Editing Creativity (section)

== In different fields ==

=== Art ===
{{Main|The arts}}

Creativity is a fundamental component of the creative arts and design practice. It allows artists and designers to generate innovative ideas, solve complex problems, create products and experiences that are meaningful and impactful, stay ahead of trends, and anticipate future needs. Author [[Austin Kleon]] asserts that all creative work builds on what came before. Embracing influences and educating oneself in the work of others is conducive to creativity.<ref>{{Cite book |last=Kleon |first=Austin |url=https://www.worldcat.org/title/759916614 |title=Steal like an artist: 10 things nobody told you about being creative |date=2012 |publisher=Workman Pub. Co |isbn=978-0-7611-6925-3 |location=New York |oclc=759916614}}</ref>

=== Neuroscience ===
{{Undue weight|date=June 2024|section}}
[[File:Distributed network of voxel clusters associated with divergent thinking.jpg|Distributed functional brain network associated with divergent thinking|thumb]]

The [[neuroscience]] of creativity looks at the operation of the brain during creative behavior. One article writes that "creative innovation might require coactivation and communication between regions of the brain that ordinarily are not strongly connected."<ref name="NeuroPsychiatry">{{cite journal |last1=Heilman |first1=Kenneth M. |last2=Nadeau |first2=Stephen E. |last3=Beversdorf |first3=David Q. |year=2003 |title=Creative Innovation: Possible Brain Mechanisms |url=http://neurology.med.ohio-state.edu/cognitivelab/CreativityMechanisms.pdf |journal=Neurocase |volume=9 |pages=369–379 |doi=10.1076/neur.9.5.369.16553 |pmid=14972752 |s2cid=6592186 |archive-url=https://web.archive.org/web/20090319130652/http://neurology.med.ohio-state.edu/cognitivelab/CreativityMechanisms.pdf |archive-date=2009-03-19 |number=5}}</ref> People who excel at creative innovation tend to differ from others in three ways: first, they have a high level of specialized knowledge; second, they are capable of [[divergent thinking]] mediated by the [[frontal lobe]]; and, third, they are able to modulate [[neurotransmitter]]s such as [[norepinephrine]] in their frontal lobe.<ref name="NeuroPsychiatry" /> Thus, the frontal lobe appears to be the part of the [[cerebral cortex|cortex]] that is most important for creativity.<ref name="NeuroPsychiatry" /><ref name="Kutsche 2025" >{{cite journal |last1=Kutsche |first1=Julian |last2=Taylor |first2=Joseph J. |last3=Erkkinen |first3=Michael G. |last4=Akkad |first4=Haya |last5=Khosravani |first5=Sanaz |last6=Drew |first6=William |last7=Abraham |first7=Anna |last8=Ott |first8=Derek V. M. |last9=Wall |first9=Juliana |last10=Cohen |first10=Alexander Li |last11=Horn |first11=Andreas |last12=Neumann |first12=Wolf-Julian |last13=Kletenik |first13=Isaiah |last14=Fox |first14=Michael D. |title=Mapping Neuroimaging Findings of Creativity and Brain Disease Onto a Common Brain Circuit |journal=JAMA Network Open |date=13 February 2025 |volume=8 |issue=2 |pages=e2459297 |doi=10.1001/jamanetworkopen.2024.59297 |issn=2574-3805|doi-access=free |pmid=39946133 |pmc=11826368 }}</ref>

