Volume 9 (2022): Edizione 2 (December 2022)

Currently, Rhodes’ 4p framework of creativity is the most widely accepted framework to understand creativity. In spite of this, there are many new theories focused on some facets of creativity that shape a fragmented puzzle with pieces that overlap and intertwine in a very complex way. The absence of an integrating framework adapted to the incursion of new theories prevents us from achieving that global vision of a finished puzzle, where each theory fits perfectly. The Octahedral Creativity Framework (OCF) fills this gap. It is built on Hermagoras´ framework of seven circumstances (who, in what way, what, where, when, why, and by what means) and 26 current frameworks and theories of creativity, including Rhodes’ 4P creativity framework (Person-who, Process-How, Product-what and Press-where/when). It is shaped as an octahedron, where the six main dimensions are placed on their vertices: Person, Product, Process, Environment, Motive, and Means. Factors derived from dimension interaction are located on its corresponding edges and faces. This research shows graphically how 26 of the main creativity frameworks and theories integrate their dimensions and factors in the OCF. The OCF provides a better understanding of the construct of creativity. This global integrative framework opens new research paths based on certain factors and their interaction with other close elements. The gain in knowledge also suggests pragmatic consequences in the lines of evaluating and teaching creativity not only to enhance economic development but to enhance our personal well-being.

In two studies, we examined the creativity of ideas generated, as rated by judges, and metacognitive feelings as antecedents of evaluative self-efficacy and relevance of strengths and weaknesses of the idea generated and accurate idea selection as consequences within the creative process. Participants in both studies completed a measure of metacognitive feelings, evaluative self-efficacy, and a divergent thinking task. In addition, participants rated their ideas and either identified strengths and weaknesses or selected their most creative idea. Two independent judges evaluated all ideas and either assessed the relevance of the strengths and weaknesses identified by participants or selected the most creative idea. Results showed a positive relationship between judges-evaluations and evaluative self-efficacy in one study and a positive relationship between metacognitive feelings and evaluative self-efficacy in both studies. Regarding consequences, results showed a positive relationship between evaluative self-efficacy and the relevance of strengths and weaknesses and a non-significant relationship between evaluative self-efficacy and accurate idea selection. The implications of our results for metacognition and creative beliefs were explained.

The amount of attention given to creative beliefs has increased in recent years. We wanted to answer a call for more research on the antecedents of creative self-concept, assessing the influence of parental autonomy support in the context of business education. Participants were 272 college students from Mexico who completed a battery of questionnaires assessing parental autonomy support, creative self-concept, self-reported ideation, and a divergent thinking task. Results showed a positive relationship between business-specific parental autonomy support and creative self-concept. In addition, creative self-concept had positive relationships with self-reported creative ideation and creative potential in the form of an originality index. Our results suggested that parental support was important to help students have confidence and the motivation to value the process of generating novel and useful business ideas. The implications of the results were discussed.

The article presents a systematic review of scholarly papers referring to everyday creativity in times of COVID-19. We reviewed 30 papers published between May 2020 and June 2022. We searched in SCOPUS, Google Scholar, JSTOR and PsycINFO, using combinations of the following keywords: Creativity, Pandemic and COVID-19. We follow the PRISMA guidelines for conducting systematic reviews. We established four general inclusion criteria and selected quantitative, qualitative, or mixed-design empirical papers. Three experts evaluated whether the papers met the established criteria. We analyzed the selected research qualitatively through encodings and method of constant comparisons. We built four general categories whose purpose is to systematize the main results of the papers: Creativity and Health, Increase in Creative Actions, Motivations, and Creative Growth. The analyzed papers show relationships between creative actions, well-being, and coping. The data showed increases in creative actions in times of pandemic. Enjoyment, seeking contact with others, and coping appear as the main reasons for the development of creative actions. The results highlight the importance of creative adaptation in the construction of new personal and professional development projects.

The goal of the present study is to showcase the relation of creativity and passion, captured from the perspective of an analysis of experiences, subjective encounters, and feelings of an everyday creator, as well as analysis of their products. Basing on qualitative analysis of an individual case of a person with passion, the paper presents an image of their everyday creativity. In our research, we referred to the principles of everyday creativity (Richards, 1999, 2007, 2010). Analysis of the results of The Dualistic Model of Passion (Vallerand et al., 2003; Vallerand, 2008, 2010, 2015) became the theoretical frame of reference in our pursuits of the role passion plays in the examined person’s creativity. We conducted an analysis of the process and effects of everyday creativity of this individual in the context of two dimensions of harmonious and obsessive passion (Vallerand, 2015). Additionally, we analyzed and interpreted qualitative material in the context of the concept of Flow (Csíkszentmihályi, 1996) and Grit: The Power of Passion and Perseverance (Duckworth et al., 2007; Duckworth & Quinn, 2009; Duckworth, 2016). We analyzed traits of the examined everyday creator in the context of the Big-Five concept of personality (McCrae, 1987; McCrae & Costa, 1999). The research shows that using the theory of passion to analyze an individual’s everyday creativity can reveal two extremely different images of a person’s creative works, their personality, as well as the creative process itself. These images are differentiated by harmonious passion and obsessive passion, considered here as disparate sources of creativity.

This study aims to explore the two less frequently researched pillars of the systems theory of creativity: domain and field, through a gender lens. Twenty-five award-winning women from different domains were interviewed. Their responses were examined using grounded theory. Results show four categories associated to domain: (1) access, including family incentive, interest in childhood, and late start; (2) relationship, reflected in high level of engagement, positive feelings, priority in life, and crisis; (3) gender barriers, encompassing family impact, financial limitations, discrimination, and being part of a minority; and (4) extra-domain, described in background and interests in other areas. Four additional categories were identified in relation to the field: (a) 10 years to gain recognition, (b) unclear criteria, (c) men hold the power, and (d) denial of gender barriers. The importance of fostering appealing domains that motivate women is discussed, along with the need for openness to interdisciplinarity and nonlinear careers. Masculinisation of the fields is problematised as an obstacle for the development and recognition of women. The personal discrimination denial paradox, in spite of accounts of the gender barriers experienced, is questioned.

International streaming platforms have broken into the European market and are partnering with local production companies to produce content. Online consumption generates a huge database on the tastes and consumption patterns of viewers. Although the business of video streaming platforms is to attract subscribers, all this data could be used to produce content adapted to the different sensibilities of the audience. We want to investigate to what extent entry of the streaming companies has impacted the creativity of the production process in Spain and how creativity may be affected by this. We carried out semi-structured interviews with creative workers who produce for both linear television channels and video on demand platforms. The sample focuses on four workers from independent production companies with years of experience working for the television channels that have started working for new streaming companies. Their responses imply that big data does not appear to reduce uncertainty and is not applied to make decisions in the first stages of the production process. However, production of local shows has changed significantly.

In the interview with Gregory J. Feist, one of most prolific creativity researchers, we discuss his career, main areas of research interest, chosen research methods and share his thoughts about the future of research on creativity and effectiveness in scientific work.