The Case for a Social Psychology of Creativity

Amabile, Teresa M.; Collins, Mary; Conti, Regina; Phillips, Elise; Picariello, Martha; Ruscio, John; Whitney, Dean

doi:10.4324/9780429501234-1

Cited by 265 publications

(511 citation statements)

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“…The goal of this paper is to position meaning as a defining characteristic of creative solutions. We propose, consistent with Amabile (1996), that meaning has emerged from the historical and sociocultural context of our times, to become a third component of creativity. We present our viewpoint by (1) examining the historical and social developments that lead to the emergence of meaning (2) exemplifying the role of meaning in creative solutions, (3) proposing a way of measuring meaning in creative solutions, (4) illustrating the complementary and additive effect of meaning in creative solutions with regard to novelty and usefulness, and (5) showcase that despite its complementary effect, meaning is a separate dimension that can be empirically distinguished from novelty and usefulness.…”

Section: Introductionsupporting

confidence: 72%

“…Amabile's work (1983, 1996, 2001) on creative products is one of the most established approaches for recognizing a creative idea. Her body of work, among others, specifies that ideas should be novel and useful to be considered creative.…”

Section: Introductionmentioning

confidence: 99%

“…These two components have been considered equally important in the context of engineering, technology, and design creativity, which is also the background domain of this paper. This definition of creativity stems from Guilford (1950) and Stein (1953), and has become one of the most accepted definitions of creativity, encompassing thousands of citations and hundreds of articles (e.g., Finke et al , 1992; Boden, 1994; Amabile, 1996; Sternberg and Lubart, 1999; Runco, 2007; Bronson and Merryman, 2010; Hennessey and Amabile, 2010; Sarkar and Chakrabarti, 2011). Throughout the years, several researchers have tried to expand on this definition.…”

Section: Introductionmentioning

confidence: 99%

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Creativity and meaning: including meaning as a component of creative solutions

Sääksjärvi

Gonçalves

2018

AIEDAM

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The goal of this paper is to examine meaning as a component of creativity. We take a demand-based approach for conceptualizing meaning, and propose that it emerges from user needs instead of emerging from already existing creative solutions. Meaning is proposed as a third component of creativity, alongside novelty and usefulness. We test this proposition in a pre-study, and two empirical studies. In the pre-study, designers define creativity and provide examples of solutions that they deem creative. The results of the pre-study yield a 24-item scale for assessing creativity. Then, we conduct two empirical studies, in which we utilize the created scale for measuring creativity, and for examining the components arising thereof. In the first study, we ask creators (design engineering students) to generate ideas for one of two design briefs. Afterwards, creators were asked to rate their own creations, on the 24-item creativity scale. Here, we find a four-factor solution for creative outcomes, consisting of the dimensions novelty, usefulness, cleverness, and meaning. In the second study, we ask independent evaluators (individuals with related and relevant degrees) to assess the creators’ work on the creativity scale. Here, we find a three-factor solution for creative outcomes, consisting of the dimensions novelty, usefulness, and meaning. In both studies, meaning emerged as a separate component of creativity. Additionally, in both studies, it accounted for variance that was unaccounted for by novelty and usefulness, thereby increasing the overall explanatory power of creative solutions. These findings strongly speak of meaning as a third component of creativity.

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Section: Introductionsupporting

confidence: 72%

Section: Introductionmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Creativity and meaning: including meaning as a component of creative solutions

Sääksjärvi

Gonçalves

2018

AIEDAM

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“…Novelty means the degree to which the idea is unique from existing ideas. Usefulness indicates the degree of value offered by the idea within the organization and the broader domain in which it is embedded (Amabile, 1996; Berg, 2014). Previously, researchers have tended to assume that these two dimensions travel together in creative ideas (Oldham and Cummings, 1996; Shalley and Perry-Smith, 2001).…”

Section: Theoretical Developmentmentioning

confidence: 99%

“…Much contemporary research on creativity has been guided by intrinsic motivation theory (Amabile, 1996; Oldham and Cummings, 1996). To understand how motivation influences team creativity, scholars have recently embraced goal orientation theory (Janssen and Van Yperen, 2004; Gong et al, 2009; Hirst et al, 2009).…”

Section: Introductionmentioning

confidence: 99%

Shared Leadership Improves Team Novelty: The Mechanism and Its Boundary Condition

et al. 2016

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Previous research has revealed the significant impact of shared leadership on team creativity, yet the mechanism underlying this relationship has rarely been investigated. The current research examined how shared leadership influenced team creativity (novelty and usefulness) across 3 studies using both long-term project teams and temporal task teams in the laboratory. The results showed that shared leadership enhanced the novelty dimension of team creativity by improving constructive controversy. Furthermore, team goal orientation moderated this effect. The indirect effect of constructive controversy holds for teams with learning goal orientation but not for those with performance goal orientation. Such patterns were not found in the usefulness dimension of team creativity.

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The Creativity of Conspiracy Theories

Bonetto

Arciszewski

2021

Journal of Creative Behavior

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Conspiracy theories are narratives, they tell mostly fictional stories. In that sense, conspiracy theories are creative productions similar to other productions involving narratives, such as poems, films, or stories. However, contrary to these productions regularly studied in the field of creativity, conspiracy theories remain unexplored in this field. The present contribution proposes to consider conspiracy narratives as creative products. We discuss the extent to which these narratives meet the criteria of the standard definition of creativity and how their negative individual and societal consequences place conspiracy narratives in the dark side of creativity. We argue that this new perspective on conspiracies may partly change the way we study their construction and their psychological convenience. We finally discuss some theoretical and methodological perspectives linked to this proposition. Overall, this contribution intends to draw the attention of creativity researchers to these real-world and abundant creative products.

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The Case for a Social Psychology of Creativity

Cited by 265 publications

References 0 publications

Creativity and meaning: including meaning as a component of creative solutions

Creativity and meaning: including meaning as a component of creative solutions

Shared Leadership Improves Team Novelty: The Mechanism and Its Boundary Condition

The Creativity of Conspiracy Theories

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