Methods of Individual Creativity Stimulation

Open access

Abstract

Creativity is one of the specific human traits. The development of personality is most often realized in close correlation with the creative dynamics of each one. The paper proposed by us brings into discussion the most important factors that contribute to the development of creativity. What makes us more creative, what are the conditions that unleash the creative forces of the individual’s mind? First, the cultural factors, inherited ideas about creativity, are critically analyzed. Thus, there are a number of “myths of creativity” that infuse our perception (sometimes in a wrong way) on the definition and understanding of creativity. The family also offers, through education and personal example, means of stimulating creativity. It is the first step towards performance creativity. In this paper, we also present the best-known techniques of creativity training, some of them, in the view of the “new age” trend. Creativity always interferes with a task, as we have to improvise, responding for moment to moment to the changing demands of the situation. Daily creativity improvise and is therefore, different from what the researchers of creativity have studied: creativity that results in a finished product. In order to become more creative, we will have to orient ourselves differently: to have a motivation for it, to choose a field in which we excel, to accept collaboration, to be confident and take risks. Creativity means rejecting the conventional, the routine and finding new solutions in personal development.

If the inline PDF is not rendering correctly, you can download the PDF file here.

  • 1. Amabile Teresa. (1996). Creativity in Context: Update to the Social Psychology of Creativity. Avalon Publishing NY.

  • 2. Baer J. (1993). Creativity and divergent thinking: A task specific approach. Hillsdale NJ: Erlbaum.

  • 3. Boden M. (1991). The creative mind: Myths and mechanisms. New York: Basic Books.

  • 4. Cameron J. (2002). Walking in this world: The practical art of creativity. New York:

  • 5. Penguin Putnam.

  • 6. Cushman A. (1992). Are you creative? in Utne Reader Ogden Publications Inc. Topeka Kansas March/April 52-60.

  • 7. Csikszentmihalyi M. (1996). Creativity: Flow and the psychology of discovery and invention.

  • 8. New York: HarperCollins.

  • 9. Feldhusen J.F. & Goh B.E. (1995). Assessment and accessing creativity: An integrative review of theory research and development. Creativity Research Journal 8 (3) 231-247.

  • 10. Garber M. (2002 December). Our genius problem. The Atlantic Monthly 64-72.

  • 11. Gawain S. (1982). Creative visualization. New York: Bantam. (Original work published by

  • 12. Whatever Publishing March 1979).

  • 13. Geschka H. (1993). The development and evaluation of creative thinking techniques: A German perspective. In S. G. Isaksen M. C. Murdock R. L. Firestien and D. J. Treffinger (Eds.)

  • 14. Nurturing and developing creativity: The emergence of a discipline (p. 215-236). Norwood NJ: Ablex.

  • 15. Gordon W. J. (1961). Synectics: The development of creative capacity. New York: Harper.

  • 16. Isaksen S.G. Dorval K.B. & Treffinger D.J. (1994). Creative approaches to problem solving: A framework for change. Buffalo NY: Creative Problem Solving Group.

  • 17. Isaksen S.G. Dorval K.B. & Treffinger D.J. (2000). Creative approaches to problem solving: A framework for change (2nd ed.). Buffalo NY: Creative Problem Solving Group.

  • 18. Isaksen S.G. & Treffinger D.J. (1985). Creative problem solving: The basic course. Buffalo NY: Bearly.

  • 19. Henneseyet al. (2002). Emergence of modern human behavior: Middle Stone Age Engravings from South Africa. Science 295 (5558) 1278-1280.

  • 20. John-Steiner V. (2000). Creative collaboration. New York: Oxford.

  • 21. Larey T. S. & Paulus P. B. (1999). Group preference and convergent tendencies in small groups: A content analysis of group brainstorming performance. Creativity Research Journal 12 (3) 175-184.

  • 22. Maddi S. R. (1975). The strenuousness of the creative life. In I. A. Taylor & J. W. Getzels (Eds.) Perspectives in creativity (pp. 173-190). Chicago: Aldine.

  • 23. Marcus S. & Neaçsu G. (1972). At the psychological structure of talent dramatique. Revue Roumaine des Sciences Sociales Series of Psychology 16 (2) 133-149.

  • 24. Osborn A. F. (1953). Applied imagination. Buffalo NY: Creative Education Foundation Press.

  • 25. Paulus P. B. & Nijstad B. A. (2003). Group creativity: Innovation through collaboration. New York: Oxford.

  • 26. Parnes S.J. (1993). A glance backward and forward. In S. G. Isaksen M. C. Murdock R. L. Firestien & D. J. Treffinger (Eds.) Understanding and Recognizing Creativity: The Emergence of a Discipline (pp. 471-474). Norwood NJ: Ablex.

  • 27. Perkins D. (2000). The Eureka effect: The art and logic of breakthrough thinking. New York: Norton.

  • 28. Rogers C. R. (1961). He becomes a person: A therapist’s view of psychotherapy. Boston: Houghton-Mifflin.

  • 29. Rusu Marinela (2018). Portraits and Emotions - Developing Emotional Intelligence Through Art School Intervention in Psychology Research Journal May vol. 8 no. 5 p. 179-191 David Publishing Valley Cottage New York.

  • 30. Sawyer R. K. (2001). Creating conversations: Improvisation in everyday discourse. Cresskill NJ: Hampton Press.

  • 31. Stein M. I. (1993). The olden days: Better worse does it matter? In S. G. Isaksen M. C. Murdock R. L. Firestien & D. J. Treffinger (Eds.) Understanding and Recognizing Creativity: The Emergence of a Discipline (pp. 477-491). Norwood NJ: Ablex.

  • 32. Torrance E.P. (1972). Can we teach children to think creatively? The Journal of Creative Behavior 6 114-143 New York: Wiley.

  • 33. Treffinger D.J. Isaksen S.G. & Dorval K. B. (1994). Creative problem solving: An introduction (Rev. ed.). Sarasota FL: Center for Creative Learning.

Search
Journal information
Metrics
All Time Past Year Past 30 Days
Abstract Views 0 0 0
Full Text Views 129 129 18
PDF Downloads 120 120 16