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The Cambridge Handbook of Creativity (cid:2) Edited by JAMES C. KAUFMAN CaliforniaStateUniversity,SanBernardino ROBERT J. STERNBERG OklahomaStateUniversity The Cambridge Handbook of Creativity TheCambridgeHandbookofCreativityisacomprehensivescholarlyhandbookoncreativity fromthemostrespectedpsychologists,researchers,andeducators.Thishandbookservesas athoroughintroductiontothefieldofcreativityandasaninvaluablereferenceandcurrent sourceofimportantinformation.Itcoverssuchdiversetopicsasthebrain,education,busi- ness,andworldcultures.Thefirstsection,“BasicConcepts,”isdesignedtointroducereaders to the history of and key concepts in the field of creativity. The next section, “Diverse Perspectives on Creativity,” contains chapters on the many ways to approach creativity. Several of these approaches, such as the functional, evolutionary, and neuroscientific approaches, have been invented or greatly reconceptualized in the last decade. The third section, “Contemporary Debates,” highlights ongoing topics that still inspire discussion. Finally, the editors summarize and discuss important concepts from the book and look at whatliesahead. JamesC.Kaufman,PhD,isanAssociateProfessorofPsychologyattheCaliforniaStateUni- versityatSanBernardino,wherehedirectstheLearningResearchInstitute.Dr.Kaufman’s researchfocusesonthenurturance,structure,andassessmentofcreativity.Heistheauthor or editor of more than 150 publications, including seventeen books either published or in press. These books include Creativity 101 (2009), Essentials of Creativity Assessment (with Jonathan Plucker and John Baer, 2008), and The International Handbook of Creativity (with RobertJ.Sternberg,2006).HisresearchhasbeenfeaturedonCNN,NPR,andtheBBCand intheNewYorkTimes,LosAngelesTimes,andNewYorker.Kaufmanisafoundingcoeditor oftheofficialjournalfortheAmericanPsychologicalAssociation’sDivision10,Psychologyof Aesthetics,Creativity,andtheArts.HealsoistheassociateeditorofPsychologicalAssessment andJournalofCreativeBehavior,theeditorofInternationalJournalofCreativityandProblem Solving,andtheserieseditorofthePsych101series.Hereceivedthe2003DanielE.Berlyne Award from APA’s Division 10, the 2008 E. Paul Torrance Award from the National Asso- ciation for Gifted Children, and the 2009 Early Career Research Award from the Western PsychologicalAssociation. RobertJ.Sternberg,PhD,isProvostandSeniorVicePresidentofOklahomaStateUniversity. Until 2010, he was Dean of the School of Arts and Sciences and Professor of Psychology and Education at Tufts University. He is also Honorary Professor of Psychology at the University of Heidelberg. He was previously IBM Professor of Psychology and Education inthe Department of Psychology; Professor of Management in the School of Management; andDirectoroftheCenterforthePsychologyofAbilities,Competencies,andExpertiseat Yale.HisPhDisfromStanford,andheholds11honorarydoctorates.Sternbergwasthe2003 PresidentoftheAmericanPsychologicalAssociationandisthepastPresidentoftheEastern Psychological Association. He is currently President of the International Association for CognitiveEducationandPsychologyandPresident-ElectoftheFederationofAssociationsof BehavioralandBrainSciences.Thecentralfocusofhisresearchisonintelligence,creativity, and wisdom, and he also has studied love and close relationships as well as hate. He is the author of approximately 1,200 journal articles, book chapters, and books, and he has receivedmorethan$20millioningovernmentandothergrantsandcontractsforhisresearch, conducted on five different continents. He has won more than two dozen awards for his research. Sternberg has been listed in the APA Monitor on Psychology as one of the top 100 psychologistsofthetwentiethcenturyandislistedbytheISIasoneofitsmosthighlycited authorsinpsychologyandpsychiatry. CAMBRIDGEUNIVERSITYPRESS