Creative cognition: A multidisciplinary and integrative framework of creative thinking

Extant research provides vast information on antecedents to creativity. However, creative thinking is oftentimes treated as a black box, requiring input and producing creative output. Cognitive processes occurring during creative thinking tend to be neglected, although they can provide a bridge between the inputs to creativity and the resulting outputs. Literature offers different perspectives on creative thinking processes, such as the separation of divergent and convergent thinking, different stages of creativity or the concept of creative cognition. This variety of concepts underlying creativity has led to confusion and misinterpretations of some concepts. Moreover, the overemphasis on creative outcomes and divergent thinking has resulted in a neglect of a more comprehensive view on cognitive dimensions of creativity. Through reviewing and synthesizing multidisciplinary literature on creativity, an integrative framework is developed positioning cognitive elements of creativity within a system including organizational antecedents to creativity and creative outcomes. The framework seeks to offer pathways to increasingly incorporate the concept of creative cognition into future research. Suggesting different forms of creative cognition that individuals engage in during creative thought, this theoretical work further offers a theoretical development of creativity concepts that intends to inspire future research designs and facilitates cross-disciplinary knowledge transfer.     

Moral organizational creativity: Exploring ethical antecedents for a new construct

The objective of this article is to provide the means of supporting the coexistence of creativity and ethics at the organizational level. It contributes to the literature by offering a process model that shows how organizational creativity can be combined with ethics. This work begins by examining how the features of ethical work climates may affect creativity in organizations. We advocate the position that an organization can be both creative and moral through the triggering of moral imagination, dependent in part on the type of ethical work climate espoused in the workplace. As a result, we offer a new formulation of organizational creativity that includes an explicit ethical dimension: moral organizational creativity. This expanded concept treats the dominant elements of ethical work climates and moral imagination as essential ingredients of ethical and organizational creativity. Investigating the link between ethical work climates and moral imagination is meaningful to understanding how an organization can address the requirements of creativity and ethics and therefore enhance organizational creativity.     

Constraints that Help or Hinder Creative Performance: A Motivational Approach

Threatening situations, in which people fear negative outcomes or failure, evoke avoidance motivation. Avoidance motivation, in turn, evokes a focused, systematic and effortful way of information processing that has often been linked to reduced creativity. This harmful effect of avoidance motivation on creativity can be problematic in financially turbulent times when people fear for their jobs and financial security. However, particularly in such threatening times, creativity may be crucial to innovate, adapt to changing demands and stay ahead of competitors. Here, I propose a theoretical framework describing how different types of constraints in the workplace affect creative performance under approach and avoidance motivation. Specifically, under avoidance motivation, constraints that consume or occupy cognitive resources should undermine creativity, but constraints that channel cognitive resources should facilitate creativity. Understanding the impact of different types of constraints on creative performance is needed to develop strategies for maximizing creativity in the workplace.     

Pro‐active neutrality: The key to understanding creative facilitation

Facilitation is a critical means of supporting creative processes in teams. Previous studies have shown that neutrality is central to effective facilitation but no clear conceptualization of neutrality has been provided to date. The aim of this paper is to explore how neutrality is enacted by facilitators, what its key elements and mechanisms are, and how it is perceived in the creative facilitation context. We adopt a theory building mode and conduct an in‐depth case study, following an innovation project in the IT sector with a series of facilitated creativity workshops. Our results show that neutrality is a multi‐dimensional construct that interacts with several outcome dimensions of facilitation, i.e. people, process, and product. We introduce a pro‐active neutrality framework, which explains the mechanisms of neutrality in facilitation and thereby extend theory on both neutrality and facilitation. We further outline a number of propositions that could be explored by future research as well as provide important creativity management implications that will enhance creativity and innovation in the workplace.     

Supporting creative and reflective processes

Creativity has long been seen as a mysterious process. A better understanding of the nature of creativity and the processes that underpin it are needed in order to be able to make contributions to the design of creativity support tools. In this paper, current theories of creativity and models of the creative process are discussed and an empirical study outlined of participants individually and collaboratively undertaking two creative tasks in different domains. The tasks ‘write a poem’ and ‘design a poster’ were carried out via two media; pen and paper and with the use of a computer and software tools. Schön's theory of reflection-in-action is applied to the study results. The research has generated software requirements for tools to support these specific creative tasks, and also initial design features to enable support for group reflection of evolving creative artefacts.     

