Introduction to the Chapter

This chapter will begin by exploring creativity, where it stems from, and the many faces and forms creativity takes on. You will explore your creativity levels and gain insight into the concept of creativity being on a continuum.

Learning Outcomes

After completing this chapter, you will be able to:

1. Define creativity.
2. Explain the link between neuroscience and creativity.
3. Summarize various theories about creativity.
4. Describe the flow of creativity.
5. Determine your own inner creativity.

Key Terms

The following important terms will be used in this chapter:

• Creativity: the ability to think of new ideas
• Perception: how we interpret a situation, people, or grasp ideas
• Personality: the characteristics that makes each of us an individual
• Habits: manners in how we behave
• Salient: recognizable important, especially when discussing ideas and information
• Mind map: a visual technique for organizing ideas

Section 1: Defining and Identifying

What Exactly Is Creativity?

There are a vast array of interpretations, definitions, and perceptions of creativity. The most basic might be the use of your imagination. You may ask, what does that mean? Do I “have it”? We will explore creativity, and the short answer is: YES, you have it! To put your mind at ease, think for a moment of a time you found yourself in a predicament or situation you maybe should not have been in, and you got caught in some form. Now think of your quick, whited response, justification, or elaborate story you adlibbed in the moment to wiggle your way out of impending trouble or consequences. Yes, you may have chuckled or laughed out loud, and yes, this may not be the best example; however, it was creative! Myth buster: creativity is not reserved for a select few; we are all creative in our own individual way!

Creativity is not just about being a famous musician or artist; it’s about giving yourself permission to diverge in your thinking. One way to do that is to remain more curious than certain.

This section will explore several theories of creativity. As with many theories, there is not a one-size-fits-all answer. As you review them, ask yourself what applies to you, how, and when. Some overlap, intersect and complement one another. As with all theory forms, they do not belong in a box; they are meant to be explored.

Myth Buster

Left brain right brain: Not an absolute!

The long-standing belief that individuals are either “left-brained” or “right-brained” has been largely debunked by contemporary neuroscience. This myth, which suggests that left-brained people are logical and analytical while right-brained individuals are creative and intuitive, oversimplifies the complex nature of brain function. Research has shown that while certain brain functions are indeed lateralized—such as language typically residing in the left hemisphere and spatial abilities in the right—these do not translate into a dominance that defines one’s personality or cognitive style. Studies, including extensive brain imaging research, have demonstrated that both hemispheres of the brain work in concert, with no evidence supporting the idea that people predominantly use one side over the other. This myth persists in popular culture, but it fails to account for the brain’s remarkable ability to integrate and coordinate functions across both hemispheres, making the dichotomy of left-brained versus right-brained thinking more fiction than fact (https://www.sciencedaily.com/releases/2013/08/130814190513.htm).

Personality and Creativity

Personality traits play a significant role in creativity, with research consistently highlighting the importance of certain characteristics. Creative individuals often exhibit high levels of openness to experience, which includes traits such as intellectual curiosity, aesthetic sensitivity, and a preference for variety and novelty. These traits enable them to explore new ideas and perspectives, fostering innovative thinking. Additionally, creative people tend to be more autonomous, self-confident, and driven, but they can also be impulsive and less conscientious. For example, artists and scientists who are highly creative often display a willingness to challenge norms and take risks, which can lead to groundbreaking work.

Intelligence and Creativity

Intelligence and creativity: the complex, multifaceted… Fluid intelligence is positively related to creative potential, but fluid intelligence alone does not determine creative ability. The threshold hypothesis posits that a particular level of intelligence is required for high creativity, after which point intelligence becomes essentially irrelevant, with the exception that highly intelligent people may be less likely to suffer cognitive limitations that may inhibit creative thinking. For example, people who have an IQ higher than around 120 are more likely to have the capacity for creativity than those who have an IQ lower, but this does not mean that they simply will be creative, any more than low IQ guarantees non-creativity. One of the baseline components of creative ability is divergent thinking, or the ability to come up with many solutions to a single problem.

Neuroscience and Creativity

We now have some data from neuroscience that can inform us about the brain processes that are in play when thinking creatively, and there is good evidence that creative thinking involves not just one brain network but multiple different networks. The default mode network (DMN), related to spontaneous, undirected thought and daydreaming, and the executive control network (EXN), linked to goal-driven attention, task complexity and cognitive control, both are crucial for creative work.

Creative individuals are to some extent able to simultaneously co-activate these networks, which might be achieved for generating new ideas and output for the subsequent evaluation. In particular, more interactions between these networks are expected during tasks of creative thought, such as when asked to brainstorm novel ways to use an everyday object.

