1. Theories of Creativity
Week 4 NJ Kang, Creativity

2. What is that creative individuals do?

3. Sensing creative problems.
Sensing problems or difficulties
Making guesses or hypotheses about the problems
Evaluating the hypotheses, and possibly revising them
Communicating the results

4. Dillon, Torrance, Dewey & Wallace, Getzels
Existent
Type 1
Emergent
Type 2
Potential
Type 3
Sensing
Preparation
Guessing
Incubation
Evaluating
Illumination
Dillon, Torrance, Dewey & Wallace, Getzels

5. What allows them to do it?

6. Mozart, Poet, Luck, God, beside himself,
Rothenburg & Hausman, 1976

7. A poet is a light and winged thing, and holy, and never able to compose until he has become inspired and is beside himself, and reason is no longer in him
Rothenburg & Hausman, 1976

8. Did not believe that creative products came through mystical intervention or unique creative processes.
He believed that just as plants and animals produced young in a rational law.
Result of “Cool headwork and technical knowledge (vernon, 1975)
Aristotle

9. Creativity? Which is right?
Conscious learning?
Subconscious
Forces?
Creativity? Which is right?

10. Psychoanalytic Theories
Freud’s approach (ego, id) Kris and Kubie (regression to ego. inspirational phase, elaborational phase) Jung’s Theory (highlighted role of influences e.g. culture, religion, arts) Contemporary Psychoanalysts -Rothenberg and Miller (1990)  repressed childhood trauma used in creative products)
Psychoanalytic Theories

11. Psychoanalytic Theories
Explain human behavior, development, and personality traits as shaped by powerful unconscious processes. Such theories attempt to uncover the unseen needs that motivate individuals’ actions, often looking to childhood events to comprehend adult behavior.
Psychoanalytic Theories

12. What do we need in order to this unconsciousness to be geared?

13. Behaviorist or Associatinonist Theories
Mednick’s associative Theory
Behaviorist or Associatinonist Theories

14. Maslow’s Theories
Rogers’ Approach
Humanist Theories

15. Acceptable outward behavior
Unconscious desires
Acceptable outward behavior
Freud’s Approach

16. Three aspects of human personality, Freud.
logical conscious mind
The ego
primitive unconscious drives
Id:
a conscience-like force that acts as mediator between the other two
The superego:
Three aspects of human personality, Freud.

17. Supressed sexual desire
Sublimated
desire
Creativity

18. Creativity Repressed and sublimated products Sublimated desire
Supressed sexual desire
Sublimated
desire
Repressed and sublimated products
Creativity

19. Basic process of creativity is regression that creative individuals are able to recreate a childlike state of mind in which unconscious ideas are more accessible to the conscious mind.
Freely wandering fantasy may serve the id in relieving unconscious desires, but unlike Freud, he emphasized regression in service of the ego.
Kris and Kubie

20. Two major breaks with freud
Creativity has its roots
Not in the unconscious, but in the preconscious system flowing between the conscious and unconscious
The symbolic processes in the conscious mind are limited to the recall of past experineces shaped by our use of language.
The role of neuroses in creativity.
If unconscious needs are so powerful, Neuroses distort creativity.
Two major breaks with freud

21. Common heritage of humankind
Importance of personal experiences and the unconscious mind in framing creative production.
Individual
Unconscious
needs
Common heritage of humankind
Creativity
Jung’s theory (1972)

23. Contemporary Psychoanalysts Kubie, Rothenberg (1990) and Miller (1990)
Trauma, neuroses, and creativity?
Contemporary Psychoanalysts Kubie, Rothenberg (1990) and Miller (1990)

24. Information on repressed childhood traumas and their creative development.
Picassos painting Guernica, Malaga earthquake
Miller (1990)

25. Rothenberg (1990) Janusian process Homospatial process
A conscious, rational procedure,
Opposites are conceived simultaneously, a leap that transcends ordinary logic.
Homospatial process
Conceiving of two or more entities occupying the same space at the same time.
Handle, brances the branches are handles of stars
Rothenberg (1990)

26. Mental illness Creative people Rothenberg (1990)
Are more likely to believe contradicting or illogical ideas, to have no control over them
Creative people
May use ideas outside logic to facilitate their thinking,
Rothenberg (1990)

27. Illogical mental connections
Creative processes characterizes them as being under the conscious control of the creator– healthy, logical control of illogical mental connections.
Logical control
Illogical mental connections
Rothenberg (1990)

28. Behaviorist or Associationist Theories.

29. Behaviorist or Associationist Theories.
Human activities as resulting from a series of stimuli and responses.
Behaviorist or Associationist Theories.

