The psychology of creativity and creative thinking

Even today the beginning of research and studies on the field of knowledge of the creativity.

The first contributions of authors such as Bonus, Osborn or Torrance They date from the sixties onwards, so the practical application of everything found at a theoretical level in educational centers is still scarce and insufficient.

What is creativity?

From the field of psychology the experts who have addressed this topic define creativity as a process of making original products through unorthodox ways, based on the information available and with the purpose of solving problems or the self-realization of the individual himself (insofar as it allows a development of intellectual capacities personal).

A) Yes, Guiford He highlighted the characteristic aptitudes of creative individuals: fluency, flexibility, originality and divergent thinking (on the other hand, it revealed the differences between creativity and intelligence). In the nineties, Csickszentmihalyi He defined creativity as a state of consciousness to solve problems, in which three elements operate: field (place or discipline where it occurs), person (who performs the creative act) and domain (social group of experts). Finally, the most recent contribution of

Mayers affirms the existence of five components of creativity: competence, imaginative thinking, fearlessness, intrinsic motivation and a creative environment.

On the other hand, it is worth highlighting the subjective nature associated with creative ability. This fact may have facilitated the generation of some erroneous beliefs regarding the concept of creativity, giving it a connotation of gift, of cognitive disorganization or of being something necessarily related to a high cultural level as a requirement previous. Thus, there seems to be a consensus today to consider creativity as a human potential, which all individuals can access indistinctly. In keeping with the latter, the set of social, cultural and historical influences become the main factors associated with the development of creativity.

How to develop creativity?

In order to define the concept of creativity and the methodology that can be implemented for its development and empowerment in schoolchildren, De Bono has proposed as elements essential to creative thinking freedom of expression, the absence of inhibitions, the avoidance of critical evaluative judgments and the stimulation of new ideas during the process creative.

Among the techniques to be used by this author, the following stand out, which favor the capacity for analysis, synthesis, the application of logical reasoning and decision-making:

• Consider All Factors (CTF).
• Employ Positive, Negative and Interesting reasoning (PNI).
• Contemplate other points of view (OPV).
• Assess Consequences and Aftermath (CS).
• Take into account the Possibilities and Opportunities (PO).
• Don't forget the Basic Priorities (PB).
• Clearly define the Purposes, Goals and Objectives (PMO).
• Search the Alternatives, Possibilities and Options (APO).

Other investigated techniques correspond to the findings on methodologies such as the morphological analysis of Zwicky, Crawford's list of attributes, Osborn's brainstorming, De Bono's divergent thinking, synectics or psychodrama, among others.

Related article: "The 14 keys to enhance creativity"

Convergent thinking and divergent thinking

In the response of the human being to the environment, according to scientific research, two different ways of cognitive reaction can be differentiated: the convergent thinking and the divergent thinking. The latter is also called primary, lateral, autistic or multiple thinking and is characterized by not being subject to consciousness or follow the logical or simpler routes, present a highly symbolic character and be associated with fantastic or creative.

In contrast, convergent thinking, also known as secondary, vertical, realistic or sequential operates in the opposite way to the above: works consciously and following the connections between the elements logically and more oriented to external reality.

Cognitive, affective and environmental factors in the creative act

There are three main areas of influence that affect the nature of the creative process: cognitive, affective and environmental.

Cognitive factors

Cognitive factors refer to set of procedures that intervene both in the reception and in the elaboration of the information that is presented to the subject.

In the development of creative capacity, the following cognitive processes have been found:

Perception

Refers to the capture of the information presented. To enhance creativity requires a complete opening of the senses that allow optimal reception of external stimuli that facilitate the possibility of creating the subject. It is important to detach from prejudices and not very flexible evaluations, in addition to a clear capacity in defining the problems and tasks to be solved.

The manufacturing process

It is linked to the conceptualization and delimitation of the relationship established between the different data. Its main characteristic is the multi-associative capacity to deal flexibly and simultaneously with different types of information.

Different perspectives can be taken to assess the elaboration processes, such as: thinking styles (divergent or creative and convergent), thinking skills (fluency, flexibility and originality to offer original or novel answers) and strategies of thought (unconscious ways of organizing information based on the utility observed in its implementation in past situations).

