Welcome to a thought-provoking exploration of whether creativity can be defined and the misconceptions surrounding this elusive concept. As we embark on this journey, we'll delve into the nuances of creativity, examining its multifaceted nature and exploring various definitions put forth by scholars and experts. Despite its intangible quality, creativity can indeed be defined, much like other abstract concepts such as morality or love. However, the challenge lies in reconciling the diverse interpretations and contradictory definitions that abound in popular discourse. Through a critical examination of the current scientific understanding of creativity, we'll unravel its essential requisites—valuableness, newness, and counterintuitiveness—and gain a deeper appreciation for the true essence of creativity. Join us as we navigate through the complexities of defining creativity and debunk common misconceptions along the way.
When diving into the task of understanding creativity, the first step is surely to nail down what exactly we're trying to explain.
Can creativity be defined? Just because it will never be possible to measure creativity accurately, that does not mean we cannot define it accurately. It is similarly impossible to measure the morality of an act, but we can define morality as the deemed propriety or impropriety of a given act or intention. The same can be said of love, spirituality, rapport or any number of intangible concepts human beings regularly consider, communicate about and theorise over. None can be measured but each can be defined.
However, creativity does suffer from having many contradictory popular definitions, so it is no wonder the general understanding of the phenomenon is so weak.
In English-speaking circles, the terms "create," "creative," and "creativity" are often used in a multitude of ways, reflecting the diverse interpretations and applications of these concepts.
According to the New Oxford Dictionary of English, "create" is defined as simply to "bring (something) into existence" – a definition that captures the broad spectrum of its usage in everyday language. In this common understanding, the act of creation encompasses a wide range of activities, from manufacturing goods in a factory to erecting a fence or building a house. Even seemingly mundane actions, such as uttering a sentence, drawing a mathematical formula on a board, or leaving footprints in wet sand, can be classified as creative endeavours under this broad definition. It's a convenient shorthand for describing any form of productive activity, although it's worth noting that this broad usage can sometimes dilute the true essence of creativity.
However, when we delve deeper into the concept of creativity, we find that true creativity extends beyond mere productivity. At its core, creativity involves the generation of novel and original ideas or solutions that break away from the predictable and routine. While activities like manufacturing goods or following established procedures may involve a degree of skill and craftsmanship, they may not necessarily embody the innovative and imaginative spirit that characterises true creativity.
Yet, despite the nuanced understanding of creativity that many experts advocate for, misconceptions about its nature persist. One common misconception is that creativity is synonymous with productivity or efficiency – the ability to produce tangible outcomes or results. In fields like sports, particularly football, where success is often measured by goals scored and matches won, there is a tendency to equate creative play with effective play. Players who contribute to goals or assists are lauded as creative, regardless of the originality or inventiveness of their actions on the field. However, this narrow interpretation overlooks the inherent creativity of players who exhibit flair, imagination, and unconventional strategies that defy expectations and challenge conventions.
Moreover, the confusion surrounding creativity is further compounded by the proliferation of contradictory definitions and interpretations.
Take, for instance, the Durham Commission on Creativity and Education, a prominent UK report that sought to explore the role of creativity in education. While the commission's definition of creativity – "The capacity to imagine, conceive, express, or make something that was not there before" – encompasses a broad spectrum of activities, it fails to distinguish between mere productivity and genuine creativity. Building a mud mound in the garden or concocting a random phrase may technically fit this definition, but they lack the innovative spark and originality that true creativity entails.
In essence, when we talk about creativity, we're not just referring to any form of production or output. We're talking about the ability to conceive of ideas that are inventive, imaginative, insightful, or ingenious – ideas that push the boundaries of what is known and expected. So, while the concept of creativity may defy easy definition, it's essential to recognise and appreciate the qualities that truly embody its essence.
In recent decades, scientists have been grappling with defining creativity, a task that has proven to be quite elusive. The journey toward consensus began years ago, marked by a series of papers such as "The elusive definition of creativity" in 1992, followed by "Still the elusive definition of creativity" in 2008. Despite ongoing debates, a rough consensus has emerged, revolving around two key criteria: "new" and "useful." However, variations exist, with researchers highlighting different facets of creativity to support their arguments. Professor Mark Runco outlined various definitions put forward by scientists in his 2012 paper, "The Standard Definition of Creativity." Here are some notable examples:
• Mumford (2003) proposed that creativity involves the production of novel, useful products.
• Lubart (2001-2001) described creativity as sequences of thoughts and actions leading to a novel, adaptive production.
