Who Create The Creative Level Theory?

This textbook provides a systematic and straightforward introduction to the interdisciplinary study of creativity, drawing on “practice” theories to define creativity at the individual level as novel and appropriate ways of accomplishing tasks and at the organizational level as the operating logic and. Teresa Amabile’s componential theory of creativity was articulated in 1983, designed to be comprehensively useful for both psychological and organizational purposes. Vygotsky’s Imagination and Creativity in Childhood (1995/1930) further develops his theory of creativity. Psychologists and neuroscientists are uncovering new details about what it means to be creative and how to nurture that skill.

The Four-C Model of creativity traces creative development from mini-c (personal creativity) to little-c (everyday creativity) to c (big-world creativity). The belief that creativity is too difficult to measure is still a dominant myth and can be considered a byproduct of definitional issues. Three paradigms in creativity theory and research in psychology are identified: the He-paradigm, the level theory, and the Honing theory.

Sigmund Freud’s He-paradigm focused on the solitary genius, while I.A. Taylor’s level theory describes creativity as existing at five levels in an ascending hierarchy. Todd Lubart and others developed the level theory, which emphasizes the artist learns different skills. Irving A. Taylor arranged creativity levels into a creativity hierarchy, while Joy Guilford pioneered these ideas. James C. Kaufman and Dr. Ronald Beghetto have identified four developmental levels of creativity, focusing on the life span concept.

Who created the stage model of creativity?

Graham Wallas’ 1926 book, The Art of Thought, introduced a comprehensive model of the creative process, consisting of four stages: preparation, incubation, illumination, and verification. The first stage involves gathering information and user research to define the problem and user needs. Creative ideas are always solutions to problems or needs, and various ideation methods are used to understand and attack the problem. This stage provokes habitual thinking to better understand the problem, idea, and design space.

Incubation is the next stage, where the mind is allowed to wander and contemplate the problem. This stage nurtures the unconscious thought process, allowing the mind to explore all ideas, even the crazy ones. This theory remains highly cited among professional design teams and scholarly works on creativity.

Who was the theorist for creative development?

Vygotsky, a Soviet psychologist, believed that creativity is inherent in all individuals, including young children. He also viewed imagination as a crucial component of creativity, as it allows for the creation of new combinations of pre-constructed things. Vygotsky’s concept of collective creativity, as discussed in his article ‘Imagination and Creativity in Childhood,’ is applied to children’s creativity through play.

Toby K’s ‘Echo table’, an interactive artwork, encourages children to draw using their shadow. Vygotsky’s theory of social constructivism highlighted the significance of social interactions in children’s cognitive development and the role of creativity and imagination in education.

Who developed modern creativity?

The scientific study of creativity is often attributed to J. P. Guilford’s 1950 address to the American Psychological Association, which popularized the subject. This speech, along with other works by Władysław Tatarkiewicz, A History of Six Ideas: An Essay in Aesthetics, and Kayoko Komatsu’s “Genealogy of self-expression: a reappraisal of the history of art education in England and Japan”, laid the foundation for the field of creativity.

The concept of creativity has evolved over time, with various theories and theories emerging, such as Guilford’s structure of the intellect, the history of art education in England and Japan, and the concept of creativity itself.

Who is the father of modern creativity?

E. Paul Torrance, born in 1915 in Milledgeville, Georgia, is a renowned educational psychologist and the father of creativity. He developed benchmarks for quantifying creativity and invented the Torrance Tests of Creative Thinking, which proved that IQ is not the only measure of intelligence. Torrance joined the faculty at the University of Minnesota in 1957 and later became the director of the Bureau of Educational Research and General Education.

He retired from Georgia in 1984. Torrance is known as “The Father of Creativity” for his work on the Torrance Tests of Creative Thinking, which proved that IQ is not the only measure of intelligence. He completed the only known 40-year longitudinal study on creativity, conducted on 215 students at two Minneapolis elementary schools from 1958-1964. In 1984, the University of Georgia established the Torrance Center for Creative Studies. Torrance authored over 2, 000 books, monographs, articles, reports, tests, manuals, and instruction materials.

Who developed the theory of creativity?

Sternberg and Lubart’s ‘investment’ theory of creativity suggests that being creative involves buying low and selling high in the world of ideas. This model resembles a talented Wall Street investor. The text also mentions the use of cookies on ScienceDirect, and the copyright for text and data mining, AI training, and similar technologies is held by Elsevier B. V., its licensors, and contributors.

Who created creativity?

In 1927, Alfred North Whitehead gave the Gifford Lectures at the University of Edinburgh, coining the term “creativity” as the ultimate category of his metaphysical scheme. Psychometric studies of creativity had been conducted by The London School of Psychology as early as 1927, but formal psychometric measurement of creativity is usually considered to have begun with J. P. Guilford’s address to the American Psychological Association in 1950.

