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Definition

In a summary of scientific research into creativity Michael Mumford suggested: "Over the course of the last decade, however, we seem to have reached a general agreement that creativity involves the production of novel, useful products" (Mumford, 2003, p. 110). Creativity can also be defined "as the process of producing something that is both original and worthwhile" or "characterized by originality and expressiveness and imaginative". What is produced can come in many forms and is not specifically singled out in a subject or area. Authors have diverged dramatically in their precise definitions beyond these general commonalities: Peter Meusburger reckons that over a hundred different analyses can be found in the literature.

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Aspects of creativity

Theories of creativity (particularly investigation of why some people are more creative than others) have focused on a variety of aspects. The dominant factors are usually identified as "the four Ps" - process, product, person and place. A focus on process is shown in cognitive approaches that try to describe thought mechanisms and techniques for creative thinking. Theories invoking divergent rather than convergent thinking (such as Guilford), or those describing the staging of the creative process (such as Wallas) are primarily theories of creative process. A focus on creative product usually appears in attempts to measure creativity (psychometrics, see below) and in creative ideas framed as successful memes. The psychometric approach to creativity reveals that it also involves the ability to produce more. A focus on the nature of the creative person considers more general intellectual habits, such as openness, levels of ideation, autonomy, expertise, exploratory behavior and so on. A focus on place considers the circumstances in which creativity flourishes, such as degrees of autonomy, access to resources and the nature of gatekeepers. Creative lifestyles are characterized by nonconforming attitudes and behaviors as well as flexibility.

An article by R.J. Sternberg in the Creativity Research Journal reviewed the "investment" theory of creativity as well as the "propulsion" theory of creative contribution, suggesting that there are eight types of creative contribution; replication - confirming that the given field is in the correct place - redefinition - the attempt to redefine where the field is and how it is viewed - forward incrementation - a creative contribution that moves the field forward in the direction in which it is already moving - advance forward movement - which advances the field past the point where others are ready for it to go - redirection - which moves the field in a new, different direction - redirection from a point in the past - which moves the field back to a previous point to advance in a different direction - starting over/ re-initiation - moving the field to a different starting point - and integration - combining two or more diverse ways of thinking about the field into a single way of thinking.

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Historical importance

James C. Kaufman and Beghetto introduced a "four C" model of creativity; mini-c ("transformative learning" involving "personally meaningful interpretations of experiences, actions and insights"), little-c (everyday problem solving and creative expression), Pro-C (exhibited by people who are professionally or vocationally creative though not necessarily eminent) and Big-C (creativity considered great in the given field). This model was intended to help accommodate models and theories of creativity that stressed competence as an essential component and the historical transformation of a creative domain as the highest mark of creativity. It also, the authors argued, made a useful framework for analysing creative processes in individuals.

The contrast of terms "Big C" and "Little c" has been widely used. Kozbelt, Beghetto and Runco use a little-c/Big-C model to review major theories of creativity Margaret Boden distinguishes between h-creativity (historical) and p-creativity (personal).

Robinson and Anna Craft have focussed on creativity in a general population, particularly with respect to education. Craft makes a similar distinction between "high" and "little c" creativity. and cites Ken Robinson as referring to "high" and "democratic" creativity. Mihaly Csikszentmihalyi has defined creativity in terms of those individuals judged to have made significant creative, perhaps domain-changing contributions. Simonton has analysed the career trajectories of eminent creative people in order to map patterns and predictors of creative productivity.