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Despite more than half a century of psychological research on creativity we are still far from a clear understanding of the creative process, its antecedents and consequences and, most of all, the ways in which we can effectively support creativity. This is primarily due to a narrow focus on creative individuals isolated from culture and society. Rethinking Creativity proposes a fundamental review of this position and argues that creativity is not only a psychological but a sociocultural phenomenon. This edited volume aims to relocate creativity from inside individual minds to the material, symbolic and social world of culture. It brings together eminent social and cultural psychologists who study dynamic, transformative and emergent phenomena, and invites them to conceptualise creativity in ways that depart from mainstream definitions and theoretical models existing in past and present literature on the topic. Chapters include reflections on the relationship between creativity and difference, creativity as a process of symbolic transformation, the role of apprenticeships and collaboration, the importance of considering materiality and affordances in creative work, and the power of imagination to construct individual trajectories. The diverse contributions included in this book offer readers multiple pathways into the intricate relationship between mind, culture, and creativity, and invite them to rethink these phenomena in ways that foster creative action within their own life and the lives of those around them. It will be of key interest to both social and cultural psychologists, as well as to creativity researchers and those who, as part of their personal or professional life, try to understand creativity and develop creative forms of expression.… (altro)
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Preface
When I entered graduate school to study creativity in 1990, I soon discovered that the field was entering a period of transition—a transition from a traditional psychological focus on the individual to a social and cultural focus on groups, interactions, and social and cultural context.
Editors’ introduction
Talking about creativity is a new fashion—itself a result of some unnamed creative processes that have been part and parcel of human lives over our cultural history. As the readers of our volume are about to find out, the word creativity has emerged in our talking practices very recently, yet we use it to talk of all kinds of inventions through the centuries. What is the value of saying that the makers of ancient Greek pottery were “highly creative” while looking today at the remnants of the designs on these illustrious vases made two millennia ago?
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As with any social act (Mead, 1977; Gillespie, 2005), creating cannot be summarized or reduced to a single perspective or position within the social act, minimally the creator or the audience, and I do not believe that one should be given priority over the other. Returning to the introductory chapter by Glăveanu and Gillespie, despite there being an irreducible gap between the perspectives of self and other, both perspectives are necessary for any creative action to exist.
Despite more than half a century of psychological research on creativity we are still far from a clear understanding of the creative process, its antecedents and consequences and, most of all, the ways in which we can effectively support creativity. This is primarily due to a narrow focus on creative individuals isolated from culture and society. Rethinking Creativity proposes a fundamental review of this position and argues that creativity is not only a psychological but a sociocultural phenomenon. This edited volume aims to relocate creativity from inside individual minds to the material, symbolic and social world of culture. It brings together eminent social and cultural psychologists who study dynamic, transformative and emergent phenomena, and invites them to conceptualise creativity in ways that depart from mainstream definitions and theoretical models existing in past and present literature on the topic. Chapters include reflections on the relationship between creativity and difference, creativity as a process of symbolic transformation, the role of apprenticeships and collaboration, the importance of considering materiality and affordances in creative work, and the power of imagination to construct individual trajectories. The diverse contributions included in this book offer readers multiple pathways into the intricate relationship between mind, culture, and creativity, and invite them to rethink these phenomena in ways that foster creative action within their own life and the lives of those around them. It will be of key interest to both social and cultural psychologists, as well as to creativity researchers and those who, as part of their personal or professional life, try to understand creativity and develop creative forms of expression.
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