This addres
s helped popularize the study of creativity and focus attention on scientific approaches to conceptualizing creativity. Statistical analyzes led to the recognition of creativity as a separate aspect of human cognition from IQ-type intelligence.

Creativity is viewed differently in different countries. For example, Westerners view creativity more in terms of individual attributes, while Chinese people view it more in terms of the social influence of creative people. Mpofu et al. surveyed 28 African languages and found that 27 had no word directly translating to “creativity”, suggesting that the lack of an equivalent word for “creativity” may affect the views of creativity among speakers of such languages. However, more research is needed to establish this, and there is no suggestion that this linguistic difference makes people less or more creative.

Creativity has been more thoroughly researched in the northern hemisphere, but there are cultural differences even between countries or groups of countries in close proximity. For example, in Scandinavian countries, creativity is seen as an individual attitude that helps in coping with life’s challenges, while in Germany, creativity is seen more as a process that can be applied to solve problems.

Who started creativity?

The notion of creativity is often attributed to Western cultures, particularly Christianity, as a means of divine inspiration. However, this concept did not emerge until the Renaissance, when it was first seen as originating from the abilities of “great men”. This shift was attributed to the leading intellectual movement of the time, humanism, which developed an intensely human-centric outlook on the world, valuing the intellect and achievement of the individual.

The Renaissance man, or polymath, was an individual who embodied the principles of humanism in their ceaseless courtship with knowledge and creation. Leonardo da Vinci is one of the most well-known and immensely accomplished examples of this philosophy. However, the shift from divine inspiration to the abilities of the individual was gradual and would not become immediately apparent until the Enlightenment.

By the 18th century and the Age of Enlightenment, mention of creativity, particularly in aesthetics, linked with the concept of imagination became more frequent. Thomas Hobbes’ writings highlighted imagination as a key element of human cognition, and William Duff identified imagination as a quality of genius, typifying the separation between talent (productive but not new ground) and genius.

In conclusion, the modern concept of creativity emerged during the Renaissance, with the belief that individual creation was a conduit of the divine rather than a conduit for divine inspiration.

What are the levels of creativity?

To master the creative process, it is essential to understand three levels of creativity: discovery, invention, and creation. Discovery is the lower level of creativity, where one becomes aware of or stumbles upon something, such as art. Many inventions start with discovery, such as the discovery of a unique shape or pattern in natural stone or wood. Invention, on the other hand, is a higher level of creativity, as demonstrated by Alexander Graham Bell’s invention of the telephone.

Although invention is higher than discovery, it is a result of the presence of science, and if not invented, someone else will. Therefore, understanding these levels of creativity is crucial for mastering the creative process.

Who is the father of creativity theory?

Dr. Paul Torrance, known as the “Father of Creativity”, was an 87-year-old UGA professor who studied brain creativity for nearly 60 years. He created the Torrance Test of Creative Thinking (TTCT) and the Torrance center, which is now used by many countries and schools in the USA. Torrance was a kind man who helped many people, both children and adults. He made a documentary film, Manifesto for Children, in 2000, and a book, Manifesto: A Guide to Developing a Creative Career, which includes his 40-year study on creativity.

Who developed stage theory?

Jean Piaget, a Swiss psychologist, proposed a stage theory of cognitive development from birth through adulthood. This theory describes human development as a fixed sequence of capabilities resulting in qualitatively different ways of responding to the world. Cognitive development is the continual modification (i. e., accommodation) of schemas based on the incorporation (i. e., assimilation) of new knowledge. Piaget applied these principles to integrate the cumulative interactive effects of heredity and experience as the child ages and advances through the different stages.

The sensorimotor and pre-operational stages last from infancy through preschool and early grades. During the sensorimotor stage, the child is preverbal, learning the relationships between sensory stimuli and movement. In the pre-operational stage, the child is able to use language to acquire skills and knowledge. Interacting with a child that speaks is fundamentally different than interacting with a non-verbal child.

Piaget’s distinction between non-verbal (sensorimotor) and verbal (pre-operational) stages seems appropriate and important. A child can learn in a qualitatively different way once acquiring speech. However, it is important to be careful when interpreting the meaning of a stage of development. The newborn’s initial schemas likely center around external environmental stimuli and internal sensations associated with basic survival drives such as eating and terminating discomfort.

Eventually, some objects will be incorporated within a schema, others might require modification, or another schema may be created. Gradually, concepts will be acquired, such as flat objects, round objects, heavy objects, light objects, soft moving objects, moving objects, and other similar looking moving objects.