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The concept of creativity: Prospects and paradigms
... A partir da revisão da literatura apresentada o objetivo principal, deste trabalho, realizado no âmbito de uma dissertação de mestrado (Macedo, 2017) este autor acabou por propor a conceção Structure of the Intellect (SOI), que implica a avaliação do pensamento divergente em diversas áreas, como por exemplo: unidades semânticas, como listar consequências face a uma certa situação; classes figurativas, com o objetivo de encontrar o máximo de classificações de um conjunto de figuras; e unidades figurativas, que engloba selecionar uma forma simples, como um círculo e elaborar sobre ele o mais rápido possível (Sternberg & Lubart, 1999). ...
... Tendo por base as ideias de Guilford (1950, citado por Sternberg & Lubart, 1999), vários autores procederam ao desenvolvimento de tarefas do pensamento divergente, com o objetivo de medir o pensamento criativo (Plucker & Makel, 2010;Sternberg & Lubart, 1999). Torrance desenvolveu a Bateria de Testes de Pensamento Criativo, ou TTCT, onde se pretende que os indivíduos, a partir da utilização do pensamento divergente e de outras habilidades de resolução de problemas, respondam a tarefas verbais e figurativas (Bahia & Nogueira, 2005;Starko, 2014). ...
... Tendo por base as ideias de Guilford (1950, citado por Sternberg & Lubart, 1999), vários autores procederam ao desenvolvimento de tarefas do pensamento divergente, com o objetivo de medir o pensamento criativo (Plucker & Makel, 2010;Sternberg & Lubart, 1999). Torrance desenvolveu a Bateria de Testes de Pensamento Criativo, ou TTCT, onde se pretende que os indivíduos, a partir da utilização do pensamento divergente e de outras habilidades de resolução de problemas, respondam a tarefas verbais e figurativas (Bahia & Nogueira, 2005;Starko, 2014). ...
A avaliação da criatividade continua a ser uma questão premente. O objetivo deste estudo é contribuir para a discussão sobre esta temática através da análise das qualidades psicométricas de uma potencial prova de criatividade verbal. Participaram 108 alunos (54 do sexo masculino e 54 do sexo feminino) de uma escola pública portuguesa, com idades entre os 12 e os 17 anos, que frequentavam turmas de 7.º, 8.º e 9.º anos de escolaridade. Os resultados apontam para um índice de fidelidade adequado (alfa de Cronbach = 0.73), considerando as três dimensões da criatividade avaliadas: fluência, flexibilidade e originalidade. Além disso, verifica-se a presença de três fatores organizados por questão e não pelas três dimensões da criatividade. Os dados são discutidos, mantendo-se a cotação a partir das dimensões de criatividade, à semelhança de estudos prévios realizados com o Teste de Pensamento Criativo de Torrance.
... Since then, increasing studies have been conducted to explore the concept of creativity (Runco and Jaeger 2012). While scientists initially believed creativity was solely psychological, its academic importance increased (Sternberg and Lubart 1999). Over the years, defining and measuring creativity has proven challenging due to its multifaceted nature (Cropley et al. 2022;Runco and Jaeger 2012). ...
... In general, scholars refer to four main perspectives to define creativity: the cognitive processes associated with creativity ("process"), the individual characteristics of creative people ("person"), the creative results or outcomes ("product"), and the interplay between the creative individual and their environment ("press") (Cropley et al. 2022;Rhodes 1961;Sternberg and Lubart 1999). The establishment of the 4P construct reveals an interplay of individual psychological factors and environmental influences for creativity. ...
... Boden 2004 "Creativity is the ability to produce work that is both novel (i.e., original, unexpected) and appropriate (i.e., useful, adaptive concerning task constraints)." p. 3 Sternberg and Lubart 1999 "Creativity as the interaction among aptitude, process, and environment by which an individual or group produces a perceptible product that is both novel and useful." p. 90 Plucker et al 2004 (c) as the focus of this review is on creativity, only studies dealing with creative or artistic topics have been included, and those not relating to GenAI in creative contexts have been omitted. ...
Generative artificial intelligence (GenAI) has recently attracted attention from literature and organisations, especially due to advances in machine learning techniques. However, research on GenAI in creative contexts remains in its early stages, with few attempts made to assess the current body of research or synthesise the existing knowledge in this area. To address this gap, this paper employs a systematic literature review of 64 studies to identify methods, research trends and key thematic insights shaping the current understanding of GenAI in creative contexts. The findings of this systematic literature review emphasise the rapid development of research on GenAI in creative contexts. The analysis highlights key factors influencing the adoption and impact of GenAI in creative processes, as well as the implications for creative outcomes and industry practices. From this analysis, several potential directions for future research emerge, including the long-term effects of GenAI on creative processes, socio-economic implications for creative industries, and frameworks for ethical use, and perception of GenAI-generated content.
... Recently psychologists have attempted to link creativity to measures of intelligence (Sternberg, 1985) and to the ability to abstract, generalize (Sternberg, 1985), and solve complex problems (Frensch & Sternberg, 1992). Sternberg and Lubart (2000) define creativity as the ability to produce unexpected original work that is useful and adaptive. Mathematicians would raise several arguments with this definition, simply because the results of creative work may not always have implications that are "useful" in terms of applicability in the contemporary world. ...
... The mathematical community views his work as creative. It was unexpected and original but had no applicability in the sense Sternberg and Lubart (2000) suggest. Hence, I think it is sufficient to define creativity as the ability to produce novel or original work, which is compatible with my personal definition of mathematical creativity as the process that results in unusual and insightful solutions to a given problem, irrespective of the level of complexity. ...
... In this model creative work is defined as that which is novel and has value. This definition is consistent with that used by current researchers in creativity (Csikszentmihalyi, 2000;Sternberg & Lubart, 2000). Gruber and Wallace (2000) also claim that creative work is always the result of purposeful behavior and that creative work is usually a long undertaking "reckoned in months, years and decades" (p. ...
Mathematical creativity ensures the growth of mathematics as a whole. However, the source of this growth, the creativity of the mathematician, is a relatively unexplored area in mathematics and mathematics education. In order to investigate how mathematicians create mathematics, a qualitative study involving five creative mathematicians was conducted. The mathematicians in this study verbally reflected on the thought processes involved in creating mathematics. Analytic induction was used to analyze the qualitative data in the interview transcripts and to verify the theory driven hypotheses. The results indicate that, in general, the mathematicians’ creative processes followed the four-stage Gestalt model of preparation-incubation-illumination-verification. It was found that social interaction, imagery, heuristics, intuition, and proof were the common characteristics of mathematical creativity. Additionally, contemporary models of creativity from psychology were reviewed and used to interpret the characteristics of mathematical creativity.
... There is a lack of agreement on what creativity exactly means. The general concept of creativity is explained by a large number of theoretical methods (Sternberg and Lubart, 1999;Amabile and Pillemer, 2012;Zhang et al., 2022). Due to such an abundance of theoretical approaches, creativity may also be defined in many ways. ...
... Guilford (1977), for example, defined creativity as a way to solve and explore solutions to problems. Sternberg and Lubart (1999) observed creativity as the capability to think about the system, to reach new and practical outcomes, to solve a problem or to find a chance. An often-cited definition of creativity in the workplace literature states that creative thinking implies the production of novel ideas that have practical value (Sternberg and Lubart, 1999). ...
... Sternberg and Lubart (1999) observed creativity as the capability to think about the system, to reach new and practical outcomes, to solve a problem or to find a chance. An often-cited definition of creativity in the workplace literature states that creative thinking implies the production of novel ideas that have practical value (Sternberg and Lubart, 1999). ...
Purpose
In today’s volatile global marketplace, cultivating human capital via efficient leadership has become an indispensable requisite for organizational growth. This study aims to examine how servant leadership affects employee creativity through employee empowerment. Moreover, this study examines the moderating effect of knowledge sharing in the relationship between employee empowerment and employee creativity.
Design/methodology/approach
Quantitative data were processed using Smart PLS-SEM to test the hypothesis. Survey data for this study were obtained from 368 employees working in two Islamic holy sites: the Masjid al-Haram and the Masjid an-Nabawi.
Findings
A positive correlation is found between employee empowerment and employee creativity. In addition, employee empowerment mediates the relationship between servant leadership and employee creativity. Lastly, knowledge sharing moderates the effect of employee empowerment on employee creativity.