What if it Switched on the Sun? Exploring Creativity in a Brainstorming Session with Children Through a Vygotskyan Perspective

We contribute in this study a first step in theory-based understanding on how creativity in collaborative design sessions relates to the elements that are present in a creative act. These elements include group composition, objects present, practices used, and previous knowledge of the participants. The context of this study was our search for lightweight methods for technology design with children, which can be used in a school context with large groups, will require as little amount of training as possible, and can be set up quickly. We formed a mixed group, consisting of young children, an older child and an adult, with the aim of involving children in creative collaborative brainstorming during the very early phases of design, so as to come up with fruitful ideas for technology development. We report our process and examine the implications of our results in relation to different elements that trigger and affect creativity in the collaborative design process. Use of Vygotsky’s cycle of creativity as our theoretical lens together with timeline analysis method presented in the paper were essential for seeing beneath the surface of what happened in this complex, collaborative creative process. Our results can be used for further methodological development of creative collaborative sessions, both with children and adults.     

Provoking creativity: imagine what your requirements could be like

Requirements engineering isn't recognized as a creative process. However, as new systems and products emerge, stakeholders are increasingly creating and inventing ideas that they express as requirements. Requirements engineering, with its focus on elicitation, analysis, and management, has yet to fully grasp this trend. We applied techniques to encourage creative thinking during the requirements process for a software-based system in a naturally conservative domain - air traffic management (ATM). We applied unusual theories, such as analogical reasoning from cognitive science, to underpin the use of these techniques, and we report basic results and lessons learned. We focus on the creativity techniques we applied (see the sidebar) and demonstrate them with examples from the ATM domain.     

Where do requirements come from?

What should a product do? What qualities should it have? How do we determine these requirements for new generations of products? Requirements engineering is an activity in which a wide variety of stakeholders work together to answer these questions. The answers do not arrive by themselves, there is a need to-ask, observe, discover, and increasingly create requirements. If we want to build competitive and imaginative products that avoid re-implementing the obvious, we must make creativity part of the requirements process. Indeed, the importance of creative thinking is expected to increase over the next decade. Unfortunately, most RE research and practice does not recognize this important trend. We highlight some important information sources for creativity and innovation and present some useful examples of creative RE as references to guide and inspire readers     

From Creative Thinking to Organisational Learning via Systems Thinking? An Illustration of Critical Creativity

Many creativity programmes are designed and delivered with minimal attention paid to reflection. This paper shares experience of a programme in which reflection played an integral role; consciously adopting a critical approach to creativity ensured this was the case. The paper introduces Peter Senge’s “five disciplines” as a conceptual framework guiding the reflective process after the workshop, and which prompted deeper inquiry into the relationships between the processes of creative thinking, systems thinking and organisational learning.     

Avatar-mediated creativity: When embodying inventors makes engineers more creative

An important challenge today is to support creativity while enabling geographically distant people to work together. In line with the componential theory of creativity, self-perception theory and recent research on the Proteus Effect, we investigate how avatars, which are virtual representations of the self, may be a medium for stimulating creativity. For this purpose, we conducted two studies with a population of engineering students. In the first study, 114 participants responded to online surveys in order to identify what a creative avatar may look like. This enabled us to select avatars representing inventors, which were perceived as creative by engineering students, and neutral avatars. In the second study, 54 participants brainstormed in groups of 3, in 3 different conditions: in a control face-to-face situation, in a virtual environment while embodying neutral avatars and in a virtual environment with inventor avatars. The results show that inventor avatars led to higher performance in fluency and originality of ideas. Moreover, this benefit proved to endure over time since participants allocated to inventor avatars also performed better in a subsequent face-to-face brainstorming. The prospects of using avatars for enhancing creativity-relevant processes are discussed in terms of theoretical and applicative implications.     