Section 2: Theories of Creativity

The term creativity is one that some consider overused and certainly misunderstood. While creativity is a part of all of us; theorists attempted to provide tangible clarity through defining specific theories. When constructs are presented, we often find it easier to move freely within the theory.

The 4-C Level Model

The 4-C Model of creativity is comprised of the following:

The Mini-C Level of Creativity

This level stems from the concept that creativity is inherent in learning a new skill or task: creativity is involved. While the creativity level might not be radical, it is creativity, nonetheless. If we consider a continuum, it is at the lower end of the scale.

It is more personal in nature.

Example: Amelia has been selected for a non-speaking role in her 3rd grade class play.

The Little-C Level of Creativity

This level builds on the mini-c as the creativity learned tends to be a growth step above the mini-c, and with the right mindset and appropriate feedback, the creation may be useful to others.

It is more personal in nature.

Example: Amelia has been selected for the lead role in her 6th grade play. Here, her parents recognize her interest and growth in pursuing theatrics.

The Pro-C Level of Creativity

This level of creativity comes from intentional learning, years of experience, trial and error, and is a result of a pre-set goal.

It is more professional in nature.

Example: Her love for theater drives Amelia to attend a university known for its theater program, and she performs with local theater companies.

No longer is it just Amelia’s parents and family attending her school performances. Community members who do not necessarily know her are now paying to see her perform.

The Big-C Level of Creativity

This level of creativity is one that is remembered and talked about for years, decades, and generations to come. This level is a longitudinal evaluation of the artist’s (individual’s) entire career and impact.

Example: Amelia has made it in Broadway or the major movies industry and is revered as one of the greats.

Process Theories

What are process theories, and why are they important? Some think creativity is a new concept, and why not: We have talked about creativity more in recent years than ever before. The fact is that Graham Wallas’s Art of Thought (1926) set the stage for the model used today.

Stage One: Preparation

In this stage, we are concerned with information gathering. We talk to, observe, and listen to users with the intent to define “the” problem. Creative ideas and solutions tend not to pop up automatically, rather they become apparent through ideation, brainstorming, and asking questions.

Stage Two: Incubation

Here is where we “sleep on it.” We allow time and space for all ideas, brainstorming, and observations to settle; we contemplate, mull over, and process. The key in this stage is allowing your mind to entertain even the wildest ideas.

Stage Three: Illumination

This stage is where individuals realize that creativity is a process. Here is where we have the aha moments and glimpses of clarity. We nurture those aha moments into the mindset that “this,” is something worth moving toward.

Stage Four: Verification

Now it’s time to build! Here we evaluate our idea, fine-tune it, and analyze it. If a prototype is in order, we create one and test the market. We need user feedback to test the proof of concept before going any further.

Section 3: The Creative Personality in Each of Us

Where Is It? How Do I “Get” It?

Where is it? How do I “get” it? Was I born with it?

Hopefully, you have completed the Trash Can exercise and gleaned from the process theory content that creativity is all around us, and you already have it. A sigh of relief to understand that you’re a creative being: Let’s discover a little more about creativity and yourself. To answer our questions: it is everywhere, you already have it, and yes, you were born with it!

Discovering the Unknown

Remember earlier in the chapter the phrase “Remain More Curious Than Certain”; here is your chance. Unleash your curiosity and creativity, give yourself permission to explore, and be carefree.

Discovering the unknown can often be as simple as asking why or why not. Walking through a typical day and asking what would make “X” easier can also be an exercise. Now, “X” could be any daily routine, task, or activity. Creativity in action is identifying a tool, step, or function, whatever the case may be, to make your “X” more efficient, better, easier, or more accessible.

Getting Out of the Proverbial Box

Let’s begin this section with a brain teaser:

Weisberg and Alba (1981) asked subjects to solve the nine-dot problem—draw four straight, connected lines that go through all nine dots:

[figure number=Figure 1.1 caption=Nine Dots size=150 filename=Fig_1.1.png]

Most people will not draw lines that extend from the square formed by the nine dots. To solve the problem, you have to break your mental set:

[figure number=Figure 1.2 caption=Nine-Dot Solution filename=Fig_1.2.jpg]

Coloring Outside the Lines

[figure number=Figure 1.3 caption=Color Outside the Lines size=300 filename=Fig_1.3.jpg]

As children, we are often taught to be neat and color in the lines. But is that what we should teach such young, malleable minds? Does that directive stifle creativity? Does it adversely tamp down one’s imagination? When confronted with the opposing thought: color outside of the lines, have we instead created rigidity in children, causing them to be apprehensive and uncomfortable with coloring as they see fit? If we always color the way we’ve been taught, we’ll always be in the box.

