Creativity Theory

The currents analyzed are not the only ones that have contributed to the subject, but there are still several to be discussed. The categorization of schools is not totally rigid: there are authors who, according to this classification, are mentioned in more than one stream, depending on the topic treated within each of the they. Therefore, we speak of several prisms on the Creativity Theory. Keep reading this PsicologíaOnline article if you are interested in knowing more about Creativity.

Index

1. Association theory
2. Gestalt and existential theory
3. Psychodynamic theories
4. Variables involved in creativity
5. Creativity and education
6. Conclusions

Human beings find in association a way to increase their knowledge of the world. Regarding the characteristics of the production, studies have been carried out that reveal that in the product creative appear the associations are remote, associations made from original ideas and free. According to this trend, creatives differ from non-creatives in two fundamental elements: the hierarchy of associations and their strength. The process of free association requires in order to manifest that an adequate climate is created to carry it out, so that it is a "way" of creativity. In the mid-1960s, two researchers:

Individual differences for creative associations, they rely on the individual's ability to produce "remote associations" or those that have little in common with each other.

According to this current the number of associations that are made determines the degree of creativity of the person, and the more remote the associations, the richer the product.

For his part Malzman and Others (1960) The goal was "the study of the factors that promote originality and associative disposition." They recognized the value of the stimuli received in the family and social spheres, as well as the negative influence that they can exert. From this position, numerous creative games have been created that will contribute to the development of creative potential. One of the types of activities is the “name pairs”: the more distant the members of the “pairs” are, the more they promote the development of creativity and the more original the product will be.

Gestalt theory

There is a strong analogy between the creative thinking process and the perceptual process: understanding means to capture connections, between the perceived stimuli, generating relationships of a casual or formal. According to this trend, the process is more creative and the more innovative product the more marked the change of order appears, the diversity of connections. Wertheimer directly applied the contributions of Gestalt Psychology to the creative thinking process. He thinks that a problem corresponds to an open figure, and produces a tension in the one who thinks that makes him immediately impel him to reestablish his balance, that is, towards the “figure closed". He also uses the word creative as a synonym for productive, and considers that the confrontation with a problem is assimilated with a representation scheme similar to an open figure. So this means productively transforming the initial statement of the problem: initiating a search through a a kind of common thread, by means of which each perception is not isolated, but is linked or tied directly with the following. You have to learn to look at a problem in a different way; banish the routine with which it is done and give it a twist when perceiving.

Existentialist theory

For this theory the discovery of the problems is as important as finding the solutions and this original discovery of the problem is what distinguishes creators from those who are not. The individuals in these instances must be in a position to be able to submit to the problem with everything. that this implies, without losing the freedom to be dominated by the ideas that "are floating" in the meeting. It is important to remember that in this moment of "encounter" the personal balance is broken as in any problem, it prompts you to search for a solution that is the one that will restore balance. The encounter of the individual with his own world, with the environment and with the world of the other makes creativity possible.

may, he speaks of an "encounter" between subject and environment, as a trigger for the creative act. The object has to be "seen" and "absorbed" by the subject. The differences lie in how the object looks and how you react to it. There are beings who go through life with less or greater indifference towards the other (person or object); for some the indifference is total. On a social level, May says that: "all conflict presupposes limits and the fight against limits is the genuine source of creative products." The instances of Conflict Mediation in which the mediator must display all his creativity to achieve an agreement between the contestants, refer to these sayings.

The concept of "meeting" is shared by Sclachtel (1959) which holds that the creative individual is one who is open to the environment. This behavior must be understood as a link between the individual and the physical and social environment. The creative person is the one who is alert and acts as a sentinel regarding the environment; This attitude offers him a greater receptivity and a broader disposition to meet, beyond the form with which this communication is established on the social plane, nor with the quality of the herself. For this reason, the concept that creativity is recognized as the need to communicate with the environment is reaffirmed.

There is a "Existential struggle" between two impulses that occur in man: that of remaining open to the environment and that of staying in the world close to him, as a family. Creativity means the triumph of an open, captivating, sentinel being, over the intimate perspective, incorporated into the habitual, closed.

Transfer Theory.

Guilford (1952, 1967) as an explanatory support for his theory, he developed a model of the structure of the intellect that constitutes the essential pillar to understand his proposal: the intelligence cube. His theory, called transmission or transference, is an essentially intellectual proposal that maintains that the creative individual is motivated by the intellectual drive to study problems and find solutions to problems. themselves. Guilford's model, based on combinatorial analysis, consists of three dimensions, since all intelligent behavior should be characterized by an operation, a content, and a product. The three dimensions are thus constituted by the contents of thought, its operations and its products.

