Everyday creativity: Our hidden potential.

Richards, Ruth

doi:10.1037/11595-001

Cited by 126 publications

(112 citation statements)

References 53 publications

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“…And yet, it was often the case for scholars to focus "on eminent or unambiguous rather than everyday creativity" (Runco, 2007a, p. x), which, although a clear sign of our "vibrant symbolic life", unfortunately is "sometimes invisible, looked down on or spurned" (Willis, 1990, p. 1). In agreement with Richards (2007, p. 26), we can assert that "our [everyday] creativity is often underrecognized, underdeveloped, and underrewarded, in schools, at work, and at home". The reasons for this are both theoretical and methodological.…”

Section: On the Neglect Of Habit And Improvisationmentioning

confidence: 48%

Habitual Creativity: Revising Habit, Reconceptualizing Creativity

Glăveanu

2012

Review of General Psychology

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Current psychological scholarship is based on a dichotomy between habit, associated with automatic reflex behaviour, and creativity, which involves deliberation, purpose and heuristic procedures. However, this account is problematic and contradicts everyday experience where mastery, for instance, is one of the highest levels of creative performance achieved within a habitual practice. This article argues that such a separation misrepresents both habit and creativity with important theoretical and practical consequences. A first step towards reconciling the two terms is made by revisiting a series of foundational strands of theory from psychology and related disciplines. In light of these sources, habit is reformulated as a social, situated and open system and habitual creativity defined as the intrinsically creative nature of customary action, reflected in the way habits adjust to dynamic contexts, the way they are used, combined and ultimately perfected. Further distinctions are then made between habit, improvisation and innovation. Both improvisational and innovative creativity are embedded in habitual forms and this is well illustrated by craftwork: a practiced type of activity on the basis of which artisans improvise, whenever obstacles or difficulties are encountered, and even get to innovate, when their intention is to generate novel artefacts or work techniques.

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Section: On the Neglect Of Habit And Improvisationmentioning

confidence: 48%

Habitual Creativity: Revising Habit, Reconceptualizing Creativity

Glăveanu

2012

Review of General Psychology

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“…Above all, they concern the understanding of students' creativity as creative potential (Barbot, Besançon, & Lubart, 2015;Runco, 2003) and everyday creativity (Richards, 2007). In this sense, the teachers associate creativity mostly with the ability for individual and independent thinking, with inventing new and original solutions to different kinds of tasks and problems, as well as with creative activity oriented towards everyday innovation.…”

Section: The Teachers' Knowledge About Creativitymentioning

confidence: 99%

Teachers’ Beliefs About Creativity and Possibilities for its Development in Polish High Schools: A Qualitative Study

Gralewski

2016

Creativity. Theories – Research - Applications

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The aim of the present study was to research teachers’ beliefs about creativity and possibilities for its development in Polish high schools. The study consisted of in-depth interviews. It was conducted with a group of 15 high school teachers, all of whom taught the key subjects (math, Polish and foreign languages) for the final school-leaving examination. The qualitative thematic analysis applied to the collected data revealed eight themes. Each of them concerned the teachers’ understanding of what creativity really is, their attitude towards students’ creative activity at school, aims that they formulated to stimulate their creativity, as well as the role and place of students’ creative activity at school. In addition, the themes referred to actions that had been taken by the teachers to stimulate their students’ creativity and factors that inhibited or stimulated the development of students’ creativity at school. The teachers, who were the subject of the analysis, understood creativity as creative potential, that is, the ability to think independently, to give new and original solutions to all sorts of tasks and problems, as well as creative activity oriented towards everyday innovation. Additionally, the study revealed that there exists a creativity gap between verbal support for developing students’ creativity at school and classroom practice.

