Expressive Arts Therapies No part of this digital document may be reproduced, stored in a retrieval system or transmitted in any form or by any means. The publisher has taken reasonable care in the preparation of this digital document, but makes no expressed or implied warranty of any kind and assumes no responsibility for any errors or omissions. No liability is assumed for incidental or consequential damages in connection with or arising out of information contained herein. This digital document is sold with the clear understanding that the publisher is not engaged in rendering legal, medical or any other professional services. Expressive Arts Therapies Arts Therapy in a Changing World: Creative Interdisciplinary Concepts and Methods for Group and Individual Development Ronen Berger, Ph.D. (Author) 2021. ISBN: 978-1-53619-631-3 (Hardcover) 2021. ISBN: 978-1-53619-727-3 (eBook) Creativity in Occupational Therapy: Person, Process, Product Alenka Oven, PhD (Editor) 2020. ISBN: 978-1-53617-346-8 (Hardcover) 2020. ISBN: 978-1-53617-347-5 (eBook) Understanding Creativity: Past, Present and Future Perspectives Roger L. Cuadra (Editor) 2019. ISBN: 978-1-53616-052-9 (Softcover) 2019. ISBN: 978-1-53616-053-6 (eBook) Transformative Words: Writing Otherness and Identities Juhani Ihanus, Ph.D. (Editor) 2019. ISBN: 978-1-53614-965-4 (Hardcover) 2019. ISBN: 978-1-53614-966-1 (eBook) More information about this series can be found at https://novapublishers.com/product-category/series/expressive-arts-therapies/ Shulamith Kreitler Editor New Horizons in Creativity Copyright © 2022 by Nova Science Publishers, Inc. https://doi.org/10.52305/PHYP7252 All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means: electronic, electrostatic, magnetic, tape, mechanical photocopying, recording or otherwise without the written permission of the Publisher. 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If legal or any other expert assistance is required, the services of a competent person should be sought. FROM A DECLARATION OF PARTICIPANTS JOINTLY ADOPTED BY A COMMITTEE OF THE AMERICAN BAR ASSOCIATION AND A COMMITTEE OF PUBLISHERS. Additional color graphics may be available in the e-book version of this book. Library of Congress Cataloging-in-Publication Data ISBN: (cid:28)(cid:26)(cid:27)(cid:16)(cid:20)(cid:16)(cid:25)(cid:27)(cid:24)(cid:19)(cid:26)(cid:16)(cid:27)(cid:21)(cid:21)(cid:16)(cid:24)(cid:11)(cid:72)(cid:37)(cid:82)(cid:82)(cid:78)(cid:12) Published by Nova Science Publishers, Inc. † New York Contents Foreword .......................................................................................... vii Margareta Dinca Preface ......................................................................................... xiii Shulamith Kreitler Chapter 1 Frontiers of Creativity Research ......................................1 Mark Runco Chapter 2 Creativity in Organizations ............................................19 Eva Sollárová Chapter 3 The Innovator’s Mind: Illuminating a Mental Hologram of Reality ...........................................41 Julia Skobeleva Chapter 4 Creativity in Diplomacy: The Case of the Global Diplomacy Lab ....................................................65 Eirliani Abdul Rahman Chapter 5 Creativity, Sensory Landscape and Place Branding: The Soundscape of Agios Lavrentios, Greece ................................................91 Georgia Lalou, Sotiria Katsafadou and Alex Deffner Chapter 6 Creative Ecology: Innovation and Creativity Driven Solutions for Sustainability .............................. 111 Ulas Akkucuk Chapter 7 Creative Intuition in the Practice of Medicine: The Importance of Tolerating Uncertainty ................. 129 Katalin Varga and Gábor Ruzsa vi Contents Chapter 8 Creativity: Constructivist, Psychodynamic and Mindfulness Perspectives ....................................... 151 Michael DelMonte Chapter 9 Technological Creativity: Incorporation of Computational Thinking in Nursing Education ......... 183 Ilana Dubovi Chapter 10 Scientific Creativity and Education ............................. 199 Jacques Grégoire Chapter 11 Problem Solving and Creativity ................................... 227 Ken Gilhooly Chapter 12 Humor and Creativity ................................................... 257 Arie Sover Chapter 13 Creativity and Meaning ................................................ 283 Shulamith Kreitler About the Authors .................................................................................... 311 Index ......................................................................................... 