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The concept of creativity has been theorized and debated for millennia, dating back to the Greek
philosopher Plato, who referred to "divine madness" in poets. Debates continue as to whether creativity is a gift or talent,
a product of the genius gene, a side effect of mental health conditions, or if it is learned and nurtured through the
environments and societies in which an individual grows and develops. While there is a wealth of research that sets out
to define the concept of creativity, and numerous theoretical models have emerged since the early part of the 20th century,
little of that involves artists reflecting on the concept. In order to explore this area, this study surveyed 314 artists
from a range of countries, using an online survey, which invited them to reflect on creativity as a concept and how they
understand it within their artistic practice. The findings reveal that creativity is a complex term and there is a range of
understandings demonstrated by those who practice art-making. Questions for key stakeholders in education and policy are also
raised, in terms of the role and place of artistic creativity in society.

The purpose of this article is to analyze the problem of non-professional creativity in contemporary self-help literature. Creativity, an element of work organization in the post-Fordist era, has been the subject of many critical analyses. I focus on creativity as it appears in everyday life, with the support of an examination of self-help handbooks that refer to far-east traditions, at the same time being critical of the Western lifestyle. Self-help literature is viewed here as a tool aiding the neoliberal governmentality of society. I am most of all interested in how contemporary discourse on non-professional creativity promotes technologies of autonomy aimed at the production of responsible and self-sufficient individuals. I argue that creativity is today a key mechanism of governance. It is not limited to the professional sphere but is playing an increasing role in our private lives. It is used to produce more elusive and flexible forms of self-governance than more openly repressive forms of power (based on top-down order and control).

Scientific progress can be credited to creative scientists, who constantly ideate new theories and experiments. I explore how the three central positions in philosophy of science – scientific realism, scientific pessimism, and instrumentalism – are related to the practical issue of how scientists' creativity can be fostered. I argue that realism encourages scientists to entertain new theories and experiments, pessimism discourages them from doing so, and instrumentalism falls in between realism and pessimism in terms of its effects on scientists' creativity. Therefore, scientists should accept realism and reject both pessimism and instrumentalism for the sake of scientific creativity and progress.

Machine generated contents note: Part I: Introduction -- Chapter 1: Team Creativity and Innovation: Importance and Directions -- Roni Reiter-Palmon and Mackenzie Harms -- Chapter 2: Overview of Team Creativity and Innovation -- Paul B. Paulus and Jared B. Kenworthy -- Part II: Team Processes -- Chapter 3: Team Diversity and Team Creativity: A Categorization-Elaboration Perspective -- Daan van Knippenberg and Inga J. Hoever -- Chapter 4: Team Creativity: Cognitive Processes Underlying Problem-Solving -- Mackenzie Harms, Victoria Kennel, and Roni Reiter-Palmon -- Chapter 5: Social Processes and Team Creativity: Locating Collective Creativity in Team Interactions -- Sarah Harvey and Chia-yu Kou -- Part III: Organizational Factors and Levels -- Chapter 6: Leader Impacts on Creative Teams: Direction, Engagement, and Sales -- Michael D. Mumford, Tyler Mulhearn, Logan L. Watts, Logan M. Steele, and Tristan McIntosh -- Chapter 7: 20 Years Later: Organizational Context for Team Creativity -- Christina E. Shalley, Robert C. Lichtfield, and Lucy L. Gilson -- Chapter 8: A Multi-level Model of Collaboration and Creativity -- Michael Beyerlein, Crystal Han, and Ambika Prasad -- Chapter 9: Creativity and Innovation in Multiteam Systems -- Stephen J. Zaccaro, Laura S. Fletcher, and Leslie A. DeChurch -- Part IV: Applications -- Chapter 10: Selection and Team Creativity: Meeting Unique Challenges Through Diversity and Flexibility -- Samuel T. Hunter, Brett H. Neely, and Melissa B. Gutworth -- Chapter 11: Training Creativity in Teams -- Shannon L. Marlow, Christina N. Lacerenza, Amanda L. Woods, and Eduardo Salas -- Chapter 12: Team Innovation in Healthcare -- Victoria Kennel, Katherine Jones, and Roni Reiter-Palmon -- Chapter 13: Destruction through Collaboration: How Terrorists Work Together Toward Malevolent Innovation -- Gina Scott Ligon, Douglas C. Derrick, and Mackenzie Harms

Recurrent, most recently Romantic, ideologies conceptualize creativity as the solitary, ex nihilo creation of products of self-evident and universal value—most emblematically in the field of art—by highly exceptional individuals. Such ideologies obscure the social dimensions of creativity that come into view via anthropological analysis: (a) the nature and ubiquity of creative processes as communicative and improvisational events, with real-time emergent properties, involving human and nonhuman agents in the context of pre-existing yet malleable genres and constraints; (b) the role of socialization in the making of creative individuals, implicating processes of social reproduction; and (c) the processes by which certain objects and individuals are recognized and constructed as exemplars of creativity and thus acquire their value. This review discusses these dimensions by synthesizing cultural and linguistic/semiotic anthropological research. It concludes by addressing the recent transformation of creativity into the neoliberal philosopher's stone and the potential contribution of anthropology to the demystification of this transformation.

The study examined the effectiveness of repertory grids in assessing cognitive complexity as a correlate of creativity. Grids were completed by literary personnel and by representatives of an audio-visual medium. Significant differences were found between creative writers and their
literary controls; but the grids failed to discriminate between those of greater and lesser creativity in the audio-visual field.

Abstract. Everyday life often requires considerable creativity in dealing with challenging circumstances. This implies that creativity regularly operates in an affective context, however, this "C" of creativity is rarely addressed in contemporary research. In this brief review article, we address some important milestones in this nascent field of research. Starting with early accounts on emotional creativity, we discuss seminal research intertwining creativity and mood states, and finally introduce two recent developments in this field: reappraisal inventiveness as the capacity to generate manifold cognitive reappraisals for aversive situations, and malevolent creativity as creative ideation intentionally used to damage others. We discuss the conceptual origins of reappraisal inventiveness and malevolent creativity and provide an extensive review of past behavioral and neuroscientific findings regarding these differently motivated instances of affective creativity. Additionally, novel pilot findings and prospects on both lines of research will be provided, which may help to advance investigations into more real-world applications of creative cognition.