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“…What Bateson calls "ordinary" creativity (Bateson, 1999) and Richards calls "everyday creativity" (Richards, 2007a(Richards, , 2007bRunco & Richards, 1997) 'ordinary' people, working in domains that have historically not been deemed to be the locus of creative activities, can in fact be creative. In other words, it makes it possible to see that creative activity exists in all domains and is not just the exclusive province and property of a few privileged men.…”

Section: Democratizing Creativitymentioning

confidence: 99%

“…2 At the same time that creativity is seen as important, even vital, to the economy, our understanding of creativity is changing. If in Modernity creativity was identified with the classic image of the lone genius and his masterpieces, whether works of art or scientific discoveries, today there is much greater emphasis on collaborative creativity, on creative networks, and on "everyday" creativity (Eisler, 2000;Eisler & Montuori, 2007;Montuori, 2011a;Montuori & Donnelly, 2013;Richards, 2007aRichards, , 2007b Runco & Richards, 1997).To understand the impact and nature of creativity in this new context, it is important to approach creativity from a larger historical, and transdisciplinary perspective. Yet, ironically, there has been a movement in the psychology of creativity to actually shorten the traditional definition of creativity (stressing novel and useful or valuable), to simply novel (Weisberg, 2015).…”

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confidence: 99%

Creativity, Society, and Gender: Contextualizing and Redefining Creativity

Eisler

Donnelly

Montuori

2016

IJPS

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Abstract:Creativity is currently being redefined in more inclusive and complex ways. This article examines old and new ways of viewing creativity, focusing especially on how historically creativity has been considered a male preserve and the need for a more inclusive definition that includes areas such as Creativity, that ongoing mystery and subject of continuous fascination, has moved from the rarified realm of the arts and sciences to become a topic of considerable public interest at the opening of the 21 st century (Montuori & Donnelly, 2013). The economy is driven by creativity and so-called 'disruptive innovation.' New disciplines and practices like design and social innovation reflect a greater role for creativity, as does the recently popular idea of 'self-reinvention' (Elliott, 2013;Elliott & Lemert, 2009).The context for this increased focus on creativity is the growing recognition that ours is a time of massive social disequilibrium: one epoch is ending and a new one has yet to emerge. The frequent use of the prefix post-, as in post-industrial, post-modern, and post-materialist, to describe our time is an indicator that ours is a transitional period, so much so that Sardar has used the term "post-normal," to refer to an era in which an old world is dying and we need creativity and imagination to create a new world (Inglehart, 1997;Lyotard, 1984;Ogilvy, 1989;Sardar, 1999Sardar, , 2010Sardar, , 2015. 2 At the same time that creativity is seen as important, even vital, to the economy, our understanding of creativity is changing. If in Modernity creativity was identified with the classic image of the lone genius and his masterpieces, whether works of art or scientific discoveries, today there is much greater emphasis on collaborative creativity, on creative networks, and on "everyday" creativity (Eisler, 2000;Eisler & Montuori, 2007;Montuori, 2011a;Montuori & Donnelly, 2013;Richards, 2007aRichards, , 2007b Runco & Richards, 1997).To understand the impact and nature of creativity in this new context, it is important to approach creativity from a larger historical, and transdisciplinary perspective. Yet, ironically, there has been a movement in the psychology of creativity to actually shorten the traditional definition of creativity (stressing novel and useful or valuable), to simply novel (Weisberg, 2015).In contrast, we will expand the definition of creativity in a number of critical respects. We will examine creativity as an interconnected and interdependent phenomenon. In another departure from conventional approaches, we will focus attention on the hidden subtext of gender underlying how creativity has been socially constructed. We will also propose a contextualized approach to creativity that takes into account both its individual and social dimensions and how these relate to what Eisler (Eisler, 1987, 2007 has called a partnership rather than dominator or domination model of society. TOWARD A GENDER-HOLISTIC VIEW OF CREATIVITYUntil fairly recently, discourse about creativity has been almost exclusi...

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Everyday creativity: Our hidden potential.

Cited by 126 publications

References 53 publications

Habitual Creativity: Revising Habit, Reconceptualizing Creativity

Habitual Creativity: Revising Habit, Reconceptualizing Creativity

Teachers’ Beliefs About Creativity and Possibilities for its Development in Polish High Schools: A Qualitative Study

Creativity, Society, and Gender: Contextualizing and Redefining Creativity

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