A 2015 study of creativity found that it involves the interaction of multiple neural networks, including those that support associative thinking, along with other [[default mode network]] functions.<ref name="PMID_26003860">{{cite journal |last1 = Mayseless |first1 = Naama |last2 = Eran |first2 = Ayelet |last3 = Shamay-Tsoory |first3 = Simone G. |year = 2015 |title = Generating original ideas: The neural underpinning of originality |journal = NeuroImage |quote = These results are in line with the dual model of creativity, according to which original ideas are a product of the interaction between a system that generates ideas and a control system that evaluates these ideas. |doi = 10.1016/j.neuroimage.2015.05.030 |pmid = 26003860 |pages = 232–39 |volume = 116 |s2cid = 12973770 }}</ref> In 2018, some experiments showed that when the brain suppresses obvious or "known" solutions, the outcome is solutions that are more creative. This suppression is mediated by alpha oscillations in the right temporal lobe<ref name="PNAS_2018_Luft">{{cite journal | last1=Di Bernardi Luft|first1=C.|last2=Zioga|first2=I.|last3=Thompson|first3=N.M.|last4=Banissy|first4=M.J.|last5=Bhattacharya|first5=J.|date = December 26, 2018 |title = Right temporal alpha oscillations as a neural mechanism for inhibiting obvious associations |journal = PNAS |volume = 115 |issue = 52 |pages = E12144–E12152 |doi=10.1073/pnas.1811465115 |pmid = 30541890 |pmc = 6310824 |bibcode = 2018PNAS..11512144L |doi-access=free}}</ref> and activity in the right frontal pole.<ref name="Kutsche 2025" />

==== REM sleep ====
Creativity involves the forming of associative elements into new combinations that are useful or meet some requirement. Sleep aids this process.<ref>{{cite journal |last1=Wagner |first1=U. |last2=Gais |first2=S. |last3=Haider |first3=H. |last4=Verleger |first4=R. |last5=Born |first5=J. |year=2004 |title=Sleep inspires insight |journal=Nature |volume=427 |issue=6972 |pages=352–55 |bibcode=2004Natur.427..352W |doi=10.1038/nature02223 |pmid=14737168 |s2cid=4405704}}</ref><ref>{{cite journal |last1=Cai |first1=Denise J. |last2=Mednick |first2=Sarnoff A. |last3=Harrison |first3=Elizabeth M. |last4=Kanady |first4=Jennifer C. |last5=Mednick |first5=Sara C. |title=REM, not incubation, improves creativity by priming associative networks |journal=Proceedings of the National Academy of Sciences |date=23 June 2009 |volume=106 |issue=25 |pages=10130–10134 |doi=10.1073/pnas.0900271106 |doi-access=free |pmid=19506253 |pmc=2700890 |bibcode=2009PNAS..10610130C }}</ref> [[Rapid eye movement sleep|REM]] rather than [[Non-rapid eye movement sleep|NREM sleep]] appears to be responsible.<ref name="Cai">{{cite journal |last1=Cai |first1=D.J. |last2=Mednick |first2=S.A. |last3=Harrison |first3=E.M. |last4=Kanady |first4=J.C. |last5=Mednick |first5=S.C. |year=2009 |title=REM, not incubation, improves creativity by priming associative networks |journal=Proc Natl Acad Sci USA |volume=106 |issue=25 |pages=10130–10134 |bibcode=2009PNAS..10610130C |doi=10.1073/pnas.0900271106 |pmc=2700890 |pmid=19506253 |doi-access=free}}</ref><ref>{{cite journal |last1=Walker |first1=M.P. |last2=Liston |first2=C. |last3=Hobson |first3=J.A. |last4=Stickgold |first4=R. |date=November 2002 |title=Cognitive flexibility across the sleep-wake cycle: REM-sleep enhancement of anagram problem solving |journal=Brain Res Cogn Brain Res |volume=14 |issue=3 |pages=317–24 |doi=10.1016/S0926-6410(02)00134-9 |pmid=12421655}}</ref> This may be due to changes in [[cholinergic]] and [[Norepinephrine|noradrenergic]] [[neuromodulation]] that occurs during REM sleep.<ref name="Cai" /> During this period of sleep, high levels of acetylcholine in the [[hippocampus]] suppress feedback from the hippocampus to the [[neocortex]], and lower levels of acetylcholine and norepinephrine in the neocortex encourage the spread of associational activity within neocortical areas without control from the hippocampus.<ref>{{cite journal |last=Hasselmo |first=M.E. |author-link=Michael Hasselmo |date=September 1999 |title=Neuromodulation: acetylcholine and memory consolidation |journal=Trends Cogn. Sci. |edition=Regul. |volume=3 |issue=9 |pages=351–359 |doi=10.1016/S1364-6613(99)01365-0 |pmid=10461198 |s2cid=14725160 |doi-access=free}}</ref> This is in contrast to waking consciousness, during which higher levels of norepinephrine and acetylcholine inhibit recurrent connections in the neocortex. REM sleep may aid creativity by allowing "neocortical structures to reorganize associative hierarchies, in which information from the hippocampus would be reinterpreted in relation to previous semantic representations or nodes."<ref name="Cai" />