“Perception. Some say that perception is reality or at least the reality you perceive. Einstein, Nikola Tesla, and Walt Disney are a few creative geniuses we will explore further. Consider this: Perception determines how we view things around us. How do we shift our perception? This skill and talent Disney perfected resulted in his ability to perceive and create an abundance of characters. In Chasing the Light, Einstein expressed that in order to change his perception and see his experiment differently, he imagined himself chasing a beam of light; Nikola Tesla, some say, had an intelligence never seen before or since. He perceived life by imagining the future. Daydreaming it was not. During an interview in 1926, Tesla stated that when wireless is perfectly applied, the whole earth will be converted into a huge brain.” This prediction of wireless devices is the reality that allows us to carry a computer in our pockets today.

This is all intriguing; however, unless you have creativity and perception of these greats, you’re asking: Where does this leave me? Perception is often visual, and when we see it, we generate additional ideas and solutions.

Mind Mapping

One way to visualize, imagine, perceive, and discover is through mind mapping. What is mind mapping? A mind map is a visual way of organizing ideas in a web-like structure. Why take time to mind map? It has been shown to engage both the left and right brain, allows for connections between ideas, and is a fast way to brainstorm, problem-solve, and create. Some of the benefits to mind mapping are it is exceptional for visual learners; it is easy to connect and incorporate seemingly distant ideas. It allows for a quick brain dump as a part of the creative process.

Let’s explore the components of a mind map and how to begin. Since this is a form of brainstorming, we are not going to have a structure in the traditional format; we won’t write sentences or complete thoughts. We will: begin with a center word (this can be an issue, problem, of idea), main branches will extend from the center, and each of the main branches will contain sub-branches. Each branch will have its own color, allowing the eye to focus on one aspect of the mind map. Tony Buzan is the father of mind mapping and provides this very basic example of how one begins.

[figure number=Figure 1.4 caption=Mind Map filename=Fig_1.4.jpg]

Now let’s take a look at a mind map that details parts of giving a presentation. As you see the brainstorming has taken place and the author created main topics of event, focus, possibilities, ideas, providing, formats, and handouts. For each branch, you can review the specifics that deeper brainstorming has provided.

[figure number=Figure 1.5 caption=Mind Map filename=Fig_1.5.jpg]

[figure number=Figure 1.6 caption=Mind Map filename=Fig_1.6.jpg]

A mind map can be used for planning, brainstorming, group thinking, documenting, note-taking, decision-making, and problem-solving. Happy mind mapping!

Section 4: The Flow of Creativity

What Is Flow?

The concept of flow explains the overall fluid nature of creativity. Flow captures the freeing process of a creative once the individual finds a rhythm and embarks upon moments of zeal. Imagine an athlete zoned into a competition, or a writer who has finally reached a steady pace in the writing process. Flow allows for complete immersion into a task.

Section 5: What a Creative Mind You Have

While varying levels of creativity exist among people, one cannot dismiss the power of a creative mind. A creative mind allows individuals to think beyond black and white and jump outside preconceived boxes that society has developed. A creative mind allows individuals to develop masterpieces, inventions, and stories that demonstrate natural brilliance.

Anderson et al. (2022) led a group of researchers in studying the brain activity of creative thinkers. The results showed that creative thinkers have a thought process that is not connected. However, the lack of connectivity allows creative thinkers to continue actively working through a problem and finding alternate solutions while a highly intelligent individual with minimal creativity is strategically developing a well-informed, structured plan. While the strategic plan may come across as more efficient, the creative plan provided opportunities outside of the box, which lends itself to richer experiences.

Highly creative individuals are able to suspend judgment and consider multiple perspectives. This in turn leads to questioning techniques that challenge the norm and encourage new ideas, new norms, and new perspectives (Towe, 1996). In striving to develop new creative habits, it is important to diversify the people you are around and diversify the activities that you engage in on a daily basis. Stepping outside of your daily routine and traditional thought process will make room for a growth mindset.

Managing Judgment

We are all creative. We each possess different types and levels of creativity. When others experience creativity differently, it is possible you will be challenged or judged on your own style. This is human nature; however, the following may be helpful.

Embrace feedback as learning: View judgment and feedback as opportunities to learn and improve. Instead of taking criticism personally, analyze it objectively to see how it can help you refine your ideas. This mindset shift can turn potential negativity into constructive input.

