Society, Culture, and Person: A Systems View of Creativity

By Mihály Csíkszentmihályi. 2014

886 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology

View Paper: https://www.semanticscholar.org/paper/26aaf9c8595db182b818559434ac89ec9f41b4db

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In Cognitive Neuroscience

In Experimental and Cognitive Psychology

Citations in the corpus

The Impact of Culture on Creativity (2015, background): “This notion is derived from the theoretical premise that whether an idea is considered creative is socially constructed within the domain or field in which creative work takes place (Csikszentmihalyi, 1990, 2003; Ford, 1996).”
From STEM to STEAM: Cracking the Code? How Creativity & Motivation Interacts with Inquiry-based Learning (2019, background): “Many school systems are accused of contributing to the premature deterioration of creativity by concentrating too much on knowledge acquisition (Csikszentmihalyi, 1988; Robinson & Azzam, 2009).”
Potential Originality and Effectiveness: The Dynamic Definition of Creativity (2016, background): “Although this line of research has continued to be fruitfully pursued (Albert, 1983; Eysenck, 1995; Simonton, 1984, 1988), since Guilford’s presidential address (1950) attention has progressively shifted to the democratization of the phenomenon, comprising the study of qualities and abilities that c”
The Importance of Domain-Specific Expertise in Creativity (2015, background): “Recent observers of the theoretical (Csikszentmihalyi, 1988) and empirical (Gardner, 1993; Runco, 1989; Sternberg & Lubart, 1995) creativity literature could reasonably assume that the debate is settled in favor of content specificity.”
Increasing Students' Scientific Creativity: The “Learn to Think” Intervention Program (2013, background): “In recent years, many researchers combine two or more aspects of the creative process, creative product, creative person, and creative environment in defining creativity (Amabile, 1996; Csikszentmihalyi, 1988; Sternberg, 1996).”
A Sociocultural Theory of Creativity: Bridging the Social, the Material, and the Psychological (2020, background): “The main social approaches to creativity from the 1970s and the 1980s—the historiometric studies of Dean Keith Simonton (1975), the social psychology of Teresa Amabile (1983), or the systems model of creativity (Csikszentmihalyi, 1988)—went a long way toward recontextualizing the creative process as”
Rewriting the Language of Creativity: The Five A's Framework (2013, background): “These recent developments continue a consistent body of work often described as the systems models of creativity (see Csikszentmihalyi, 1988; Gardner, 1994).”
On the Usefulness of “Value” in the Definition of Creativity (2015, background): “In the original presentation of the systems view, Csikszentmihalyi (1988a) assumed that science was no different than the arts as far as gatekeepers and evaluative judgments were concerned.”
Children’s Creativity: A Theoretical Framework and Systematic Review (2018, background): “The people in the direct environment of the creative individual (e.g., teachers, parents, music critics, museum directors, etc.) evaluate the creative product and judge whether or not it is creative (Csikszentmihalyi, 1988).”
From STEM to STEAM: How to Monitor Creativity (2018, background): “Many school systems are accused of contributing to the premature deterioration of creativity by concentrating too much on knowledge acquisition (Csikszentmihalyi, 1988; Robinson & Azzam, 2009).”
The relative influences of domain knowledge and domain-general divergent thinking on scientific creativity and mathematical creativity (2017, background): “Relative creativity refers to the mathematical creativity that students might display in schools, similar to the concept of Little C proposed by Csikszentmihalyi (1988).”
Mathematical creativity in generally gifted and mathematically excelling adolescents: what makes the difference? (2013, background): “Leikin (2009) suggested that viewing personal creativity as a characteristic that can be developed in school-children requires a distinction between relative and absolute creativity, similar to the distinction between objective and subjective creativity (Lytton 1971) and that of Big C and Little C c”
Extending Sociocultural Theory to Group Creativity (2012, background): “As well, one of the most influential theories of creativity, the systems model (Csikszentmihalyi 1988; Gardner 1993), proposes that creativity emerges from a collaborative process that includes three components.”
A Call to Action: The Challenges of Creative Teaching and Learning (2015, background): “An influential theory of creativity, the systems model (Csikszentmihalyi, 1988; Gardner, 1983), proposes that creativity emerges from a collaborative process that includes three components.”