The Creative Process

By Todd Lubart, V. Glăveanu. Aesthetic Experience, 2005

216 citations recorded by the source corpus.

The creative process refers to the sequence of thoughts and actions that lead to original, adaptive productions. After a brief description of the classic four‑stage model, we discuss the evolution of research on the creative process during the past fifty years. Two empirical studies are presented, illustrating a multivariate approach. The first focuses on the extent to which original ideas come at certain moments in the creative process. The second study provides support for emotional resonance as part of the creative process.

Subfields: Experimental and Cognitive Psychology

View Paper: https://www.semanticscholar.org/paper/2c0c203f3d02375745ca11092cb4b2662a638960

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In Experimental and Cognitive Psychology

Citations in the corpus

Flow and the Foundations of Positive Psychology (2014, result): “…ideas also involves analogous experiences, In fact, almost any description of the creative experience (e.g., Dillon 1972; Getzels and Csikszentmihalyi 1974; Ghiselin 1952; Montmasson 1932) gives experiential accounts which are in important respects analogous with those obtained from people at play.”
Values and Creativity (2007, unknown): “…the work of creativity with such terms as ‘‘toil,’’ ‘‘painstaking,’’ ‘‘laborious,’’ ‘‘painful effort,’’ ‘‘serious hard work,’’ ‘‘like going to the dentist,’’ and ‘‘Hell on Earth’’ (Ghiselin, 1952, pp. 117, 118; Plimpton, 1999, pp. 61, 249; Steinkraus, 1985; Webb, 1998, p. 2; Zollo, 2003, p. 332).”
Creativity in scientific teams: : Unpacking novelty and impact (2015, background): “However, larger and more varied groups may suffer from declining marginal benefits as well as a variety of process losses that decrease creativity (Andrews, 1976; Hollingsworth, 2004; Kiesler, 1969; Nooteboom, 2008).”
In Praise of Convergent Thinking (2006, background): “) Did the creativity, then, come from nowhere; either through blind good fortune, intuitive inspiration based on nothing, or in a burst of pure divergent thinking (which if it did not produce a winner would be regarded as wild speculation)? Does creativity perhaps involve nothing more than being ope”
Creativity and mathematical problem posing: an analysis of high school students' mathematical problem posing in China and the USA (2013, background): “Mathematicians like Henri Poincaré (1948), Jacques Hadamard (1945), and Garrett Birkhoff (1956) have attempted to demystify the mathematician's craft and explain the mystery of “mathematical” creation (Sriraman, 2005).”
Think different: the merits of unconscious thought in preference development and decision making. (2004, background): “Nobel laureates and famous artists often refer to this process as the true key to insight (see, e.g., Gardner, 1993; Ghiselin, 1952).”
The Neuropsychological Connection Between Creativity and Meditation (2009, background): “Ghiselin (1952), after studying 38 eminent creatives, found that creative genius is often marked by spontaneous, involuntary production in a heightened state of awareness often predicated by deep states of absorption.”
A Theory of Unconscious Thought (2006, background): “Nobel laureates and famous artists, when asked to introspect on the process leading to their discoveries or creations, often emphasize the important role of incubation (Ghiselin, 1952).”
Effects of subliminal priming of self and God on self-attribution of authorship for events (2008, background): “It is common, too, for people to ascribe their creative insights (“Eureka experiences”) to supernatural agents (Ghiselin, 1952).”