Build confidence in your ideas: Confidence in your creativity and innovation can help you handle judgment more effectively. Practice and refine your ideas thoroughly so you can present them with assurance, which often diminishes the impact of negative judgments.

Seek diverse perspectives: Actively seek out opinions from a variety of people, including those outside your usual circles. This helps you prepare for different viewpoints and makes your ideas more robust and well-rounded, ultimately reducing the sting of any single judgment.

Stay true to your vision: Maintain a strong sense of purpose and clarity about why your ideas matter. When you are deeply connected to your vision, external judgments have less power to derail your progress. Remember that innovation often challenges the status quo, and initial resistance is common.

Create a supportive network: Surround yourself with a supportive community of like-minded individuals who understand and value creativity. This network can provide encouragement and constructive feedback, helping you stay motivated and resilient in the face of judgment.

Developing New Creative Habits

When you drove home yesterday, walked back to your dorm, or rode your bicycle around town: What did you do differently? Did you take the same familiar route? Our default is often repeating our routines in the same pattern. So tonight, or tomorrow: change it up. Drive, walk, or ride a different path and then ask yourself:

• What was different?
• What did I notice?
• How did that feel?
• Why do not I change it up more often?

See, in order to jumpstart new creative habits, we must give our systems a jolt or a reset.

To begin that process, find a quiet space and answer the following:

Identify a Creative Moment:

Reflect on a time in your life when you felt particularly creative. Describe the situation in detail. What were you doing? What made this moment stand out as a creative one? How did it make you feel? What can you learn from this experience to apply to future creative endeavors?

Overcoming Barriers to Creativity:

Think about a time when you faced a barrier to your creativity, such as fear of failure, lack of resources, or external pressures. How did you address or overcome this barrier? What strategies did you use, and what was the outcome? How can you apply these strategies to future challenges?

Integrating Creativity Into Daily Life:

Consider your current daily routine and identify opportunities where you can incorporate more creative activities. What small changes can you make to invite more creativity into your life? How can you use the principles of design thinking (empathize, define, ideate, prototype, test) to enhance your creative process in everyday tasks?

Case Study: Decision-Forcing Case: Unleashing Inner Creativity in a Fast-Paced World

Background

You are Alex, a 21-year-old undergraduate student majoring in Business Administration at a prestigious university. You have always been fascinated by the concept of creativity, but you often find yourself overwhelmed by the fast-paced, ever-changing world around you. You are currently enrolled in a course on Creativity, and your professor has assigned a case study that requires you to delve deep into your own creative potential.

The Dilemma

You have been given the task of analyzing the creative strategies employed by IDEO, a global design and innovation company known for its groundbreaking work in various industries. IDEO has been a pioneer in fostering a culture of creativity and innovation, and their approach has been widely studied and admired.

Recently, IDEO faced a significant challenge: The company was tasked with redesigning the shopping cart, a seemingly mundane object that had not seen much innovation in decades. The project was part of a television program called “Nightline,” which aimed to showcase the creative process in action. The team at IDEO had only 5 days to come up with a new design that would address various issues such as safety, convenience, and theft prevention.

As you immerse yourself in the details of IDEO’s approach, you realize that the company employs a unique method called “design thinking,” which involves empathizing with users, defining problems, ideating solutions, prototyping, and testing. You are particularly struck by how IDEO encourages its employees to think outside the box, collaborate across disciplines, and embrace failure as a learning opportunity.

However, as you reflect on your own experiences, you recognize that the word “creativity” is often overused and misunderstood. In a world that demands constant innovation, you find it challenging to channel your inner creativity effectively. You are now faced with a significant dilemma: How can you apply the principles of design thinking and IDEO’s creative strategies to unleash your own creative potential in a fast-paced, ever-changing environment?

Your Task

As Alex, you need to identify and assess the range of possible options for action based on the following questions:

How can you incorporate the principles of design thinking into your daily life to enhance your creative problem-solving skills?

What specific strategies can you adopt to foster a culture of creativity and innovation within your study groups or project teams?

How can you overcome the barriers to creativity, such as fear of failure and the pressure to conform, in order to think more creatively and innovatively?

You have access to IDEO’s work and the concept of design thinking (https://www.ideo.com/). Your goal is to develop a comprehensive plan that outlines how you will channel your inner creativity and apply it to real-world challenges.

A Nutshell Summary

Here we have challenged your preconceived notion of what creativity is and is not, exactly who is creative, and what we can do about it. You now understand that we are all creative, we can challenge ourselves and open our minds to increase our creative experience, and like our personalities, how we access our creative juices is individual as well.

