On the Relationships between Art and General Creativity: A Biased History and Projection of a Partial Conquest

Beittel, Kenneth R.

doi:10.1086/442704

Cited by 7 publications

(16 citation statements)

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“…The field of art and aesthetics is looked to in order to derive insights on creativity because art—as process and product—essentializes creativity. It is also the realm of art and aesthetics that actively pursues questions such as “What is creativity?” and “How does creativity manifest?” Burkhart (), Beittel (), and Beittel and Burkhart () describe the core modes of art‐making, which are conceptually extended to describe culturally rooted forms of creativity.…”

Section: A Conceptualization Of Cross‐cultural Creativitymentioning

confidence: 99%

“…Beittel (), Burkhart (), and Beittel and Burkhart () propose that art is produced via two paths: spontaneous (S) and divergent (D). Both are “originative ways of working” to create art, involving goals and procedures (Beittel and Burkhart, , p. 30).…”

Section: A Conceptualization Of Cross‐cultural Creativitymentioning

confidence: 99%

“…In comparison to S creativity's metaphorism, D creativity focuses on literalism . Under literalism, ideas are clearly and directly translated into the work (Beittel, ). This explicitness contrasts with the veiled quality of S creativity where allusion is preferred.…”

Section: Cross‐cultural Creativity and Npd Practices: Japan And The Umentioning

confidence: 99%

“…This conceptualization of creativity is drawn from theories of art-making by Burkhart (1960), Beittel (1964), and Beittel and Burkhart (1963). The field of art and aesthetics is looked to in order to derive insights on creativity because art-as process and productessentializes creativity.…”

Section: A Conceptualization Of Cross-cultural Creativitymentioning

confidence: 99%

“…Burkhart (1960), Beittel (1964), and Beittel and Burkhart (1963) describe the core modes of art-making, which are conceptually extended to describe culturally rooted forms of creativity. Beittel (1964), Burkhart (1960), and Beittel and Burkhart (1963) propose that art is produced via two paths: spontaneous (S) and divergent (D). Both are "originative ways of working" to create art, involving goals and procedures (Beittel and Burkhart, 1963, p. 30).…”

Section: A Conceptualization Of Cross-cultural Creativitymentioning

confidence: 99%

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Cross‐Cultural Creativity: Conceptualization and Propositions for Global New Product Development

Elliot¹,

Nakata²

2013

J of Product Innov Manag

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In today's global business environment, where multinational companies are pressed to increase revenues in order to survive, creativity may hold the key to ensuring their new product development (NPD) efforts lead to innovations with worldwide appeal, such as Apple's iPad and Gillette's Fusion Razor. To leverage creativity for effective global NPD, businesses want to know how cultures differ in their concepts of creativity and the impact of those differences on approaches to developing new products. Because global new products are increasingly developed in, by, and for multiple cultures, a particular need is for a culturally reflective understanding, or conceptualization, of creativity. While creativity is believed to be culturally tied, the dominant framework of creativity used in business and management assumes that creativity is culturally indifferent or insensitive. This knowledge gap is addressed by studying the role of creativity in NPD practices in a cross‐cultural or global context. The study begins by first developing a culturally anchored conceptualization of creativity. Called cross‐cultural creativity, the concept draws on creativity insights from the field of art and aesthetics. The concept specifies two modes of creativity, neither of which is superior to the other, called the spontaneous or S route and the divergent or D route. The S route emphasizes adaptiveness, processes, intuitiveness, and metamorphism, while the D route focuses on disruptiveness, results, rationality, and literalism. Next, this new concept is applied to NPD by positing how creativity in distinct cultures may shape NPD practices, as illustrated by Japanese and U.S. firms. Research propositions are formulated to capture these patterns, and thereafter, theoretical and practical implications of the framework and propositions are discussed. The implications center on global NPD, which is a complex enterprise involving typically more than one culture to design and develop new products for several geographic markets. The study is of interest to researchers needing a globally situated, culturally attached framework of creativity for international NPD studies, and managers seeking to exploit creativity in multinational and multicultural innovation projects.

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Section: A Conceptualization Of Cross‐cultural Creativitymentioning

confidence: 99%

Section: A Conceptualization Of Cross‐cultural Creativitymentioning

confidence: 99%

Section: Cross‐cultural Creativity and Npd Practices: Japan And The Umentioning

confidence: 99%

Section: A Conceptualization Of Cross-cultural Creativitymentioning

confidence: 99%

Section: A Conceptualization Of Cross-cultural Creativitymentioning

confidence: 99%

See 3 more Smart Citations

Cross‐Cultural Creativity: Conceptualization and Propositions for Global New Product Development

Elliot¹,

Nakata²

2013

J of Product Innov Manag

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The International Shanghai Joint Design Studio: A Hybrid and Adaptive Platform to Enhance Cultural Encounter

Cattaneo

Giorgi

Mangi

2022

Cross-Cultural Design. Interaction Design Across Cultures

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Research frontier: "Creativity': A blind man's report on the elephant.

Yamamoto¹

1965

Journal of Counseling Psychology

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Something people call an elephant is therethis much is sure. And all of us, blind men, have been touching it, feeling it, figuring it out and describing it to each other. On some facts, we agree among ourselves; on others, we cannot even understand what each is trying to tell the other. But, it is precisely this amorphousness which is the elephant-the elephant of creativity.So, we agree on certain things about creativity. We agree, without knowing exactly what, that creativity is an essential element in selfrenewing man and society (Gardner, 1962) and that giving "a fair chance to potential creativity is a matter of life and death for any society" (Toynbee, 1964, p. 4). Most of us agree that the definitional and criterial problems must somehow be resolved, that theoretical formulation or model building is desirable, that refinement of measuring techniques and instruments is necessary, and that coordinated research efforts are essential (Gallagher, 1964;Stein, 1962;Yamamoto, 1964). But, alas, that about exhausts our happy agreement on the elephant.

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On the Relationships between Art and General Creativity: A Biased History and Projection of a Partial Conquest

Cited by 7 publications

References 0 publications

Cross‐Cultural Creativity: Conceptualization and Propositions for Global New Product Development

Cross‐Cultural Creativity: Conceptualization and Propositions for Global New Product Development

The International Shanghai Joint Design Studio: A Hybrid and Adaptive Platform to Enhance Cultural Encounter

Research frontier: "Creativity': A blind man's report on the elephant.

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