==== Vandervert model ====
Vandervert<ref name="Vandervert2003a">{{cite journal | last1 = Vandervert | first1 = L. | year = 2003 | title = How working memory and cognitive modeling functions of the cerebellum contribute to discoveries in mathematics | journal = New Ideas in Psychology | volume = 21 | issue = 2| pages = 159–175 | doi=10.1016/s0732-118x(03)00012-6}}</ref><ref>{{multiref2
|1={{cite book|last=Vandervert|first=L.|year=2003|chapter=The neurophysiological basis of innovation|editor-first=L.V.|editor-last=Shavinina|title=The international handbook on innovation|pages=17–30|location=Oxford, England|publisher=Elsevier Science}}
|2={{cite journal | last1 = Vandervert | first1 = L. | last2 = Schimpf | first2 = P. | last3 = Liu | first3 = H. | s2cid = 15247122 | year = 2007 | title = How working memory and the cerebellum collaborate to produce creativity and innovation [Special Issue] | journal = Creativity Research Journal | volume = 19 | issue = 1| pages = 1–19 | doi=10.1080/10400410709336873}}
}}</ref> described how the brain's frontal lobes and the cognitive functions of the [[cerebellum]] collaborate to facilitate creativity and innovation. Vandervert's explanation rests on considerable evidence that all processes of [[working memory]] (responsible for processing all thought)<ref>{{cite book|editor-last1=Miyake|editor-first1=A.|editor-last2=Shah|editor-first2=P.|year=1999|title=Models of working memory: Mechanisms of active maintenance and executive control|location=New York|publisher=Cambridge University Press}}
</ref> are adaptively modeled for increased efficiency by the cerebellum.<ref>{{cite book|editor-last=Schmahmann|editor-first=J.|year=1997|title=The cerebellum and cognition|location=New York|publisher=Academic Press}}</ref><ref name="Schmahmann2004">{{cite journal | author = Schmahmann J | year = 2004 | title = Disorders of the cerebellum: Ataxia, dysmetria of thought, and the cerebellar cognitive affective syndrome | journal = Journal of Neuropsychiatry and Clinical Neurosciences| volume = 16 | issue = 3| pages = 367–378 | doi=10.1176/jnp.16.3.367 | pmid=15377747}}</ref> The cerebellum (consisting of 100 billion neurons, which is more than the in the entirety of the rest of the brain)<ref>{{cite journal | doi = 10.1002/cne.903260405 |author1=Andersen B. |author2=Korbo L. |author3=Pakkenberg B. | year = 1992 | title = A quantitative study of the human cerebellum with unbiased stereological techniques | journal = The Journal of Comparative Neurology | volume = 326 | issue = 4| pages = 549–560 | pmid = 1484123 |s2cid=11492983 }}</ref> also adaptively models all bodily movement for efficiency. The cerebellum's adaptive models of working memory processing are then fed back to especially frontal lobe working memory control processes,<ref>{{cite journal |last1=Miller |first1=E. |last2=Cohen |first2=J. |s2cid=7301474 | year = 2001 | title = An integrative theory of prefrontal cortex function | journal = Annual Review of Neuroscience | volume = 24 | pages = 167–202 | pmid = 11283309 | doi = 10.1146/annurev.neuro.24.1.167 }}</ref> where creative and innovative thoughts arise.{{r|Vandervert2003a}} (Apparently, creative insight or the "aha" experience is then triggered in the temporal lobe.)<ref>{{cite journal | last1 = Jung-Beeman | first1 = M. | last2 = Bowden | first2 = E. | last3 = Haberman | first3 = J. | last4 = Frymiare | first4 = J. | last5 = Arambel-Liu | first5 = S. | last6 = Greenblatt | first6 = R. | last7 = Reber | first7 = P. | last8 = Kounios | first8 = J. | year = 2004 | title = Neural activity when people solve verbal problems with insight | doi = 10.1371/journal.pbio.0020097 | pmid = 15094802 | pmc = 387268 | journal = PLOS Biology | volume = 2 | issue = 4| pages = 500–510 | doi-access = free }}</ref>