On one axis is the mental content, in which understanding is exercised. In another of the axes are mental operations. Knowing updates the knowledge that is registered in memory; Divergent thinking is what makes possible a large number of new ideas, openness, and convergent thinking makes reasoning focus on an idea. Finally, the evaluation provides information about the best idea or the one that is closest to the truth. And on the other axis are the products of thought. For Guilford creativity is an element of learning and learning is to capture new information. Creativity, consequently, belongs to the general aspects of learning and as such can be acquired and transferred, for the same reason, to other fields or tasks.

Psychoanalytic Theory

The basis of it is the Freudian concept of sublimation. Sublimation is the process postulated by Freud (1908) to explain certain human activities that apparently unrelated to sexuality but find energy in the force of the drive sexual. Freud described as sublimation activity, mainly intellectual research and artistic activity. It is said that "the drive is sublimated to the extent that it is derived to a new purpose, not sexual, and aims at socially valued objectives."

This process of displacement of the libido is considered as the starting point of any creative activity. The ability to sublimate creatively, which at first Freud attributed exclusively to the artist, was later transferred to the viewer of art.

Regarding where the creative process takes effect, Freud affirms that it takes place in the unconscious; that's where creative solutions lie.
Theory of multiple intelligences

He says Howard Gardner (1988), that the creative individual is a person who regularly solves problems, develops products, or defines new issues in a field, in a way that is considered new at first, but eventually becomes accepted in a cultural context concrete.

Gardner considers creativity as a multidisciplinary phenomenon, which does not lend itself to being approached from a discipline as it has been done until now. This statement is based on the fact that creativity is a polysemic and multifunctional phenomenon, although Gardner recognizes that because of his own formation it seems inevitable that in his study of creativity, place the greatest emphasis on personal factors and make use of biological, epistemological and sociological perspectives to approach set. The Gardnerian system has three central elements whose "nodes" are:

• Individual: The aforementioned author differentiates the world of the gifted child -but not yet formed- and the sphere of the adult being, already sure of himself. He places importance on sensitivity to the ways in which the creator makes use of the worldview as a young child.
• Job: It alludes to the fields or disciplines in which each creator works; the symbolic systems that he uses habitually, revises, or invents new ones.
• The other people: Also consider the relationship between the individual and other people in his world. Although some creators are believed to work in isolation, the presence of other people is always essential; It studies the family and the teachers, in the training period, as well as those who have supported or competed in the moments of creative advancement.

In his book "Creative minds"Gardner (1995) addresses, as a social scientist, the life and work of seven "modern creative masters." Each one of the chosen ones represents one of the types of intelligence presented by him. Gardner claims that creative solutions to problems occur more often if individuals they engage in an activity for pure pleasure than when they do it for rewards or demands exteriors. Knowing that one will be judged as creative limits creative possibilities.

Creativity is a personal ability of the individual, for this reason, not all human beings have it equally developed. The existence of variables involved in the creative process explains this situation. Considering the creative process, cognitive, affective and environmental factors can be distinguished; creativity training programs are largely based on findings made in this area of ​​study.

Cognitive factors. They are those that are related to the collection and processing of information. The cognitive processes that occur in the creative act have certain characteristics that will be described below:

1. Perception: It is the process of capturing information both externally and internally. Through perception, the human being can capture his needs and then satisfy them. It is in the perceptual act then, where the possibility of creating arises. To obtain a novel and creative work, it is essential to have the senses open and willing to receive new information, without being anchored to prejudices and rigid schemes about reality. It also implies having the ability to recognize and classify problems. Finally, it can be said that from perception data are accumulated that will be the material of the creative process.
2. The process of elaboration:This process makes it possible to conceptualize and relate data and ideas in a system that allows us to understand and act on reality. The process of elaboration occurs in the transaction of the individual and his particular environment, as it is perceived by him. This process is characterized by being multiasociative, that is, it allows to simultaneously contemplate diverse data and antagonistic, thus allowing them to associate with maximum freedom, flexibility and wealth, seeking new organizations. These are the ones that allow you to act on reality in a creative way. These production processes can be seen from different perspectives, such as:
   • Thinking styles: The different forms of perception and response to the environment explain the existence of different cognitive styles. Various authors have agreed on two different ways of thinking, which have been called differently. Today, thanks to the advancement of knowledge about brain function, there is evidence which supports the existence of two different cognitive styles related to the hemispheres cerebral. Many times, creativity has tended to be associated with the second type of these thinking styles. However, currently most authors agree that creativity arises from an integration of both modalities. Although all individuals have both modalities, not all use them, so the development of The creative capacity includes facilitating and stimulating in the person the access to both styles of thought. In the different stages of the creative process, one of these styles is used preferentially, according to the objectives pursued.
   • Thinking skills: Regarding the evaluation of thinking, there are authors who have identified certain skills of the thought that would be related to the possibility of giving answers and novel solutions or creative. There is agreement that all these skills are very important but those of fluency, flexibility and originality would be central.
   • Thinking strategies: Conscious thinking works on the basis of intellectual tools with which people collect, elaborate, organize and deliver information. Most people unconsciously select their own strategies, choosing those that have been most useful and adaptive in the past. This selection of strategies is automatic therefore it prevents to resort to a wider range of ways of thinking. Thus, the development of creativity involves the knowledge and training of a wide range of strategies, which allows solving problems in a new and different way from the rest of the people.

