Csikszentmihalyi, M. (1988). The Systems Model of Creativity - The Collected Works of Mihaly Csikszentmihalyi. The Nature of Creativity. https://doi.org/10.1007/978-94-017-9085-7
Abstract:
This first volume of the Collected Works of Mihaly Csikszentmihalyi represents his work on Art and Creativity. Starting with his seminal 1964 study on creativity up to his 2010 publication in Newsweek, the volume spans over four decades of research and writing, and clearly shows Csikszentmihalyis own development as an academic, psychologist, researcher and person. Unconventional and unorthodox in his approach, Csikszentmihalyi chose the topic of creativity as a field of study believing it would help him be a better psychologist and advance his understanding of how to live a better life. The chapters in this volume trace the history of the study of creativity back to the days of Guilford and research on IQ and Jacob Getzels work on creativity and intelligence. Firmly grounded in that history, yet extending it in new directions, Mihaly Csikszentmihalyi started his life-long study on artistic creativity. His first extensive study at the School of the Art Institute of Chicago enabled him to observe, test and interview fine art students drawing in a studio. The study formed the very basis of all his work on the subject, and has resulted in several articles, represented in this volume, on such creativity-related concepts as problem solving versus problem finding, the personality of the artist, the influence of the social context, creativity as a social construction, developmental issues, and flow. The main contribution to the topic of creativity, and also the main concept explored in this volume, is the Systems Model of Creativity. Seven chapters in this volume discuss the development of this conceptual model and theory.
Kaufman, J. C., & Sternberg, R. J. (2006). The International Handbook of Creativity. Cambridge, UNKNOWN: Cambridge University Press.
Abstract:
Summary: This 2006 book presents a diverse set of perspectives on the psychology of human creativity.
What constitutes a creative person? Is it someone who can perform many tasks innovatively? Is it someone who exhibits creative genius in one area? Is it someone who utilizes her creativity for good and moral causes? Is it someone who uses his creativity to help his company or country succeed? Different cultures have different perspectives on what it means to be creative, yet it is nearly always the American or Western perspective that is represented in the psychological literature. The goal of The International Handbook of Creativity is to present a truly international and diverse set of perspectives on the psychology of human creativity. Distinguished scholars from around the world have written chapters for this book about the history and current state of creativity research and theory in their respective parts of the world. The 2006 book presents a wide array of international perspectives and research.
Sternberg, R. J. (1999). Handbook of creativity. Cambridge, U.K. ; New York : Cambridge University Press, 1999.
Abstract:
Review: "The goal of the Handbook of Creativity is to provide the most comprehensive, definitive, and authoritative single-volume review available in the field of creativity. To this end, the book contains 22 chapters covering a wide range of issues and topics in this field, all written by distinguished leaders. The chapters are intended to be accessible to all readers with an interest in creative thinking. Although the authors are leading behavioral scientists, people in all disciplines will find the coverage of creativity in the arts and sciences to be of interest."--BOOK JACKET.
Kerr, B. (2009). Encyclopedia of Giftedness, Creativity, and Talent. Thousand Oaks, California. https://doi.org/10.4135/9781412971959
Overview (barnesandnoble.com)
Encyclopedia of Giftedness, Creativity, and Talent / Edition 1
Library Journal Best Reference 2009
Educators have begun to recognize that identifying and accommodating students who are slower to learn may leave behind those who learn rapidly and think creatively. The nature of intelligence, the sources of innovation, and the ways to nurture special abilities are now topics of great interest to scholars in a wide variety of disciplines and to the general public. Policymakers, ranging from school board members to leaders of nations, must also make practical decisions about how communities and societies will treat their brightest, most promising students.
With more than 400 entries, these two volumes review research findings on giftedness, talent, and creativity and their effect on education, training, science and the arts, government policy, and everyday life. The Encyclopedia of Giftedness, Creativity, and Talent provides a balanced, objective assessment of the various perspectives on the nature of intelligence, innovation, and optimal states. This state-of-the-art resource covers all major facets of the field, including achievement motivation, artistic ability, creative personality, emotional intelligence, gender differences, genius, intelligence testing, learning styles, minority underrepresentation, multiple intelligences, musical ability, prodigies, scientists, self actualization, thinking skills, and more.
