Creativity Theory

    The chapter on creativity theory provided some professional scholars and researchers who have thought deeply about creativity.

    First, Wallas and the four-stage process. Her, he outlined a four-stage process: Preparation, Incubation, Illumination, and Verification. Given a ‘problem’, ‘puzzle’, or ‘conceptual space’, the creative mind first prepares itself by soaking up all the information available. Second, Koestler and Bisociation. In The act of creation (1964), suggests that the creative process operates through the bisociation of two conceptual matrices, not normally found together. He believed that putting together two (or more) things that do not normally belong together can facilitate a sudden new insight. Not only that, Boden and Conceptual Spaces. Boden (1992) makes much use of the idea of ‘conceptual spaces’ within which ideas are manipulated and tried out, taking account of contextual constraints until a creative ‘solution’ to the ‘problem’ or issue in question is found. 

Beside that, Csikszentmihalyi (1990) takes a multidimensional view of creativity as an interaction between individual talent, operating in a particular domain or discipline, and judged by experts in that field. He also has interesting observations about the role of ‘flow’ in creativity: the state of ‘effortless effort’ in which everything seems to come together in a flow of seamless creative energy. Gardner also find in the Nature of Genius. His study concerns just seven contemporaries who can fairly be considered as geniuses: Freud, Einstein, Picasso, Stravinsky, Martha Graham, Gandhi and T. S. Eliot. Unsurprisingly, each of these represents a different form of intelligence, following Gardner’s earlier seminal work on Multiple Intelligences