Cambridge,NewYork,Melbourne,Madrid,CapeTown,Singapore, SaõPaulo,Delhi,Dubai,Tokyo,MexicoCity CambridgeUniversityPress 32AvenueoftheAmericas,NewYork,NY10013-2473,USA www.cambridge.org Informationonthistitle:www.cambridge.org/9780521730259 ©CambridgeUniversityPress2010 Thispublicationisincopyright.Subjecttostatutoryexception andtotheprovisionsofrelevantcollectivelicensingagreements, noreproductionofanypartmaytakeplacewithoutthewritten permissionofCambridgeUniversityPress. Firstpublished2010 PrintedintheUnitedStatesofAmerica AcatalogrecordforthispublicationisavailablefromtheBritishLibrary. LibraryofCongressCataloginginPublicationdata TheCambridgehandbookofcreativity/editedbyJamesC.Kaufman,RobertJ.Sternberg. p. cm.–(Cambridgehandbooksinpsychology) Includesbibliographicalreferencesandindex. ISBN978-0-521-51366-1–ISBN978-0-521-73025-9(pbk.) 1.Creativeability. I.Kaufman,JamesC. II.Sternberg,RobertJ. III.Title. IV.Series. BF408.173 2010 153.3(cid:2)5–dc22 2010000993 ISBN978-0-521-51366-1Hardback ISBN978-0-521-73025-9Paperback CambridgeUniversityPresshasnoresponsibilityforthepersistenceoraccuracyofURLsfor externalorthird-partyInternetWebsitesreferredtointhispublicationanddoesnot guaranteethatanycontentonsuchWebsitesis,orwillremain,accurateorappropriate. We would like to dedicate this book to the memory of Colin Martindale – a brilliant and prescient scholar, supportive mentor, and valued friend. Contents ListofTablesandFigures pageix Contributors xi Preface xiii Acknowledgments xvii SECTION I: BASIC CONCEPTS 1 Creativity Research: A Historical View 3 MarkA.RuncoandRobertS.Albert 2 TheoriesofCreativity 20 AaronKozbelt,RonaldA.Beghetto,andMarkA.Runco 3 AssessmentofCreativity 48 JonathanA.PluckerandMatthewC.Makel 4 TheRolesofCreativityinSociety 74 SeanaMoran SECTION II: DIVERSE PERSPECTIVES ON CREATIVITY 5 CognitionandCreativity 93 ThomasB.WardandYuliyaKolomyts 6 TheFunctionofPersonalityinCreativity:TheNatureandNurtureofthe CreativePersonality 113 GregoryJ.Feist 7 HowDoesaVisualArtistCreateanArtwork? 131 PaulJ.Locher vii viii CONTENTS 8 OrganizationalCreativity:ASystemsApproach 145 GerardJ.PuccioandJohnF.Cabra 9 CreativityinHighlyEminentIndividuals 174 DeanKeithSimonton 10 EverydayCreativity:ProcessandWayofLife–FourKeyIssues 189 RuthRichards 11 TheNeurobiologicalFoundationofCreativeCognition 216 AllisonB.Kaufman,SergeyA.Kornilov,AdamS.Bristol,MeiTan,and ElenaL.Grigorenko 12 DevelopmentalApproachestoCreativity 233 SandraW.RussandJulieA.Fiorelli 13 EducationalCreativity 250 JeffreyK.SmithandLisaF.Smith 14 Cross-CulturalPerspectivesonCreativity 265 ToddLubart 15 EvolutionaryApproachestoCreativity 279 LianeGaboraandScottBarryKaufman 16 FunctionalCreativity:“Products”andtheGenerationofEffectiveNovelty 301 DavidCropleyandArthurCropley SECTION III: CONTEMPORARY DEBATES 17 IsCreativityDomainSpecific? 321 JohnBaer 18 TheCreativity–MotivationConnection 342 BethA.Hennessey 19 IndividualandGroupCreativity 366 R.KeithSawyer 20 CreativityandMentalIllness 381 PaulJ.SilviaandJamesC.Kaufman 21 TheRelationshipbetweenCreativityandIntelligence 395 KyungHeeKim,BonnieCramond,andJoyceVanTassel-Baska 22 DivergentThinking,Creativity,andIdeation 413 MarkA.Runco 23 CreativityintheClassroom 447 RonaldA.Beghetto SECTION IV: CONCLUSION 24 ConstraintsonCreativity:ObviousandNotSoObvious 467 RobertJ.SternbergandJamesC.Kaufman Index 483 List of Tables and Figures Tables 2.1 Summary of Theories of Creativity page27 8.1 Comparison of Dimensions Deemed to Be Important to the Creative Environment 152 10.1 Typology of Relations of Creativity to Problems/Pathology 199 16.1 The Core Psychological/EducationalProducts of the Seven Phases 312 17.1 Correlations Among Creativity Ratings 326 17.2 Partial Correlations Among Creativity Ratings 327 Figures 6.1 Functional Model of the Creative Personality 115 8.1 