Advertisement

Creativity

  • Paul Thompson
Chapter
Part of the Leisure Studies in a Global Era book series (LSGE)

Abstract

Recent research has shown that the individual is only one part of the creative process, and there is growing evidence that creativity occurs through a convergence of multiple factors within a dynamic system of interactions (Csikszentmihalyi in: Sternberg (Ed) The Nature of Creativity: Contemporary Psychological Perspectives, Cambridge University Press, New York, 1988; Creativity: Flow and the Psychology of Discovery and Invention, HarperCollins, New York, 1997; in: Sternberg (Ed) Handbook of Creativity, Cambridge University Press, Cambridge, 1999; 2004). This chapter introduces research into creativity from a range of disciplines including psychology (in several of its variants), philosophy, sociology, and literary and cultural theory. The first section reviews research that broadly relates to creativity and the individual, which includes the creative personality, cognitive psychology and creativity, and finally creativity from a sociological perspective. The subsequent section reviews studies into group creativity introducing approaches to studying groups, group behaviour and group processes. The chapter concludes by identifying a more encompassing approach to study creativity and, specifically, the creative process of commercial record production.

References

  1. Amabile, T. (1983). The Social Psychology of Creativity. New York: Springer.CrossRefGoogle Scholar
  2. Amabile, T. (1996). Creativity in Context. Boulder, CO: Westview Press.Google Scholar
  3. Ancona, D., & Caldwell, D. F. (1992). Demography and Design: Predictors of New Product Team Performance. Organization Science, 3, 321–341.CrossRefGoogle Scholar
  4. Bantel, K. A., & Jackson, S. E. (1989). Top Management and Innovations in Banking: Does the Composition of the Top Team Make a Difference? Strategic Management Journal, 10, 107–124.CrossRefGoogle Scholar
  5. Barfield, R. (2011). The Ancient Quarrel Between Philosophy and Poetry. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
  6. Barthes, R. (1977). ‘The Death of the Author’ in Image—Music—Text (S. Heath, Ed. & Trans., pp. 142–153). New York: Hill and Wang.Google Scholar
  7. Barron, F., & Harrington, D. M. (1981). Creativity, Intelligence and Personality. Annual Review of Psychology, 32, 439–476.CrossRefGoogle Scholar
  8. Bastick, T. (1982). Intuition: How We Think and Act. Chichester, UK: Wiley.Google Scholar
  9. Becker, H. S. (1982). Art Worlds. Los Angeles: University of California Press.Google Scholar
  10. Boden, M. (2004). The Creative Mind: Myths and Mechanisms (2nd ed.). London: Routledge.CrossRefGoogle Scholar
  11. Boorstin, D. J. (1992). The Creators: A History of Heroes of the Imagination. New York: Vintage Books.Google Scholar
  12. Bourdieu, P. (1977). Outline of a Theory of Practice. Cambridge, UK: Cambridge University Press.CrossRefGoogle Scholar
  13. Bourdieu, P. (1990). The Logic of Practice. Cambridge UK: Polity Press.Google Scholar
  14. Bourdieu, P. (1993). Field of Cultural Production (R. Johnson, Ed.). New York: Columbia University Press.Google Scholar
  15. Bourdieu, P. (1996). The Rules of Art: Genesis and Structure of the Literary Field. Cambridge, UK: Polity Press.Google Scholar
  16. Bransford, J. D., & Stein, B. S. (1984). The IDEAL Problem Solver (2nd ed.). New York: W. H. Freeman.Google Scholar
  17. Cartwright, D., & Zander, A. (Eds.). (1989). Group Dynamics. New York: Harper & Row.Google Scholar
  18. Collins, M. A., & Amabile, T. M. (1999). Motivation and Creativity. In R. J. Sternberg (Ed.), Handbook of Creativity (pp. 297–312). Cambridge, UK: Cambridge University Press.Google Scholar
  19. Costa, P. T., & McCrae, R. R. (1992). Revised NEO Personality Inventory (NEO-PI R) and NEO Five-Factor Inventory (NEO-FFI) Professional Manual. Odessa, FL: Psychological Assessment Resources.Google Scholar