30. Skinner (1972) and the chicken
A poet is no more responsible for the content or structure of a poem than a chicken is responsible for laying an egg.
The more creativity or activities approaching creativity are reinforced, the more they should occur.
Skinner (1972) and the chicken

31. Mednick’s (1962) associative theory
The production of ideas a s the result of stimuli and responses, but he theorized that creative ideas result from a particular type of response, the bringing together of remote unrelated ideas.
Mednick’s (1962) associative theory

32. Remote ideas together Ability of associations with stimulus
Needed elements
Complex network of associations
Creativity
Remote ideas together Ability of associations with stimulus

33. Remote ideas together Ability of associations with stimulus
Reward, practice, instruction
Needed elements
Complex network of associations
Creativity
Remote ideas together Ability of associations with stimulus

34. Humanist Theories

35. The focus is on normal growth and the development of mental health.
Creativity as the culmination of well- adjusted mental development
Humanist theories

36. a hierarchy of human needs that can be met in a generally ascending order, beginning with physical needs and progressing to the needs for safety and security, love and belonging, self-esteem, and self-fulfillment.
But has conflict: Wagner or van Gogh
Maslow’s (1954) theories

37. Maslow’s (1954) theories Two types of creativity.
Special talent Creativity
Independent of goodness or health of character and funcions in creative genuises.
Self-actualizing creativity
Manifestation of mental health and movement toward self actualization
A first rate soup is more creative than a second rate painting..
Maslow’s (1954) theories Two types of creativity.

38. A high-level of this tend to do everything creatively
More spontaneous and expressive than average, more natural and less controlled or inhibited,
The ability to express ideas freely without self-criticism
Paralleled the innocent, happy creativity of secure children.
Every human being has this ability
Maslow’s (1954) theories

39. Rogers’ Approach Personality variables
Creativity is the product of healthy human growth.
Man’s tendency to actualize himself, to become his potentialities
The emergence of novel products through the interaction of an individual and the environment.
Rogers’ Approach

40. Rogers’ Approach Openness to experience Internal locus of evaluation
Free of psychological defenses that would keep them from experiencing their environment.
Individual is willing to view experiences outside traditional categories, to consider new ideas, and to tolerate ambiguity if ambiguity exists.
Internal locus of evaluation
Reliance on one’s own judgment, particularly in gauging creative products.
Rogers’ Approach

41. Development of Creativity and Social Interactions

42. Development of Creativity and Social Interactions
The longitudinal development of creativity across time.
Socio-cultural analysis of human thought
Development of Creativity and Social Interactions

43. Vigotsky’ creativity Adulthood Maturity Adolescent Matured thinking
Childhood
Fantasy
Imagination
Adolescent Matured thinking
Adulthood
Maturity
Vigotsky’ creativity

44. Interaction with people and social context
Childhood
Fantasy
Imagination
Adolescent Matured thinking
Adulthood
Maturity
Interaction with people and social context
Vigotsky’ creativity

45. Individuals use creative processes internally as they transform incoming social and cultural messages into a mind and personality.
Creative processes or ideas do not develop within individuals but in interactions among individuals within a socio cultural context.
Vigotsky’ creativity

46. Creativity, Intelligence, and Cognition

47. Creativity, Intelligence, and Cognition
Guilford’s Structure of the Intellect (1959, 1986, 1988)
Perkins, Weisberg, and Myth Busting (1981, 1988b, 1994)
Creative Cognition (1997, 1999, 2001)
The Ultimate Mechanics: Creativity and Computers (1988, 1991, 1992, 1994, 1999, 2006)
Creativity, Intelligence, and Cognition

48. Creativity, Intelligence, and Cognition
The relationship between creativity and intelligence.
There is a strong, positive relationship between creativity and intelligence the more intelligent the person, the more likely he or she is to be creative.
Creativity, Intelligence, and Cognition

49. Guilford’s (1959, 1986, 1988) Structure of the Intellect
Each type of content can be matched with each operation or product to form a separate cell of the cube associated with a particular intellectual ability.
content
visual
Products
auditory
symbolic
semantic
units
classes
relations
systems
transformations
implications
Operation
Guilford’s (1959, 1986, 1988) Structure of the Intellect

50. Guilford’s (1959, 1986, 1988) Structure of the Intellect
content
visual
Products
auditory
symbolic
semantic
units
classes
relations
systems
transformations
implications
Divergent
evaluatin
convergent
Operation
Memory retention
Guilford’s (1959, 1986, 1988) Structure of the Intellect

51. Did not portray creativity as rooted in conflict and childhood trauma or as a manifestation of mental health.
Similar to any other aspect of intelligence, it represented to him a pattern of cognitive strengths that include, but are not limited to, the abilities to produce diverse responses to varied tasks.
They do not view creativity itself as a mysterious force unlike other human experiences, but rather a s a manifestation of the same sorts of processes found in other types of thought.
Guilford

52. Divergent thinking, Fluency: generating many ideas
Flexibility: generating different types of ideas or ideas from different perspectives
Originality :generating unusual ideas)
Elaboration: adding to ideas to improve them
Divergent thinking,

53. Creativity occurs along a wide range of activities, beginning with the very ordinary processes of language use and concept development and extending to ideas representing fundamental shifts in various domains.
The creative cognition approach concentrates primarily on the cognitive processes and conceptual structures that produce creative ideas.
Creative Cognition

54. Homework Select one of the theory or approach that
describes your beliefs about how creativity develops. In order to explain your argument, you have to use either your experiences or other examples.
Describe how your belief of creative people can be applied in your teaching of English.
Read chapter 4 and 5
Describe cognitive characteristics of creative people.
Homework