- Main theories of Creativity
- Universe theories of Creativity
- Сreativity as the unfolding and embodiment of the Absolute
- Creativity as achievement and realization of a Freedom
- Creativity as the creation and implementation of Possibilities
- Creative Developing Interaction
- Creativity as the creation and realization of the Whole
- Worldgenic theories of Creativity
- Creativity as realization of Creative Attitude and Sense Creation
- Creative activity
- Creativity as a problem solving
- Unified theory of Creativity
- Universal mechanisms of Creativity
- The Main Stages of Creativity
Relationship between individual and materials, people, circumstances (Rogers,1962); Transactional relationships between the individual and environment (Stein,1962); Model of four dimensions of creativity (“logic of life”): interaction with the universe; interaction with the self; the transaction between the two; continual fitting of specific incomings and outgoings (R. Mooney, 1963); Fusion of heterogeneous elements, such as the unity between the actions of the subject and the objective world (F. Hacker, 1965); Creativity as a harmonious interaction of the individual with his environment (H. Anderson, 1965); Encounter, interrelation of person and his world (May,1975); Creativity as a developmental interaction (J.A. Ponomarev, 1976); Creativity as an adaptation, interaction with the environment and development ( Jean Piaget, 1971; Howard E. Gruber, Paul H. Barrett, 1974; D. Feldman, 1980); The interaction between a person and the organizational environment (W.A. Owens, 1969; P. Wesenberg, 1986; M.J. Kirton, R.M. McCarthy,1988.; C.S. Koberg, L.H. Chusmir, 1987); An ecological approach to creativity (C.L. Rodgers, R.E. Kerstetter, 1974; M. Stein, 1975; R. Helson, 1988; D. Harrington, 1990); The investment theory of creativity as a willing and ability to “buy low and sell high” (R.Sternberg, T. Lubart, 1995,1997); Ecological and interactive approach to creativity, as the interaction between person, process, product and environment (Donald J. Treffinger, 1987; Scott G. Isaksen, Geir Kaufmann, Gerard J. Puccio, Mary C. Murdock, 1990).
The creative association and memory. Accidental combination of already existing images and parts ( Lukretius Carus (1st century B.C.); Art as a combination of real phenomena (Apollonius of Tyana, 1 st century AD); The process of connecting, comparing, and separation of ideas (John Locke, 1689); Association of sensations, ideas and feelings (George Berkeley, 1709, D. Hartley, 1749); Association as a mechanism for turning simple ideas into complex (D. Hume, 1739); The interaction of the productive imagination and the transcendental apperception (I. Kant, 1781); Active unconscious associations (G. Herbart, 1816); Spontaneous association in which the order of ideas” is independent of the order of sensations (Th. Brown, 1820); Creative synthesis within the theory of “mental chemistry” (John Stuart Mill, 1843); “Constructive association” and the spontaneous action (A. Bain, 1859); Creativity as the intersection and transitions between ideas, and creating unusual combinations, associations and analogies (W. James, 1890); The theory of recombination (dissociation – regrouping – association) (T. Ribot, 1901); Dissociation and association of the impressions, a combination of individual mental images (L.S.Vygotsky, 1930); Creativity as an intellectual ability to make connections between ideas (Ch. Spearman, 1931); The intersection of two ideas (O.A. Keep, 1957); Bisociation of “matrices of thought” (A. Koestler,1964); Remote Associations (S. Mednic,1962); The interaction between the right and left hemispheres (J.E. Bogen, G.M. Bogen, 1969; S.P Springer, G. Deutsch, 1989; T. Hines, 1991; G.A Golitsin, O.N. Kamensky, V. M. Petrov, 1989, 2007; Annukka K. Lindell, 2010, 2011); The interaction between logical and intuitive components of thinking (Ya. A. Ponomarev, 1976); The simultaneous presentation of two or more opposing ideas or essences (Janusian and Homospatial thinking) (A. Rothenberg,1979 ); The interaction between perception and action (responses) (Robert Weisberg, 1986); Creative Association (G. Mendelsohn, 1976; M. Marx, W.A. Hillix (1987); Conceptual combination (J.A. Humpton, 1987,1997; G.L Murphy, 1988; M.I. Mobley, L.M. Doares, 1991; (J.A. Humpton, 1987,1997; G.L Murphy,1988; M.I. Mobley, L.M. Doares, 1991; M.D. Mumford, 1992, 1995; F. J. Castello, M.T. Keane, 2000; C.L. Gagne, 2000, G.M. Scott, D.C. Lonergan, 2003; P. Thagard, T.B. Ward, 1984, 2010); Creative memory, association and original insight (P. Langley and R. Jones, 1988; D.L. Schacter, P.Graf, 1989); Creating a visual combinations (A. Rothenberg, R.S. Sobel,1980; R.A. Finke, 1990).
Creating analogies and metaphors. Interaction between direct and indirect meanings (Interaction theory of metaphor) (Max Black 1962, Marcus Hester 1967); Analogizing as the transfer of knowledge (D. Gentner, C. Toupin, 1983,1986; Lauretta Reeves, Robert W.Weisberg, 1994; K. Holyoak, P. Thagard,1995); Analogical thinking as the ability to make connections between certain objects, concepts or problems (G.A. Davis, 2004); Creating analogies as the transfer of conceptual structures (H.Welling, 2006).