According to Vandervert, the details of creative adaptation begin in "forward" cerebellar models, which are anticipatory/exploratory controls for movement and thought. These cerebellar processing and control architectures have been termed Hierarchical Modular Selection and Identification for Control (HMOSAIC).<ref>{{cite journal | doi = 10.1073/pnas.0835746100 |last1=Imamizu |first1=H. |last2=Kuroda |first2=T. |last3=Miyauchi |first3=S. |last4=Yoshioka |first4=T. |last5=Kawato |first5=M. | year = 2003 | title = Modular organization of internal models of tools in the cerebellum | journal = Proceedings of the National Academy of Sciences | volume = 100 | issue = 9| pages = 5461–5466 | pmid=12704240 | pmc=154367|doi-access=free }}</ref> New, hierarchically-arranged levels of the cerebellar control architecture (HMOSAIC) develop as mental mulling in working memory is extended over time. These new levels of the control architecture are fed forward to the frontal lobes. Since the cerebellum adaptively models all movement and all levels of thought and emotion,{{r|Schmahmann2004}} Vandervert's approach helps explain creativity and innovation in sports, art, music, the design of video games, technology, mathematics, the [[child prodigy]], and thought in general.

Vandervert argues that when a person is confronted with a challenging new situation, visual-spatial working memory and speech-related working memory are decomposed and re-composed (fractionated) by the cerebellum and then blended in the cerebral cortex in an attempt to deal with the new situation. With repeated attempts to deal with challenging situations, the cerebro-cerebellar blending process continues to optimize the efficiency of how working memory deals with the situation or problem.<ref>Vandervert, in press-a{{better citation needed|reason=unclear which one is "a"|date=July 2023}}</ref> He also argues that this is the same process (only involving visual-spatial working memory and pre-language vocalization) that led to the evolution of language in humans.<ref>{{multiref2
|1={{cite journal | last1 = Vandervert | first1 = L | year = 2011 | title = The evolution of language: The cerebro-cerebellar blending of visual-spatial working memory with vocalizations | journal = The Journal of Mind and Behavior | volume = 32 | pages = 317–334 }}
|2=Vandervert, L. (in press). "How the blending of cerebellar internal models can explain the evolution of thought and language." Cerebellum.
}}</ref> Vandervert and Vandervert–Weathers have pointed out that this blending process, because it continuously optimizes efficiencies, constantly improves prototyping attempts toward the invention or innovation of new ideas, music, art, or technology.<ref>{{cite book|last1=Vandervert|first1=Larry|last2=Vandervert-Weathers|first2=Kimberly J.|chapter=New Brain-Imaging Studies Indicate how Prototyping is Related to Entrepreneurial giftedness and innovation education in children|editor-first=Larisa|editor-last=Shavinina|title=The Routledge International Handbook of Innovation Education|location=London|publisher=Routledge|pages=79–91}}</ref> Prototyping, they argue, not only produces new products, it trains the cerebro-cerebellar pathways involved to become more efficient at prototyping itself. Furthermore, Vandervert and Vandervert-Weathers believe that this repetitive "mental prototyping", or mental rehearsal involving the cerebellum and the cerebral cortex, explains the success of the self-driven, individualized patterning of repetitions initiated by the teaching methods of the [[Khan Academy]].