Practical implications
The findings shed light on the need for servant leadership in service sector organizations. The findings imply that employee creativity in religious firms can be promoted by servant leadership. The results of this study can assist managers in developing a deeper understanding of contextual factors such as employee empowerment and knowledge sharing while formulating policies and development plans.
Originality/value
The impact of servant leadership in fostering creativity within religious organizations has not been investigated sufficiently. This study expands the literature by offering a thorough understanding of the contextual factors influencing employee creativity in religious organizations such as the mediating role of employee empowerment and the moderating role of knowledge sharing.
... Guilford (1950) believed that creative individuals can generate new ideas and solve problems using unusual methods. Sternberg and Lubart (1999) suggested that creativity is a personal ability that can help individuals perform tasks in novel and appropriate ways. Innovation ability is an individual's ability to obtain valuable outcomes using all known information and novel means. ...
... Individuals with a strong capacity for innovation tend to be passionate about their work and complete tasks using novel and unusual methods (Albert, 1990;Sternberg & Lubart, 1999). Sun and Sun (2010) highlighted that innovativeness is the willingness to pursue new things, which reflects attitudes or values related to innovation, and can influence individual innovative use. ...
This study explores the underlying mechanisms by which individual innovative characteristics and the perceived team innovation atmosphere affect employees’ innovative use (IU) of enterprise information systems. At the individual level, the model examines the impact of five variables on IU, namely, personal innovativeness of information technology (PIIT), innovative ability (IA), perceived team identity (PTI), and perceived job autonomy (PJA). Data were collected through scenario experiments and questionnaire surveys. A total of 409 volunteers from the Yunnan and Sichuan provinces in China were randomly divided into 133 work teams (with three to four people in each team) and asked to complete a specific task using one or more specific functions of Excel or SPSS within a given work time. After excluding teams that left the experiment for personal reasons and 34 invalid questionnaires, a regression analysis was conducted on 329 valid questionnaires to explore the interrelationships between variables. The findings demonstrate that PIIT and IA have a significant positive impact on IU. PTI and PJA partially mediate the relationship between PIIT and IU, whereas they fully mediate the relationship between IA and IU. The findings have improved our understanding of the role of individual innovative characteristics and team innovation climate in affecting individual behavior and could provide guidance for managers who hope to train employees and reform teams’ innovative support environments.
... This perspective opens the way to a less elitist and more accessible conception of creativity, particularly relevant in the modern business context. Sternberg and Lubart (1998) further expand this vision, defining creativity as: "[…] the ability to produce work that is both novel (i.e., original, unexpected) and appropriate (i.e., useful, adaptive concerning task constraints)" (p. 3), proposing a conception of creativity as a dynamic interaction between the individual and their environment, clarifying that creativity emerges from the intersection of intellectual abilities, knowledge, thinking styles, personality, motivation, and environment. ...
... Additionally, this study made use of modern theories of organizational creativity, like those put out by Sternberg and Lubart (1998), who characterize creativity as a dynamic interplay between personal aptitudes and contextual factors. ...
This contribution explores the evolution of creativity in the business context, integrating philosophical and psychological perspectives while considering business and managerial implications. Starting from classical conceptions of mimesis and poesies, the article traces a path through Kantian thought on genius and the Druckerian approach to innovation, up to contemporary theories on organizational creativity. It analyzes how creativity has evolved from being considered an innate gift to a manageable and measurable competence in companies. The contribution also examines the challenges of promoting creativity in organizations, including ethical aspects and measurement. The implications of artificial intelligence (AI) for business creativity and the possibility of teaching creative skills are discussed. The importance of creativity as a driver of economic and social value is emphasized, highlighting the need for companies to create ecosystems that promote ethical and sustainable innovation.
... According to the Oxford Dictionary (2023), creativity is the use of skill and imagination to produce something new or create art. Sternberg and Lubart (1998) offer a simple definition: creativity is the ability to create work that is both novel and appropriate. Treffinger et al. (2002) analyzed 120 definitions and identified common characteristics of creativity. ...
... Creativity can be learned. Anyone can be creative to some extent (Sternberg & Lubart, 1998), and this has very important implications for education. This suggests that creativity is not limited to highly intelligent or gifted individuals but is accessible to all learners (Csikszentmihalyi, 2000). ...
Entrepreneurship education fosters economic growth and career development, yet innovative learning methods and research on openness to experience and creativity remain underexplored in higher vocational education. This study proposes the PjBBL-DT learning model and evaluates its impact on openness to experience and creativity through a 15-week 3-phase quasi-experiment with 61 first-year Chinese vocational students, using PjBBL model in Phase I and PjBBL-DT model in Phases II-III. Five experts evaluated the model, with mean and standard deviation scores indicating high quality. Repeated measures MANOVA revealed a significant improvement in creativity in Phase II, with no significant difference between Phases II and III, suggesting both immediate effects and retention. Openness to experience increased progressively across phases, demonstrating significant improvement but limited retention effect. The findings confirm the model's effectiveness in entrepreneurship education for higher vocational colleges.
... By definition, creativity involves generating novel and useful ideas or solutions, which inherently requires looking at problems from fresh perspectives [2]. We can say that a perspective is novel when it is newly adopted within a thinking process, even if it was previously known [3]. ...
... Creativity might be misunderstood as something that individuals with specific talents suddenly exhibit without any special effort. Rather, creativity is considered to arise from the functioning of cognitive abilities inherent to humans in general and from interactions among various internal and external factors [3]. Therefore, creativity can be developed and nurtured in several ways. ...
Creativity is an important component of diagnostic reasoning, enabling the generation of novel and effective diagnostic hypotheses, in collaboration with abduction. The creative process not only fosters insight – critical for overcoming diagnostic challenges – but also enhances calibration by encouraging the exploration of alternative hypotheses. Insight, a key component of creativity, emerges when clinicians reconsider problems from fresh perspectives, breaking through diagnostic impasses. Similarly, calibration, essential for mitigating cognitive biases, promotes the generation and evaluation of alternative hypotheses. By fostering insight and calibration, creativity enhances precision and effectiveness of diagnostic reasoning. Leveraging insights from cognitive psychology to promote creativity can further elevate diagnostic reasoning, driving innovation and excellence in diagnosis. This article explores the pivotal role of creativity in diagnostic reasoning, its applications in diagnosis, approaches to nurture it, and its limitations, ultimately aiming to inspire innovation and excellence in the pursuit of diagnostic accuracy and patient care.
... This diversity of perspectives stems from the multifaceted meaning of the term "creativity" (Green et al. 2024). On the one hand, it can refer to the characteristics of creative products (Stein 1953;Mumford 2003;Runco and Jaeger 2012;Martin and Wilson 2017;Tigre Moura et al. 2023); on the other hand, it can denote an individual's ability to generate creative products (Guilford 1950;Sternberg and Lubart 1999;Boden 2004;Anantrasirichai and Bull 2022) or the process of generating creativity (Walia 2019;De Garrido 2022;Green et al. 2024). Table 1 outlines the various definitions of creativity. ...
... Product creativity At a certain time, a novel work is accepted by a group as tenable, useful, or satisfying Stein (1953) Creativity involves the production of novel and useful ideas and products Mumford (2003) Creativity requires both originality and effectiveness Runco and Jaeger (2012) Creativity is often defined as a set of new ideas, which include novel, valuable, impactful ideas that are relevant to the problem they address Martin and Wilson (2017) Creativity is the restructuring and logical reorganization of ideas and structured data to generate novel and valuable solutions Tigre Moura et al. (2023) Creative ability Creativity refers to the ability to generate new and useful ideas Guilford (1950) Creativity is the ability to produce new and useful ideas (i.e., original, ingenious and valuable results (i.e., appropriate and suitable for tasks) Sternberg and Lubart (1999) Creativity is the ability to innovate and produce something valuable and surprising Boden (2004) Creativity is the ability to generate original ideas and think innovatively to produce objects or ideas with new characteristics Anantrasirichai and Bull (2022) Creative process Creativity requires potential originality and effectiveness Corazza (2016) Creativity is a behavior that involves environmental exploration, which leads to effective actions, challenging stereotypes and producing novel, refined, and structured ideas ...
