Creativity in Context: The Ecology of Creativity Evaluations and Practices in an Artistic Craft

The present article reports a study on the use of a multiple feedback methodology for creativity evaluation in the case of Romanian Easter eggs. Four groups of evaluators —i.e. ethnographers, priests, art teachers and folk artists—all members of professional communities relevant for this particular folk art participated in the study. They almost unanimously appreciated ‘traditional’ wax decorated eggs as highly creative for their designs, aesthetics and the hard work and talent they require but opinions diverged when commenting on the creativity of other types of Easter eggs. At a more general level, two broad evaluation patters were found, corresponding to whether respondents participate or not in decoration practices. Identifying these patterns comes to reinforce the idea that creativity evaluations, as well as creative activity, are rooted in the social and cultural contexts of the participants and these contexts share important similarities but also marked differences.     

Creativity and Wonder

The experience of wonder is often said to be at the origin of acts of creativity, both historical and mundane, from big breakthroughs in science to the everyday discoveries of children at play. And yet, wonder and wondering have rarely been theorized until now, at least in the psychology of creativity. Understood as one of the main ways in which we engage with the possible, wonder presents us, upon closer inspection, with a paradox typical for creativity—experiencing what is present (the here and now) through the lenses of what is absent (the not‐yet‐here). Wondering is grounded in the possibility of adopting multiple perspectives on a certain reality; many of which are yet unknown to the creator while anticipated and actively looked for. In this paper, the creative process fuelled by the experience of wonder is described as a cyclical interplay between awareness, excitement, and exploration of the possible. Thus, one of the main consequences of reflecting on wonder and wondering is not only a renewed focus on process in creativity research but, most of all, a new emphasis on the less “visible” and yet essential aspects of creative action as it bridges the actual and the possible.     

Epilogue: Creativity as Immersed Detachment

In this short epilogue, I reflect on a final, basic paradox when it comes to creativity: the fact that creators are simultaneously deeply immersed into their environment and their work and, at the same time, capable of taking distance from both in order to develop new perspectives on the situation or problem at hand. This particular state of “immersed detachment” is enabled by our existence as social and cultural beings, a condition that both constrains and frees our thinking and our action. Understanding this paradoxical condition and fostering it can have wide‐ranging benefits at a theoretical and practical level. Conceptually, it helps us understand why creativity depends, at once, on individuals and society, uniqueness and sameness, continuity and difference. Practically, it encourages those forms of immersion and connectivity that help rather than hinder creative agency.     

Advancing Creativity Theory and Research: A Socio-cultural Manifesto

This manifesto, discussed by 20 scholars, representing diverse lines of creativity research, marks a conceptual shift within the field. Socio-cultural approaches have made substantial contributions to the concept of creativity over recent decades and today can provide a set of propositions to guide our understanding of past research and to generate new directions of inquiry and practice. These propositions are urgently needed in response to the transition from the Information Society to the Post-Information Society. Through the propositions outlined here, we aim to build common ground and invite the community of creativity researchers and practitioners to reflect up, study, and cultivate creativity as a socio-cultural phenomenon.     

Developing of an English Version of the Aggressive Driving Behavior Test (AVIS). Improving the Construct Validity of Aggressive Driving

The research investigated the psychometric properties and the discriminant validity of the English version of the Questionnaire for the Assessment of Aggressive Driving Behavior (AVIS). Study 1 assessed the psychometric properties of the instrument. Internal consistency ranged from 0.77 to 0.92. Exploratory factor analysis did not support the original five factor structure, Instrumental Aggression and Acting Out being unified in a single factor. Following the confirmatory factor analysis a version with 26 items and 3 factors was obtained. Inter-scale correlations showed that the dimensions of the AVIS are inter-correlated. Study 2 verified the discriminant validity of the English version of the AVIS by testing the relationships between the AVIS dimensions and the DAX (Driving Anger Expression Inventory) dimensions. The results showed good discriminant validity, the dimensions of the two instruments being uncorrelated. In conclusion, the findings contribute to the development of the driving aggression construct by adding new dimensions to it.     

Revisiting the “Art Bias” in Lay Conceptions of Creativity

This article explores the art bias—the pervasive association between creativity and art in implicit theories of creativity. It also attempts to connect creativity research in this area with literature on the theory of social representations. The data comes from an online survey completed by 195 participants mainly from the United States and the United Kingdom. The survey included two main tasks: The first asked respondents to generate as many questions as they can to determine whether an object is creative; the second invited them to rate whether creativity is a key requirement for a list of 16 professions from 4 different domains and recorded the creativity score as well as reaction time. In the end, findings offer partial support for the existence of an art bias. Although artistic professions were scored both the highest and fastest in terms of creativity, participants rarely formulated art-related questions and focused more on aspect, utility, and audience features. This discrepancy is discussed in the end in relation to the polyphasic nature of social knowledge.     

What Can be Done with an Egg? Creativity,Material Objects,and the Theory of Affordances

This article offers a reflection on the role of material objects in the creative process and explores the potential links between creativity and the theory of affordances (Gibson, 1986 ), conceptualized from a sociocultural perspective. From this standpoint, creativity can be defined as a process of perceiving, exploiting, and “generating” novel affordances during socially and materially situated activities. Illustrations are offered for each of the above from a research project investigating traditional Easter egg decoration activities in rural Romania. This brief case study exemplifies the discovery of existing action potentials, the generation of objects with novel affordances, and the transgression of conventional procedures, all resulting in creative forms of expression. In the end, some conclusions are drawn regarding the ways in which an affordance theory of creativity can enrich our understanding of the phenomenon and contribute to the development of a new program of research concerned with situated and distributed creative acts.     

Paradigms in the study of creativity: Introducing the perspective of cultural psychology

This article identifies three paradigms in creativity theory and research in psychology. The He-paradigm, focused on the solitary genius, has been followed, mainly after the 1950s, by the I-paradigm, equally individualistic in nature but attributing creativity to each and every individual. Extending this view, the We-paradigm incorporates what became known as the social psychology of creativity. The cultural psychology of creativity builds upon this last theoretical approach while being critical of some of its assumptions. This relatively new perspective, using the conceptual and methodological framework of cultural psychology, investigates the sociocultural roots and dynamics of all our creative acts and employs a tetradic framework of self - community - new artifact - existing artifacts in its conceptualization of creativity. The theoretical basis of the cultural psychology approach is analyzed as well as some of its main implications for both the understanding and study of creativity.