Probing Questions

1. What was your biggest “aha” moment as you read and worked through Chapter 1?
2. How do your personality traits align with those commonly associated with creativity? In what ways can you cultivate traits like openness and autonomy to enhance your creative potential?
3. How do you balance the use of intelligence and creativity in problem-solving? Can you identify situations where your intelligence has either facilitated or hindered your creative thinking?
4. How do you create conditions that allow your mind to wander and generate new ideas? What strategies can you use to enhance the cooperation between spontaneous and controlled thinking in your creative endeavors?
5. How has your view of creativity changed? Why?
6. How will you practice creativity in your life?

Introduction to the Reading

This reading is about the critical nature of creativity. We can say to ourselves, “Yes, of course I’m creative…and” Now what? This reading is significant because even NASA found themselves in a pickle. When we think of creativity, NASA may be representative of a great example; after all, while science is clearly a driving force when it comes to determining if Mars has water, it is also wildly creative that we are even having this discussion. We may not have a hand in the decisions about Mars, but we do control indulging in and learning about our creativity.

References

Anderson, A., Japardi, K., Knudsen, K. S., Bookheimer, S. Y., Ghahremani, D. G., & Bilder, R. M. (2022). Big-C creativity in artists and scientists is associated with more random global but less random local fMRI functional connectivity. Psychology of Aesthetics, Creativity, and the Arts. Advance online publication. https://doi.org/10.1037/aca0000463.

Beaty, R. E. (2020). The creative brain. Re-Printed: The Dana Foundation. https://www.dana.org/article/the-creative-brain/. Originally appeared in the Winter 2020 issue of our Cerebrum. https://online.flippingbook.com/view/617165/.

Benedek, M., Jauk, E., Sommer, M., Arendasy, M., & Neubauer, A. C. (2014, September). Intelligence, creativity, and cognitive control: The common and differential involvement of executive functions in intelligence and creativity. Intelligence, 46, 73–83. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4175011/.

Benedek, M., Jauk, E., Fink, A., Koschutnig, K., Reishofer, G., Ebner, F., & Neubauer, A. C. (2014). To create or to recall? Neural mechanisms underlying the generation of creative new ideas. NeuroImage, 88, 125–133. https://doi.org/10.1016/j.neuroimage.2013.11.021

Norton, John D., Chasing the light: Einstein’s most famous thought experiment. In James Robert Brown, Mélanie Frappier, and Letitia Meynell (Eds.), Thought experiments in philosophy, science and the arts. Routledge.

Csikszentmihalyi, Mihaly. (1975). Beyond Boredom and Anxiety. San Francisco, CA: Jossey-Bass Publishers.

Csikszentmihalyi, Mihaly. (1990). Flow: The psychology of optimal experience. Journal of Leisure Research, 24(1), 93–94.

Shmerling, Robert H. (2022). Right brain/left brain, right? Harvard Health Publishing. https://www.health.harvard.edu/blog/right-brainleft-brain-right-2017082512222

Sterling, B. (2015). Nikola Tesla, prophetic visionary. Wired Magazine. https://www.wired.com/beyond-the-beyond/2015/05/nikola-tesla-prophetic-visionary/.

Towe, L. (1996). Why didn’t I think of that? American Media Publisher.

University of Utah Health Sciences. (2013, August 14). Researchers debunk myth of “right-brained” and “left-brained” personality traits. ScienceDaily. https://www.sciencedaily.com/releases/2013/08/130814190513.htm.

Image Credits

Fig. 1.1: Blleininger, “Nine dot problem,” https://commons.wikimedia.org/wiki/File:9dots.svg, 2010.

Fig. 1.2: Copyright © by Dana Westerkam (CC BY-SA 3.0) at https://commons.wikimedia.org/wiki/File:Nine_Dot_Problem,_DLW.png.

Fig. 1.3: Copyright © 2014 Depositphotos/pxhidalgo.

Fig. 1.3: Copyright © by AnnaKorlyakova (CC BY-SA 4.0) at https://commons.wikimedia.org/wiki/File:Conceptdraw-mindmap-10-example.png.

Fig. 1.4: Copyright © by Fernandosca (CC BY-SA 4.0) at https://commons.wikimedia.org/wiki/File:Memorize_mind_map.png.

Fig. 1.5: Copyright © by Shadowbug123 (CC BY-SA 4.0) at https://commons.wikimedia.org/wiki/File:Mind_Mapping_Use_Cases.png.