This article presents an 8P theoretical framework for understanding creativity and theories of creativity. The 8Ps are purpose, press, person, problem, process, product, propulsion, and public. The article opens by distinguishing between a theory and a model, on the one hand, and a theoretical framework, on the other. It then considers briefly…

Expanding our understanding of the lived experience of individuals who use their creativity to realize entrepreneurial opportunity is the primary aim of this paper. Interpretative Phenomenological Analysis is used, based on two interviews of one-hour duration, with eight participants. The key contribution of this research is the recognition of the…

The different definitions of creativity that have been proposed by researchers have developed out of what are called explicit theories of creativity, on the basis of logical and semantic arguments, independently of empirical data. The present paper focuses on two such definitions, the standard definition (M.A. Runco & G.J. Jaeger, 2012), which…

Drawing on the specific emotion approach, and based on the emotional regulation theory and cognitive and activation perspectives on emotions, this study examined the differentiated impact of state and trait anger on creative process engagement (CPE) and the moderating influences of emotion reappraisal and suppression. Data were obtained from daily…

S.A. Mednick (1962) proposed a theory of creativity suggesting that highly creative individuals can produce more word associations to a stimulus than less creative individuals. Numerous studies have supported this theory using the Remote Associates Test (RAT) as the measure of creativity. Additionally, some studies have suggested that…

In this article, I explicate where my theoretical work on creativity has been and where it is going. I describe earlier three-facet and investment theories, as well as a propulsion model. I then describe my new triangular theory of creativity.

This paper reports on an interview study with MFA students in two different full-time MFA degree programs in painting. The interviews were conducted as part of two ethnographic studies, each one academic year in length, of art and design schools at two U.S. universities. The goal was to explore the extended process whereby MFA student artists, in…

This article addresses the theoretical limitations of social network theory as it applies to individual creativity. Social network theory implicitly assumes that social interactions influence creativity identically for all individuals in all circumstances. We argue that the extent to which individuals take advantage of their social ties may vary…

This study examines whether people use the general implicit theories of creativity or not when applying them to themselves and others. On the basis of the actor-observer asymmetry theory, the authors propose that conception of creativity would be differently constructed depending on the targets of attention: general, self, and other. Three studies…

This research extends creativity theory by re-conceptualizing creativity as a two-dimensional construct (radical and incremental) and examining the differential effects of intrinsic motivation, extrinsic rewards, and supportive supervision on perceptions of creativity. We hypothesize and find two distinct types of creativity that are associated…

Too often, psychological debates become polarized into dichotomous positions. Such polarization may have occurred with respect to Campbell's (1960) blind variation and selective retention (BVSR) theory of creativity. To resolve this unnecessary controversy, BVSR was radically reformulated with respect to creative problem solving. The reformulation…

A growing body of research evidence suggests that creativity is very domain-specific and that domain-general skills or traits contribute little to creative performance. The term "creativity" is a convenient term for collecting many interesting artifacts, processes, and people into a single category, and the term "creative thinking…

This article offers a reflection on the role of material objects in the creative process and explores the potential links between creativity and the theory of affordances (Gibson, ), conceptualized from a sociocultural perspective. From this standpoint, creativity can be defined as a process of perceiving, exploiting, and "generating"…

Scholars began serious study into the social psychology of creativity about 25 years after the field of creativity research had taken root. Over the past 35 years, examination of social and environmental influences on creativity has become increasingly vigorous, with broad implications for the psychology of human performance, and with applications…

The propulsion theory of creative contributions is a theory that focuses on how a creative act or product builds on and adds to knowledge in various fields. In this article, we apply the propulsion theory of creative contributions not to creative discoveries or inventions, but rather to late-career decisions about future directions in which one…