Affective factors. Regarding the affective factors that influence creativity, some elements that appear as central to the mobilization of creative potential are distinguished:

1. Openness to experience:It refers to the degree to which a person is aware of the internal and external environment as a source of resources and useful information. It can also be translated into curiosity and interest in the environment. Openness to experience not only implies committing to a greater number of experiences, but also refers to a peculiar way of experiencing them. This would be characterized by a momentary detachment from previous conceptual schemes regarding the experience. Within this point we can see:
   • Openness to experience and sensory channels: It refers to the affective disposition for the use of the different sensory channels. A large number of methods to stimulate creativity are oriented to favor the disposition of people to use the different senses.
   • Openness to experience and internal world: Openness to experience implies openness to the external world as well as the internal one. A person capable of perceiving in an experience what happens with himself, has much more information, and therefore, it is more likely that he can establish better and more original relationships.
   • Limits for opening: Opening up to experience implies opening up to the unknown, something against which it is not known whether control will be achieved. However, being open to the experience would imply as a product, a better integration of the person, more self-knowledge, which will give him the feeling of confidence in himself and in the environment. Being faced with new experiences promotes the exercise of coping mechanisms in unfamiliar situations, as well as helping to reduce anxiety about the new. The novelty becomes familiar, and therefore not scary.
2. Tolerance for ambiguity: It refers to the ability to spend some time in confusing and unresolved situations without rushing to resolve them by forcing a premature closure of the problematic situation. Tolerating ambiguity does not imply staying in it, nor does it point to a chaotic experience, indiscriminate but includes a way of assimilating the experience in an orderly manner without forcing the answers.
3. Positive self-esteem: good self-esteem means accepting yourself with the positive and the negative, with the weaknesses and the strengths. In this way a person who has achieved a good level of self-esteem will be able to achieve a good understanding of himself, comfort with himself, security and confidence, less sensitivity to criticism and failure, overcome guilt and resentment, you will have greater confidence in your perceptions. Therefore the integrated acceptance of self will allow a basic security that is necessary for open to experience and tolerate ambiguity which opens the possibility of taking risks in the innovation. A causal relationship between self-esteem and creativity has not been found, even so, it has been proven that positive self-concept determines the expression of creative abilities, and that in turn creative expression influences self-concept and self-esteem.
4. Will of work: It refers to the motivation to see a finished work or problem. This motivation would have at the base a cognitive component, in which a value is assigned to certain ideas or judgments about the positive of concluding and closing stages, finishing, works, etc. As well as an affective component given by a special taste for seeing a finished product, for exhibiting it, etc.
5. Motivation to create: The motivation to create refers to the impulse to create, as well as the interest that a person can provoke in participating in tasks that involve solving problems whose solutions are unknown. It has been observed that creative subjects are more motivated by manifestations that cannot be easily ordered, or those that present puzzling contradictions.

From the educational perspective, it would be interesting to approach the subject with an approach that allows to define operationally the variables that affect motivation. It would be important to integrate here the findings related to successful experiences, the degree of difficulty of the tasks and their relationship with motivation.

Environmental factors. They are the conditions, terrain or climate that facilitate the development and updating of creative potential. Even though, one can be creative in an unfavorable environment, creativity can be stimulated through the favorable configuration of the physical and social environment. In general, the authors raise the need for a favorable environment to deliver: trust, security and an assessment of individual differences.

It has been observed that an empathetic, authentic, congruent and accepting social environment allows the individual to explore the symbolic world, take risks, compromise and lose the fear of making mistakes. On the contrary, the pressure to conform, the dichotomy between work and play, as well as the search for success as an essential value, are the conditions that block the development of creativity.

