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What is a creative idea? Little-c versus Big-C creativity
... Contemporary creativity researchers have also distinguished between internal and external frames of reference. Csikszentmihalyi (1997) contrasted little-c versus Big-C manifestations of creativity which closely parallel Boden's (2004) distinction between historical or H-creativity and individual or I-creativity (formerly referred to as psychological or P-creativity; Boden, 2018;Csikszentmihalyi, 1997; see also Simonton, 2013). I-creativity occurs when an idea is experienced as creative to the individual, regardless of whether the same idea has been generated by countless others before. ...
The “standard definition” of creativity holds that a creative idea is one that is novel and useful. This judgement is customarily based on an external frame of reference as it is passed by people who are receiving the idea (the recipient). The internal frame of reference of the person who has generated the idea (the creator) is usually ignored. I make two cases in this paper. First, that employing external frames of reference in assessing creative products has been erroneously applied to understand the creative mind. Second, that any definition of creativity needs to be one that can be reasonably applied whether following an internal frame of reference of the creative experience or an external frame of reference of the creative product. With these aims in mind, I propose the following amendment to the definition of creativity: a creative idea is one that is both novel and satisfying.
... However, the scope of creativity has broadened quite considerably over the last several decades. One example is the distinction between everyday or little-c creativity and genius or Big-C creativity (Boden, 2004;Csikszentmihalyi, 1998;Simonton, 2013). Looking at the history of creativity studies, much of Guilford's (1950) pioneering work focused on little-c, for example, whereas the work of Simonton (2021) emphasized eminent creators. ...
Creativity is commonly defined as a combination of originality or novelty and task-appropriateness or usefulness. This article proposes that the meaning of the latter criterion varies across levels of creativity and answers different essential questions. Beyond originality, creativity can be defined by four forms of quality: (a) meaningfulness: for mini-c (personal creativity), the essential question is whether ideas or acts hold personal relevance and are helpful in creating connections or insight (e.g., factual correctness of personally meaningful applications in learning); (b) relevance: for little-c (everyday creativity), the essential question is whether ideas or acts meet the demands of their specific domain, purpose, or task requirement (e.g., objects listed as round can be construed as such in the Instances divergent thinking test); (c) Effectiveness: The essential question defining Pro-c (professional creativity) asks to what extent ideas or acts fulfill their goals or solve a problem in ways that can be recognized by intended audiences (e.g., a new work process results in greater efficiency); (d) impact: the essential question for Big-C (eminent creativity) is whether ideas or acts have value or influence that persists over time (e.g., scientific theory that continues to be cited or examined in new research). Implications are discussed for definition and assessment of creativity.
... Denne type Big-C kreativitet er således kendetegnet ved en vis grad af eksklusivitet på trods af ønsker om at demokratisere kunsten. Anderledes står det til med den måske mindre prominente, og i hvert fald mindre dramatiske og påfaldende, 'Little-c' kreativitet (Beghetto et al., 2009;Simonton, 2013), som alle mennesker, og ikke kun de heldige få, har del i (Beghetto & Kaufman, 2007, p. 74 (Cotter et al., 2019, p. 646). I den kontekst kan oplevelse af hverdagskreativitet også beskrives som "an atemporal sense of 'flow', an 'effortless yet highly focused state of consciousness' (Csikszentmihalyi, 1997, p. 110). ...
2 VIVE-Det Nationale Forsknings-og Analysecenter for Velfaerd. Damsgaard, Janne Brammer; Dyring, Rasmus & Grøn, Lone. 2024. Et essay om hverdagslivets kreative omsorgs-potentialer. Tidsskrift for Forskning i Sygdom og Samfund, nr. 40, 129-136. Ouverture Forskning viser, at kunst og kreativitet kan bidrage med potentiale til omsorg. En stor del af perspektiverne ser på de forskellige kunstformer som 'redskaber', der kan bruges som interventioner i forbindelse med pleje og omsorg. Med dette essay ønsker vi at aendre blikretning og bidrage til eksplicitering af de potentialer, der kan fremme kreativitet i omsorgen, dér hvor den udfolder sig i hverdagslivet. Vi argumenterer for, at sundhedsprofessionelle med fordel kan stille skarpt på mikroperspektivet og de kreative praksisser, der hele tiden finder sted i vores hverdagsliv, når vi eksempelvis bruger vores evner til at improvisere, vaere innovative og fleksible, og dermed skaber meningsfulde tilpasninger i hverdagen.
... Looking at novelty, several researchers have distinguished between the societal impact of said novelty by separating little c-creativity vs. big C-creativity (Simonton 2013). Similarly, in the setting of CC Boden et al. (2004) distinguished between P-creativity and H-creativity. ...
The recent remarkable success of generative AI models to create text and images has already started altering our perspective of intelligence and the "uniqueness" of humanity in this world. Simultaneously, arguments on why AI will never exceed human intelligence are ever-present as seen in Landgrebe and Smith (2022). To address whether machines may rule the world after all, this paper zooms in on one of the aspects of intelligence Landgrebe and Smith (2022) neglected to consider: creativity. Using Rhodes' four Ps of creativity as a starting point, this paper evaluates the creative ability in visual generative AI models with respect to the state of the art in creativity theory. The most part of the reflective evaluation is performed through a case study in generating illustrations of dogs using the generative AI tool Midjourney.
