Unified Theory of Creativity

Unified Theory of Creativity

(Integrative, system, multifactor, complex, synthetic, synergetic, general, componential, interactionist, autopoietic)

The history of the development of the unified,  theory of creativity

1. A Unified Theory of Creativity built on the Principle of the “Economy of thought” which is seen as the basis of the theory of knowledge and the concept of “the unity of the world.” (E. Mach, 1872; R. Avenarius, 1876) and “Economy of forces in thinking” that underlies the laws of artistic creativity  (A.A. Potebnya 1862; A.N. Veselovsky 1904; D.N. Ovsianiko-Kulikovsky, 1909).

2. The assumption of the unity of the psychological mechanisms of phantasy, poetic creation, children’s play, adults’ day-dreams and wit  “Creative Writers and Day-Dreaming” (Sigmund Freud, 1908).

3. The General Theory of Creativity, based on the laws of artistic and technical creativity, created by a group of authors (I.O.Beletsky, I. Lapshin, A.L. Pogodin, V. Kharziev, T. Raynov et al.) and set out in the 8-volume work  “Issues of Theory and Psychology of Creativity”, edited by B.A. Lezin, published in 1907-1923 in Kharkiv.

4. Creating a General Theory of Creativity“Eurology” uniting technical, scientific and artistic creativity. The theory is based on intrinsic relationships between the creativity of nature, the universal laws of the Universe and the general evolution of nature (P.K. Engelmeyer,  1910; M.A. Bloch, 1920).

5. An autonomous theory of creativity,  based on universal methodological principles and its own specific method (S.O. Gruzenberg, 1923).

6. Visionary creativity is a manifestation of the collective unconscious, space images and universal archetypes (C. Jung, 1930).

7. Creativity as a realization of innate structures and mechanisms: Mythological thinking (C. Levi – Strauss, 1931); Innate generative structures of language (N.Chomsky, 1955); Archaic thinking (M. Eliade, 1963); “The unconscious is structured like a language” (Jacques Lacan, 1979); The hidden, unconscious mechanisms and patterns of human knowledge (M. Foucault, 1966), Primitive, primordial thinking (S. Martindale, 1976, 1990).

8. A Universal Model for Creating a theory of creativity based on the 4 fundamental conditions of human existence or the “logic of life” (R. Mooney, 1957, 1962).

9. A Holistic Model of Creativity is the 4 Ps, which represents the interaction of 4 factors: process, product, person, and environment (J. M. Rhodes, 1961); 4Ps (process, product, person, place) (R. Mooney, 1962; S.E. Golann, 1963).

10. Hypothesis of the unity of mechanisms of artistic, inventive creativity and wit. The universal mechanism of “bisociation” underlies all forms of personal creative activity (A. Koestler, 1964).

11. Evolutionary epistemology: the idea of unified, innate structures and mechanisms of evolutionary development of nature, language, cognition and creativity. Understanding creativity as Blind Variation and Selective Retention (K. Popper, 1972; S. Toulmin, 1972; D. Campbell, 1974, C. Lumsden, E. Wilson, 1981; C.S. Findlay, C. Lumsden 1988; F. Wuketits, 1990).

12. Unification and fusion of artistic, scientific and technical creativity while strengthening the specificity of each (B.S. Meilach, 1972).

13. Defining unified methodological and value foundations of creativity (B.G. Yaroshevsky, 1972).

14. Representation of creativity as any interaction leading to development; allocation of universal mechanisms of creative activity (Y.A. Ponomarev, 1976).

15. The Social, Contextual Theory of Creativity, represents the multifactorial space of interaction of the person with the world (S. Arieti, 1976; D.K. Simonton, 1975, 1990; T. Amabile, 1983; M. Csikszentmihalyi, 1988, 1993, P. Goldfarb, S.C. Brackfield, 1990; R.W. Woodman, L. F. Schoenfeldt, 1989, 1990; D. Harrington, 1990; H. Gardner, 1993).

16. Creatology, which is based on the creation of a creatological matrix that includes the manifestation of creativity at the level of culture, organization, small groups and individuals, as well as the ability, process and product of creativity (Istvan Magyari-Beck, 1977, 2011).

17. Three-Ring conception of giftedness is superior general intellectual ability, task commitment, and creativity, interaction of the three components is necessary for creative accomplishment (Joseph Renzulli, 1978, 1986).

18. The evolving systems approach to creativity (Evolving-systems model): knowledge, goals and affective states interact, evolve over time and change human reactions and generate creative products (H. Gruber, 1981, 2000; H. Gruber, S.N. Davis, 1988; H. Gruber, D. Wallas, 1999).

