創造力的解析.ppt

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1、Creative ProcessChao-Ming ChengDepartment of Psychology National Taiwan UniversityMihaly Csikszentmialyi(1999).Creativity:Flow and the psychology of discovery and invention.Chapter 1:Setting the stageChapter 2:Where is creativity?Chapter 3:The creative personalityChapter 4:The work of creativityChap

2、ter 5:The flow of creativityChapter 6:Creative surroundingsCsikszentmihalyi(1996)and his associates conducted interviews with 91 exceptionally creative individuals between 1991 and 1995 for three criteria:1.Have made a difference to a major domain of culture2.Still actively involved in that domain3.

3、Had to be at least 60 years old Figure 1.1 The increasing pace of change:two examples(reproduced with the kind permission of Dr.Edgar Mitchell)從人類的歷史來看，從人類的歷史來看，有關文化（包括文學與與藝術）的發展、文明的設計與科有關文化（包括文學與與藝術）的發展、文明的設計與科學的推動無一不涉及人類創造力的運作，學的推動無一不涉及人類創造力的運作，而未來更將是一個腦力與科技競爭的時代。而未來更將是一個腦力與科技競爭的時代。因此，創造力的研究極具重要性與

4、前瞻性以此趨勢來看，因此，創造力的研究極具重要性與前瞻性以此趨勢來看，它必將是本世紀最重要的研究領域之一。它必將是本世紀最重要的研究領域之一。Mean location of the three career landmarks for 2026 contributors to nine scientific disciplines.From Simonton(1994).OthersEarth ScienceTechnologyMedicineBiologyChemistryPhysicsAstronomyMathematics7570656055504540353025AgeDeathCo

5、ntributionsDiscipline+CreativityWhat it looks likeHow it worksHow it developsWho is creativeWhere does it come from創造力的解析創造力的解析1、創造力的定義、創造力的定義2、創造的性格特徵、創造的性格特徵3、創造的認知特徵、創造的認知特徵3、創造力與情境因素、創造力與情境因素4、創造性思考的特徵、創造性思考的特徵5、三個矛盾、三個矛盾6、創造性思考的原則、創造性思考的原則7、學校教育與創造力的培養、學校教育與創造力的培養一、創造力的定義一、創造力的定義1.新奇性(Novelty)：

6、產生新奇事物、理念或成果的能力。因此，其思考方式不是一般的、傳統的或習慣的思考方式2.適切性(Appropriateness)：思考的結果是適切的、有意義的、有價值的或對社會有益的Where is Creativity?There is no way to know whether a thought is new except with reference to some standards(domain).There is no way to tell whether it is valuable until it passes social evaluation(field).There

7、fore,creativity does not happen inside peoples heads,but in the interaction between a persons thoughts and a sociocultural context.Creativity can be observed only in the interrelations of a system made up of three main parts.Domain:a set of symbolic rules and procedures.E.g.,mathematics,algebra,numb

8、er theory.Domain are in turn nested in what we usually call culture,or the symbolic knowledge shared by a particular society or by humanity as a whole.2.依賴豐富的過去知識Gardner（1993）:Albert Einstein:logic-spatial abilitySigmund Freud:language and human nature Weisberg（1995）Pablo Picasso:Guernica(Basue)Wats

9、on與Crick（1952）:DNA雙股螺旋 源於Linus Pauling角質蛋白的螺旋結構Tomas Edison:電燈的發明源於瓦斯燈與電弧燈Field:All the individuals who act as gatekeepers to the domain.It is their job to decide whether a new idea of product should be included in the domain.E.g.,field of visual art:art teachers,curators of museums,collectors of ar

10、t,critics,and administrators of foundations and govern agencies that deal with culture.Person:Someone whose thoughts or action change a domain or establish a new domain(e.g.,Galileo or Freud).However,a domain cannot be changed without the explicit or implicit consent of a field responsible for it.So

11、cial SystemFIELD(Social Organization of DomainRetainsSelectedVariantsDOMAIN(symbol system)Produces Variation and ChangeTransmits Structured Information and ActionPERSONGenetic Pool and Personal ExperiencesCultureCsikszentmihalyi(1999)Where is the creativity?Cognitive flexibility,Motivation,An unusua

12、l and inspiring life experience2.Vincent van Gogh began painting in 1880.His adaptations of the impressionist style were considered strange and eccentric,and his personal life was complicated by illness and poverty.He sold only one painting before his death in 1890(Fichner-Rathus,1986).Because van G

13、oghs works were not accepted by the public of his time,were they inappropriate?If they had never been accepted,would they have been creative?However,works by van Gogh that were rejected by 19th-century audiences are considered master-pieces today.Cultures differ in their conceptions of the nature of

14、 creativity itself.Western cultures:product-oriented,originality-based Eastern cultures:a process of individual growth or self-actualization.In Hinduism,creativity is seen as spiritual expression rather than innovation or problem solving.Time and history are seen as cyclical.To make traditional trut

15、hs come alive by finding a new interpretation-rather than seeking to break with traditionis the focus of creative activity.If Eastern creation can be characterized as a circular movement in the sense of successful reconfiguration of an initial totality,then the Western view of both creation and huma