With the rapid advancement of artificial intelligence (AI), AI creativity has demonstrated significant potential for application across various fields. This study aims to explore the multidimensional characteristics of AI creativity from the audience's perspective and to develop a corresponding measurement scale. Specifically, Study 1 utilized open‐ended interviews with audiences of AI‐generated creative products and grounded theory‐based data coding to construct a theoretical framework of AI creativity perception. This framework encompasses four core dimensions: originality, depth, credibility, and attractiveness. In Study 2, an exploratory factor analysis and confirmatory factor analysis were conducted to develop a scale with high reliability and validity for measuring AI creativity perception, providing empirical support for the multidimensional framework. To further validate the scale's criterion‐related validity, Study 3 examined the effect of AI involvement disclosure on creativity perception. The results reveal that audiences hold biases against AI; although AI is perceived to have a significant advantage in enhancing the originality of creative products, it is viewed as less capable in terms of depth, credibility, and attractiveness. This research offers insights into the future development and iteration of AI creativity.
... Other authors such as Gardner (1982,1993), Runco (1997) and Sternberg (1988) have also made a fundamental contribution to the study of creativity. According to the perspective of Sternberg and Lubart (1999), creativity is the ability to produce something that is characterized by being original, unexpected, useful and adaptive. Creativity is defined as an important construct for the individual at various levels. ...
... It can be useful when faced with a problem at work or in everyday life. It should be noted that even at the level of society, creativity can lead to new inventions, arts, new products and movements (Sternberg & Lubart, 1999). ...
Na Psicologia Positiva, tanto a criatividade como a resiliência são consideradas utensílios cruciais para o desenvolvimento saudável dos indivíduos (Seligman & Csikszentmihalyi, 2000; Yunes, 2003). Neste estudo, pretende-se explorar as variáveis criatividade e resiliência na comunidade do ensino superior. A amostra é constituída por 326 participantes com 17 anos ou mais. No que respeita aos instrumentos utilizados, foi aplicada a Escala de Personalidade Criativa – Forma Reduzida, de Pocinho et al. (2020) e a Measuring State Resilience, adaptada para a população portuguesa por Martins, em 2005 (Teixeira, 2014). Os resultados indicam que existe uma associação/correlação positiva entre a criatividade e a resiliência; os indivíduos do género feminino são mais resilientes; os indivíduos mais velhos são mais resilientes e tendencialmente mais criativos; os indivíduos que possuem o ensino superior são mais criativos; os docentes são mais resilientes do que os estudantes e do que os investigadores; os docentes são mais criativos do que os estudantes. Implicações práticas são também apresentadas e discutidas.
... Creativity is a topic that has been extensively researched in the field of Design and Technology (D&T), but when and how people become creatively capable is still not fully understood (Bozkurt Altan & Tan, 2021;Li et al., 2024). Greek philosophers viewed creativity as a period of spiritual enlightenment that led to intellectual pursuits in the fields of poetry, art, and music (Al-Ababneh, 2020; Sternberg & Lubart, 1998). In the twentieth century, Gestalt psychologists Kohler (1925) and Wallas (1926) began to study creativity in a methodological approach for problem-solving. ...
... Given sufficient time and a supportive environment that nurtures creative thinking, individuals are more likely to excel in problem-solving without being hindered by fears of failure (Benedek et al., 2021;Dewett, 2007). Sternberg & Lubart (1998) also argued that individual ability and environment should be considered in creativity. They defined creativity as the ability to create something new, appropriate, and useful that arises from the interaction between an individual and the environment in which he or she lives. ...
Creativity is increasingly recognized as a crucial human capability across various domains, from business to education. Particularly, as one of the primary goals of design and technology education is to promote creative problem-solving skills, there is a growing need to assess creative confidence, which is one’s perceived ability to generate creative ideas and act on them with creative self-efficacy, along with contextual support. This study sought to develop a measurement tailored to measure creative confidence. Data was collected from preservice technology and engineering teachers, and the researchers identified four integral factors underpinning creative confidence: cognitive, affective, behavioral, and contextual factors. The panel of experts developed 49 items of the instrument to measure creative confidence, and the researchers validated it through exploratory factor analysis. To validate and refine the instrument items, we conducted a confirmatory factor analysis. Finally, we confirmed 28 items within four factors that contribute to creative confidence. The creative confidence instrument will serve as a foundational tool for measuring individuals’ creative capacities.
... Understanding the neural mechanisms and cognitive processes behind creativity is not merely an academic endeavour; it holds practical implications for enhancing individual performance, fostering organisational innovation, and shaping education systems [15]. Furthermore, creativity is increasingly recognised as a multidisciplinary phenomenon, intersecting domains such as psychology, neuroscience, cognitive science, and artificial intelligence [16]. By integrating these perspectives, this paper aims to provide a comprehensive framework for understanding the underpinnings of creativity, moving beyond traditional conceptions and uncovering actionable strategies to enhance creative potential. ...
... Core Regions: The DMN includes the medial prefrontal cortex (mPFC), posterior cingulate cortex (PCC), and angular gyrus. These regions facilitate introspection, spontaneous thought generation, and the retrieval of distant, non-obvious associations [16]. ...
Creativity is one of the most sophisticated and essential capabilities of the human brain, enabling the generation of novel and valuable ideas across domains such as art, science, and technology. Grounded in neuroscience, this paper explores the intricate neural mechanisms underlying creative thinking. It focuses on the dynamic interplay of three large-scale neural networks: the Default Mode Network (DMN), responsible for spontaneous ideation and divergent thinking [1]; the Executive Control Network (ECN), critical for evaluative processes and convergent thinking [2]; and the Salience Network (SN), which mediates cognitive transitions and prioritises relevant information [3]. Additionally, the cognitive processes of bending (restructuring information) [4], breaking (deconstructing established ideas) [5], and blending (synthesising novel constructs) [6] are discussed as essential mechanisms of creative ideation. The paper also examines how collaborative environments, particularly virtual ones, amplify creative potential by integrating diverse neural activity [7]. Practical implications are offered to enhance creativity in individuals and teams, with a focus on optimising individual cognitive functioning [8], leveraging collaboration [9], and applying visual representations to connect and integrate ideas [10]. These findings bridge the gap between neuroscientific theory and real-world applications, contributing to a deeper understanding of how creativity can be nurtured and harnessed.
... With respect to the former, research indicates that critical thinking (hereon stylised as 'CritT') facilitates better judgment and decision-making (Gambrill 2006), less dependence on cognitive bias and heuristic thinking (Facione and Facione 2001;McGuinness 2013) and a more complex understanding of target information (Dwyer et al. 2012;Halpern 2014), and enhances the likelihood of achieving better grades, employability and becoming more informed and more active citizens (Barton and McCully 2007;Holmes and Clizbe 1997;National Academy of Sciences et al. 2005). Outcomes facilitated by creative thinking (hereon stylised as 'CreaT'), cognitive speaking, are those associated with cognitive flexibility, sensitivity to problems, idea fluency and novelty (Guilford 1950;Plucker et al. 2004); and, more broadly, societal, technological and economic innovation (Sawyer 2012;Shalley et al. 2009;Smith-Bingham 2006;Sternberg and Lubart 1999), as well as successful adaptation for daily and/or complex decision-making or problem-solving (e.g., see Karunarathne and Calma 2024;Lindberg et al. 2017; Morris and König 2020;Smith-Bingham 2006;Verzat et al. 2017); with the World Economic Forum calling creative thinking the skill poised for the most rapid growth in significance in the years ahead. Indeed, the World Economic Forum (2023) further identified analytical thinking (i.e., largely commensurate with critical thinking) and creative thinking as the top two most important skill sets as rated amongst employers. ...
... Furthermore, such puzzles (as that presented above) provide poor examples, at a conceptual level, because they often have only one solution provided (i.e., in this case, the man has hiccups and the bartender attempts to scare them away)-despite multiple solutions that might fit-which questions the true 'laterality' of such thinking. With that, De Bono's approach to higher-order cognition, like lateral thinking, has received a great deal of criticism, particularly as a result of focusing primarily on the creation and development of ideas rather than the reliability, validation and efficacy of the lateral thinking approach (Moseley et al. 2005;Sternberg and Lubart 1999). Moreover, regardless of the potential value of lateral thinking in some contexts, it shares very little in common with CritT (with respect to this discussion of CritT and CreaT overlap) other than that they both require some element of reflection. ...
Though both critical thinking and creative thinking are often cited and promoted as important cognitive processes in personal, academic and professional settings, common misconceptualisation of both often leads to confusion for non-experts; for example, with respect to lumping them together erroneously as much the same thing, completely confusing them for one another or, on the other hand, distinguishing them to such an extent that all genuine overlap is ignored. Given the importance of these processes in real-world scenarios, quality education and ‘metaeducation’ is necessary to ensure their appropriate translation to students and educators, alike. Thus, the aim of the current review is to discuss various perspectives on both critical and creative thinking with particular focus paid to addressing such common misconceptualisation. Detailed discussion is provided with respect to important ways in which they are distinct and overlap. Recommendations for what contexts application of each are appropriate are also provided. Furthermore, implications for such enhanced understanding are discussed, in light of both theory and research.