19. The holistic, multi-factor models of intellect, which is the basis for the whole range of creative activity: General Theory of Intellect, Structure of Intellect (SI) (Joy Guilford, 1967, 1977); Multiple Intelligence Theory (H. Gardner, 1983, 1999); The triarchic theory of intelligence: analytical, creative or synthetic, practical (R. Sternberg, 1985, 1988).

20. Complex approach to creativity (S.G. Isaksen, M.I. Stein, D.A. Hills, S.S. Gryskiewicz, 1984).

21. Munich Model of Giftedness (MMG) (K.A. Heller, E.A. Hany, 1986; K.A. Heller, 2005).

22. Transgressive theory of creativity: creativity as crossing, and overcoming material, social and symbolic borders (J. Kozeletsky, 1987, 1997).

23. Componential Model of Creativity: special skills, creative skills, intrinsic motivation (Amabile, 1983, 1988); domain-relevant skills, creativity-relevant processes, intrinsic task motivation and the social environment (T. Amabile, 2012 ).

24. The Creativity Syndrome: integration, application, and innovation (D.W. MacKinnon, 1960,1983; M.D. Mumford, S.B. Gustafson, 1988).

25. A multifactorial creative complex that includes both personality factors (cognitive, metacognitive, motivational, attitudinal, affective, or psychodynamic) and social and environmental factors (R.S. Albert, M.A. Runco, 1989, M.A. Runco, 1993, 1996; M.A. Runco, D. Kim, 2011).

26. Systems Theory of Creativity, creativity as a unity of three systems: domain, field, and person (M. Csikszentmihalyi (1988, 1999, 2015), H. Gardner, 1993; M. Csikszentmihalyi, D. Feldman, H. Gardner, 1994).

27. Interactionist Model of Creativity: creativity as a result of the interaction of three components: antecedents, individual properties and characteristics of the situation. (R. W. Woodman, L. F. Schoenfeldt, 1989, 1990).

28. The Ecological Model of Creativity includes 4 domains and 4 dimensions of creativity (R. Schultz, 1990).

29. Semantic intersections, dialogue and rhetorical techniques as universal mechanisms of meaning-making and creativity (Y. Lotman, 1990, 1992).

30. General psychology as a particular manifestation of the unified theory of creativity, the concept of the creative nature of the human psyche (V.T. Kudryavtsev, 1990).

31. Confluence multiple component approach to creativity D.N. Perkins, 1981, T. Lubart (1991,1994, 1999), R.W. Wiesberg, 1993, R. Sternberg, T. Lubart (1995, 1996).

32. The conceptual model and logical structure of creativity (G. Kaufmann, 1993).

33. General Theory of Creativity (Center for the Study of Creativity, Buffalo):
1. Conceptual model of creativity: Creativity as a multifactorial construct that predicts creative behaviour and is the result of an interdisciplinary approach. (M. Murdock, S. Isaksen, S. Vosburg, D. Lugo, 1993).
2. A multifactor interdisciplinary, transdisciplinary approach to creativity, studying it as a whole (S. Isaksen, M. Murdock, G. Pussio, 1993).
3. The ecological approach to creativity, essential characteristics of which are a variety of research methods, as well as their wide contextuality (G. Puccio, D. Treffinger, S. Isaksen, M. Murdock, 1994).

34. Interactionist, multi-component model of creativity in an organizational context (R. W. Woodman; J. E. Sawyer; R. W. Griffin, 1993, 2007).

35. Evolutionary Approach to Creativity: The principle of the Darwinian theory of evolution (D. Campbell, 1960; R. Dawkins, 1975; L.L. Cavalli-Sforza, M. W. Feldman, 1981; G. Cziko, 1998; C. S. Spencer, 1997; D. Simonton, 1998, 1999; R. Aunger, 2000; A Mesoudi, A., Whiten, K. Laland, 2006).
Cultural-evolutionary approach to creativity (M. Csikszentmihalyi, 1993, 1999, L. Gabora, 1996, 2000; L. Gabora, S. B. Kaufman, 2010), Evolutionary systems approach to creativity (A.Montuori, 1998, 2011)

36. Synergetic Theory of Creativity as the transformation of chaos into order:
Synergetic approach to creativity (H. N. Knyazeva, S.P. Kurdyumov, 1988, 1992, 1999; D. Chernavsky, 1990; I.S. Dobronravova, 1991); Synergetics as a Theory of Creativity (H.Haken, 1991); Creativity as a universal process of self-organization, creative role of chaos. (S. Kauffman, 1993, 2008); Creativity as the interpenetration of dialectical tendencies to disorder and order (F. Barron, 1995); Creativity and theory of nonlinear dynamic systems (D. Schuldberg, 1999, 2021), The order – Chaos dynamic of creativity( P.A. Lambert, 2020); Nonlinear Dynamical Systems, chaos theory, and creativity (D. Schuldberg, S. Guisinger, 2020).