16、n creativity seems to involve a linear movement toward a new point.Creativity and Culture Values It is interesting to think about which areas in our culture are most tied to our cultural values(in which creativity is not encouraged)and how that may affect our openness to creativity.e.g.,In Bali,the

17、more serious the art form,like sculptures of gods or ritual dances,the less the permitted change,and the less serious the art form,like carvings of kitchen gods,the theatrical performances of clowns,the playing of instruments or the weaving of container,the greater the originality can be.Creative Pe

18、rsonality1.Sternberg與與Lubart（1992）勤奮工作勤奮工作願意冒險願意冒險忍受模糊、複雜與不對稱忍受模糊、複雜與不對稱2.人格特質：人格特質：獨立性、不從眾、言行與思想不因襲傳統、具叛逆性、具獨立性、不從眾、言行與思想不因襲傳統、具叛逆性、具憂鬱性格、善於變通、感到安寧與幸福、自我接受但缺乏憂鬱性格、善於變通、感到安寧與幸福、自我接受但缺乏自我控制、不太關心在別人面前是否有好印象自我控制、不太關心在別人面前是否有好印象Creative Personality(Csikszentmihalyi,1996):Finding:Experiencing the existen

19、ce of contrast or paradox,e.g.,nurturing and precarious,supportive and marginal.This type of bimodal early experience,providing both support and challenge,appeared tied to later creativity.Complexity:Tendencies of thought and action that in most people are segregated.Ten Dimensions of Complexity(Yin

20、-Yang and paradoxical personality)1.A great deal of physical energy,but quiet and at rest.2.Smart,but nave at the same time.3.Playfulness and discipline,or responsibility and irresponsibility.4.Alternating between imagination and fantasy,at one end,and a rooted sense of reality at the other.5.Extrov

21、ersion and introversion6.Humble and proud at the same time7.Psychological androgyny:masculinity/femininity;aggressive and nurturant,sensitive and rigid,dominant and submissive,regardless of gender8.Rebellious/traditional-conventional9.Both passionate and objective.10.Suffering and pain yet also a gr

22、eat deal of enjoyment.Personality CharacteristicsWillingness to Take Intellectual Risks(to think thoughts others are unwilling to think or express ideas that are of the beaten path)(MacKinnon,1978).Creative risk taking opens an individual to criticism,ridicule,or feeling of foolishness.E.g.,Greg Lou

23、ganiss 1990 Olympic diving.Perseverance,Drive,and Commitment to Task.Many risks involve failure or less-than-complete success that requires continuing,persistent efforts.Willingness to continue in the face of obstacles,to maintain motivation without immediate reward,and to say focused on a task for

24、long periods of time.Curiosity:want to know why,how,and what Openness to ExperienceTolerance for Ambiguity:Creative solutions rarely spring from full blown.More often they emerge over a period of time that includes moments of insight and time of struggle,persistence,and confusion.Broad InterestsValu

25、e OriginalityIntuition and Deep Emotions:MacKinnon(1978)Intuitive or implicit perception 25%General population 90%Creative writers 92%Mathematicians 93%Research scientists 100%ArchitectsThe use of intuition,combined with openness to emotional experience,can lead to very intense emotions of feelings

26、being realBeing Internally Occupied or Withdrawn:Quiet loners,creative activities demands a great deal of alone time.The IPAR Studies(The Institute of Personality Assessment and Research,University of California,1950-1970 Under the Direction of Donald MacKinnon)Creative People Intelligent:willing to

27、 take a risk,to try,and see what might work,a high level of energy,a kind of cognitive flexibility.Original:associated with fluency of thought(many ideas).Independent:open to experience,both of the inner self and the outer world.Curious,receptive,and willing to earn.Intuitive:looking for hidden mean

28、ings potential,metaphors,implications,or alternate uses in the things.A strong sense of destinyGardner(1993,1994)noted three additional themesFirst,the matrix of support that surrounded the creators at the time of their creative activitiesSecond,Faustian bargain:Made enormous sacrifices to their wor

29、k,sometimes sacrifices interpersonal relationshipsThird,10-year rule:it took 10 years to produce creative productsCognitive CharacteristicsMetaphorical Thinking:The ability to find parallels between unlike ideas.Flexibility and Skill in Decision Making:The ability to look at a situation from many po

30、ints of view or to generate many categories of responses.Independence in Judgment:Do not feel compelled to seek approval from others or follow the latest trends.Coping Well with NoveltyLogical Thinking Skills:Different from conventional thinking.VisualizationEscaping Entrenchment:Escape entrenched t

31、hinking,impatient with routines,repetitious assignments,or practice activities.Finding Order in ChaosThe Work of Creativity:The five-stage view1.The emergence of problems:Three sources2.a)Personal experiences3.We are a perverse race,only suffering interests us.The experiences of scientists are relev

32、ant to the problems they deal with.4.b)Requirements of the domain5.Within or cross domains6.c)Social pressuresThe third source of ideas and problems is the field one works in.2.Presented and Discovered Problems Problem finding3.問題發現（problem finding）甚於問題解決（problem solving）Einstein:new problem,new pos

