The Creativity-Personality Continuum Based on Spontaneity and Deliberateness in Art

Burkhart, Robert C.

doi:10.2307/1320000

Cited by 9 publications

(7 citation statements)

References 5 publications

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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%

“…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%

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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%

See 1 more Smart Citation

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

Elliot¹,

Nakata²

2013

J of Product Innov Manag

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show abstract

“…In a study of high school and college students, Burkhart (1960) found that the most creative rated highest in social maturity, as well as in liberalism and non-authoritarianism. An exploratory study at the University of Minnesota (1959) indicated that highly creative individuals tended to lack strong power motivations.…”

Section: Biographical Data On Individuals Evidencing Fewer Problemsmentioning

confidence: 99%

“…The creative, liberal, non-authoritarian students studied by Burkhart (1960) came from mother-dominated homes, which he interpreted as being more permissive because of divided parental authority. Weisberg and Springer (1961) found their creative students to be less insistent on independence from their parents.…”

Section: Biographical Data On Individuals Evidencing Fewer Problemsmentioning

confidence: 99%

The Human Relationships of Creative Individuals*

Foster

1968

Journal of Creative Behavior

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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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The Creativity-Personality Continuum Based on Spontaneity and Deliberateness in Art

Cited by 9 publications

References 5 publications

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

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

The Human Relationships of Creative Individuals*

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

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