... (4) Creativity Science uses the evolutionary sociocultural systems model of creativity (Csikszentmihalyi, 1988) to show how units of culture move between the domain, field and individual (person). And uses Simonton's BV-SR evolutionary theory of creativity (Simonton, 1999(Simonton, , 2009(Simonton, , 2010(Simonton, , 2012a(Simonton, , 2013a(Simonton, , 2013b(Simonton, , 2016(Simonton, , 2019 to analyze human (and computational creativity) problem-solving. ...
ABSTRACT
In the light of the discovery of (1) the fractal HOLON/parton Structure and Function of the Units and Scale--Levels of Culture, and (2) the Fractal Systems Metamodel of Bio-Cultural Evolutionary Creativity from the new meta-meta-Science of Evolutionary Culturology (Velikovsky 2016-2020), this chapter Selects, Varies, and Transmits to readers certain Principles (ideas, processes, and products – or tools–or scientific models) from Information Science and Communication Science. Sources include: Shannon (1948), Lasswell (1948), Turing (1950), Floridi (2010), Gleick (2011), and Russell and Norvig (2020). The meta-meta-Science of Evolutionary Culturology uses substrate-independent units, scale-levels, 3 Laws and evolutionary algorithms to examine the same evolutionary phenomena in bio-culture and external culture. As a scientific meta-meta-paradigm, Evolutionary Culturology synthesizes elements from the meta-sciences of: (1) Systems Science, (2) Information Science, (3) Communication Science, (4) Creativity Science, (5) Cultural Evolution, and (6) Computer Science.
Keywords: Science, meta-science, meta-meta-science, Applied Evolutionary Epistemology, Biological Evolution, Bio-cultural Evolution; Cultural Evolution, Creativity Science, Communication Science, Consilience – the unity of knowledge, Convergence, Evolutionary Epistemology, Information Science, Scientific Meta-Meta-Paradigm, Systems Science, Systems Philosophy, Systems Theory, Systems Thinking, fractal HOLON/partons
Purpose
Utilizing the framework of person-job fit theory and the Model of Proactive Motivation Process and Antecedents, the primary objective of this study is to scrutinize the correlation between perceived overqualification and job crafting, in turn, holds the potential to stimulate innovative work behavior. Additionally, we assess the moderating role of goal self-concordance within this intricate relationship.
Design/methodology/approach
Employing a three-wave time-lagged survey methodology encompassing 200 institutional staffing in China, we methodically substantiate the proposed model. Data were analyzed using structural equation modeling.
Findings
Our findings affirm a positive correlation between perceived overqualification and expansion-oriented job crafting, contingent upon the presence of goal self-concordance. Notably, individuals exhibiting a heightened goal self-concordance intensify the relationship between perceived overqualification and expansion-oriented job crafting, thereby fostering an augmented propensity for innovative work behavior.
Originality/value
This study diverges from prevailing negativity surrounding perceived overqualification, emphasizing the positive influence of expansion-oriented job crafting in reshaping the impact of perceived overqualification on innovative work behavior. It represents the initial exploration into the role that goal self-concordance play in influencing overqualified employees, contributing to an enriched understanding of the intricate interplay.
Research in psychology and medicine has linked mental health disorders, and particularly bipolar disorder (BD), to employment in creative professions. Little is known, however, about the mechanisms for this link, which could be due to biology (primarily through a person’s genes) or environmental (through socioeconomic status). Using administrative data on mental health diagnoses and occupations for the population of Denmark, we find that people with BD are more likely to be musicians than the population, but less likely to hold other creative jobs. Yet, we also show that healthy siblings of people with BD are significantly more likely to work in creative professions. Notably, people from wealthy families are consistently more likely to work in creative professions, and access to family wealth amplifies the likelihood that siblings of people with BD pursue creative occupations. Nevertheless, family wealth explains only a small share of the correlation between BD and creative employment.
ABSTRACT
In the light of the discovery of (1) the fractal HOLON/parton Structure and Function of the Units and Scale-Levels of Culture, and (2) the Fractal Systems Metamodel of Bio-Cultural Evolutionary Creativity from the new meta-meta-Science of Evolutionary Culturology (Velikovsky 2016-2020), this chapter Selects, Varies, and Transmits to readers certain units of culture (ideas, processes, and products – or tools–or scientific models) from Creativity Science. Sources include: (1) Csikszentmihályi, (2) Simonton, (3) Sawyer, and (4) The Newcastle School of Creativity, on the Evolutionary Sociocultural Systems Model of Creativity; and (5) Boden’s P-creativity and H-creativity. These five models are synthesized into a fractal meta-model. Darwin’s evolutionary algorithm in biology is demonstrated to be identical to Csikszentmihályi’s in culture. The new meta-meta-Science of Evolutionary Culturology uses substrate-independent evolutionary algorithms to examine the same evolutionary phenomena in bio-culture and external culture. This process is then redescribed in terms of Applied Evolutionary Epistemology, drawing on Campbell, Popper, Simonton, and Gontier. Then the principles of creativity in the meta-meta-science of Evolutionary Culturology are described.
Keywords: Science, meta-science, meta-meta-science, Evolutionary Culturology, Applied Evolutionary Epistemology, Biological Evolution, Bio-cultural Evolution; Cultural Evolution, Creativity, Creativity Science, Consilience, Evolutionary Epistemology, Information Theory, Scientific Meta-Paradigm, Systems Science, Systems Philosophy, Systems Theory, units of culture, fractal HOLON/partons
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