The word creativity is one of the most ambiguous terms in educational psychology, and the recognition of creativity as a natural ability is of great educational significance.

Education in its broadest sense plays a prominent role in the development of human capabilities. If we are able to adapt to new situations with skill, it is because education has not neglected our growth in all areas. Each act of our life requires a certain degree of creation, and it is evident that the first and greatest measure of the educator is to develop the capacity for personal creation gradually and according to the psychological age of the student. The importance of creativity in the educational system is a relevant and central theme in current debates on educational innovations and changes. It is emphasized that the development of the creative thinking and attitude of the students should not continue to be absent from the educational aspirations and objectives.

Creative teaching her interest is especially focused on the way of thinking and acting peculiar to each individual. Any class activity allows freedom of thought and creative stimulating communication. If the classroom environment is attractive and generator of ideas and resources, the child will feel free to be, think, feel and experience his way, knowing in advance that he is accepted as he is and that his contribution.

The child who performs a task creatively, brings their experiences, insights and discoveries and your achievements will have a definite relationship with your personality. Thus, his creative product becomes a key to understand him better.

Educating in creativity is educating for change and train people rich in originality, flexibility, future vision, initiative, confidence, lover of risks and ready to face the obstacles and problems that arise in their school life and everyday.

Creativity can be developed through the educational process, favoring potential and achieving a better use of individual and group resources within the process teaching-learning. A creative education is a developing and self-fulfilling education, in which not only is the learning of new skills and strategies of work, but also learning a series of attitudes that at certain times fill us with psychological qualities to be creative or to allow others to they are.

To teach creatively, you have to start by recognizing that you have a hidden creativity inside you, that you want to explore it, and that you want children to explore it too. For this there are distinte steps to follow:

1. Understand the nature of creativity
2. Practice your own creativity
3. Use teaching strategies that nurture creativity in students.

Until now, education has been aimed at the possession of knowledge and teaching has been transmissive. Today, however, it is shown that constructive teaching and learning oriented towards creativity, in the long run, allow the subject to obtain superior results than others, even in the academic order. For this reason, it can be said that creativity in addition to helping students in solving conflicts, expanding their thinking also helps them. academically and thus the importance of creativity in improving the development of children in the system is even more demonstrated educational.

Educating in creativity implies starting from the idea that it is not taught directly, but rather conducive and that for this it is necessary to take into account the following suggestions:

• learn to tolerate ambiguity and uncertainty: teachers must give students space to think about a situation problem that arises (ambiguity) and also must create a climate where the knowledge that is given is not immutable and static (uncertainty)
• encourage the will to overcome obstacles and persevere
• develop confidence in yourself and your convictions
• promote a work culture for the development of creative and reflective thinking
• invite the student to transcend the present with a future project
• learn to trust the potential and not just the real
• overcome the fear of ridicule and making mistakes
• the authority to validate knowledge must start from a social, dialogical and creative process
• When a creative climate is fostered, intrinsic motivation and achievement motivation must be present
• contextualization of knowledge and critical and creative thinking skills
• the fundamental needs of the student are related to teaching him to think creatively and reflectively, that is, to think in an excellent way
• creative and reflective thinking on the part of the student can be given once verbally from the teacher to the students
• turn classrooms into spaces to amaze, experiment and investigate
• students need to treat each other as people, that is, have good communication when creating or thinking
• questioning is an excellent indicator to talk about creative and critical thinking being worked on
• unity of the cognitive and the affective in each creative atmosphere session.

Just as we found suggestions for teaching creatively, we also found blocks to the development of creativity:

• Perceptual blocking: aspects of a cognitive nature that do not allow us to grasp what the problem is, to see it in all its dimensions. You can see different aspects within this lock:
  • Difficulty isolating the problem, we become obsessed with a single aspect, losing the global vision of the problem
  • problem limitation blocking, little attention is paid to everything around the problem
  • Difficulty perceiving remote relationships; inability to define terms, does not establish connections between the elements of the problem
  • accept the obvious as good; accept the truth of the apparent without doubting it
  • perceptual rigidity: it does not allow us to use all the senses for observation
  • difficulty distinguishing between cause and effect
• Emotional blockage: individual's insecurities:
  • psychological insecurity
  • fear of being wrong
  • hold on to the first idea that comes to mind
  • desire to succeed quickly
  • emotional disturbances and distrust of inferiors
  • lack of impulse to see the problem through
• Sociocultural blocks: it is related to learned values:
  • conditioning of behavior patterns
  • social overvaluation of intelligence
  • overvaluation of competition and cooperation
  • orientation towards success
  • excessive importance to the role of the sexes

