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Creativity is a quality which manifests itself in many
different ways, and this is one of the reasons it has proved
so difficult to define. As Amabile (1996) points out, ‘a clear
and sufficiently detailed articulation of the creative process is
not yet possible.’ Yet we readily recognise creativity when we
meet it, even if we cannot define it precisely. For all practical
purposes this is enough, and we do not need to spend too
much time agonising over a definition.
There are of course some features which are almost
always present in a creative act. The core idea of ‘making
something new’ is at the heart of creativity. But novelty is not
alone sufficient for something to be recognised as creative.
We could, for example, wear a clown’s red nose to class. This
would certainly be doing something new and unusual but it
would only count as creative if we then did something with it,
like creating a new persona. It is also necessary for creative
acts to be recognised and accepted within the domain in
which they occur. They need to be relevant and practicable
– not just novel. Sometimes creative ideas are ahead of their
time and have to wait for technology to catch up. Leonardo da
Vinci designed an aeroplane in the 15th century, but before
aeroplanes could become a reality, materials and fuels had
to be available.
[…]
[…] Boden (1990) takes an AI (artificial intelligence)
approach to investigating creativity. She asks what a computer
would need to do to replicate human thought processes. This
leads to a consideration of the self-organising properties of
complex, generative systems through processes such as
parallel distributed processing. For her, creativity arises from
the systematic exploration of a conceptual space or domain
(mathematical, musical or linguistic). She draws attention to
the importance of constraints in this process. ‘Far from being
the antithesis of creativity, constraints on thinking are what
make it possible’ (p. 82). Chaos theory (Gleick, 1987) tends
to support her ideas. Boden’s approach is richly suggestive
for language acquisition, materials writing and for teaching, in
that all are rooted in complex, self-organising systems.
(Alan Maley, Nik Peachey. Creativity in the English language classroom.)