How Individualism-Collectivism Moderates the Effects of Rewards on Creativity and Innovation: A Comparative Review of Practices in Japan and the US

Recent research has shown that the relationship between rewards and creative performance is complex: while rewards increase creativity in some situations, they are detrimental to creative performance in others. The present paper explores the role of cross-cultural differences in moderating some effects of rewards on creativity and innovation. I focus on individualism-collectivism and its related differences in motivation, cognition and emotion. I then propose five ways in which differences in I-C between Japan and the US moderate the effects of incentives on creative performance and innovation in these nations. Specifically, I claim that organizations in individualistic and collectivist cultures differ on: Effects of rewards on intrinsic motivation, effects of in-group versus out-group controlled rewards, effects of group vs. individual based incentives, reactions to in-group and out-group competition, and the effects of members’ identification with the organization on their innovation efforts. The notion of ‘congruence’ is offered as a theoretical framework for explaining the proposed ideas. Recommendations and implications of these prepositions for management of creativity in a cross-cultural work force are discussed.     

Decentring the Creative Self: How Others Make Creativity Possible in Creative Professional Fields

Since its inception, the psychology of creativity has been concerned primarily with the study of individual creators. In contrast, this research is dedicated to an exploration of (a) who has a significant impact on a creative professional's activity and (b) what the contribution is that others make to creative outcomes. The research included interviews with 60 professionals working in science and creative industries in France. The following categories of others emerged: family and friends, peers and students, clients and funders, critics and gatekeepers, and the general public – and they were related to themes depicting the interaction between these different others and the creator. Findings reveal both similarities and differences across the five domains in terms of the specific contribution of others to the creative process. Social interactions play a key formative, regulatory, motivational and informational role in relation to creative work. From ‘internalized’ to ‘distant’, other people are an integral part of the equation of creativity calling for a de‐centring of the creative self and its re‐centring in a social space of actions and interactions.     

Computer-assisted creativity: Emulation of cognitive processes on a multi-agent system

For creativity to be computed, it is paramount to understand the cognitive processes involved, which have been elucidated by either surveying creative people or discovering regions of the human brain that activate during creative endeavors. From this scattering, the author proposes a holistic framework to describe them and their interaction. Hence, creativity can be regarded as a meta process which coordinates autonomous cognitive processes such as planning or divergent thinking. To represent the interplay of cognitive processes around creativity, models are developed in the Agent Unified Modeling Language (AUML). Then, the execution of each process is delegated to autonomous agents and a global coordination protocol is devised. The implementation of the MAS is done on the JADE platform. Two modules of the resultant system are exemplified: opus planning and divergent exploration. The coordination protocol is also presented. The domain in which the software system is tested is the creation of musical pieces.     

B-SCP: A requirements analysis framework for validating strategic alignment of organizational IT based on strategy,context, and process

Ensuring that organizational IT is in alignment with and provides support for an organization's business strategy is critical to business success. Despite this, business strategy and strategic alignment issues are all but ignored in the requirements engineering research literature. We present B-SCP, a requirements engineering framework for organizational IT that directly addresses an organization's business strategy and the alignment of IT requirements with that strategy. B-SCP integrates the three themes of strategy, context, and process using a requirements engineering notation for each theme. We demonstrate a means of cross-referencing and integrating the notations with each other, enabling explicit traceability between business processes and business strategy. In addition, we show a means of defining requirements problem scope as a Jackson problem diagram by applying a business modeling framework. Our approach is illustrated via application to an exemplar. The case example demonstrates the feasibility of B-SCP, and we present a comparison with other approaches.     

Where the Art is: Defining and Managing Creativity in New Media SMEs

This paper examines the definition and management of creativity in the ‘creative industries’. Initially the paper sets out the economic and cultural context for the emergence of the creative industries, before going on to argue that there are gaps in our understanding of the role of creativity and particularly the management of creativity within these industries. Based on research undertaken with new media SMEs in the North West of England, the paper then explores the ways in which creativity is defined and managed within this sub–sector. It is shown that the meanings attached to creativity are variable and contested and that the precise definition and management of creativity is strongly determined by the internal workplace culture, and the external social and economic conditions within which firms operate. It is further suggested that while creativity is often seen as a ‘must have’ attribute for new media firms it may also, conversely, be considered a barrier to commercial success. The paper concludes that if we are to understand work and production in the creative industries, and offer institutional support for firms to develop and sustain creativity for competitive advantage, it may be necessary to develop a more detailed understanding of the role of creativity and creative management as both a general and specific, socially embedded process.     