... Over the years, several different theoretical frameworks have been developed to explore the meta-processes (e.g., metacognition and meta-creativity) that are activated in solving problems creatively (e.g., Hargrove, 2013;Jia & Cau, 2019;Lucas & Spencer, 2017;Rhodes, 1966;Runco, 2015;Said-Metwaly et al., 2020Sternberg & Lubart, 1999;Urban, 2014;Vincent-Lancrin et al., 2019). Nevertheless, despite their differences, these frameworks share several assumptions, all based on various aspects of using meta-strategies. ...
... The present study addresses this necessity by introducing an innovative explicit metacreative-based pedagogy that is theory-grounded (e.g., Bruch, 1988;Mevarech, 2019;Runco, 2015;Sternberg & Lubart, 1999) and suitable for implementation in natural school settings. This innovative pedagogy, called CREATE (Mevarech, 2019), adopts components of regulation of cognition (e.g., Brown, 1987;Flavel, 1976;Schraw & Moshman, 1995), creative self-regulation (e.g., Zielińska et al., 2022) and metacognitive pedagogy (e.g., Mevarech & Kramarski, 2014). ...
Fostering creative thinking and promoting metacognitive processes are two major goals of 21st -century education. Recent research has pinpointed the essential role of meta-creativity in the process of creative thinking. Nevertheless, the concept of meta-creativity has not been widely adopted. The purpose of the present study is, therefore, threefold: (a) to design an innovative meta-creative pedagogy for fostering students’ creative thinking; (b) to examine the immediate and transfer effects of this pedagogy on three components of creative thinking: fluency, flexibility, and originality; and (c) to explore students’ perceptions of the extent to which they implement meta-creative processes during creative problem-solving procedures. Four sixth-grade classes (N = 100) were randomly assigned to experimental and control groups. Two entire classes (N = 49) that were exposed to the meta-creative pedagogy served as the experimental group, while the other two classes were the control group (N = 51). Results indicated that on the immediate assessment of creative thinking, the experimental group scored significantly higher than their counterparts in the control group on fluency and originality, but not on flexibility. Regarding the transfer task, the experimental group scored significantly higher than the control group on all three creativity components: fluency, flexibility, and originality. Furthermore, students in the experimental group perceived their implementation of meta-creative processes to a greater extent than their counterparts in the control group. These findings highlight the benefits of using a meta-creative pedagogy to foster students’ creative thinking. The theoretical and practical implications of the study are discussed.
... Scientific literature also concurs that creativity is a necessary, but not sufficient, condition for taking the right actions. Creativity is viewed as the ability to generate ideas or solutions that are original and useful or effective [22,23]. Both aspects are important: an option that is only uncommon or unexpected but cannot be executed well makes little sense, and an option that can be executed well but the opponent already expects is also suboptimal. ...
... It involves generating ideas not constrained by reflection and judgment. Brainstorming is a well-known technique to stimulate divergent thinking [23], as it provides room to new ideas without criticizing them. However, unstructured brainstorming in groups may not work well, because only one person can be heard at a time. ...
... Generally, one session consisted of warming up, the main exercise or game, and cooling down (5,6). In each session, each group practiced for 45 minutes and played for half an hour, which was similar in all groups. ...
Extended Abstract Background and Purpose Creativity is more evident in team sports such as soccer because the unique feature of these sports is that they are unpredictable (1). Improving creativity in beginners will facilitate the ability to solve sports challenges and lead beginner adults to continue activities that are vital to community health (2,3). The most logical way to increase creativity in sports is to use motor learning strategies, and given the importance of creativity, finding the best type of teaching to improve it is important (4). However, the aim of this study was to investigate the effect of linear, nonlinear and differential teaching methods on the team creativity of beginner soccer's. We hypothesized that the nonlinear method is better at improving team creativity than the other two methods. Materials and Methods This study was an experimental study with a control group. In this study, each experimental group is considered a control group for the other group. Based on the information extracted from G-Power software, in this study, 66 participants were needed as a sample (a = 0.05, 1-beta = 0.80, F = 0.40). Therefore, 66 students of Tehran universities participated in this study voluntarily. All participants were male. The inclusion criterion was determined by an expert. The selected individuals were randomly divided into three groups of 22 participants: linear, nonlinear and differential. The interventions lasted for 12 sessions and two sessions per week, each lasting an hour and a half.
... Creativity refers to an individual's ability to generate new or original ideas, gain insights, recombine existing knowledge, or invent products recognized by experts as having scientific, aesthetic, social, or technological value [4,37]. Employee creativity performance is typically defined as the generation of novel and valuable ideas, perspectives, and problem-solving approaches [38,39]. Emotions are characterized as the attitudes, experiences, and behavioral patterns individuals exhibit in response to perceived external stimuli and are commonly used to explain individual behavior [40]. ...
The ongoing debate over whether positive or negative emotions foster creative performance remains a pivotal issue in understanding the interplay between emotions and creativity. Emerging research suggests that both positive and certain negative emotions, such as fear and guilt, can enhance creativity under specific conditions. Grounded in Self-Determination Theory (SDT), this study examines how autonomy-supportive organizational environments contribute to the satisfaction of employees’ basic psychological needs. It further explores how these needs influence work-related emotions and ultimately foster creative performance. Data were collected from 283 leaders and employees across various enterprises in Mainland China. Descriptive statistics were analyzed using SPSS 26.0, and structural equation modeling (SEM) with latent variables was conducted using AMOS 26.0 to test the hypothesized relationships and mediating effects. The results demonstrate that autonomy support positively influences the satisfaction of basic psychological needs, which subsequently promotes positive emotions and enhances creative performance. Conversely, autonomy support negatively affects the frustration of basic psychological needs, thereby mitigating negative emotions. Mediation analyses reveal that basic psychological needs mediate the relationship between autonomy support and emotions, while both positive and negative emotions mediate the relationship between autonomy support and creative performance. These findings provide valuable insights into the mechanisms linking autonomy-supportive environments, psychological needs, emotions, and creativity. Beyond its theoretical contributions to SDT, this study offers practical guidance for organizations aiming to cultivate employee creativity and well-being by fostering supportive and autonomy-oriented workplace climates.
... Alignment with the problem statement, domain requirements, or organizational needs (Sternberg and Lubart 1998;Cropley 2006). ...
This study explores Generative Artificial Intelligence (GenAI) applications in creativity. We identify the four most common parts of the creative process: (1) Problem Identification and Framing, (2) Generating ideas, (3) Evaluating ideas, and (4) Deploying and Implementing ideas. We map Generative AI systems into this common part of the creative process. By positioning GenAI as a supportive “AI as a helper”, we propose a structured framework that identifies specific GenAI tools and their capabilities within each common part of the creative process. Through the analysis and demonstration of use cases, this study demonstrates how Generative AI systems facilitate problem identification, generate novel ideas, evaluate ideas, and enhance implementation. We also propose the criteria for evaluating these GenAI systems for each part of the process. Moreover, this study provides insights for researchers and practitioners who are seeking to enhance GenAI’s creative capabilities and human creativity. This study concludes with a discussion of the implications of these illustrative use cases and suggests directions for future research to further advance the use of GenAI.
... Additionally, Csikszentmihalyi [9] argues that fluency is intrinsically linked to the state of flow, where individuals become immersed in the creative activity without conscious effort, promoting the free exploration of ideas and experimentation without fear of failure. In educational and artistic contexts, fluency not only facilitates the resolution of complex problems but also supports genuine artistic expression and creative communication [10]. In the realm of visual arts, fluency in drawing and painting allows artists to express themselves spontaneously and without inhibition, fostering the exploration of innovative techniques and the creation of unique works that capture diverse perspectives and emotions [11]. ...