• Plucker, Beghetto, and Dow (2004) defined creativity as the interaction among aptitude, process, and environment, resulting in a perceptible product that is both novel and useful within a social context.
• Feist (1998) emphasised that creative thought or behaviour must be both novel-original and useful-adaptive.
• Barron (1955) argued that for a response to be considered original, it must be adaptive to reality.
• Simonton (1999) proposed two separate components of creativity: originality, defined within a particular sociocultural group, and adaptiveness, which depends on the type of creativity displayed.
• Sternberg and Lubart (1999) defined creativity as the ability to produce work that is both novel (original, unexpected) and appropriate (useful, adaptive concerning task constraints).
• Ochse (1990) described creativity as bringing something into being that is original (new, unusual, novel, unexpected) and valuable (useful, good, adaptive, appropriate).
While these definitions cover various aspects of creativity, it's essential to choose the most accurate and necessary terms. I refer to them as the three requisites of creativity, or simply the requisites.
In the realm of creativity, the concept of value stands as a fundamental criterion, shaping the essence of what it means to truly innovate and inspire. It's not merely about conjuring up something novel or eccentric; it's about crafting something that holds significance, purpose, and resonance.
Consider the scenario of generating an idea—perhaps a song, a design, or a concept—that boasts uniqueness and originality, yet lacks any practical application or appeal. This idea may seem avant-garde, pushing boundaries and defying norms, but if it fails to serve a meaningful purpose or connect with an audience, can it truly be deemed creative?
This is where the notion of value comes into play. Value transcends the mere novelty of an idea; it encompasses its ability to resonate, to evoke emotion, and to make a tangible impact. A truly creative idea isn't just about being different for the sake of it; it's about bringing something into existence that enriches lives, sparks inspiration, or addresses a genuine need.
So why prioritise "value" over other descriptors like "useful" or "adaptive"? Firstly, because it's a more inclusive and versatile term. Creativity manifests in myriad forms, from practical inventions that streamline daily tasks to profound works of art that stir the soul. Labelling all creative endeavours as merely "useful" or "adaptive" overlooks the diverse spectrum of human expression and ingenuity.
Moreover, value extends beyond pragmatic utility to encompass emotional resonance and cultural significance. Take the music of The Beatles, for example. While their songs may not have been designed with practicality in mind, their profound impact on listeners' lives and the broader cultural landscape underscores their inherent value as creative works.
However, it's essential to recognise that value isn't solely determined by societal or communal assessment. Personal significance plays a crucial role—ideas that hold value for the creator, whether in terms of personal growth, self-expression, or catharsis, are inherently creative, regardless of their broader societal impact.
Ultimately, the essence of creativity lies in its ability to imbue ideas with value—whether for the individual creator, the community, or humanity as a whole. It's about more than just generating novel concepts; it's about crafting experiences, expressions, and innovations that enrich our lives and shape our shared human experience.
Let's revisit the example of designing a cup—a task that requires not only functionality and value but also a crucial element: novelty. If a cup design fails to introduce any new or different elements, it falls short of being considered truly creative. It may serve its purpose adequately and hold value, but without an element of uniqueness, it remains just another mundane object.
Creative ideas and endeavours always embody novelty—they break away from the mundane and venture into uncharted territory. Novelty, in this context, signifies divergence from the status quo, presenting fresh perspectives, approaches, or concepts. It's not merely about being new in the sense of recent origin; rather, it's about offering something distinct and original, whether it's a subtle deviation or a ground-breaking innovation.
Consider artistic endeavours like ballet, music, or painting—activities often associated with creativity. While these pursuits undoubtedly require skill and craftsmanship, adhering strictly to established routines or techniques may not qualify as truly creative. A ballet dancer faithfully executing a rehearsed routine, a pianist flawlessly playing a familiar composition, or a painter meticulously following a prescribed pattern may showcase talent and precision, but without introducing anything new or unique, their efforts fall short of true creativity.
Novelty exists on a continuum—ranging from minor variations to ground-breaking innovations. A design that closely mimics existing models may introduce minimal novelty, while one that boldly diverges from conventions offers a higher degree of creativity.
But whose perspective defines novelty? Is it about historical uniqueness—being entirely unprecedented in human history? Or is it more about personal innovation—introducing something new to you, even if it's been done before by others? Margaret Boden distinguishes between these as H-creativity and P-creativity, respectively. While historically unique ideas hold significant value, personal innovation also plays a vital role in creativity.
