Creativity is of rising interest to scholars and laypeople alike. Creativity in the arts, however, is very different from creativity in science, business, sports, cooking, or teaching. This book brings together top experts in the field from around the world to discuss creativity across many different domains. Each chapter includes clear definitions, intriguing research, potential measures, and suggestions for development or future directions. After a broad discussion of creativity across different domains, subsequent chapters look deeper into those individual domains to (...) explore how creativity varies when expressed in different ways. Ultimately, the book offers a future-looking perspective integrating the different variations of creativity across domains. (shrink)

This article addresses the issue of units of analysis and atomistic models in psychology taking creativity research as a case study. A classic typology in this area, initially proposed by Rhodes, distinguishes between the four P's of creativity: person, process, product, and press. Continuing an effort to rewrite this basic language of the discipline from a cultural psychological perspective in the form of five A's, the discussion here focuses on bringing relationships to the fore within this framework and problematising strict (...) distinctions between each of the five elements. A closer look at the five A's of creativity, drawing on theoretical considerations and illustrated by interviews with creators working in different domains, reveals the permeable borders surrounding these units and challenges clear divisions between actors and audiences, action and artefacts, actors and artefacts. In the end, it is argued that creative phenomena cannot be properly understood and studied outside of their integrated and dynamic totality defined as a creativity complex. Implications of adopting this “molecular” perspective for theory and methodology are discussed. (shrink)

The current pandemic and the measures taken to address it, on a global scale, are unprecedented. Times of crisis call for creative solutions, and these are not reduced to the work of scientists or politicians. In everyday life, both in online and offline spaces, people use their creativity to make sense of the current situation, to cope with it, and to learn its lessons. Social media is a privileged space for mundane and participative creativity through the production and sharing of (...) coronavirus Internet memes. In this article, we examine the creativity of such memes from a dedicated Reddit community. We ask, in particular, what makes a coronavirus meme creative and what this creativity tells us about the pandemic and popular understandings of it. To answer these questions, we use a triangulation of quantitative and qualitative methods by having 480 memes coded by three social media users for surprise, meaningfulness, elaboration, humor, and creativity and qualitatively analyzing those memes that score highly on each dimension. An interesting finding concerns the importance of elaboration and humor for the evaluation of creativity in the case of memes, above the more traditional criteria of surprise and meaningfulness, perhaps a feature unique for Internet spaces. The article ends with reflections on what these findings tell us about creativity on social media more generally and the creative processes involved in the generation and reception of coronavirus memes in particular. (shrink)

The nature of craft creativity has often been ignored in research which focuses on innovative and novel ideas and thought processes. This view of creativity casts the repetitive nature of craft as antithetical to the disruptive nature of genuine creativity. Drawing on combined enactivist and pragmatist accounts of habits and on a focused cognitive ethnography of a wooden bowl turner, this paper explores the nature of the constraints wrought by habitual action. Habitual action will be shown to be less repetitive (...) than may be initially assumed because of the uncertainty inherent in working with both the wood which forms the initial material and the tools necessary to transform it. Rather, this paper proposes habitual learned movements as an important concept in a pragmatist-informed theory of creativity since they mark the skilled co-ordination of material, tool and maker, at once constraining and enhancing the creative craft process. (shrink)