This study evaluated and compared the levels of artistic creativity among undergraduate university students enrolled in distance learning programs across five distinct programs at a local university. The assessment focused on four key components: Fluency, Flexibility, Originality, and Elaboration. The results revealed significant differences in creativity between the programs, with Social Work students demonstrating higher levels of creativity compared to those in Tourism, and Marketing students surpassing their counterparts in the Tourism program. However, no significant differences in creativity were observed among other program pairings. Notably, while all programs excelled in the aspect of ”Elaboration,” ”Fluency” displayed a lower performance in the swift generation of ideas.The findings underscored the potential influence of myths, beliefs, and dogmas on creativity, particularly among Theology students. Moreover, the visual expression styles employed by students in the Tourism program may not align with the kinesthetic nature of their career profiles. These findings emphasize the imperative for further research to explore these factors. In conclusion, this study highlights the significance of tailored approaches to nurture creativity within distinct undergraduate programs with distance learning components and the interplay of creative dimensions in professional preparation across various fields.
... When parents can explore their children's interests and allow them to make decisions, it helps children to solve their own creative problems (Grolnick & Ryan, 1987). When parents give feedback and help refine their ideas, it helps children become better at possessing creative abilities (Sternberg & Lubart, 1999). Similarly, Sing et al. (2023) presented in their study that when parents appreciate and encourage the creative ways of their children, it makes a big difference (Sing et al., 2023). ...
This paper aims to analyze how family influences creative development among school students. The methodology encompasses an extensive literature review, theoretical analysis, and empirical examination through case studies. Our findings reveal that family plays a vital role in students' creative development. Furthermore, different parenting styles impact students' creativity differently. Despite the promising aspects, the study identifies some family-related challenges that affect nurturing creative development. In conclusion, this research underscores some recommendations for parents to nurture their children's creativity.
... Di antara keempat indikator, originality (keaslian) menunjukkan peningkatan paling tinggi dengan n-gain 0,48, menandakan bahwa siswa mampu menghasilkan gagasan-gagasan unik yang berbeda dari mayoritas. Sternberg & Lubart (1999) menegaskan bahwa originality merupakan aspek yang paling menggambarkan esensi kreativitas-kemampuan menghasilkan sesuatu yang baru dan tidak biasa. Temuan ini mengindikasikan bahwa model GO_KAR efektif mendorong siswa berpikir di luar kebiasaan dan mengeksplorasi ide-ide non-konvensional. ...
Tujuan penelitian ini adalah untuk mengembangkan keterampilan berpikir kreatif siswa pada mata Pelajaran IPA. Keterampilan ini harus dikembangkan karena merupakan salah satu keterampilan yang dibutuhkan di Abad 21. Siswa dengan kemampuan berpikir kreati akan dapat memecahkan maslah secara kreatif sehingga dapat menghadapi tantangan di Abad 21. Penelitian ini adalah Pra-Eksperimental menggunakan desain satu kelompok pre-test post-test yang melibatkan 60 siswa kelas VIII dari 3 kelas di SMP Negeri 1 Blega Kabupaten Bangkalan Madura, Indonesia. Instrumen yang digunakan adalah lembar penilaian keterampilan berpikir kreatif siswa sebelum dan sesudah proses pembelajaran dengan Model GO_KAR. Data yang terkumpul dianalisis dengan analisis deskriptif kuantitatif dan statistic Paired Sample T-test dan Wilcoxon Signed Rank Test. Hasil penelitian menunjukkan bahwa: (1) keterampilan berpikir kreatif siswa berkembang pada setiap indikator dengan rerata skor tertinggi adalah fluency 3,50 dan terendah adalah indikator elaboration 2,53. Secara klasikal rerata ketuntasan indikator tertinggi diperoleh indikator fluency yaitu 86% dengan n-gain 0,45 (sedang) dan terendah pada indikator elaboration dengan nilai 53% dengan n-gain 0,42 (sedang). (2) Prosentase siswa yang mempunyai Tingkat Keterampilan Berpikir Kreatif rata-rata juga meningkat 85% dengan n-gain 0,84 (tinggi). Keterampilan berpikir terperinci (elaboration) masih memerlukan pelatihan meskipun mempunyai peningkatan sedang namun belum tuntas secara klasikal. Kesimpulan dari penelitian ini adalah model GO_KAR terbukti efektif dalam mengebangkan keterampilan berpikir kreatif siswa SMP pada mata pelajaran IPA.
... Social-personality research showed Independence of judgment, Self-confidence, Attraction to complexity, Aesthetic orientation, and Risk-taking (Sternberg, & Lubart, 1999). Feist (1998) showed that creative people tend to be "more Open to new experiences, Less conventional and Less conscientious, more Self-confident, Self-accepting, Driven, Ambitious, Dominant, Hostile, and Impulsive". ...
The proposed theory of the evolution of creativity in this article combines insights from Mumford, Wallas, and Simonton to argue that creativity is a product of both biological and environmental factors. It emphasizes the importance of understanding creativity within the broader context of human existence, including the interplay between space, time, and socio-biological elements. The theory of creative evolution suggested in this article emphasizes the connection between human-space-time wholeness and the evolution of creativity. It proposes that creativity has evolved from the emergence of momentary extended phenotype creativity to aesthetic creativity evolved from four essential socio-biological elements: "1", "Correct", "Proper", "Good", and "Love" to our physical-social surroundings in the journey to "Beauty," and the "Aesthetic,". Ultimately, the paper concludes by proposing that humanity can strive to save itself from potential extinction by nurturing a generation that combines creativity and empathy with a higher level of inner connection and a more creative educational system that will address the creation of a harmonious future.
... Some research related to creative thinking and creativity includes individual role identity influencing creative behavior in teams, explaining factors that facilitate or inhibit creativity in the workplace Juniati and Siswono [13]. Samaniego, et al. [14] builds on Sternberg and Lubart [15] basic framework, exploring the role of personality, environment, and cognitive processes in fostering creativity, which significantly contribute to developing indicators of creative thinking. ...
Creative thinking behavior is an activity in the creative thinking process. Understanding it can help educators design strategies to improve student creativity. The urgency of researching the creative thinking behavior framework is to design effective and appropriate learning strategies. Researchers conducted a systematic literature review to synthesize relevant research as the basis for the preparation of the creative thinking behavior framework. At the SLR stage, validation was carried out by expert judgment on the indicators of creative thinking behavior. The results were analyzed with I-CVI, S-CVI/Ave, and S-CVI/UA, with a value range of 0-1. The results obtained by I-CVI, S-CVI/Ave, and S-CVI/UA received a value of 1, so they are declared valid. The resulting framework includes indicators of creative thinking behavior, which are: (1) Fluency, which is expressing, confirming slowly, and emphasizing a number of ideas or alternative answers; (2) Flexibility, which is identifying, expressing, and classifying approaches or concepts from various perspectives or conceptual approaches in solving problems; (3) Elaboration, which is enriching information, modifying, and marking details of concepts or ideas generated to make them more interesting; and (4) Originality, which is expressing, combining, or modifying different answer ideas to create unique solutions. The research results contribute findings to the development of appropriate learning strategies that encourage creativity.
... Ca atare, cuvântul creativ poate avea o mare varietate de semnificații și poate fi aplicat unor produse la fel de diverse precum desenul unui copil sau teoria relativității generale a lui Einstein. În sens general, R. Sternberg și T. Lubart [11,12,13,14] definesc creativitatea ca pe o capacitate de a crea lucruri care sunt atât noi, adică originale, neașteptate, cât și adecvate, adică utile, adaptative, în ceea ce privește constrângerile sarcinii. Prin urmare, constatăm două esențe ale activității creative: originalitatea și utilitatea. ...
The main purpose of this article is to put some investigations on creativity into an analytical register and to illustrate that creativity research fits perfectly with the issues in the field of student affectivity. The intention is to present some meta-analytic reviews about creative reality, to present a conceptual view of the underlying mechanisms of creativity, and to show how important the subject is for educational theory and practice. The idea of this article is to move, through a metacognitive excursion, towards a balanced and dynamic account of the roles that positive (or negative) affect plays in creative activity. To ensure our opinions are weighty and credible, the ideas of several researchers in the field were analyzed.
... Creativity is essential for innovation, problem-solving, and cultural evolution. Whether in the arts, sciences, or technology, human originality should progress in ways AI cannot replicate, as Sternberg & Lubart, (1999) mentioned, like designing innovative solutions to complex problems that require divergent thinking and engaging in artistic expression. Creativity is not merely the recombination of existing ideas; it involves exploration, transformation, and personal expression, qualities that remain uniquely human (Boden, 1998). ...