  20. Csikszentmihalyi, M. (1988). Society, Culture and Person: A Systems View of Creativity. In R. J. Sternberg (Ed.), The Nature of Creativity: Contemporary Psychological Perspectives (pp. 325–329). New York: Cambridge University Press.Google Scholar
  21. Csikszentmihalyi, M. (1997). Creativity: Flow and the Psychology of Discovery and Invention. New York: HarperCollins.Google Scholar
  22. Csikszentmihalyi, M. (1999). Implications of a Systems Perspective for the Study of Creativity. In R. J. Sternberg (Ed.), Handbook of Creativity (pp. 313–335). Cambridge: Cambridge University Press.Google Scholar
  23. Csikszentmihalyi, M., & Wolfe, R. (2000). New Conceptions and Research Approaches to Creativity: Implications for a Systems Perspective of Creativity in Education. In K. A. Heller, et al. (Eds.), International Handbook of Giftedness and Talent (2nd ed., pp. 81–93). Oxford: Elsevier.Google Scholar
  24. Dacey, J., & Lennon, K. (1998). Understanding Creativity: The Interplay of Biological, Psychological, and Social Factors. San Francisco, CA: Jossey Bass.Google Scholar
  25. Davis, R. (2008, November 14–16). Creative Ownership and the Case of the Sonic Signature or, ‘I’m Listening to This Record and Wondering Whodunit?’ In Proceedings of the 2008 Art of Record Production Conference. Lowell, USA: University of Massachusetts. Available at: http://arpjournal.com/creative-ownership-and-the-case-of-the-sonic-signature-or-%E2%80%98i%E2%80%99m-listening-to-this-record-and-wondering-whodunit%E2%80%99/. Last accessed Feb 2015.
  26. Feist, G. J. (1998). A Meta-analysis of Personality in Scientific and Artistic Creativity. Personality and Social Psychology Review, 2(4), 290–309.CrossRefGoogle Scholar
  27. Feldman, D., Csikszentmihalyi, M., & Gardner, H. (1994). Changing the World: A Framework for the Study of Creativity. Westport, CT: Praeger.Google Scholar
  28. Furnham, A. (2008). Personality and Intelligence at Work. London: Routledge.CrossRefGoogle Scholar
  29. Galton, F. (1869/1950). Hereditary Genius: An Inquiry into Its Laws and Consequences (2nd ed.). London: Watts and Co.CrossRefGoogle Scholar
  30. Glăveanu, V. P. (2010). Principles for a Cultural Psychology of Creativity. Culture and Psychology, 16(2), 147–163.CrossRefGoogle Scholar
  31. Gordon, W. J. J. (1961). Synetics: The Development of Creative Capacity. New York: Harper & Row.Google Scholar
  32. Gracyk, T. (1996). Rhythm and Noise an Aesthetic of Rock. London: I.B. Tauris.Google Scholar
  33. Gruber, H. E. (1988). The Evolving System Approach to Creative Work. Creativity Research Journal, 1, 27–51.CrossRefGoogle Scholar
  34. Hambrick, D. C., Cho, T. S., & Chen, M. (1996). The Influence of Top Management Team Heterogeneity on Firms’ Competitive Moves. Administrative Science Quarterly, 41(4), 659–684.CrossRefGoogle Scholar
  35. Hennessey, B. A. (2003). The Social Psychology of Creativity. Scandinavian Journal of Educational Psychology, 47, 253–271.Google Scholar
  36. Hennessey, B. A., & Amabile, T. (2010). Creativity. Annual Review of Psychology, 61, 569–598.CrossRefGoogle Scholar
  37. Hennion, A. (1990). The Production of Success: An Anti-musicology of the Pop Song. In S. Frith & A. Goodwin (Eds.), On Record: Rock, Pop and the Written Word (pp. 185–206). London: Routledge.Google Scholar
  38. Howlett, M. (2012, June). The Record Producer as Nexus. Journal on the Art of Record Production (6). Available from: http://arpjournal.com/the-record-producer-as-nexus/. Last accessed Feb 2015.
  39. Isaksen, S. G., Dorval, K. B., & Treffinger, D. J. (2000). Creative Approaches to Problem Solving: A Framework for Change. Buffalo, NY: Creative Problem Solving Group.Google Scholar
  40. Kealy, E. R. (1979). From Craft to Art the Case of Sound Mixers and Popular Music. Work and Occupations, 6(1), 3–29.CrossRefGoogle Scholar