Triggering Creativity in Science and Engineering: Reflection as a Catalyst

In the recent literature, creativity has been clarified as a phenomenon that categorically differs from intelligence in that the ideas that result from it may not be deduced by applying current reasoning techniques on the state-of-the-art knowledge. Thus, creativity clearly transcends intelligence. Despite this new perspective, by its very nature, creativity defies a true and complete definition and the issue of how to arrive at a creative solution for a given problem, continues to remain an open question. This paper represents an effort to gain insights into the nature of creativity. It begins by observing (i) documented manifestations of creative discoveries and inventions by leading scientists and inventors, (ii) records of creative flashes in many day-to-day ordinary activities, and (iii) instances of creativity in Nature. It then critically analyzes these observations to uncover what mechanisms trigger the processes that eventually lead to creative solutions to problems. This paper submits three hypotheses for cases (i) through (iii) and claims that reflection constitutes the underlying mechanism in each of them, serving as a catalyst for creativity. The first hypothesis is that, in many of the highly creative scientific and engineering discoveries, reflection has played an explicit role in catalyzing the onset of creativity in the scientists and inventors, leading to spontaneous solutions. The second hypothesis is that creativity may be triggered by resorting to implicit reflection. The underlying mechanism consists of highly experienced professionals who report arriving at decisions and diagnoses, almost instantaneously, through intuitive flashes that later turn out to be precisely correct. The third postulate is that Nature is guided by reflection, while utilizing enormous resources and knowledge at her disposal, to play her meta-level role in introducing creative traits, selectively, in one or more individuals of a specific animal colony. The resulting collective behavior of the entire colony represents a spontaneous, creative behavior, very different from that of a pure, homogeneous colony. In essence, the contributions of this paper are two-fold. First, although the exact definition of creativity continues to elude us, the use of explicit and implicit reflection constitutes two approaches that are potentially useful in triggering creativity, at will, in ordinary scientific and engineering personnel to achieve quantum leaps in our knowledge and achievement. The role of reflection is that of a catalyst. Reflection also appears to underlie the inner workings of Nature. Second, from the perspective of engineering pedagogy, these approaches may constitute a tried and tested mechanism for inducing creativity in ordinary students through practice.     

Computer-based instructional strategies to improve creativity

Advancements in cognitive psychology provide the framework for recommending instructional strategies to improve student creativity. This article provides an introduction to the topic of computer-based software as an instructional means to enhance curricular goals associated with creativity. Reviewed first is the theoretical literature on creativity, followed by a review of a specific computer-based program promising to improve student creativity. The conclusion offers suggestions on the design of instructional strategies generalized from the two reviews.     

Scenarios in system development: current practice

Scenario based approaches are becoming ubiquitous in systems analysis and design but remain vague in definition and scope. A survey of current practices indicates we must offer better means for structuring, managing, and developing their use in diverse contexts. The European Esprit project Crews (Cooperative Requirements Engineering with Scenarios) are seeking a deeper understanding of scenario diversity, necessary to improve methodological and tool support for scenario based requirements engineering. They follow a two pronged strategy to gain this understanding. First, following the “3 dimensions” requirements engineering framework developed in the precursor Nature project (K. Pohl, 1994), they developed a scenario classification framework based on a comprehensive survey of scenario literature in requirements engineering, human computer interaction, and other fields. They used the framework to classify 11 prominent scenario based approaches. Secondly, to complement this research framework, they investigated scenario applications in industrial projects through site visits with scenario user projects. The article focuses on these site visits. It was found that while many companies express interest in Jacobson's use case approach, actual scenario usage often falls outside what is described in textbooks and standard methodologies. Users therefore face significant scenario management problems not yet addressed adequately in theory or practice, and are demanding solutions to these problems