The model proposed by Vandervert has, however, received incisive critique from several authors.<ref>{{multiref2
|1={{cite journal | last1 = Brown | first1 = J. | year = 2007 | title = On Vandervert ''et al.'' 'Working memory cerebellum, and creativity' | journal = Creat. Res. J. | volume = 19 | pages = 25–29 | doi=10.1080/10400410709336875| s2cid = 143457667 |display-authors=etal}}
|2={{cite journal | last1 = Abraham | first1 = A. | s2cid = 43976883 | year = 2007 | title = Can a neural system geared to bring about rapid, predictive, and efficient function explain creativity? | journal = Creat. Res. J. | volume = 19 | pages = 19–24 | doi=10.1080/10400410709336874}}
}}</ref>

==== Flaherty model ====
In 2005, Alice Flaherty presented a three-factor model of the creative drive. Drawing from evidence in brain imaging, drug studies, and lesion analysis, she described the creative drive as resulting from an interaction of the frontal lobes, the [[temporal lobe]]s, and [[dopamine]] from the [[limbic system]]. The frontal lobes may be responsible for idea generation, and the temporal lobes for idea editing and evaluation. Abnormalities in the frontal lobe (such as depression or anxiety) generally decrease creativity, while abnormalities in the temporal lobe often increase creativity. High activity in the temporal lobe typically inhibits activity in the frontal lobe, and vice versa. High dopamine levels increase general [[arousal]] and goal-directed behaviors and reduce [[latent inhibition]], with all three effects increasing the drive to generate ideas.<ref>{{cite journal |last=Flaherty |first=A.W. |year=2005 |title=Frontotemporal and dopaminergic control of idea generation and creative drive |journal=J Comp Neurol |volume=493 |issue=1 |pages=147–53 |doi=10.1002/cne.20768 |pmc=2571074 |pmid=16254989}}</ref> 

==== Lin and Vartanian model ====
In 2018, Lin and Vartanian proposed a [[Neuroeconomics|neuroeconomic]] framework that precisely describes [[norepinephrine]]'s role in creativity and modulating [[large-scale brain networks]] associated with creativity.<ref name=":12" /> This framework describes how neural activity in different brain regions and networks, such as the [[default mode network]], track [[utility]] or subjective values of ideas.

=== Economics ===
Economic approaches to creativity have focused on three aspects – the impact of creativity on economic growth, methods of modeling markets for creativity, and the maximization of economic creativity (innovation).<ref>{{cite journal |last1=Artige |first1=Lionel |last2=Lubart |first2=Todd |title=Economic Perspectives on Creativity |journal=Encyclopedia of Creativity |date=2020 |pages=411–416 |doi=10.1016/B978-0-12-809324-5.23721-8 |hdl=2268/241305 |isbn=978-0-12-815615-5 |access-date=13 August 2024 |url=https://www.researchgate.net/publication/337255290|hdl-access=free }}</ref><ref>{{cite journal |last1=Williams |first1=Leslie K. |last2=McGuire |first2=Stephen J. |title=Economic creativity and innovation implementation: the entrepreneurial drivers of growth? Evidence from 63 countries |journal=Small Business Economics |date=May 2010 |volume=34 |issue=4 |pages=391–412 |doi=10.1007/s11187-008-9145-7 |access-date=13 August 2024 |url=https://link.springer.com/article/10.1007/s11187-008-9145-7}}</ref>

In the early 20th century, [[Joseph Schumpeter]] introduced the economic theory of ''[[creative destruction]]'' to describe the way in which old ways of doing things are destroyed and replaced by the new. Some economists (such as [[Paul Romer]]) view creativity as an important element in the recombination of elements to produce new technologies and products and, consequently, economic growth. Creativity leads to [[capital (economics)|capital]], and creative products are protected by [[intellectual property]] laws.

Mark A. Runco and Daniel Rubenson have tried to describe a "[[Behavioral economics|psychoeconomic]]" model of creativity.<ref name="RubRunc1992">{{cite journal |last1=Rubenson |first1=Daniel L. |last2=Runco |first2=Mark |year=1992 |title=The psychoeconomic approach to creativity |journal=New Ideas in Psychology |volume=10 |issue=2 |pages=131–147 |doi=10.1016/0732-118X(92)90021-Q}}</ref> In such a model, creativity is the product of endowments and active investments in creativity; the costs and benefits of bringing creative activity to market determine the supply of creativity. Such an approach has been criticized for its view of creativity consumption as always having positive [[utility]], and for the way it prematurely analyzes the value of future innovations.<ref name="Diamond1992">{{cite journal |last=Diamond |first=Arthur M. |year=1992 |title=Creativity and Interdisciplinarity: A Response to Rubenson and Runco |journal=New Ideas in Psychology |volume=10 |issue=2 |pages=157–160 |doi=10.1016/0732-118X(92)90023-S}}</ref>

