Integrated Constraints in Creativity: Foundations for a Unifying Model

Abstract

Despite their negative connotation, and the pervasiveness of blue-sky, outside-the-box thinking metaphors, constraints are at the heart of creativity. Using a multidisciplinary approach, as part of the Integrated Constraints in Creativity (IConIC) model, I propose that creative outcomes emerge from the successful leveraging of different types of constraints. I introduce a new, constraint-based definition of creativity, grounded in categorization theory, and parsimonious taxonomies of constraints based on which I outline testable predictions and corroborating evidence. I argue that constraints differ in terms of their flexibility (fixed, faux-fixed, or flexible) and functions (exclusionary or focusing), and in terms of whether they apply to the problem search time or the problem search space. Within the search space, constraints can refer to specific concepts or categories. I also advance a distinction between creativity maximizers and satisficers as a function of creativity goals, semantic networks, expertise, and the new constructs of constraint leveraging power and constraint leveraging mindset, that help to explain differences in successful integration of constraints for creativity and creative achievement.

How constraints impact creativity: An interaction paradigm.

“…We develop this proposal below. We begin by reviewing the Integrated Constraints in Creativity (IConIC) model of constraints in creativity (Tromp, 2022) and its taxonomy of constraints based on their flexibility, functions, and referents. We then describe the sources of constraints: person, task, and situation, and we illustrate how persons, tasks, and situations differ in the type and degree of constraints.…”

“…Constraints have two complementary functions: exclusionary and focusing (Tromp, 2022). The exclusionary function is framed by a negation: Do not include X.…”

“…The exclusionary and focusing functions of constraints are complementary (Tromp, 2022) and often work in pairs (Stokes, 2009). For example, both jugaad (Prabhu & Jain, 2015) and bricolage (An et al, 2018;Baker & Nelson, 2005) refer to the sort of "frugal The Sequence of the Constraint Processing Steps, Which Applies to Each Stage of the Creative Problem-Solving Cycle innovation" that takes place under conditions of scarcity.…”

“…All focusing functions have obvious, albeit often implicit, exclusionary counterparts, and vice versa (Tromp, 2022). For example, by painting only with shades of blue, an artist excludes all the other colors.…”

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Extending the recent Integrated Constraints in Creativity (IConIC) model (Tromp, 2022), we propose a paradigm for how constraints interact with creativity. After reviewing the IConIC model and its taxonomy of constraints, we highlight the interactive nature of constraints and we develop the key argument that constraints themselves are not a main effect.

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