considerations constitute a unique basis for understanding creativity, pointing to emotional orientation and triggering mental activities particularly a threat to the use of common sense. So, creativity appears in a relationship experiences' board [1]. The mind experiences are free and transmit us how versatile the mind is; it considers construction and reconstruction of their presuppositions and the way that generate and self-generate their thoughts in a dual kind of wandering: novelty and utility. So, the creator is the wonder-minded subject [2]. This relationship has been expressed in learning processes, mainly in idea creations, decision-making, problem-solving, lateral thinking, and thought movement [3]. This kind of movement is essentially cultural, an extended process that comports kinetic behavior with mind and culture [4]. But the same relationship represents critical thinking, a form to understand different cultural contexts, an association between thinking measures, like fluency, flexibility, originality, elaboration, and creativity, but only during a performance process [5]. Incidentally, this is confirmed in two experiences where the activity is fundamental to develop a creative mind [6]. This can be enhanced by an unbelieving process, developing creativity in several domains. Between an emotional complex form and a thinking way [7], and by another hand, enhanced by our mind wandering [2] constituting a strong ability to make connections in our whole brain with the purpose of empowering relationships reinforcing the creativity [8]. About a person, we can transform a subject into a creative person, to learn and acquiring personalities such as curiosity, cognition, soft skills, feelings, and motivation; to develop a humanistic vision and to develop personal qualities [9] like research and development [10], working in what he or she views as a challenge and in several domains and activities namely creativity achievements [11]. Furthermore, if we specify abstract concepts, probably we do the lateral thinking [12] in many domains better, and some of them are in verbal expressions [13],
Journal of Gifted Education and Creativity, 2015
Both creativity and intuition are traits that have led to humanity's greatest innovations. Creativity is a form of problem solving that can be found in all areas of human endeavor. There are certain personal traits that highly creative people seem to possess; however, there are also creative dispositions that can be developed in order to enhance people's creativity. Creativity relies on a knowledge based and involves four types of thinking: fluency, flexibility, elaboration, and originality. Creativity is a process not an event. This process can be represented by the Wallas Four-Stage Model of Creativity. Intuition is a sudden knowing or insight glean apart from logic or knowledge. Three levels or types of intuition are identified here: rational intuition, predictive intuition, and transformational intuition. There are a variety of things that can be used to enhance the intuitive process such as quieting the mind, focused attention, developing an attitude of receptiveness, validating images and impressions, and free writes. Finally, intuition can be a valuable resource to use in problem solving and decision making. Keywords creativity, intuition, education Jhonson Creativity Creativity is a trait that has helped to produce the most important innovations in human history and solve some of our most complex and compelling problems. So what is it? Creativity is a type of thinking that enables people to generate ideas, invent new ideas, improve old ideas, and recombine existing ideas in a novel fashion (Gallagher & Gallagher, 1994). Creativity is an encounter of the interestedly conscious human being with his or her world; the process of bringing something new into being (May, 1975). Behaviorally, creativity can be defined as the ability to produce work that is novel, high in quality, and appropriate (Feldman, Csikszentmihalyi, & Gardner, 1994; Sternberg & Lubart, 1999). Novel here means that the work is original or unique, something nobody has thought of or done before. Appropriate in this context means that the work is of some aesthetic or pragmatic value (Starko, 2005; Swartz & Perkins, 1990). Torrance describes creativity as "the process of sensing difficulties, problems, gaps in information, missing elements, something askew; making guesses and formulating hypotheses about these deficiencies; evaluating and testing these guess and hypothesis; possibly revising and retesting them; and last, communicating the results" (1993, p 233). Creativity as Problem Solving Creativity is essentially a type of problem solving (Gardner, 1994). Problems can be found in all areas including the arts, business, and science, the military, and even education. Examples: How can we design a car to run on electricity? How can this feeling or idea be expressed through movement, dance, music, or visual art in a way that entertains? What kind of a play will enable our team to score a touchdown? How can I make this relationship work? How can this concept be explained so that people understand it? How can this skill be taught? How can I keep my 7 th hour social studies class actively engaged? How can I write a book so that undergraduates can easily understand important concepts in educational psychology? These are all problems that require creative thinking for their ultimate solution. When looking at creativity as problem solving you will note that this definition sounds similar to Gardner's and Sternberg's description of intelligence. Indeed, the line between intelligence and creativity becomes blurred when both cognitive traits are seen as having equal importance in solving problems and creating products (Sternberg & Lubart, 1991). A creative person is going to be better able to solve problems because the process of generating ideas provides more alternatives from which to evaluate and ultimately choose. But if you are not aware of a problem in the first place how are you going to be able to solve it? You are not. Thus, being able to perceive problems is also an important part of creativity (Csikszentmihalyi, 1994). A problem is a difference between the current and ideal state. Creative individuals are able to sense this difference (between what is and what could be). Examples of problem perception can be seen in Figure 1.