In his 2002 book, ''The Rise of the Creative Class'', [[economist]] [[Richard Florida]] popularized the notion that regions with "3 T's of economic development: Technology, Talent, and Tolerance" also have high concentrations of [[creative professional]]s and tend to have a higher level of economic development.<ref name="Florida 2002">{{cite book |last1=Florida |first1=Richard |url=https://archive.org/details/riseofcreativecl00flor_1 |title=The Rise of the Creative Class: And How It's Transforming Work, Leisure, Community and Everyday Life |publisher=Basic Books |year=2002 |isbn=978-0-465-02476-6}}</ref>

=== Sociology ===
Creativity research for most of the twentieth century was dominated by psychology and business studies, with little work done in sociology. Since the turn of the millennium, there has been more attention paid by sociological researchers,<ref name="Chan 2011">{{cite book |last1=Chan |first1=Janet |title=Creativity and Innovation in Business and Beyond: Social Science Perspectives and Policy Implications |publisher=Routledge |year=2011 |editor1-last=Mann |editor1-first=Leon |chapter=Towards a sociology of creativity |editor2-last=Chan |editor2-first=Janet}}</ref><ref>{{cite book |last1=Reckwitz |first1=Andreas |title=The Invention of Creativity |publisher=Polity Press |year=2017 |page=vi}}</ref> but sociology has yet to establish creativity as a specific research field, with reviews of sociological research into creativity a rarity in high-impact literature.<ref name="Godart Seong Phillips 2020">{{Cite journal |last1=Godart |first1=Frédéric |last2=Seong |first2=Sorah |last3=Phillips |first3=Damon J. |date=2020-07-30 |title=The Sociology of Creativity: Elements, Structures, and Audiences |journal=Annual Review of Sociology |volume=46 |issue=1 |pages=489–510 |doi=10.1146/annurev-soc-121919-054833 |issn=0360-0572 |s2cid=218819502}}</ref>

While psychology has tended to focus on the individual as the locus of creativity, sociological research is directed more at the structures and context within which creative activity takes place, primarily based in [[sociology of culture]], which finds its roots in the works of [[Karl Marx|Marx]], [[Émile Durkheim|Durkheim]], and [[Max Weber|Weber]]. This has meant a focus on the cultural and creative industries as sociological phenomena. Such research has covered a variety of areas, including the economics and production of culture, the role of creative industries in development, and the rise of the "creative class".<ref name="Casey Obrien 2020">{{cite journal |last1=Casey |first1=Emma |last2=O'Brien |first2=Dave |year=2020 |title=Sociology, 'Sociology' and the Cultural and Creative Industries |journal=Sociology |volume=54 |issue=3 |pages=443–459 |doi=10.1177/0038038520904712 |s2cid=216202901 |doi-access=free}}</ref>