Key Themes
Assessment and Identification
Creativity Studies
Cultural Issues
Education
Eminent People
Exceptionalities
Intelligence
Neuroscience and Genetics
Populations
Programs and Interventions
Psychological Issues
Talent Domains
Theories and Models
Provides a balanced and critical discussion of the controversies that have animated research and theory making
Clarifies which grouping and instructional strategies promote the best outcomes in achievement and social/emotional development of gifted children
Helps educators make informed decisions about the identification strategies and the curriculum models that best meet their students' needs
Contains thousands of pertinent facts from the fields of education, psychology, sociology, and the arts
Evaluates policies that have hindered gifted children and makes a persuasive case for appropriately challenging and differentiated education
Examines how giftedness, creativity, and talent were defined in the past and how current meanings have emerged.
Csikszentmihalyi, M. (1996). Creativity : Flow and the psychology of discovery and invention (1st ed.). New York: HarperCollins Publishers.
Abstract:
"This book is about what makes life worth living. The creative excitement of the artist at her easel or the scientist in the lab comes as close to the ideal fulfillment as we all hope to, and so rarely do. Professor Mihaly Csikszentmihalyi interviewed more than ninety of possibly the most interesting people in the world - people like actor Ed Asner, authors Robertson Davies and Nadine Gordimer, scientists Jonas Salk and Linus Pauling, and Senator Eugene McCarthy - who have changed the way people in their fields think and work to find out how creativity has been a force in their lives." "In his bestselling book Flow, Professor Csikszentmihalyi explored states of "optimal experience" - those times when people report feelings of concentration and deep enjoyment - and showed that what makes experience genuinely satisfying is a state of consciousness called "flow." Here Professor Csikszentmihalyi builds on his flow theory, profiling individuals who have found ways to make flow a permanent feature of their lives and at the same time have contributed to society and culture." "This book is not so much about the everyday "creativity" that we all experience but the kind of creativity of artists, scientists, and others that can transform our culture and the way we look at the world. By studying the creative lives of exceptional people, Professor Csikszentmihalyi shows us how we can all enhance our everyday lives. His goal is to help us better understand a way of being that is more satisfying and more fulfilling."--BOOK JACKET.
Robinson, K. (2017). Out of Our Minds : The Power of Being Creative. Newark, UNITED KINGDOM: John Wiley & Sons, Incorporated.
Description from Amazon.com:
Creativity is critical.
Out of Our Minds explores creativity: its value in business, its ubiquity in children, its perceived absence in many adults and the phenomenon through which it disappears — and offers a groundbreaking approach for getting it back. Author Sir Ken Robinson is an internationally recognised authority on creativity, and his TED talk on the subject is the most watched video in TED’s history. In this book, Sir Ken argues that organisations everywhere are struggling to fix a problem that originates in schools and universities. Organisations everywhere are competing in a world that changes in the blink of an eye – they need people who are flexible enough to adapt, and creative enough to find novel solutions to problems old and new. Out of Our Minds describes how schools, businesses and communities can work together to bring creativity out of the closet and realise its inherent value at every stage of life. This new third edition has been updated to reflect changing technologies and demographics, with updated case studies and coverage of recent changes to education.
While education and training are the keys to the future, the key can also be turned the other way; locking people away from their own creativity. Only by actively fostering creativity can businesses unlock those doors and achieve their true potential. This book will help you to:
Understand the importance of actively promoting creativity and innovation.
Discover why creativity stagnates somewhere between childhood and adulthood.
Learn how to re-awaken dormant creativity to help your business achieve more.
Explore ways in which we can work together to keep creativity alive for everyone.
Modern business absolutely demands creativity of thought and action. We're all creative as children — so where does it go? When do we lose it? Out of Our Minds has the answers, and clear solutions for getting it back.
Sawyer, R. K. (2007). Group genius: The creative power of collaboration. New York: Basic Books.