Creativity: A Systems Model 148 17.1 General Thematic Areas from Kaufman, Cole, and Baer (2009) 333 ix Contributors ROBERT S. ALBERT JULIE A. FIORELLI PitzerCollege CaseWesternReserveUniversity JOHN BAER LIANE GABORA RiderUniversity UniversityofBritishColumbia RONALD A. BEGHETTO ELENA L. GRIGORENKO UniversityofOregon YaleUniversityandMoscowState University,Russia ADAM S. BRISTOL AquiloPartners,SanFrancisco KYUNG HEE KIM TheCollegeofWilliamandMary JOHN F. CABRA BETH A. HENNESSEY BuffaloStateUniversityofNewYork WellesleyCollege BONNIE CRAMOND ALLISON B. KAUFMAN UniversityofGeorgia UniversityofCalifornia,Riverside ARTHUR CROPLEY JAMES C. KAUFMAN UniversityofHamburg CaliforniaStateUniversity,SanBernardino DAVID CROPLEY SCOTT BARRY KAUFMAN UniversityofSouthAustralia YaleUniversity GREGORY J. FEIST YULIYAKOLOMYTS SanJoseStateUniversity UniversityofAlabama xi xii CONTRIBUTORS SERGEY A. KORNILOV SANDRA W. RUSS MoscowStateUniversity,Russia CaseWesternReserveUniversity AARON KOZBELT R. KEITH SAWYER BrooklynCollege WashingtonUniversity PAUL J. LOCHER PAUL J. SILVIA MontclairStateUniversity UniversityofNorthCarolinaat Greensboro TODD LUBART Universite´ ParisDescartes DEAN KEITH SIMONTON UniversityofCalifornia,Davis MATTHEW C. MAKEL DukeUniversity JEFFREY K. SMITH UniversityofOtago,NewZealand SEANA MORAN StanfordUniversity LISA F. SMITH UniversityofOtago,NewZealand JONATHAN A. PLUCKER IndianaUniversity ROBERT J. STERNBERG OklahomaStateUniversity GERARD J. PUCCIO BuffaloStateUniversityofNewYork MEITAN YaleUniversity RUTH RICHARDS SaybrookGraduateSchool,McLean JOYCE VANTASSEL-BASKA Hospital,andHarvardMedicalSchool TheCollegeofWilliamandMary MARK A. RUNCO THOMAS B. WARD UniversityofGeorgia UniversityofAlabama Preface Withtheworldchangingmorerapidlythan intensive research, on how to measure, uti- ever before, creativity is at a historical pre- lize,andimproveit. mium. As many investors have discovered, Thefirststeptounderstandingcreativity yesterday’sinvestmentstrategiesdonotnec- is to define it. Most definitions of creative essarily work anymore. As many politicians ideascomprisethreecomponents(Kaufman and citizens alike have discovered, yester- &Sternberg,2007).First,creativeideasmust day’s ideas about ethical behavior and pro- representsomethingdifferent,new,orinno- priety do not necessarily apply today. As vative. Second, creative ideas are of high many CEOs have discovered, the competi- quality. Third, creative ideas must also be tiontodayisquitedifferentfromatanytime appropriate to the task at hand or some inhistory.Printednewspapers,forexample, redefinition of that task. Thus, a creative have to compete not only with each other, responseisnovel,good,andrelevant. butwiththeirownonlineversions.Welive It has been more than a decade since in a society where those who do not cre- Robert J. Sternberg, one of the editors of ativelyinnovateriskfailureinanyofseveral thisvolume,editedCambridge’slastHand- domainsoflife. book of Creativity. Since it was published in Just what is creativity? It can refer to a 1999,therehavebeenmorethan10,000pub- person,process,place,orproduct.Itcanbe lished papers concerning creativity, along found in geniuses and in small children. It with hundreds of books. More than ever, has been studied by psychologists, educa- there is a flourishing community of schol- tors,neuroscientists,historians,sociologists, ars focusing on creativity. The American economists, engineers, and scholars of all Psychological Association’s Division 10, the types.Legendarythinkersthroughouttime, Society for the Psychology of Aesthetics, from Aristotle to Einstein, have pondered Creativity, and the Arts, now sponsors an what it means to be creative. There are official APA journal on this topic (Psychol- still debates, after more than six decades of ogy of Aesthetics, Creativity, and the Arts). xiii