=== Education ===
For those who view the conventional system of [[education|schooling]] as stifling creativity, an emphasis is made (particularly in the [[preschool]]/[[kindergarten]] and early school years) to provide a creativity-friendly, rich, imagination-fostering environment for young children.<ref name="Nickerson99handbook">{{cite book |last=Nickerson |first=R.S. |title=Handbook of Creativity |publisher=[[Cambridge University Press]] |year=1999 |editor-last=Sternberg |editor-first=R.J. |editor-link=Robert Sternberg |chapter=Enhancing creativity}}</ref><ref name="Csik99handbook">{{cite book |last=Csíkszentmihályi |first=Mihály |author-link=Mihály Csíkszentmihályi |title=Handbook of Creativity |publisher=[[Cambridge University Press]] |year=1999 |editor-last=Sternberg |editor-first=R.J. |editor-link=Robert Sternberg |chapter=Implications of a systems perspective for the study of creativity}}</ref><ref name="RobAzzam2009">{{cite journal |last=Robinson |first=K. |author-link=Ken Robinson (British author) |author2=Azzam, A. M. |year=2009 |title=Why creativity now? |journal=Educational Leadership |volume=67 |issue=1 |pages=22–26}}</ref> Researchers have seen this as important because technology is advancing at an unprecedented rate and creative problem-solving will be needed to cope with these challenges as they arise.<ref name="RobAzzam2009" /> In addition to helping with problem solving, creativity also helps students identify problems where others have failed to do so.<ref name="Nickerson99handbook" /><ref name="Csik99handbook" /><ref>{{cite book |last1=Paris |first1=C. |title=Creativity and Reason in Cognitive Development |last2=Edwards |first2=N. |last3=Sheffield |first3=E. |last4=Mutinsky |first4=M. |last5=Olexa |first5=T. |last6=Reilly |first6=S. |last7=Baer |first7=J. |publisher=Cambridge University Press |year=2006 |editor-last1=Kaufman |editor-first1=J.C. |location=New York, N.Y. |pages=333–350 |chapter=How early school experiences impact creativity |editor-last2=Baer |editor-first2=J.}}</ref> The [[Waldorf School]] is an example of an education program that promotes creative thought.

Promoting intrinsic motivation and problem solving are two areas where educators can foster creativity in students. Students are more creative when they see a task as intrinsically motivating, valued for its own sake.<ref name="Csik99handbook" /><ref name="RobAzzam2009" /><ref name="ByrgeHanson2009">{{cite journal |last1=Byrge |first1=C. |last2=Hanson |first2=S. |year=2009 |title=The creative platform: A new paradigm for teaching creativity |journal=Problems of Education in the 21st Century |volume=18 |pages=33–50}}</ref><ref>{{cite book |last=Csikszentmihalyi |first=M. |title=The evolving self: A psychology for the third millennium |publisher=Harper Perennial |year=1993 |editor-last=Csikszentmihalyi |editor-first=M. |location=New York |pages=175–206 |chapter=Evolution and flow}}</ref> To promote creative thinking, educators need to identify what motivates their students and to structure teaching around it. Providing students with a choice of activities allows them to become more intrinsically motivated and therefore creative in completing the tasks.<ref name="Nickerson99handbook" /><ref>{{citation |author=National Advisory Committee on Creative and Cultural Education |title=All our futures: Creativity, culture, and education |year=1998 |location=U.K. |publisher=NACCCE}}</ref>

Teaching students to solve problems that do not have well-defined answers is another way to foster their creativity. This is accomplished by allowing students to explore problems and redefine them, possibly drawing on knowledge that at first may seem unrelated to the problem in order to solve it.<ref name="Nickerson99handbook" /><ref name="Csik99handbook" /><ref name="RobAzzam2009" /><ref name="ByrgeHanson2009" /> In adults, mentoring individuals is another way to foster their creativity.<ref>{{Cite book |last=Torrance |first=Ellis Paul |title=The manifesto: a guide to developing a creative career |publisher=Ablex Pub |year=2002 |isbn=978-0-313-01186-3 |location=Westport, Conn. |oclc=52769638}}</ref> However, the benefits of mentoring creativity apply only to creative contributions considered great in a given field, not to [[#"Four C" model|everyday creative expression]].<ref name="Form 440–450">{{Cite journal |last1=Form |first1=Sven |last2=Schlichting |first2=Kerrin |last3=Kaernbach |first3=Christian |date=November 2017 |title=Mentoring functions: Interpersonal tensions are associated with mentees' creative achievement |journal=Psychology of Aesthetics, Creativity, and the Arts |volume=11 |issue=4 |pages=440–450 |doi=10.1037/aca0000103 |issn=1931-390X |s2cid=148927589}}</ref>