Creativity has long been thought to be an individual gift, best pursued alone; schools, organizations, and whole industries are built on this idea. But what if the most common beliefs about how creativity works are wrong? In this authoritative and fascinating new book, Keith Sawyer, a psychologist at Washington University, tears down some of the most popular myths about creativity and erects new principles in their place. He reveals that creativity is always collaborative-even when you’re alone. (That “eureka” moment in the bathtub couldn’t have come to Archimedes if he hadn’t spent so many hours arguing and comparing notes with his fellow mathematicians and philosophers.) Sawyer draws on compelling stories of inventions and innovations: the inventors of the ATM, the mountain bike, and open source operating systems, among others, to demonstrate the freewheeling ways of true innovation. He shares the results of his own acclaimed research on jazz groups, theater ensembles, and conversation analysis, to show us how to be more creative in collaborative group settings, how to change organizational dynamics for the better, and how to tap into our own reserves of creativity.
Sawyer, K. (2013). Zig zag: The surprising path to greater creativity (1st ed.). Somerset: John Wiley & Sons, Incorporated.
A science-backed method to maximize creative potential in any sphere of life With the prevalence of computer technology and outsourcing, new jobs and fulfilling lives will rely heavily on creativity and innovation. Keith Sawyer draws from his expansive research of the creative journey, exceptional creators, creative abilities, and world-changing innovations to create an accessible, eight-step program to increasing anyone's creative potential. Sawyer reveals the surprising secrets of highly creative people (such as learning to ask better questions when faced with a problem), demonstrates how to come up with better ideas, and explains how to carry those ideas to fruition most effectively. This science-backed, step-by step method can maximize our creative potential in any sphere of life. Offers a proven method for developing new ideas and creative problem-solving no matter what your profession Includes an eight-step method, 30 practices, and more than 100 techniques that can be launched at any point in a creative journey Psychologist, jazz pianist, and author Keith Sawyer studied with world-famous creativity expert Mihaly Csikszentmihalyi Sawyer's book offers a wealth of easy to apply strategies and ideas for anyone who wants to tap into their creative power.
Sawyer, R. K. (2012). Explaining creativity: The science of human innovation (2nd ed.). New York, NY: Oxford University Press.
Explaining Creativity is an accessible introduction to the latest scientific research on creativity. The book summarizes and integrates a broad range of research in psychology and related scientific fields. In the last 40 years, psychologists, anthropologists, and sociologists have devoted increased attention to creativity; we now know more about creativity than at any point in history. Explaining Creativity considers not only arts like painting and writing, but also science, stage performance, business innovation, and creativity in everyday life.Sawyer's approach is interdisciplinary.
Ambrose, D. (2009). Expanding Visions of Creative Intelligence: An Interdisciplinary Exploration. New York, NY: Hampton Press.
From the Back Cover:
This interdisciplinary book is a wide-ranging exploration of theories, research findings, and philosophical perspectives that can expand thinking about the nature of creative intelligence and the purposes of education. In an effort to expand and clarify the conceptual foundations for the fields of gifted education, general education, and creative studies, the book provides synopses of 87 groundbreaking insights from 29 academic fields and disciplines along with connections of theese insights to cretive intelligence.
Ambrose, D., Sriraman, B., & Pierce, K. M. (2014). A critique of creativity and complexity: Deconstructing clichés (Volume 25). Rotterdam: Sense Publishers.
Abstract:
In an increasingly complex world the natural human inclination is to oversimplify issues and problems to make them seem more comprehensible and less threatening. This tendency usually generates forms of dogmatism that diminish our ability to think creatively and to develop worthy talents. Fortunately, complexity theory is giving us ways to make sense of intricate, evolving phenomena. This book represents a broad, interdisciplinary application of complexity theory to a wide variety of phenomena in general education, STEM education, learner diversity and special education, social-emotional development, organizational leadership, urban planning, and the history of philosophy. The contributors provide nuanced analyses of the structures and dynamics of complex adaptive systems in these academic and professional fields.
Ambrose, D., Sriraman, B., & Pierce, K. M. (2014). A critique of creativity and complexity: Deconstructing clichés (Volume 25). Rotterdam: Sense Publishers.