INTRODUCTION: The Need for a Curriculum
Beyond Algorithms
In the age of artificial intelligence (AI), automation, and algorithm-
driven decision-making, human roles, skills, and educational priorities are
undergoing an unprecedented transformation. As machines become
increasingly capable of performing routine, analytical, and even creative
tasks, the fundamental question arises: What remains uniquely human in the
learning process? How should education systems evolve to cultivate human
abilities that transcend computational efficiency? The need for a curriculum
beyond algorithms stems from the urgency to redesign education in a way that
fosters human flourishing, ensuring that individuals are equipped not merely
to coexist with intelligent machines but to lead, innovate, and shape a
meaningful future.
Education has traditionally prepared individuals for industrial
economies. However, rapid technological advancements are making this
model obsolete. Post-positivist theorists like Biesta and Burbules (2003) and
Lincoln and Guba (1985) challenge the notion of absolute objectivity in
learning, advocating for critical thinking, contextual inquiry, and
interdisciplinary approaches. This shift highlights the need for a curriculum
that prioritizes adaptability, creativity, and ethical reasoning—human
capacities that AI cannot fully replicate.
As machines automate knowledge retrieval and data processing, human
creativity, intuitive decision-making, ethical reasoning, and social-emotional
intelligence become central to meaningful work and citizenship. Education
must adopt reconstructivist approaches, grounded in Humanist Philosophy
and Post-Positivist epistemology, to prioritize human potential, adaptability,
and ethical reasoning in response to technological advancements (Dewey,
1938; Rogers, 1983). Post-positivist educational theory acknowledges the
limitations of absolute knowledge transmission, advocating for learning
models that embrace subjectivity, multiple perspectives, and the evolving
nature of understanding (Creswell & Poth, 2018).
This chapter explores the imperative for educational transformation in
the post-technology era and conducts a theoretical synthesis of educational
models. It examines how emerging technological disruptions, global
challenges, and shifting societal structures necessitate a curriculum that
prioritizes human agency, ethical decision-making, and the ability to engage in complex problem-solving across disciplines. Additionally, the chapter
investigates various models for structuring school learning, emphasizing
interdisciplinary, transdisciplinary, and skill-based approaches that align with
the evolving demands of the postmodern world. Rather than proposing an
entirely new curriculum or merely critiquing existing models, it synthesizes
post-positivist epistemology and humanist philosophy into a practical,
inquiry-based learning (IBL) framework tailored for the post-technology era.
By integrating critical realism, methodological pluralism, and a focus on
human potential, this framework shifts education from static knowledge
transfer to the cultivation of uniquely human capacities such as creativity,
ethical reasoning, and adaptability that complement and transcend AI’s
capabilities. Through a blend of theoretical analysis and actionable strategies,
including interdisciplinary curriculum design and real-world educational
examples, the chapter offers valuable guidance for educators and
policymakers.
This chapter systematically explores curriculum transformation beyond
algorithms through five key sections:
1. Post-Positivism and Humanist Philosophy – Examines the shift
from positivist knowledge paradigms to post-positivist
perspectives, emphasizing critical realism, methodological
pluralism, and reflexivity.
2. The Need for Change: Technology and Human Roles – Highlights
how AI and automation necessitate educational reform to cultivate
uniquely human capacities.
3. The Human Imperative: Adaptation and Skills – Identifies essential
post-technology skills, including intuition, ethical reasoning,
emotional intelligence, and creativity.
4. Redefining Schools, Curricula, and Assessment – Explores the
transition from rigid, discipline-based instruction to dynamic,
interdisciplinary, inquiry-driven learning.
5. Transformative Teaching Practices in the Age of Artificial
Intelligence – Approaches like Reggio Emilia, Phenomenon-Based
Learning, STEAM/STEM, and the IB framework that emphasize
human-centric education.
This transition to a curriculum beyond algorithms represents not merely
an educational reform but a profound reconceptualization of learning, human
potential, and societal progress. Through redefined curricula, teaching methods, and learning environments, education can move beyond information
delivery to a holistic framework fostering creativity, ethical judgment, and
critical inquiry. In an era where AI performs tasks such as composing
symphonies and diagnosing diseases, the skills enabling humans to thrive are
rooted in distinctly human strengths. A contribution to the ongoing discourse
on education’s future is offered here, grounded in scientific analysis and
oriented toward cultivating human flourishing in the age of AI
... While many employers once expressed contentment with their employees' knowledge of subject matter, they lamented the deficiency in their creative aptitude. Furthermore, a significant number of graduates found themselves unemployed due to their creative shortcomings [6,11,12]. As such, it is imperative that we equip our students with the skills required to fulfill the demands of 21st-century employment opportunities. ...
... Tout d'abord, la créativité, en tant que capacité à produire quelque chose de nouveau et adapté au contexte dans lequel elle se manifeste (Sternberg et Lubart 1998) requiert originalité et efficacité (Runco et Jaeger 2012). Cette définition permet d'envisager la créativité des enseignants comme étant liée à leur aptitude à rédiger des descriptions de situations qui ne présentent pas les apprêts usuels de situations étudiées en classe de physique. ...
Cette communication porte sur le NANOmusée, musée art-science modulaire et itinérant développé dans le cadre du label Science Avec et Pour la Société de La Rochelle Université. Les six modules du NANOmusée sont issus du dialogue entre des chercheur·euse·s de La Rochelle Université et des artistes qui interprètent les sujets de recherches universitaires qui leur sont soumis.
L’enjeu de ce projet universitaire est d’aller vers les populations éloignées géographiquement ou socialement des offres culturelles et de leur présenter, par l’intermédiaire d’œuvres d’arts et d’outils de médiation adaptés, des recherches menées actuellement dans les laboratoires.
Les scolaires éloignés des offres culturelles forment le public prioritaire du musée itinérant, répondant aux recommandations du Ministère de l’Éducation nationale pour les établissements scolaires de faire appel à des partenaires extérieurs, notamment pour l’organisation des projets interdisciplinaires. ). Il s’agit avant tout de mettre les élèves au contact de « la science en train de se faire » en établissant des ponts avec des objectifs pédagogiques et des savoirs scolaires.
Les élèves de Cycle 3 (CM1, CM2, 6èmes) faisant partie des publics ciblés en priorité, une résidence de longue durée (11 semaines) a été mise en place dans l’école Lavoisier, école primaire située à Villeneuve-Les-Salines, quartier d’éducation prioritaire de La Rochelle entre septembre et novembre 2024. L’objectif était d’expérimenter différentes propositions d’accompagnement pédagogique et de déterminer, à l’issue de la résidence, si la présence du NANOmusée dans l’école ainsi que les interventions proposées aux enseignants avaient répondu à leurs besoins. Comment ces enseignants ont-il perçu cette résidence du NANOmusée ? Quel rôle lui ont-ils accordé dans le processus d’apprentissage de leurs élèves ? Quels types de besoins ou d’attentes avaient-ils au sujet du NANOmusée ? Quelles ont été leurs pratiques de visite avec leurs groupes classes ? Autant de questions auxquelles il est important d’apporter des réponses si l’on veut que le partenariat entre le NANOmusée et les écoles primaires s’appuie sur les attentes, les besoins et les intérêts des principaux acteurs concernés.
... CPS is a dynamic and iterative process that usually involves innovative thinking to identify, define, and resolve issues (Puccio et al., 2012). CPS requires learners to go beyond traditional solutions, explore novel approaches, and transform these ideas into practical and effective resolutions (Sternberg & Lubart, 1999). CPS tasks are conducive to improving students' innovative thinking, stimulating their potential, and promoting the application of their knowledge and skills (Wadtan et al., 2024). ...
This study explores the effectiveness of chatbots empowered by generative artificial intelligence (GAI) in assisting university students' creative problem-solving (CPS). We used quasi-experiments to compare the performance of dialogue dynamics, learner perceptions, and practical competencies in CPS during students' interactions with: (1) a GAI chatbot, and (2) their peers. In total, 80 postgraduate students participated. The assigned CPS task was the creation of an innovative research proposal. We found that there were significant differences in the dialogic exchanges observed between the two types of interaction. Student-GAI chatbot interactions featured more knowledge-based dialogue and elaborate discussions, with less subjective expression compared to student-peer interactions. Notably, students contributed significantly less dialogue when interacting with a GAI chatbot than they did during peer interactions. The dialogic exchanges arising from student-GAI chatbot interactions tended to follow distinct patterns, while those from student-peer interactions were less predictable. The students perceived interacting with a GAI chatbot as more useful and easier than interacting with peers. Furthermore, they exhibited higher intention levels when utilising a GAI chatbot to tackle the CPS task compared to engaging in discussions with their peers. Ultimately, practical performance was significantly enhanced through interactions with a GAI chatbot. This study implies that the prudent use of GAI-based techniques can facilitate university students' learning achievement.
