The Selection-Automaton Model of Creativity as Non-Linear System Dynamics : Culturing Creativity in East Asia Examined Using 50 interviews to Study Culture Impacts on the Insight Process
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This article presents a new model of the creative process, the Selection Automaton model. This model brings to bear on the questions of creativity research the tools and concepts of non-linear system dynamics. The emergence of creative works and creative insights is understood as a non-linear system dynamics avalanche event. Populations of things interacting in creative performance are identified and understood using non-linear system dynamics concepts such as the connectedness, diversity, and patchings parameters. Levels are identified in creative performance-a thoughts in mind level, an emotional reactions level, a moves and improvisations in performance level, and a parts of organizations level. There are three dimensions of creativity that evince these levels-four generator automatons (the cognition, insight, social, and domain automatons), four paradox generators (negation, hubris, feedback, and parallel projects), and four application generators (thoughts, emotional reactions, performance moves, and organization parts). Creativity dynamics applied to these same four aspects of society generate a number of new domains of interest today-high performance, innovation, emotional intelligence, organizational learning, knowledge management, and network economics. Submodels of Csikszentmihalyi's systems model and of the insight process within creativity are also presented. The identification of populations, emergence phenomena, and levels, in creativity, allows us to deploy all of the concepts and results of non-linear system dynamics to understand creativity phenomena and enhance creative performance. The selection automaton model of creativity subsumes, within it, a selection automaton model of the insight process. Recent research has found certain social psychological conditions that foster and others that hinder creative performance by affecting particular steps in the insight process, and certain cultural attributes that foster or remove such social psychological conditions. We can combine these to come up with hypotheses about the barriers and enablers to creative performance in any culture, for our example here, East Asian culture, in particular, Japanese culture. To refine these hypotheses 50 creative Japanese were interviewed about the role of insight in their own creation processes and about the role of particular steps in their insight process in the overall process. Barriers and enablers in Japanese society and their immediate situation to these insight process steps were obtained. Qualitative analysis of the resulting transcripts made four of the five hypotheses unlikely. Only the lack of disagreement, variety, contending issues, and the like in Japanese society was felt by these creative Japanese as a block or detriment to their work. All other hypothesized difficulties and obstacles, such as social conformity in Japan, were not reported by respondents as obstacles at all. I conclude that most obstacles to creative performance lose power once people identify themselves as creative, hence, probably only work by limiting the number of people moving to make such a self-identification.
- 関西学院大学の論文
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