Abstract:
Complexity theory encompasses promising, interdisciplinary attempts to understand the complex dynamics of exquisitely interconnected, dynamically evolving systems. In today’s increasingly complex, turbulent world, excessively simplistic, reductive approaches to theory development, research, and practical application increasingly come up short when applied to complex problems.
Runco, M. A. (2017). Comments on where the creativity research has been and where is it going. The Journal of Creative Behavior, 51(4), 308–313. https://doi.org/10.1002/jocb.189
Abstract:
This Commentary examines where the creativity research has been and where it is going. They key points include evolving definitions of creativity, interdisciplinarity in the creativity research, divergent thinking as a reliable index of creative potential, improvements in testing, the impact of technology, the inclusion of political, moral, and everyday creativity in the research, the use of semantic networks and conceptual maps, the creative economy, and the need to extricate personal creativity from social recognition. (PsycINFO Database Record (c) 2017 APA, all rights reserved)
Runco, M. A. (2017). Comments on where the creativity research has been and where is it going. The Journal of Creative Behavior, 51(4), 308–313. https://doi.org/10.1002/jocb.189
Abstract:
This Commentary examines where the creativity research has been and where it is going. They key points include evolving definitions of creativity, interdisciplinarity in the creativity research, divergent thinking as a reliable index of creative potential, improvements in testing, the impact of technology, the inclusion of political, moral, and everyday creativity in the research, the use of semantic networks and conceptual maps, the creative economy, and the need to extricate personal creativity from social recognition. (PsycINFO Database Record (c) 2017 APA, all rights reserved)
Ambrose, D. (2017). Interdisciplinary Invigoration of Creativity Studies. The Journal of Creative Behavior VO - 51, (4), 348. https://doi.org/10.1002/jocb.205
Abstract:
The forces of globalization are magnifying the importance of interdisciplinary creative work. While the field of creativity studies always has been more open to interdisciplinary idea borrowing than many other fields, it can and should do more interdisciplinary synthesizing. This article begins with a discussion of the rationale for encouraging interdisciplinary work in the field and then explores several examples of constructs imported from various disciplines that can enrich theory and research in creativity studies. These constructs include market fundamentalism from economics, and networked science from various STEM fields. Some other candidates for importation also are discussed briefly. Article Note: This article is part of a special issue in Celebration of the Journal of Creative Behavior's 50th Anniversary. Authors were invited by the Editor to contribute an essay to this special issue and the essays were reviewed internally by the Editorial team.
Ward, T. B., & Kennedy, E. S. (2017). Creativity Research: More Studies, Greater Sophistication and the Importance of “Big” Questions. The Journal of Creative Behavior VO - 51, (4), 285. https://doi.org/10.1002/jocb.192
Abstract:
In the past 20 years, there has been a strong and steady increase in the number of publications concerned with creativity and in the number of outlets for that work. More importantly, there has been an increase in the level of detail and sophistication of answers provided for the most fundamental questions in the field. We illustrate that phenomenon with a focus on personality traits and cognitive processes. We anticipate that the trends will continue in the future and urge that progress continue to be guided by the 'big' questions of what creative people are like and how creative ideas are generated. Beyond progress in distinct research areas, such as personality and cognition, future progress is likely to grow from recent attempts to integrate across the areas. Article Note: This article is part of a special issue in Celebration of the Journal of Creative Behavior's 50th Anniversary. Authors were invited by the Editor to contribute an essay to this special issue and the essays were reviewed internally by the Editorial team.
Sawyer, R. K. (2017). Creativity Research and Cultural Context: Past, Present, and Future. The Journal of Creative Behavior VO - 51, (4), 352. https://doi.org/10.1002/jocb.204
Abstract:
Creativity research has always been linked to its social and cultural context. In this essay, I give two examples of how creativity research has changed from the 1950s to the present, and I argue that these two changes are driven by social and cultural factors. First, I discuss a transformation in U.S. society from a 1950s emphasis on conformity, to a contemporary valorization of radical entrepreneurship that rejects the status quo. Second, I discuss a shift from a focus on creative forms associated with elite cultural groups, to a broader focus on universal creativity. Article Note: This article is part of a special issue in Celebration of the Journal of Creative Behavior's 50th Anniversary. Authors were invited by the Editor to contribute an essay to this special issue and the essays were reviewed internally by the Editorial team.