... Creativity is a comprehensive human ability. It is the production of ideas, problem solutions, or products that are both novel (original) and appropriate (feasible) (e.g., Sternberg & Lubart, 1999). Creativity consists of divergent thinking and convergent thinking (Guilford, 1967). ...
Previous research has confirmed the positive influence of second language (L2) proficiency on creativity. However, the underlying cognitive mechanism remains unknown. The current study is trying to address this issue by incorporating the Dual-Pathway to Creativity Model (DPCM) and using path analysis. Correlation analyses have shown positive associations among L2 proficiency, cognitive flexibility, grit, cognitive inhibition, resilience, and creativity. Path analysis has demonstrated that there are four cognitive paths of the influence of L2 proficiency on bilinguals’ creativity, i.e., (a) L2 proficiency → cognitive flexibility → creativity; (b) L2 proficiency → cognitive flexibility → grit → creativity; (c) L2 proficiency → cognitive inhibition → creativity; (d) L2 proficiency → cognitive inhibition → resilience → creativity. The current study has confirmed the multiple cognitive paths for the influence of L2 proficiency on creativity in bilinguals and provided empirical support for and extended applicability of the DPCM in bilinguals.
... Nonetheless, considering the different concepts, there seems to be a common understanding of the principle of creativity as the "ability to create work that is both fresh and acceptable [49,50]. ...
This study investigates the effects of implementing Teacher's Professional Development (TPD) on Teacher's Motivation (TM) and Teacher's Creativity (TC) within the context of Higher Education. It focuses on exploring the correlation between Teacher's Professional Development and Teacher's Creativity, as well as examining the relationship between Teacher's Professional Development and Teacher's Motivation. Additionally, the study considers the broader implications of these variables on overall institutional performance in Higher Education. Drawing from the Self-Determination Theory and Teacher's Professional Development theory, this quantitative research collected data from 455 university teachers, spanning from Lecturers to Professors. The findings indicate a significant positive association between Professional Development and the motivation and creativity of disciplinary teachers. Moreover, the study highlights a positive correlation between motivation and creativity, emphasizing their intertwined nature.
A atravessar uma crise sem precedentes, o jornalismo vive desassossegado porque a inteligência artificial, uma ferramenta do presente, poderá futuramente transformar-se num risco ao emprego humano devido à sua vertente generativa. A possibilidade de ter algoritmos a produzir informação jornalística tornou-se apelativa para as empresas, pelo que a ameaça ao trabalho dos jornalistas é real. Mas será que os algoritmos podem substituir os humanos numa profissão com a especificidade do jornalismo? Haverá razões para tanto desassossego? Neste trabalho faz-se uma abordagem teórica a quatro pontos fundamentais desta profissão: a relação com as fontes informativas, o papel da criatividade nas narrativas, a relevância da autoridade jornalística e os princípios éticos em que se fundamenta o jornalismo. No âmbito da recolha e tratamento de informação, a eficiência e rapidez dos algoritmos no processamento de dados é superada pela possibilidade de se conseguirem informações desconhecidas, graças a qualidades humanas como a confiança ou a empatia. No campo da produção, a criatividade e a originalidade humanas continuam a ser fatores que diferenciam os profissionais das abordagens repetitivas da inteligência artificial. Por último, o facto de ser uma atividade profissional socialmente reconhecida, e de operar num ambiente guiado por regras éticas e deontológicas, permite aos jornalistas humanos uma vantagem face a esta tecnologia.
People are increasingly asked to generate creative ideas for brands in campaigns intended to generate new ideas. We draw on and extend a growing stream of research suggesting that being creative can foster social connection by showing that generating creative ideas for a brand can strengthen self-brand connection. In six pre-registered experiments ( N = 1,635), participants worked on either a creative or less-creative product idea generation task. Creative (vs. less-creative) idea generators reported feeling more connected to the brand (Studies 1A and 1B), and these effects manifested in real product choices (Study 4). The underlying psychological mechanism, perceived self-disclosure, emerged via both mediation (Study 2) and moderation (Study 3). In a high-powered replication (Study 5), we addressed alternative explanations including effort, engagement, brand liking, and willingness to pay. We discuss the implications of our findings for the broader possibility that being creative can foster social connection—a source of psychological well-being.
STEM/STEAM education is an interdisciplinary pedagogical approach that cultivates skills in science (S), technology (T), engineering (E), arts (A), and mathematics (M) while also fostering 21st century skills like teamwork, problem-solving, critical thinking, and creativity in learners. Enhancing STEAM and 21st century skills for engineering students facilitates their swift adaptation to STEM/STEAM employment demands in the 4.0 industrial revolution and the ongoing digital transformation in Vietnam. This study aims to investigate the effect of STEAM project-based learning on the 21st century skills of 47 mechanical engineering technology students at a public university in Vietnam. The findings of a one-group pretest-posttest design and an analysis of engineering student groups’ STEAM project-based learning products revealed that there was a significant improvement in students' 21st century skills at a 95% confidence level. Among the three 21st century skills studied, engineering students’ collaboration skill showed a moderate effect size, while problem-solving and creative thinking skills demonstrated a large effect size after implementing STEAM project-based learning in the “Workplace Skills” course. Some significant limitations were identified, including (a) the lack of a comparison group, which may have influenced the difference between the pretest and posttest; and (b) the sustainability of 21st century skills developed through STEAM project-based learning in the “Workplace Skills” course was not investigated. Therefore, studying the effect of other factors on engineering students’ 21st century skills and exploring their sustainability were main recommendations for further research.
This interdisciplinary work offers a comprehensive analysis of paradoxes and paradoxical thinking, exploring their manifestations in philosophy, societal dynamics, personality, and neuroscience. Demonstrating various methods for the augmentation of creativity and improved performance, this book uniquely integrates theoretical perspective with case studies and practical applications. As such it elucidates the theory and mechanisms of transforming the apparently impossible into the possible, illustrated by cases of social innovators successfully addressing insurmountable challenges. Aimed at graduate and postgraduate social science students and scholars, with over 500 bibliographical references, the text remains accessible to a broader audience due to its engaging language. Emphasizing the significance of paradoxes and paradoxical thinking in both professional and everyday contexts, it provides a nuanced exploration of paradoxical phenomena, making it a valuable resource for academic and general readers alike.
This study aims to design a valid and reliable instrument to measure scientific creative thinking skills (SCTS) and creative thinking digital skills (CTDS) for undergraduates majoring in physics education. The research employs the research and development approach, using an adapted Borg & Gall model. The instrument is designed based on the three-dimensional scientific structure creativity model for measuring SCTS and an adapted van Laar’s model for CTDS. Validity and reliability testing is conducted through empirical testing using the Rasch model and confirmatory factor analysis (CFA). The study’s results indicate that the developed instrument has met high standards of validity and reliability. The main finding of this study is the availability of an effective instrument to measure creative thinking skills in scientific and digital contexts. This research contributes to the development of instruments and encourages innovation in learning. The results can help educators provide targeted feedback and design learning that strengthens students’ creative thinking skills.
Relying on human raters to assess the creativity of a product has been a popular method, mostly known as the consensual assessment technique or sometimes as subjective creativity assessments. In this method, raters are instructed to use their own definition and criteria of creativity when assigning scores. Understanding their thought processes in scoring decisions and exploring the factors affecting rater judgment are important for achieving valid, reliable, and fair scores. This study applied a lens model framework to conceptualize the judgmental process of rater scoring in subjective creativity assessments and used a mixed methods approach to examine rating quality and explore rationales behind scoring decisions. Particularly, we proposed using a partial credit model to identify rater effects, such as severity/leniency and centrality/extremity, and to examine the functioning of the rating scale. Quantitative analysis revealed that raters did not consistently use the rating scale as intended and exhibited various rater effects. Meanwhile, we conducted a qualitative analysis based on student responses and rater justifications, extracting five features in student responses (i.e., novelty, scientific knowledge, logic, elaboration, and length) that were significantly related to latent creativity scores. A prominent finding shows that raters attended to different features (both construct-relevant and irrelevant) in student responses when judging creativity, leading to variations in rating scores and unintended usage of the rating scale. We provide a discussion and implications for promoting the objective measurement of rater-mediated creativity assessments.
