Dynamic Creativity: A Person × Task × Situation Interaction Framework

Creativity From Constraint Exploration and Exploitation

Using the frameworks of creativity as problem solving and Integrated Constraints in Creativity (IConIC), this article develops the proposal that creativity is best understood in terms of a cycle of constraint exploration and exploitation. This general thesis, which applies to varied domains and levels of creativity, is supported by three specific proposals about the role of constraints in creativity, each of which is developed and illustrated with examples. First, constraints provide the criteria for the evaluation of creative outcomes, which can vary as a function of the emphasis on novel usefulness or useful novelty. Second, constraints are critical in each step of the creative process: problem finding, problem construction, and problem solving. Third, constraints play a key role in both open-ended and closed-ended creative problems. These arguments are supported by specific predictions, concerning: (a) task differences in whether novelty or usefulness are emphasized more; (b) individual differences in the processing of constraints (some may favor flexible constraint exploration, while others may favor persistent constraint exploitation), which I hypothesize also correlate with (c) engagement in different types of creative problem-solving (more open-ended, of the sort encountered in art, vs. more closed-ended, of the sort encountered in science, business, and engineering).

A Novel Approach to Measuring an Old Construct: Aligning the Conceptualisation and Operationalisation of Cognitive Flexibility

A successful adjustment to dynamic changes in one's environment requires contingent adaptive behaviour. Such behaviour is underpinned by cognitive flexibility, which conceptually is part of fluid intelligence. We argue, however, that conventional approaches to measuring fluid intelligence are insufficient in capturing cognitive flexibility. We address the discrepancy between conceptualisation and operationalisation by introducing two newly developed tasks that aim at capturing within-person processes of dealing with novelty. In an exploratory proof-of-concept study, the two flexibility tasks were administered to 307 university students, together with a battery of conventional measures of fluid intelligence. Participants also provided information about their Grade Point Averages obtained in high school and in their first year at university. We tested (1) whether an experimental manipulation of a requirement for cognitive inhibition resulted in systematic differences in difficulty, (2) whether these complexity differences reflect psychometrically differentiable effects, and (3) whether these newly developed flexibility tasks show incremental value in predicting success in the transition from high school to university over conventional operationalisations of fluid intelligence. Our findings support the notion that cognitive flexibility, when conceptualised and operationalised as individual differences in within-person processes of dealing with novelty, more appropriately reflects the dynamics of individuals' behaviour when attempting to cope with changing demands.

Where is the When of Creativity?: Specifying the Temporal Dimension of the Four Cs of Creativity

Creativity researchers typically focus on the who, what, why, where, and how of creativity. A noticeable omission is when. The when is not completely ignored in the field; it surfaces in developmental and evolutionary perspectives, the study of eminent creators, and other avenues of scholarship. In this paper, we assert that for the concept of when to be fully addressed researchers need to more actively consider the past, present, and future and how they interact. More specifically, we propose an expanded way of thinking about the when of creativity by introducing a temporal dimension to the definition of creativity. Our definition offers a broader lens for researchers to consider the temporal dimensions of originality, meaningfulness, and impact of creativity. After introducing our definition and describing its unique features, we discuss how researchers can use our definition to trace creative phenomena across a full temporal trajectory and thereby provide more nuanced and dynamic representation of how the features of creativity change across time and contexts. Finally, we apply this temporal definition to the Four Cs Model of Creativity to illustrate how considering the when can help resolve lingering questions about this perspective.