Silvia, P. J. . (2017). Building Institutions for the Next 50 Years of Creativity Research. Journal of Creative Behavior, 51(4), 345–347. Retrieved from http://10.0.3.234/jocb.194
Abstract:
The Journal of Creative Behavior's remarkable half-century is a good occasion for reflecting on the role of a scholarly field's institutions in fostering creative work. In creativity studies, some of our institutions are flourishing, particularly our many excellent peer-reviewed journals. But we face some institutional challenges that will require some creative solutions from creativity researchers. This article considers three challenges: (a) how to train and place the next generation of scholars when so few creativity researchers work at doctoral-level graduate programs; (b) how to tighten the field's social network by bringing together people from different subfields and career stages in face-to-face gatherings; and (c) how to identify and develop the leadership needed to manage our scholarly organizations. [ABSTRACT FROM AUTHOR]
Moore, T. L., & Shaughnessy, M. F. (2014). An interview with Keith Sawyer on creativity. The International Journal of Creativity and Problem Solving VO - 24, (1), 45.
Dr. R. Keith Sawyer is the Morgan Distinguished Professor in Educational Innovations at the University of North Carolina in Chapel Hill. He is one of the country's leading scientific experts on creativity. His 2007 book GROUP GENIUS shows us how to be more creative in collaborative group settings, how to change our organizations for the better, and how to tap into our own reserves of creativity. His 2013 book ZIG ZAG identifies the 8 stages of the creative process, and contains over 100 techniques to enhance your personal creativity. After receiving his computer science degree from MIT in 1982, Sawyer began his career with a two-year stint designing videogames for Atari. From 1984 to 1990, he worked as a management consultant on innovative technologies; clients included Citicorp, AT&T, and U.S. West. He has been a jazz pianist for over 30 years, and spent several years playing piano with Chicago improv theater groups. His research has been featured on on CNN, Fox News, TIME Magazine, and other media. A popular speaker, he lectures to corporations, associations, and universities around the world on creativity and innovation.
Baer, J., & Kaufman, J. C. (2005). Bridging generality and specificity: the Amusement Park Theoretical (APT) model of creativity. Roeper Review VO - 27, (3), 158.
Abstract:
Is Creativity the Same in All Domains? A recent review of creativity research and theory (Kaufman Baer, in press-a) noted a number of topics that have captured the sustained attention [...]
One of the most contentious areas in creativity theory is the question of domain specificity. How we conceptualize creativity--as something that transcends content domains, or as something that varies depending on the domain in question--has important implications for both creativity research and creativity training programs. The Amusement Park Theoretical (APT) model of creativity is the first creativity theory to successfully bridge the gap between these contrasting views of creativity. The APT model uses the metaphor of an amusement park to explore creativity. There are four stages: Initial requirements, general thematic areas, domains, and micro-domains. The first level (initial requirements) is very general, and each subsequent level gets more and more domain-specific. The APT model can provide a powerful framework for creativity assessment, selection of students for gifted education programs, and the development of creativity training programs.
Beaty, R. E., Benedek, M., Silvia, P. J., & Schacter, D. L. (2016). Creative Cognition and Brain Network Dynamics. Trends in Cognitive Sciences VO - 20, (2), 87. https://doi.org/10.1016/j.tics.2015.10.004
Abstract:
Creative thinking is central to the arts, sciences, and everyday life. How does the brain produce creative thought? A series of recently published papers has begun to provide insight into this question, reporting a strikingly similar pattern of brain activity and connectivity across a range of creative tasks and domains, from divergent thinking to poetry composition to musical improvisation. This research suggests that creative thought involves dynamic interactions of large-scale brain systems, with the most compelling finding being that the default and executive control networks, which can show an antagonistic relation, tend to cooperate during creative cognition and artistic performance. These findings have implications for understanding how brain networks interact to support complex cognitive processes, particularly those involving goal-directed, self-generated thought.