33、sibility,new angle of regardE.g.,replacing a flatted tireGetzels與Csikszentmihalyi（1972,1976）Painting of articles selected from 27 things The Wallas(1926)Four Steps for CreativityPreparationIncubationIlluminationVerificationThe Torrance and the Parnes-Osborn ModelPREPARATIONProblem defined:Clear obst

34、acle orspecific goalInformation from domainINCUBATIONParallel processingINSIGHTSolution to problem envisionedEVALUATIONSolution attempted or appliedInteraction with fieldInformation from different domains PREPARATIONProblematic situation:vague,unease,diffuse goalINCUBATIONSynthesis of different inpu

35、ts processed in parallelINSIGHTFormulation of problem envisionedELABORATION AND EVALUATIONConsequences of problem derived and tested,solutions and application attemptedInteraction with different fieldsPresented ProblemDiscovered ProblemCsikszentmihalyi&Sawyer(1993)3.The Mysterious TimeThe functions

36、of idle time(incubation)The field,the domain,and the unconsciousEven in the unconscious the symbol system and the social environment play important roles.4.The“Aha”Experience5.The 99 Percent Perspiration Torrance(1988)Sensing problems or difficultiesMaking guesses or hypotheses about the problemsEva

37、luating the hypotheses,and possibly revising themCommunicating the resultsThe Parnes-Osborn Model,revised by Treffinger,Isaksen,&Dorval(2000)Generating IdeasAppraising Tasks(open-ended)GENERATING IDEASDesigning ProcessPLANNING YOUR PPROACHConstructing OpportunitiesExploring DataFraming ProblemsExplo

38、ring DataFraming Problems Developing SolutionsBuilding Acceptance(1)UNDERSTANDINGTHE CHALLENGEPREPARING FOR ACTIONCreative Problem Solving(CPS)Components(Treffinger,Isaksen,&Dorval,2000)Constructing 0pportunitiesUsing the knowledge to select the CPS components or stagesThe problem of the lack of ava

39、ilable parking in the campus(2)(3)A.UNDERSTANDING THE CHALLENGING(involves investigating a broad goal,opportunity,or challenge)1.Constructing Opportunities:“I want to improve the parking situation on campus”2.Exploring Data:Gathering data abut the number of spaces available,the number of classes hel

40、d at various times of day.3.Framing Problems:Build more parking lots Create more parking spaces on campus?Limit the number of students parking on campus?Limit the number of vehicles on campus?Match the number of vehicles to the number of spaces available?Provide students who live outside walking dis

41、tance easy access to campus?B.GENERATING IDEAS Ideas are generated for the selected problem statement(s)using a variety of tools for producing divergent ideasC.PREPARING FOR ACTION Exploring ways to make the promising options into workable solutionstranslating ideas into action.1.Developing Solution

42、s:Applies deliberate strategies and tools to analyze,refine,and select among ideas.Developing solutions will entail using criteria to systematically evaluate each of the proposed ideas.How much would it cost?Is it legal?Is the technology available?Would it be convenient for students?Would it be conv

43、enient for staff?Would it be acceptable to the university administration?Chapter 5 The Flow of CreativityThe concept of flow:the state in which people are so involved in an activity that nothing else seems to matter;the experience itself is so enjoyable that people will do it even at great cost,for

44、the sheer sake of doing it(Csikszentmihalyi,1990).Happiness,in fact,is a condition that must be prepared for,cultivated,and defended privately by each person.Activities were not random but goal-directed activities that demanded some type of energy and skill.Optimal match between challenge and skill.

45、Discovery is a pleasure experience,stimulating brains pleasure center.Chapter 6.Creative SurroundingsGreat Centers of Learning and Commerce(for insight)One must be in a position to access the domain in which one plans to work.Information is clumped in different geographical nodes.Certain environment

46、s have a greater density of interaction and provide more excitement and a greater effervescence of ideas.Access to the field is not evenly distributed in space.Often sudden availability of money at a certain place attracts artists or scientists to an other barren environment.Inspiring Environments(a

47、 delightful setting)Creating Creative Environments(places and institutions)(for preparation and evaluation)Preparation and evaluation benefit from familiar,comfortable settings and social interaction(sharing thoughts,experimenting with ideas,and asking questions of peers are important parts of indiv

48、idual creativity).Patterning Activities reflecting your needs and your tastes.四、創造力與情境因素四、創造力與情境因素Isen,Dauban與Nowicki（1987）Effects of comedic movies on candle-problem solving and RATMozarts experiencesEdisonExamined biographies of eminent 19th-century creators across domainsHighly creative individua

49、ls are more likely to be firstborn and to have lost one or both parents early in life.They are reared in stimulating,diversified,and enriching home environments,exposed to a wide range of ideas.They liked school,enjoyed books,had many hobbies,and learned outside of school.Whereas some report warm,su

50、pportive peer groups,others report some marginality in social situationsCome from homes with clear expectations but few rules,that their parents have well-established interests,and that they have more childhood traumas than less-creative students.Association and Creativity:Mednicks Associative Theor