37. The Investment Theory of Creativity requires a confluence of six distinct, but interrelated, resources: intellectual abilities, knowledge, styles of thinking, personality, motivation, and environment. (R. Sternberg & T. Lubart, 1991, 1995).

38. An Integrative Approach to Creativity (J.F. Feldhusen, B.E. Goh, 1995).

39. A Unified Theory of Creativity: A quantum model. Discontinuity relates to the sudden appearance of ideas as a significant feature of creativity (A. Goswami, 1996, Kazuo Koyama, 2017).

40. The developmental perspective of creativity: revealing a set of factors (or dimensions) of the complex, multifaceted development of creative giftedness (D. Feldman, 1999; D. Feldman, H. Gardner, 2003).

41. Synthetic Theory of Creativity: creativity as attitudes, processes and creative acts that express the uniqueness of the individual (B. Clark, 1997, 2002; Yan Wang, Qinlong Hou, 2018).

42. A Multi-Paradigmatic Approach: Four dominant paradigms of creativity: functional, interpretive, radical structuralism, and radical humanism (T. Rickards, S. de Cock, 1997).

43. Creativity as the interplay of biological, psychological, and social factors (J. S. Dacey, K. H. Lennon, 1998).

44. Systems Theory of Creativity. Creativity is viewed within the context of general systems theory. (W. Cowington, 1998; A. Hieronymi, 2013).

45. Creativity as a manifestation of Transcendental creative systems (Carlisle Bergquist, 1999).

46. General Theory of Linguistic Creativity (Robert-Alain de Beaugrande, 1979, 2002).

47. The General Theory of Creativity is based on the universal transdimensional transition from disjunction to conjunction, from opposition to additionality and the creation of a metasystemic whole (A.A. Koblyakov, 2003).

48. General Theory of Creativity WICS (Wisdom, Intelligence, and Creativity synthesized) (R. Sternberg, 2003, 2005).

49. Component Model of Creativity: divergent thinking and acting, general knowledge and thinking base, specific knowledge and skills, focusing and task commitment, motivation and motives, openness and tolerance of ambiguity (K.K. Urban, 2003).

50. A General Theory of Creativity in Advertising (R. E. Smith, X. Yang, 2004; Lee Early, 2007).

51. General Algorithmic (computational) Theory of Creativity (E.A. Konijn, J.F. Hoorn, 2005).

52. A General theory of creativity and innovation (R. K. Sawyer, 2006, 2008, 2012).

53. A Unified Theory of implicit attitudes, stereotypes, self-esteem, and self-concept
(A. Greenwald, 2006, 2009).

54. Unified theory and connectionist model of creativity, incubation, insight, and creative problem-solving. The explicit-implicit interactionist theory and the CLARION computer model (S. Helie, R. Sun, 2010).

55. Creative Systems Theory. A systemic autopoietic theory of creativity (Takashi Iba, 2010).

56. Creativity as the essence of the evolution of nature, culture, wisdom and consciousness (T. Lombardo, 2011).

57. The Theory of qualitative levels of Creativity: The theory of “Big” creativity (Big – C) L. Terman, 1924; J.N. Shurkin, 1992); Historical (h-creativity) and personal (p-creativity) creativity (M. Boden, 1991, 2004); “Big” and “Little” creativity (“Big C and Little C”) (H. Gardner, 1993); Theory of Everyday Creativity (N. Vandermark, 1991); Theory of personal creativity (M. Runco, 1996; 2004); Theory of everyday creativity (L.W Barsalou, J.J. Prinz, 1997); Theory of “small” (little-c), democratic creativity (A. Craft, 2001); Psychological similarities between small and large creativity processes (R. J. Sternberg, 2003); Little-C theory of democratic creativity (J. A. Plucker, R. A. Beghetto, 2004); New category of creativity, called “mini-c” creativity (J. C. Kaufman R. A. Beghetto, 2007); The four-c model (J. C. Kaufman R. A. Beghetto, 2009); The little-c/Big-C theories (A. Kozbelt, R. A. Beghetto, M. A. Runco, 2010).