Taking the U.S. Patent Office Criteria Seriously: A Quantitative Three-Criterion Creativity Definition and Its Implications

By Dean Keith Simonton. 2012

304 citations recorded by the source corpus.

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology, Mechanical Engineering

View Paper: https://www.semanticscholar.org/paper/c05a0e67eea59014b7d8a44ab76061a4caefd0d3

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Citations in the corpus

Creativity and Academic Achievement: A Meta-Analysis (2017, methodology): “…a combination between originality, novelty, or newness and usefulness, meeting task constraints, or meaningfulness as defined within a particular sociocultural and historical context (Amabile, 1996; Kaufman & Beghetto, 2009; Plucker, Beghetto, & Dow, 2004; Simonton, 2012; Sternberg & Lubart, 1999).”
Technology-based assessment of creativity in educational context: the case of divergent thinking and its relation to mathematical achievement (2015, background): “…is novel and has some sort of value (for ore about definition problems, see Piffer, 2012; Plucker, Beghetto, & Dow, 2004; Runco & Jaeger, 2012; Simonton, 2012). lthough there is a sort of agreement on these characteristics, studies conducted in the field have proved that creativity s an…”
Potential Originality and Effectiveness: The Dynamic Definition of Creativity (2016, methodology): “In particular, following also the procedure adopted by the US patent office, Simonton (2012) advocated the inclusion of nonobviousness or surprise, in addition to novelty and utility, a line of thought in agreement with Bruner (1962) and Boden (2004).”
On the Usefulness of “Value” in the Definition of Creativity (2015, background): “As noted, many researchers accept the standard definition of creative (Runco & Jaeger, 2012), the ubiquity of which can be seen by perusing any recent book or randomly selected articles on creativity (for review, see Simonton, 2012).”
Creative Thought as Blind Variation and Selective Retention: Why Creativity is Inversely Related to Sightedness (2013, unknown): “…the two inventions were perfectly identical, and thus, equally original and useful, one inventor adapted the wheel from a previous invention whereas the other inventor unknowingly came up with the same idea after a serendipitous event that rendered the result highly surprising (Simonton, 2012c).”
An exploration of how creativity, functionality, and aesthetics are related in design (2021, background): “Simonton (2012) claim that a creative idea is novel, useful and surprising.”
A Dynamic Definition of Creativity (2019, background): “Some definitional proposals add additional criteria, that is, high quality (Sternberg & Lubart, 1995), contrasting with conformity (Niu & Sternberg, 2002), surprise (Boden, 2004), non-obviousness (Simonton, 2012), aesthetic and authentic (Kharkhurin, 2014).”
Classroom contexts for creativity (2014, background): “Both of these concepts are necessary for something to be creative; Simonton (2012) frames it as Creativity = Originality × Appropriateness.”
Creativity.4in1: Four-Criterion Construct of Creativity (2014, methodology): “This genre presents ‘‘the computerage equivalent of minimal art’’ (Schmidhuber, 1997, p. 97), with the latter exploring the reductionist idea pervasive in the artistic mind over the entire 20th century.”
The shifting sands of creative thinking: Connections to dual-process theory (2014, background): “Simonton (1999, 2007, 2010, 2011, 2012, 2013) elaborated this into a Darwinian theory of creativity.”
Is creativity without intelligence possible? A Necessary Condition Analysis (2016, background): “Even if sometimes other creativity criteria are added, including the expectation that a creative product will be surprising (Simonton, 2012) or characterized by an esthetic value and authenticity (Kharkhurin, 2014), the combination of originality and value/usefulness is most often seen as essential…”
Ingredients of Creativity: Originality and More (2017, methodology): “Some researchers have argued that a lack of a universal definition poses a serious handicap for the advancement of creativity research (Parkhurst, 1999; Simonton, 2012).”