321 Foreword Creativity is the ability to produce original and unusual ideas or to do something new or imaginative. Creativity studies return to science after a period of decline. The 1950s were characterized by a marked interest in creativity beginning with the analysis of the correlations between intelligence and creativity (Barron, 1968; Guilford, 1956; Wallach & Kogan, 1965). The correlations between these concepts were found to be low, which justifies their treatment as distinct. A very popular model is the one proposed by Paul Torrance (1966), namely the “threshold hypothesis”, which claims that there is a low positive correlation between low scores of creativity and intelligence. In the ensuing period other important theories were developed. However, in the 80’s the interest for this concept declined. A renewed awakening of interest started when Teresa Amabile (1996) defined creativity as “the production of new and useful ideas in any field” of human activity, from science to the arts, in education, in business, or everyday life. The conceptualization of Teresa Amabile can be considered a kind of preamble for this volume, in which the authors aim to present an eclectic vision of their field, theories, research, and applications. The information is useful for advanced undergraduate and postgraduate courses in psychology, medicine, arts, nursing, sociology, and diplomacy. The volume proposes two main directions of analysis of creativity  one based on history, theories, and methods in the field, and the other, empirical studies. Science is inherently creative. Niels Bohr (1885-1962) expressed in a famous quote the axiom “No, no, you don’t think, you’re just logical” (Frisch, 1980, p. 95). This means that rigorous reasoning is not enough for producing relevant and new ideas. The analysis of the history of scientific theories discusses the frontiers of creativity research. As can be seen from the analysis of the presented materials, the limits as well as the boundaries of research in creativity are constantly expanding. Thus, in contemporary research, we find two frequent themes or topics, namely, the study of creative potential and the identification of areas that require original solutions. The new fields, identified and studied empirically, viii Margareta Dinca have their origin in the moral and political problems that contemporary society faces. Constructivist (Kelly, 1955) and psychodynamic (Freud 1930; Lacan, 1966) approaches are arguments in support of the hypothesis that creativity is expressed polymorphically at different levels of cognitive awareness along a continuum from concrete to abstract. It is concluded that awareness-raising practices involving creativity, such as mindfulness and insight psychotherapy, can reduce somatizations (see Chapter 8, “Creativity: Constructivism, Psychodynamic and Mindfulness Perspectives”). We find an interesting exposition on the relationships between problem solving and creativity. The definitions of “problem” and “creative” are analysed and it is argued that all problems are at least minimally creative in that they require a new and intentional solution. On the other hand, all creative activities are forms of problem-solving. (see Chapter 11, “Problem Solving and Creativity”). The analysis of the research on the creative approach of recognized innovators allowed the description of a common thinking pattern. Problem- solving involves using a 3-D perspective, visualizing fragmented knowledge about a problem as a whole. This cognitive-affective approach is called by the author “illuminating a mental hologram of reality” (see Chapter 3, “The Innovator’s Mind: Illuminating a Mental Hologram of Reality”). The relationships between creativity and meaning are discussed in the same direction. “Meaning is a set of contents and processes involved in any process, action and output of individuals” (Kreitler). Creativity and meaning have a major common feature, namely, they are present everywhere, in many fields and activities, in everyday life, in technology and in academia. The Kreitler Meaning System describes meaning in terms of content and cognitive processes. The chapter focuses, on the one hand, on the motivational elements - the motivation of creative people in general and artists in a targeted way, but also on the cognitive processes that characterize the performance of the creative act itself. And, on the other hand, it addresses the operational aspects of creativity - the motivation of the art spectator and the processes involved in the elaboration and experiencing of art, which is related to creativity (see Chapter 13, “Creativity and Meaning”). It is very interesting to approach the relationship between humor and creativity. The author wonders if there is a link between humor and creativity. The answer is of course positive because individuals have the following two traits: they can laugh at the humorous situations that others create and can produce such situations. The chapter analyses the relationship between