  41. Keck, S. L. (1997). Top Management Team Structure: Differential Effects by Environmental Context. Organization Science, 8(2), 143–156.CrossRefGoogle Scholar
  42. Kelley, S. (2001). Demonstrative Concepts and Experience. Philosophical Review, 110, 397–420.CrossRefGoogle Scholar
  43. Kerrigan, S., & McIntyre, P. (2010). ‘The Creative Treatment of Actuality’: Rationalising and Reconceptualising the Notion of Creativity for Documentary Practice. Journal of Media Practice, 11(2), 111–130.CrossRefGoogle Scholar
  44. Kerrigan, S. (2013). Accommodating Creative Documentary Practice Within a Revised Systems Model of Creativity. Journal of Media Practice, 14(2), 111–127.CrossRefGoogle Scholar
  45. Knight, D., Pearce, C. L., Smith, K. G., Olian, J. D., Sims, H. P., Smith, K. A., et al. (1999). Top Management Diversity, Group Process and Strategic Consensus. Strategic Management Journal, 20(5), 445–465.CrossRefGoogle Scholar
  46. Koestler, A. (1975). The Act of Creation (2nd ed.). New York: Dell.Google Scholar
  47. Kozlowski, S. W. J., & Bell, B. S. (2013). Work Groups and Teams in Organisations. In N. W. Schmitt, S. Highhouse, & I. Weiner (Eds.), Handbook of Psychology: Vol. 12, ‘Industrial and Organisational Psychology’ (2nd ed., pp. 412–469). Hoboken, NJ: Wiley.Google Scholar
  48. MacKinnon, D. W. (1962/1978). What Makes a Person Creative? In D. W. Mackinnon (Ed.), In Search of Human Effectiveness (pp. 178–186). New York: Universe Books (Originally Published in Saturday Review, Feb. 10, 1962, pp. 15–17, 69).Google Scholar
  49. McIntyre, P. (2008, November). The Systems Model of Creativity: Analyzing the Distribution of Power in the Studio. Journal on the Art of Record Production (3). Available from: http://arpjournal.com/686/the-systems-model-of-creativity-analyzing-the-distribution-of-power-in-the-studio/. Last accessed Feb 2015.
  50. McIntyre, P. (2012a). Creativity and Cultural Production: Issues for Media Practice. Basingstoke, UK: Palgrave Macmillan.CrossRefGoogle Scholar
  51. McIntyre, P. (2012b). Rethinking Creativity: Record Production and the Systems Model. In S. Frith & S. Zargorski Thomas (Eds.), The Art of Record Production (pp. 149–161). London: Ashgate.Google Scholar
  52. McIntyre, P. (2013). Creativity as a System in Action. In K. Thomas & J. Chan (Eds.), Handbook of Research on Creativity (pp. 84–97). Cheltenham, UK: Edward Elgar.Google Scholar
  53. Moorefield, V. (2005). The Producer as Composer: Shaping the Sounds of Popular Music. London: MIT Press.Google Scholar
  54. Negus, K., & Pickering, M. (2004). Creativity, Communication and Cultural Value. London: Sage.Google Scholar
  55. Nijstad, B. A., & Stroebe, W. (2006). How the Group Affects the Mind: A Cognitive Model of Idea Generation in Groups. Personal and Social Psychological Review, 10(3), 186–213.CrossRefGoogle Scholar
  56. Paulus, P. B., & Brown, V. (2003). Ideational Creativity in Groups: Lessons from Research on Brainstorming. In P. B. Paulus & B. A. Nijstad (Eds.), Group Creativity: Innovation Through Collaboration (pp. 110–136). New York: Oxford University Press.Google Scholar
  57. Pelled, L. H., Eisenhardt, K. M., & Xin, K. R. (1999). Exploring the Black Box: An Analysis of Work Group Diversity, Conflict, and Performance. Administrative Science Quarterly, 44, 1–28.CrossRefGoogle Scholar
  58. Ray, R. B. (1992). Tracking. In A. DeCurtis (Ed.), Present Tense: Rock & Roll Culture (pp. 135–148). London: Duke University Press.CrossRefGoogle Scholar
  59. Rietzschel, E. F., Nijstad, B., & Stroebe, W. (2010). The Selection of Creative Ideas After Individual Idea Generation: Choosing Between Creativity and Impact. British Journal of Psychology, 101, 47–68.CrossRefGoogle Scholar
  60. Sarmiento, J. W., & Stahl, G. (2008). Group Creativity in Interaction: Collaborative Referencing, Remembering, and Bridging. International Journal of Human Computer Interaction, 24(5), 492–504.CrossRefGoogle Scholar