This handbook brings together cutting-edge scholarly thinking about the global trends and future directions of creativity in education. Diverse models and frameworks capture the state of the field with a focus on cognitive, social, and cultural areas of creativity in education. Barriers and supports to creativity are examined in educational policy, assessment, curriculum, classroom environments, and school contexts. This handbook is designed to propagate new research and applications in the field by helping students, researchers, and program evaluators understand and apply these models of creativity to how students, teachers, and leaders enact creativity in learning, teaching, and leading. The handbook will inspire new work to advance the study and practice of creativity in education. Section 1 provides an overview of creativity frameworks, models, and pedagogies of education to anchor the handbook. Research on creativity in students, teachers, and schools is discussed in Section 2. Culture and communities of creativity are explored in depth in Section 3. Section 4 covers creativity in academic disciplines such as art, music, math, science, and engineering. Last, Section 5 provides thought-provoking chapters on researching education.
This study assesses the creativity and digital competencies of Gen Z in the context of business and digital technology. Based on existing theory, research determines that creative competence helps individuals to be flexible in their thinking, develop new ideas, improve adaptability, and increase business opportunities. Meanwhile, digital competencies include the ability to use information technology, data management, and information security on digital platforms, which play an important role in the success of entrepreneurs in the digital age. The research data was collected through a survey of 530 individuals of Generation Z in Vietnam, of which 516 valid votes were analyzed. The results show that Gen Z has a relatively high level of creative capacity, especially in accepting risks and testing new ideas, but is still limited in confidently creating breakthrough ideas. Their digital capabilities are also at a good level, with data management and awareness of cybersecurity risks quite high. However, it is still necessary to improve the ability to deeply exploit digital tools to optimize work and business performance.
Background
Collaborative creativity (CC) is a social process of generating creative and innovative solutions to real-world problems through collective effort and interaction. By engaging in this process, medical students can develop abilities and mindset for creative thinking, teamwork, interdisciplinary learning, complex problem-solving, and enhanced patient care. However, medical students have demonstrated limited creativity, constrained by existing pedagogical approaches that predominantly emphasize knowledge outcomes. The increasing complexity of health care challenges necessitates a pedagogical framework for medical students to foster CC in a rapidly evolving professional environment.
Objective
This study aimed to develop, test, and evaluate a new Framework for Learning Online Collaborative Creativity (FLOCC).
Methods
FLOCC builds on established pedagogical approaches such as design thinking and integrates sociocultural learning methods (team-based learning [TBL] and problem-based learning [PBL]). It includes 4 individual asynchronous activities (empathy map, frame your challenge, turning insights into how might we questions, and individual brainstorming) and 5 collaborative synchronous activities (bundle ideas, list constraints, final idea, prototyping, and blind testing). In this cross-sectional study, 85 undergraduate medical students participated in 2 separate studies (study 1, n=44; study 2, n=41) involving health care and engineering sustainability problems. Learner acceptability was measured using a 31-item survey (using 7-point Likert scale) consisting of 4 factors (distributed creativity, synergistic social collaboration, time regulation and achievement, and self and emotions) and 3 free text questions. Free-text comments were subjected to the inductive thematic analysis.
Results
Most students were positive about FLOCC, with distributed creativity and synergistic social collaboration factors receiving the highest mean percentages of “’Agree” (78/85, 92% and 75/85, 88%, respectively). These were followed by time regulation and achievement factor (68/85, 80%) and the self and emotions factor (59/85, 70%). Only time regulation and achievement was statistically significant ( P =.001) between means of studies 1 and 2. Thematic analysis revealed 4 themes such as learning experiences, collaborative responsibilities, perceived skill development, and technical challenges.
Conclusions
With effective time management, FLOCC shows potential as a framework for nurturing CC in medical students. Medical schools could provide the opportunity and environment that supports creative thinking; therefore, creativity-focused approaches could be integrated into the curriculum to encourage a culture of creativity for breakthrough solutions by future doctors.
Cultural Ecologies of the Land. A Restless Dynamic of People and Place was published by Routledge in April 2015. The uploaded 'public full-text' document is a promotional flier giving an abstract for the book, a list of contents, and a discount code.
The book is in three parts. The four chapters in part one of the book set out the theoretical foundations of cultural ecology, integrating them with current thinking and new ideas to form an explanatory framework for our relationships with the land. A parallel story is introduced beneath the surface of the early chapters, of how infrastructure, which for much of human history underpinned our living in the land, is shaping the world to its own ends.
The parallel story of the relationship between living in the land and the development of infrastructure, which so far has been loosely formed, comes to the fore in part two, Living in the Land. It takes shape through chapters describing how our transactions with the land turn it into places to live, work, and construct stories, activities that shape our sense of who we are and where we belong. The infrastructure associated with living in the land is integral to it. The practices, knowledge and skills expressed by individuals and communities as they go about their daily activities, their routines and traditions, are part of the story. Our grandparents and the generations that preceded them lived in the land. People and places shaped each other through processes of mutual adaptation. The mode of living in the land is passing into history. Now it is infrastructure rather than ‘places’ that underpins our sense of who we are.
Regeneration is the theme of three chapters which comprise the final part of the book. Infrastructure is the environment of our making which re-makes our environment. There is a fine line between the benefits of infrastructure and the tendency to drift into dependency on it. The regulatory infrastructure that maintains the modern world is now so complex that few people question the extent to which it shapes the environment and directs our lives. The concerns of many people gravitate around how we might live sustainably, but the argument now is for regenerating affordances rather than sustaining resources. Localised, place-based regeneration has the potential to engage large numbers of people in proactive, life-affirming activities. Governance and education are arenas where tensions are played out between people-centred approaches and imposed regulatory structures, and these are examined in the final chapters.
Within the last fifteen years, a new form of community-driven literary practice has developed on the internet, namely fanfiction. Fanfiction is unlicensed community-authored writing about established intellectual property, made for fans by fans. In this paper, we provide an overview of contemporary fanfiction circulated on the most popular fanfiction platforms (Wattpad and Archive of Our Own). We also bring in recent cognitive science studies on creativity and art, where there is an emerging consensus that creativity is not a product of an individual mind that imposes its intentions onto a static object. Instead, creative processes tend to be co-emergent between agents, materials, and constraints. Our research adds to the growing embodied and distributed creativity literature. We argue that the distributed nature of author, community, and intellectual property interactions in fanfiction can be modeled as a decoupled, participatory, sensemaking system.
This systematic literature review examines the relationship between creativity and preservice teachers in scientific publications from 2014 to 2024. Using the PRISMA methodology, 27 empirical articles were selected based on their relevance to the research focus. The study provides both a bibliometric overview of the field and a substantive analysis of existing knowledge. Key findings reveal significant dispersion within the field, a proliferation of diverse definitions of creativity, and limited attention to the specific characteristics of preservice teachers in the research. Four central themes emerged: beliefs about creativity, personal characteristics, the creative processes, and teaching for creativity. These themes highlight the fragmented yet evolving nature of the discourse. The paper underscores the necessity of more comprehensive research approaches that transcend methodological individualism and better capture the domain-specific nature of creativity in preservice teachers. By integrating these perspectives, the study aims to advance a more cohesive understanding of how creativity can be cultivated in teacher preparation.
The chapter in the broader sense will look in the area of creativity, creative process, and creative product. Specifically we shall look at the aspects of a creative product, discuss on thought process of the designers with focus on creative and visualization tools. Creative tools will be looked in context of changing mindset or assumptions, redefining problems, developing ideational fluency and bringing flexibility in thinking. Visualization tools such as sketches, storyboards, rough models, developing scenarios for the usage of proposed concepts etc will be discussed in parallel to creative tools serving as aids to externalize thought processes. Creative and visualization tools complement each other in enhancing the designer’s creativity as well as help them come out of the stuckness feeling that they encounter while addressing design problems. Practicing the tools rather than being aware of them is important and the chapter will demonstrate the application of these tools with examples.
Kreativita je považovaná za zásadní dovednost pro život ve 21. století. Literární přehledová studie popisuje kreativitu ve vzdělávacím kontextu, vztahuje ji k výtvarné výchově a nabízí širší nadoborový pohled. Představuje dílčí aspekty kreativity, které jsou důležité pro definování a porozumění této dovednosti a na třech zahraničních modelech ukazuje, jak lze kreativitu konceptualizovat pro potřeby vzdělávací aplikace ve škole. Modely srovnává a předznamenává jejich užitečnost pro pedagogickou praxi. Vychází z faktu, že kreativita je naučitelná, což je zásadní poznatek pro možnosti rozvíjení, sledování a hodnocení kreativity ve škole.
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