Musical creativity is a gateway to the flow state, which is conducive to spontaneity, improvisation, and creativity. Studies show that it is beneficial to emphasize students' creative side and integrate more creativity into their curriculums, with a notable strategy being through music.<ref>{{cite journal |last1=Kasirer |first1=Anat |last2=Shnitzer-Meirovich |first2=Shlomit |date=1 June 2021 |title=The perception of creativity and creative abilities among general education and special education teachers |journal=Thinking Skills and Creativity |volume=40 |page=100820 |doi=10.1016/j.tsc.2021.100820 |s2cid=233684657}}</ref> One reason for this is that students are able to express themselves through musical improvisation in a way that taps into higher order brain regions, while connecting with their peers and allowing them to go beyond typical pattern generation.<ref>(Landau, 2017:30){{full citation needed|date=July 2023}}</ref> In this sense, improvisation is a form of self-expression that can generate connectivity between peers and surpass the age-old rudimentary aspects of school.

==== Scotland ====
In the [[Education in Scotland|Scottish education system]], creativity is identified as a core skillset for learning, life, and work, and is defined as "a process which generates ideas that have value to the individual. It involves looking at familiar things with a fresh eye, examining problems with an open mind, making connections, learning from mistakes, and using imagination to explore new possibilities."<ref name="education.gov.scot">{{Cite web |title=Creativity 3-18 curriculum review (impact report) {{!}} Practice exemplars {{!}} National Improvement Hub |url=https://education.gov.scot/improvement/practice-exemplars/creativity-3-18-curriculum-review-impact-report |access-date=2021-10-25 |website=education.gov.scot}}</ref> The need to develop a shared language and understanding of creativity and its role across every aspect of learning, teaching, and continuous improvement was identified as a necessary aim;<ref>{{Cite web |title=Creative Learning Networks {{!}} Learning resources {{!}} National Improvement Hub |url=https://education.gov.scot/improvement/learning-resources/creative-learning-networks |access-date=2021-10-25 |website=education.gov.scot}}</ref> and a set of four skills is used to allow educators to discuss and develop creativity across all subjects and sectors of education – curiosity, open-mindedness, imagination, and problem solving.<ref>{{Cite web |title=What are creativity skills? {{!}} Learning resources {{!}} National Improvement Hub |url=https://education.gov.scot/improvement/learning-resources/what-are-creativity-skills |access-date=2021-10-25 |website=education.gov.scot}}</ref> Distinctions are made between creative learning (when learners are using their creativity skills), creative teaching (when educators are using their own creativity skills), and creative change (when creativity skills are applied to planning and improvement). Scotland's national Creative Learning Plan<ref>{{Cite web |title=Scotland's Creative Learning Plan |url=https://www.creativescotland.com/resources/our-publications/plans-and-strategy-documents/scotlands-creative-learning-plan |access-date=2021-10-25 |website=www.creativescotland.com |language=en}}</ref> supports the development of creativity skills in all learners and of educators' expertise in developing creativity skills. A range of resources has been created to support and assess this, including a national review of creativity learning by Her Majesty's Inspectorate for Education.<ref name="education.gov.scot" />

==== China ====
[[Education in China|China]] recognizes that creativity is crucial for [[national security]], [[Social change|social development]], and generally benefitting the people. Measures have been proposed to enhance creative ability in the country.<ref>{{Cite journal |last=Jian-sheng |first=X. U. |date=2006 |title=Promoting Creative Ability in China |url=https://consensus.app/papers/promoting-ability-china-jiansheng/14dad62767d357f085588eaae3b00dce/ |journal=Contemporary Economy & Management}}</ref>

==== European Union ====
The [[Educational policies and initiatives of the European Union|European Union]] sees creativity as important for the development of basic skills, and has declared 2009 the Year of Creativity and Innovation. Countries such as [[France]], [[Germany]], [[Italy]], and [[Spain]] have made the encouragement of creativity a part of their educational and economic policies.<ref>{{Cite journal |last1=Collard |first1=P. |last2=Looney |first2=J. |date=2014 |title=Nurturing Creativity in Education |url=https://consensus.app/papers/nurturing-creativity-education-collard/585eecca1fcc51a7a149ddd9f43857b2/ |journal=European Journal of Education |volume=49 |issue=3 |pages=348–364 |doi=10.1111/EJED.12090}}</ref>