  61. Sawyer, K. (Ed.). (2000). Improvisational Cultures: Collaborative Emergence and Creativity in Improvisation. Mind, Culture and Activity, 7(3), 180–185.Google Scholar
  62. Sawyer, K. (Ed.). (2003). Group Creativity: Music, Theater, Collaboration. Abingdon, Oxon: Routledge.Google Scholar
  63. Sawyer, K., & DeZutter, S. (2009). Distributed Creativity: How Collective Creations Emerge from Collaboration. Psychology of Aesthetics, Creativity, and the Arts, 3(2), 81–92.CrossRefGoogle Scholar
  64. Sawyer, K. (2012). Explaining Creativity: The Science of Human Innovation (2nd ed.). Oxford: Oxford University Press.Google Scholar
  65. Scott, G., Leritz, L. E., & Mumford, M. D. (2004). The Effectiveness of Creativity Training: A Quantitative Review. Creativity Research Journal, 16, 361–388.CrossRefGoogle Scholar
  66. Seidman, S. (1994). Contested Knowledge: Social Theory in the Postmodern Era. Oxford: Blackwell.Google Scholar
  67. Simonton, D. (2003). Creative Cultures, Nations and Civilisations: Strategies and Results. In P. Paulus & B. Nijstad (Eds.), Group Creativity: Innovation Through Collaboration (pp. 304–325). Oxford: Oxford University Press.Google Scholar
  68. Skyttner, L. (2006). General Systems Theory: Problems, Perspectives, Practice (2nd ed.). River Edge, NJ: World Scientific.CrossRefGoogle Scholar
  69. Sternberg, R. J. (Ed.). (1988). The Nature of Creativity: Contemporary Psychological Perspectives. Cambridge: Cambridge University Press.Google Scholar
  70. Sternberg, R. J., & Lubart, T. (1991). An Investment Theory of Creativity and Its Development. Human Development, 34, 1–32.CrossRefGoogle Scholar
  71. Sternberg, R. J. (Ed.). (1999). Handbook of Creativity. Cambridge: Cambridge University Press.Google Scholar
  72. Sternberg, R. J. (Ed.). (2006). Creativity Is a Habit. Education Week, 25(24), 47–64.Google Scholar
  73. Tardif, T. Z., & Sternberg, R. J. (1988). What Do We Know About Creativity? In R. J. Sternberg (Ed.), The Nature of Creativity: Contemporary Psychological Perspectives (pp. 429–440). New York: Cambridge University Press.Google Scholar
  74. Thompson, P. (2016). Scalability of the Creative System in the Recording Studio. In P. McIntyre, J. Fulton, & E. Paton (Eds.), The Creative System in Action: Understanding Cultural Production and Practice (pp. 74–86). Basingstoke, UK: Palgrave Macmillan.Google Scholar
  75. Toynbee, J. (2000). Making Popular Music: Musicians, Creativity and Institutions. London: Arnold.Google Scholar
  76. Wallas, G. (1926/1976). Stages in the Creative Process. In A. Rothenberg & C. Hausman (Eds.), The Creativity Question (pp. 69–73). Durham, NC: Duke University Press.Google Scholar
  77. Warner, T. (2003). Pop Music—Technology and Creativity: Trevor Horn and the Digital Revolution. Aldershot, UK: Ashgate.Google Scholar
  78. Weiner, I. B., Schmitt, N., & Highhouse, S. W. (Eds.). (2013). Handbook of Psychology: Industrial and Organisational Pyschology. Hoboken, NJ: Wiley.Google Scholar
  79. Weisberg, R. W. (1993). Creativity: Beyond the Myth of Genius. New York: W.H. Freeman.Google Scholar
  80. Wicke, P. (1990). Rock Music: Culture, Aesthetics and Sociology. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
  81. Williams, A. (2011, December 2–4). Putting It on Display: The Impact of Visual Information on Control Room Dynamics. In Proceedings of the 2011 Art of Record Production Conference. San Francisco, USA: San Francisco State University. Available from: http://arpjournal.com/1845/putting-it-on-display-the-impact-of-visual-information-on-control-room-dynamics/. Last accessed Feb 2015.
  82. Wolff, J. (1981). The Social Production of Art. London: MacMillan.CrossRefGoogle Scholar
  83. Zak, A. (2001). The Poetics of Rock: Cutting Tracks, Making Records. London: University of California Press.CrossRefGoogle Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  • Paul Thompson
    • 1
  1. 1.Leeds Beckett UniversityLeedsUK

Personalised recommendations