Affective factors

Regarding the affective factors, some elements are distinguished that appear as central

for the mobilization of creative potential:

• Openness to experience: the degree of curiosity or interest in the context that surrounds the individual, which maintains a open and positive attitude to external experiences and experiences them in a particular and alternative.
• Tolerance for ambiguity: the ability to remain calm in confusing or unresolved situations avoiding falling into the precipitation of an impulsive response.
• Positive self esteem: acceptance of oneself and of one's own particularities (both strengths and weaknesses).
• Will of work: have a high motivation for the completion of tasks or purposes started.
• Motivation to create: have a strong drive and interest in making your own creations or participating in other people's creations.

Environmental factors

Finally, environmental factors refer to the conditions of both the physical and social context that facilitate the development and updating of creative potential. The environmental characteristics that favor creative expression are mainly confidence in self, safety from others and an appreciation of individual differences adaptive.

In addition, it has been proven that socially empathic, authentic, congruent and accepting allow the individual to undertake new projects minimizing fears of potential or unknown risks.

The stages of the creative process

The contributions that Wallas made in the middle of the last century from his works that sought to sequence the process that occurs in all reasoning creative differentiated four main phases, which are flexible and open: preparation, incubation, lighting and check.

• The preparation: the exhaustive formulation (and reformulation) of the problem is carried out, taking all possible directions for its resolution.
• Incubation: in order to be able to assimilate new approaches that do not disturb the clarity of reasoning, there is a moment of pause and withdrawal in the attempts to solve the task.
• The lighting: phase in which the creative product is reached suddenly or by alternative associations between the available elements.
• The verification: at this stage the solution found is started up, and subsequently a evaluation and verification of the applied process in order to find strong points and weaknesses.

The dimensions of creativity

In order to achieve a satisfactory individual development in the educational area a series of dimensions of creativity have been established as components of the maturation process, whose link between them must have an interactive, dynamic and integrative character.

These dimensions are as follows:

• Axiological: need to know the reasons that motivated the human being to create certain values.
• Affective: refers to the identification of cognitive products and to value them as such.
• Cognitive: related to functionality and thinking ability.
• Labor: defined by the elaboration and transformation of cognitive products.
• Playful: creativity has a fun component.
• Participatory: it is linked to the collective application of creativity, enabling joint work between different students.
• Communicative: creative reasoning processes facilitate dialogue, the ability to argue and understand the ideas generated.
• Urban: Due to the spatial proximity between individuals, creative and dynamic tensions are produced that feed them back.

Obstacles in the development of creativity

The evidence is palpable that not all students are capable of developing creative responses with the same intensity to a task. Thus, there seems to be a consensus among experts in the field that there are a set of factors that act as drawbacks or obstacles that limit students' internalization of this ability creative.

Among others, they can be highlighted: a coercive environment that does not allow the spontaneous expression of ideas, the tendency to judge and criticize different points of view, focus on pointing out exclusively mistakes made, be based on inflexible and stereotyped methodologies, maintain a distant attitude towards others, prevent respect for the uniqueness of individuals depleting their self-confidence and fostering the fear of ridicule, etc.

It seems that, although at birth all human beings have the same capacity to develop considerably creativity, the existence of postnatal environmental factors play a discouraging role for said creative capacity, applying the practices set out in the previous paragraph. It should, therefore, be made aware of how much these practices are damaging the whole of the students, since they are limiting the expression of a type of alternative, original and new.

In conclusion

Creativity becomes a capacity that derives from the confluence of rather environmental, external and acquired factors. Therefore, their maximum development must be promoted from the family and educational sphere simultaneously.

To do this, various barriers related to prejudices, criticisms and negative evaluations applied to alternative forms must be overcome. and / or unusual to solve a certain task, to expose a reasoning, etc., which seem to be traditionally ingrained socially.

Bibliographic references

• Csíkszentmihályi, M. (1998). Creativity, an Approach. Mexico.
• De Bono, E. (1986): Lateral thinking. Spain: Paidós Editions.
• Guilford, J.P., Strom, R.D. (1978). Creativity and Education. Buenos Aires: Paidós Editions.