Yet, novelty alone isn't sufficient to qualify as creative. Take language, for instance—constantly evolving and producing new combinations of words and expressions. While linguistically unique, these utterances aren't necessarily creative in themselves. Similarly, the fashion industry churns out countless new designs daily, but not all qualify as genuinely creative.
Popularity doesn't equate to creativity either. While some popular works like "Pulp Fiction" or Einstein's theory of relativity are both innovative and widely acclaimed, many blockbuster movies or chart-topping songs may lack true creativity despite their commercial success.
Even the news, characterised by its novelty and value, isn't inherently creative. While informative and engaging, news reporting doesn't necessarily entail creative expression.
Likewise, attributing creativity to mothers solely based on childbirth overlooks the nuanced essence of creativity. While childbirth is undoubtedly novel and valuable, equating it to creativity would extend the term to non-human entities like chimpanzees or crocodiles.
In essence, creativity requires novelty but it involves more than that (plus value)—it encompasses another component called counterintuitiveness.
Picture a family dinner—a comforting plate of lasagne shared with loved ones. While undoubtedly a valuable moment, this familiar meal and company offer nothing particularly innovative, rendering the experience far from creative. Contrast this with a visit to an exclusive supper club or a unique restaurant, where tantalizing dishes you've never tasted before await, and you find yourself seated among strangers. Here, the experience is undeniably valuable and novel, yet does it qualify as creative? Not quite, as experiencing novelty alone doesn't necessarily denote creativity.
Now, imagine dining at a restaurant set within a converted London underground train carriage. While the food itself may be novel to you, it's the unconventional setting—the juxtaposition of fine dining within a familiar commuter backdrop—that truly sparks a sense of creativity. This scenario challenges expectations and norms, evoking a feeling of "wrongness" that signals a departure from the ordinary. (This unique dining experience, known as the Underground Supper Club, is indeed a real offering in London.)
Creative ideas and experiences always defy intuition. As previously explored, intuitive thinking serves as a barrier to creativity, making its opposite—counterintuitive thinking—an essential component of the creative process.
Some scientific definitions of creativity implicitly acknowledge this aspect. Terms like "original" and "novelty" hint at counterintuitiveness, while "unexpected" more explicitly references it. However, these terms are often used interchangeably, overlooking their nuanced differences. Interestingly, the US Patent Office's criterion for certifying inventions as "new, useful, and non-obvious" aligns more closely with the essence of creativity.
Leading scholars like Dean Keith Simonton and Margaret Boden come closest to capturing the essence of creativity by highlighting the element of surprise as a crucial criterion. However, surprise alone doesn't encapsulate the full spectrum of emotions evoked by truly creative ideas, which can range from awe to outrage.
Strikingly, the term "counterintuitive," commonly used in other cognitive sciences, is conspicuously absent from much of creativity research. Despite extensive exploration of the barriers to creativity rooted in intuitive thinking, few researchers explicitly address counterintuitiveness.
Differentiating between novelty and counterintuitiveness is essential. While novelty is commonplace in human activity and the universe, counterintuitiveness involves challenging ingrained beliefs or norms—the very essence of creativity.
Counterintuitive phenomena, such as bending a spoon or religious rituals like the Catholic Eucharist, violate conventional expectations, prompting a shift in perspective. While these practices may not always be new, they consistently challenge intuition.
Counterintuitiveness is subjective, varying based on individual perspectives and societal norms. Creative ideas often challenge prevailing beliefs, offering fresh insights that defy conventional wisdom.
Embracing counterintuitive thinking can lead to personal growth and transformation by challenging limiting beliefs. Overcoming deeply ingrained intuitive patterns opens the door to innovative solutions and perspectives.
In media, sensationalist news outlets often exploit counterintuitive narratives to capture attention. While this approach may attract viewers, it can also perpetuate misinformation and sensationalism. Conversely, clever and inventive writing, infused with counterintuitive concepts, can elevate journalism and stimulate critical thinking.
The exploration of creativity is a fascinating journey that transcends conventional boundaries and defies easy definition. While we have delved into various perspectives and attempted to dissect its essence, creativity remains a deeply complex and enigmatic phenomenon. Despite the challenges of defining it, our examination has shed light on its essential requisites—valuableness, newness, and counterintuitiveness—and underscored its profound impact on human cognition, culture, and society. As we continue to navigate the ever-evolving landscape of creativity, let us embrace its inherent mystery and celebrate the boundless potential it offers for innovation, expression, and transformation.