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The Evolution of a Psychology of Creativity

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Educating for Creativity within Higher Education

Part of the book series: Creativity, Education and the Arts ((CEA))

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Abstract

This chapter concentrates on the evolution of a psychology of creativity. In doing so, we track thinking from early attempts at understanding creativity from Sir Francis Galton and Cesare Lombroso through to Freud and the psychoanalytic view of creativity. We then turn our attention to the rationalist responses from psychology, addressing Guildford’s early contributions, psychometric testing for creativity and the rise of the behaviourists. Personality approaches are examined before we move on to creative thinking, computational models and simulations of the creative mind. We then explore possible biological and biochemical foundations of creativity before moving outward to motivation and social psychological approaches. We finish this section by looking at processes of group creativity and the effect the environment has on creative people’s work.

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Notes

  1. 1.

    Galton’s idea of genius was not limited to mental attributes; the book also included two chapters on the physical abilities of oarsmen and wrestlers.

  2. 2.

    Jung (1971) asserted that there are four functions of consciousness. These four functions (thinking, feeling, sensation and intuition) define the ways in which people understand the world while two attitudes of consciousness (introverted and extroverted) define the general orientation or direction of their interests (e.g. the physical world or the psychological one, action or analysis). It was suggested most people display a dominant function and attitude with its opposite type often repressed and acting on the unconscious. According to these types, writers, artists or musicians are more likely to fall into the introverted intuitive and introverted sensing categories. These personality types were later formalised as the Myers-Briggs Type Indicator (Briggs-Myers and Briggs 1985).

  3. 3.

    Sternberg and Lubart (1996) analysed the same database for the period from 1975 to 1994. Entries focusing on creativity in this period made up 0.05%.

  4. 4.

    The laboratory-based studies and experiments of cognitive psychology included further study of intelligence and divergent thinking but these were primarily based on the psychometric tests mentioned previously.

  5. 5.

    While no single process in either generative or exploratory phases is a necessary condition, it is believed creative thought displays some combination of these processes (Ward et al. 1999, p. 193).

  6. 6.

    Given the confined spaces and restricted movement of the brain scanning and imaging devices, these studies are often limited to performing simple verbal or psychometric tests to record brain activity, forms of testing shown earlier to have little predictive value or stability against trivial changes in conditions.

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Acknowledgement

A section of this chapter has been published previously in the following:Paton, E. (2016). How do people who trained in teaching, medicine or law become fiction writers? The case for task specific commonalities across domains of creativity. Global Media Journal, 10(2).

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Authors and Affiliations

  1. Communication and Media, University of Newcastle, Callaghan, NSW, Australia

    Phillip McIntyre, Janet Fulton, Elizabeth Paton, Susan Kerrigan & Michael Meany

  2. Monash University, Melbourne, VIC, Australia

    Elizabeth Paton

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  1. Phillip McIntyre
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  2. Janet Fulton
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  3. Elizabeth Paton
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  4. Susan Kerrigan
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McIntyre, P., Fulton, J., Paton, E., Kerrigan, S., Meany, M. (2018). The Evolution of a Psychology of Creativity. In: Educating for Creativity within Higher Education. Creativity, Education and the Arts. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-90674-4_3

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  • DOI: https://doi.org/10.1007/978-3-319-90674-4_3

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