العملية الابداعية في رأي ( ليتون Lytton ) .. كتاب الإبداع وتربية

The sixth credit

The creative process according to Lytton

Perhaps it is appropriate to start with a practical definition of what we mean by “creative work.” Although we will discuss in detail later on the nature and conditions of creative work, we believe that the best definition of it is the definition of (Bruner), who describes it as effective surprise) and says:

The wonder of effective amazement is that it need not be rare, infrequent, or outlandish. Most of the time it isn't. The astonishment often appears to have the quality of clarity when the shock of recognition is not followed by any fascination afterwards (Bruner 1962).

This definition of the creative act stems from two things: the first is that the creative characteristic can be bestowed on any type of human activity. Thus, people can be creative, not only in drawing, writing poetry, or formulating scientific theories, but rather in cooking, carpentry, playing football, love, or other things.

The second is that geniuses are not alone in doing creative work, but rather that this characteristic can be found in less important actions and at different levels. levels of adequacy or intelligence. Here we have to distinguish between an objectively creative act and a personal one. The product of objective creativity is in a certain way, so that effective astonishment is felt by the external observer. Perhaps the most important condition in this regard is Appropriateness: That is, the product must be meaningful in relation to the requirements of the situation and the conditions set by the producer must be satisfied, as it is appropriate to the context. It must not only be true, but absolutely true (this is another way of expressing effective amazement). As for the second criterion, it is novelty: the product must be other than what has been measured by appropriate standards, or it must lead to a method that is not common in testing the world.. And a third. The highest of these criteria is the ability of the creative product to transform the traditional limitations of reality so that it reaches a completely new perspective. Some original ideas change our approach to an entire field of knowledge.

As for personal creativity, it is judged by different criteria: it can happen when a person mixes things in his own individual ways, and when he is not satisfied with mere imitation, but rather reclassifies specific influences and collects information through his own thoughts and actions, regardless of the impact of his creativity on others. There is a well-known story about a class that asked its students to add numbers:
1 + 2 + 3 + 4 + 5 + 6 + 7 + 8 + 9 + 10, and then the students started the addition process, but a six-year-old boy shouted after thinking that it lasted only a few seconds, saying that the sum is 55, causing the teacher's astonishment. This child has discovered that there is a logical structure in the group by which it is possible to consider it as five pairs of numbers, namely: 1 + 10, 2 + 9, etc., and that the sum of each pair is 11. This child, who later became the famous mathematician (Gauss), discovered by himself the feature of the group, and thus demonstrated an apparent creativity that he personally enjoys, although the rule was known to other adults.

And if we consider (effective astonishment) the distinguishing mark of creative work, then we have in fact made a psychological condition a criterion for creativity. In fact, creative works are always characterized by states of satisfaction, exhilaration and euphoria for the creator, so that the creative act has psychological consequences for the actor and for the observer most of the time. Although this psychological state is derived from the derivatives of creativity, it is of course not a unique characteristic of it.