Creative Thinking
The ancient Aztecs and Greeks viewed creativity as mystical, something of and from the Gods that was “bestowed” on certain people. In fact, there are those who, even today, view creativity in that same light. Others prefer to think of creativity as a system that incorporates specific thinking skills that can be taught and learned and that are linked to environmental conditions that either support or deny the specific creative act. Taylor(1959) outlined five types or levels of creativity which include the following:
- Primitive and intuitive expression: This first level of creativity incorporates the intuitive, primitive sense of “being creative”. Generally speaking, we are talking at this level about someone with no training in an area or discipline. There is an innocent quality to primitive art, but also directness and sensitivity. The naive artist creates for the joy of expression.
- Academic and technical level: The second level of creativity is the academic and technical level. At this level the artist learns skills and techniques, developing a proficiency that allows creative expression in many different ways. The academic artist adds power to expression through the mastery of craft.
- Inventive level: Many artists experiment with their craft, exploring different ways of using familiar tools and mediums. At this level, rules are broken and tradition is challenged. The artist is thought of as adventurous and experimental. Inventors use academic tradition and skills as a stepping-stone into new frontiers.
- Innovative level: Originality of expression is the key element at the innovative level. At the level of innovation the artist, writer, musician, inventor, thinker breaks new boundaries as the academic foundation for the creative act subconsciously guides the effort.
- Genius level: The fifth level of creativity is characterized as genius. There are individuals whose ideas and accomplishments in art and science defy explanation. Genius is arguably the one level that is unexplainable and perhaps unattainable for most of us, something that an individual is born with.
References:
Schlichter C.L., & Palmer W.R.,(1993). Thinking smart: A primer of the talents unlimited model. Mansfield Center, Conn: Creative Learning Press, Inc.
Starko, A. (1995). Creativity in the classroom: Schools of Curious Delight (p. 197). White Plains, NY: Longman Publishers, USA.
Taylor, C., Allington, D., & Lloyd, B. (1990). 7th World Conference on Gifted. Multiple-talent totem poles: Their uses and transferability to non-academmic situations. (p. 36). Salt Lake City: Brain Talent-Powers Press.
Taylor, C., “Various approaches to and definitions of creativity”, In Sternberg, R.J. (1991). The nature of creativity. (pp. 99-121). Cambridge, NY: Cambridge University Press.
Irving A. Taylor, (1959). "The nature of creative process." In P. Smith, ed., Creativity: An examination of the creative process (A report on the 3rd communications conference of the Art Directors Club of New York). NY, New York: Hasting House (pp. 54-61).
Torrence, E.P., (1966). The Torrance tests of creative thinking: Technical norms manual. Princeton, NJ: Personnel Press.
Wallace, G. (1926). The art of thought. New York: Harcourt, Brace & World.