Baer, J. (2015). The Importance of Domain-Specific Expertise in Creativity. Roeper Review, 37(3), 165–178.
Abstract:
Although creativity and expertise are related, they are nonetheless very different things. Expertise does not usually require creativity, but creativity generally does require a certain level of expertise. There are similarities in the relationships of both expertise and creativity to domains, however. Research has shown that just as expertise in one domain does not predict expertise in other, unrelated domains, creativity in one domain does not predict creativity in other, unrelated domains. People may be expert, and people may be creative, in many domains, or they may be expert, or creative, in few domains or none at all, and one cannot simply transfer expertise, or creativity, from one domain to another, unrelated domain. The domain specificity of creativity matters crucially for creativity training, creativity assessment, creativity research, and creativity theory. The domain specificity of creativity also means that interdisciplinary thinking, interdisciplinary collaboration, and interdisciplinary creativity are even more important than one would assume if creativity were domain general. [ABSTRACT FROM AUTHOR]
Kaufman, S. B. (2013). Opening up Openness to Experience: A Four-Factor Model and Relations to Creative Achievement in the Arts and Sciences. The Journal of Creative Behavior VO - 47, (4), 233.
Abstract:
Openness to experience is the broadest personality domain of the Big Five, including a mix of traits relating to intellectual curiosity, intellectual interests, perceived intelligence, imagination, creativity, artistic and aesthetic interests, emotional and fantasy richness, and unconventionality. Likewise, creative achievement is a broad construct, comprising creativity across the arts and sciences. The aim of this study was to clarify the relationship between openness to experience and creative achievement. Toward this aim, I factor analyzed a battery of tests of cognitive ability, working memory, Intellect, Openness, affect, and intuition among a sample of English Sixth Form students (N = 146). Four factors were revealed: explicit cognitive ability, intellectual engagement, affective engagement, and aesthetic engagement. In line with dual-process theory, each of these four factors showed differential relations with personality, impulsivity, and creative achievement. Affective engagement and aesthetic engagement were associated with creative achievement in the arts, whereas explicit cognitive ability and intellectual engagement were associated with creative achievement in the sciences. The results suggest that the Intellectual and Openness aspects of the broader openness to experience personality domain are related to different modes of information processing and predict different forms of creative achievement. Article Note: The first author conducted this study in Cambridge, England while he was affiliated with Yale University.
Kaufman, J. C. ., & Beghetto, R. A. . (2013, August). Do People Recognize the Four Cs? Examining Layperson Conceptions of Creativity. Psychology of Aesthetics, Creativity & the Arts.
Abstract:
Researchers examine implicit beliefs about creativity to understand what laypeople think. Past work has looked at cultural differences, characteristics associated with creativity, and the positive or negative valence that people feel toward creativity. In this study, we focused on the Four C Model of Creativity (Beghetto & Kaufman, 2007; Kaufman & Beghetto, 2009) to discover if laypeople perceive nuances in different levels of accomplishment. We found that although Pro-c and little-c merged into one factor, Big-C, mini-c, and Not-c (not creative) were distinguishable. Personality (particularly agreeableness and openness) predicted how participants rated different levels of creativity. [ABSTRACT FROM AUTHOR]
Ambrose, D. (2006). Large-Scale Contextual Influences on Creativity: Evolving Academic Disciplines and Global Value Systems. Creativity Research Journal, 18(1), 75–85.
Abstract:
Creative thoughts and actions are shaped by large-scale contextual influences, such as the nature of academic disciplines and the value systems of nations. Some of Torrance's cogent insights about creativity serve as lenses for the analysis of the structure and dynamics of several academic disciplines, as well as global transitions in value systems. The analyses suggest that fractured–porous and unified–insular academic disciplines may exert very different influences on the creativity of scholars and practitioners. In addition, widespread transitions from modern–materialist to postmodern–postmaterialist value systems may have profound influences on the creativity of citizens and policymakers in various nations. [ABSTRACT FROM AUTHOR]