Creativity can also be associated with intelligence, and in relation to this we can see that it is produce different behaviors in children according to the degree of creativity and intelligence that have:

1. High creativity- low intelligence:
   • disapproved behaviors in class
   • low concentration and attention
   • low self-esteem due to feelings of rejection
   • socially isolated
   • good ability to establish relationships between facts
   • They are affected by exams because of their poor performance.
2. Low creativity- high intelligence:
   • orient their activity towards school success
   • feel socially superior
   • show high concentration and attention in class
   • they hesitate to express their opinions
   • although they look for them, they tend to stay away with some reserve
   • they tend to the conventional in their realizations
   • fear of making mistakes, they maintain behaviors within the norms
3. High creativity - high intelligence:
   • self-confident
   • high degree of concentration and attention
   • tend to make friends easily
   • tendency towards different forms of behavior
   • ease in relation and association of facts
   • aesthetic sensitivity
   • lack the sense of risk
   • easy in affective relationships
4. Low creativity- low intelligence:
   • socially extroverted
   • more confident than group 1
   • little aesthetic sensitivity
   • his school failure is compensated with his social life

With these differences in behavior, we see once again the importance of educating creativity in schools. It can be seen that the behaviors that children adopt, depending on their degree of creativity, directly affect their school life and also their daily life and that also More adaptive behaviors are seen in children who have a higher degree of creativity, therefore it is important that children learn to be creative and education should be concerned with it.

Development of creativity. An important reason to explore creativity in the desire to encourage individuals to have more inventiveness in all aspects of life, both for the benefit of society and for his own realization. It is possible to learn specific strategies useful for study-like problems (fields, techniques such as mathematics, engineering and design), but it is important to teach problem solving in a creative way (Mayer 1983).

There are, however, several techniques or ways to resolve yourself more creatively, such as getting rid of "Conceptual blocks", mental walls that block the individual's ability to perceive a problem or conceive its solution. These can be emotional, cultural, intellectual, or expressive blocks. The following points are suggested to develop creativity:

• Think and understand the problem in advance
• Identify the most important data
• Be consciously original
• Really eliminate the problem
• To be objective
• Find different ways to solve the problem.

In this sense, some conditions that may facilitate the impact of development techniques of creativity are:

1. Ability or ability to pose, define, identify or propose problems
2. It is comprehensive. In a process, a personality characteristic and a product that exists in a specific context. People who do creative things (products), did it with certain procedures (process) and acted in a certain way (personality and characteristics).
3. Focused creativity. You are creative where you can be creative. It is also related to ways of focusing attention
4. Learning and successive approaches. It is related to the fact that individuals tend to increase the behaviors that are rewarded to them

The development of awareness to realize is an independent variable related to creative ability. It is possible to affirm that they affect the functioning of the brain, the perception of reality is affected; and changes in perception are fundamental to being creative.

The first thing that comes to light after making the theoretical framework is that creativity is not as simple a process as it is commonly understood. The diversity of approaches makes us reflect about the number of points that deserve to be considered when studying the creative process. Like any process, it is made up of phases, which range from the perception of the world to the verification of creative behavior in the real world. Despite the differences that are proposed in the different approaches, they all argue that creativity is inherent in man and emerges in his daily work.

When positively oriented, applies constructively to human accomplishments, within the different fields producing an enrichment of the human person. The orientation of creativity allows from early childhood greater flexibility in life situations daily, a conduction of the potentialities that will develop a formative activity of personal projection and openness in the middle. The awareness of the problem, the right sense of it, the knowledge of basic aspects that can guide the Creativity will allow future educators a guiding action that will be projected as a positive contribution to the half.

It is important keep in mind that creativity is not only expressed in artistic fields of life, but in all aspects of it. Thus, a creative person will be able to find ingenious answers to situations as diverse as a mathematical problem or how to solve a family matter. From this perspective, the creative person has an advantage over one who is not.

Creativity is a tool that gives freedom and momentum to develop potentials as fully as possible. The person who does not own his creative possibilities and has a limited imaginary world cannot even wish for another way of life. Given that the creative person is creative in all aspects of life in the same way that the uncreative person is not, we can affirm that the Creativity is an aspect that defines the personality of the subject, since, if we consider personality as the way of thinking, feeling and act of an individual in a more or less consistent way over time, creativity will be expressed in each of the components of the personality.

This article is merely informative, in Psychology-Online we do not have the power to make a diagnosis or recommend a treatment. We invite you to go to a psychologist to treat your particular case.

If you want to read more articles similar to Creativity Theory, we recommend that you enter our category of Cognitive psychology.

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