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NOVELTY
The focal feature of most standard denitions of creativity refers to novelty and its closely related property of
originality (Kaufmann, 2003; Lubart, 1994; Ochse, 1990).
Empirical research assumes originality as an important
trait of creative behavior (e.g., Sternberg & Lubart,
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UTILITY
The utility attribute of creativity is less clearly articulated in scientic literature. The denitions summarized
by Mayer (1999) described a creative work as valuable,
appropriate, useful, signicant, and adaptive (meeting
task constraints); that is, this work can be put to some
use (see also Runco & Jaeger, 2012). However, these
denitions provide limited account to how this characteristic of creative work can be identied and assessed.
The utilitarian characteristic of creative work can be
easily identied in scientic and business context when
a product of creative endeavor makes a measurable
theoretical or practical contribution. For example,
Einsteins (1920) theory of relativity advanced science
on the notion of gravitation and the structure of
space-time. An obvious utility of this discovery was that
it superseded a 200-year-old theory of mechanics elucidated by Isaac Newton and laid the foundations for a
new research paradigm in physics and astronomy. In
the same fashion, the utility of Google, Inc., established
by Brin and Page, is obvious to every Internet user at the
turn of the 21st century. Identifying the utility of a creative work in humanities seems to be more intricate.
Note that this work cannot be put to some practical
use for its primary value is not utilitarian per se. In line
with the objective of this article, the utility function of a
creative work is perceived from four mutually complimenting standpoints: from the individual, sociocultural,
temporal, and moral perspectives, respectively.
First, a creative work is what an author considers as
creative. Recall Bretons (1935) claim that a work of art
gains its status when the artists perceives it as such; that
is, the signicance of the creative work is in the eye of
the creator. This seems to be a rather subjective perspective, which annihilates any objective evaluation criteria of
the relevance of the creative work. It ascribes the
evaluative power to individuals whose objectivity should
be questioned, given their emotional attachment to the
product of their own creative endeavor. On the other side,
an individuals intrinsic creative effort could be the only
valuable criterion of a creative work. This relates the util-
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morality involves a clear sense of selfone in clear contact with social and cultural context (p. 103). Note that
by linking the self with the sociocultural context, the
concept of creative morality joins the moral aspect of
utility function with the other two discussed earlier,
namely the role of the creative person and the role of
society in stipulating the utility of creative work.
Why would creative people strive to embody elusive
ideas in tangible product (such as a musical piece, an
art or literary work, a scientic discovery, or a business
proposal) unless they wish to share these ideas with the
others, and ultimately hope to change others perspectives? Creative ideas generated and cultivated within
a person obtain their signicance to the society only
when they are expressed in such a way that may have
impact on social values and norms. Lart pour lart
slogan, which limits art in its didactic, moral or utilitarian
function, was not accepted by many artists who used art
as a transporter of their moral and ethical thoughts (see
Runco, 1993, for a list of artists). At the same time, as
Dudek (1993) argued, art for its own sake is intrinsically
moral if the artist is true to himself=herself and
truthfully portraits the world. This consideration links
the moral aspect of utility to the concept of truth as
a component of aesthetic function of creative work and
to the concept of authenticity, both discussed below.
Thus, a creative work can be said to have a utility
function if it is regarded by a producer or a recipient
as creative, if it represents an important landmark in
spiritual, cultural, social, and=or political environment,
and if it addresses moral values and norms. This
criterion can be applied to different domains of creative
enterprise: science, art, and business. It can also be used
to evaluate everyday forms of creation. For example,
Glaveanu (2011) proposed a multilayered model of
creativity based on empirical research exploring this
construct in a context of folk art, specically Easter
egg decoration in Romania. It integrates two standard
dimensions of novelty and utility (dened as newness
and originality, and value and usefulness, respectively),
and two other dimensions: subjective and cultural
reception of creative products. Note that the latter two
overlap with the individual and sociocultural perspectives on the utility function in this article. Glaveanus
research implies that the utility criterion together with
novelty criterion can be applied to evaluate creative
work in everyday life as well.
AESTHETICS
An interesting observation can be extracted from the
analysis of multiplying exemplars of contemporary
Western art. Recall the earlier reference to Joseph
Beuys die Fettecke (The Fat Corner): This work is
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AUTHENTICITY
Novelty in thinking is assumed to be a prerogative of the
Western creative tradition. However, a unique approach
in creative production is not completely rejected from
the horizon of the Eastern thought. Rather, following
Confucian aesthetics, creativity is a process of breathing
in a new essence into existing ideas to reect an individuals own values and beliefs (Tu, 1985). That is, the
old ideas are to be smoothly modied to t new circumstances. In this tradition, a persons authentic perception
becomes a creativity transporter. Instead of trying to
establish a unique phenomenon by breaking up with
old traditions, a person cultivates ones authentic
approach, which can be applied to both old and new.
There is no greater joy for me than to nd, on selfexamination, that I am true to myself. . . . For a man to
give full realization to his heart is for him to understand
his own nature; and a man who knows his own nature
will know Heaven. (cited in Niu & Sternberg, 2006, p. 30)
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TABLE 1
Four Criteria of the Creativity Construct and Corresponding
Conditions for a Work to be Considered Creative
Criterion
Conditions
Novelty
Utility
Aesthetics
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The proposed construct can also be applied to evaluation of creative value of mundane production such as
a brownie recipe. Although this can be an original
recipe, cooking a brownie does not involve any modication or rejection of a paradigm, and therefore its
novelty score should be quite low. This recipe can be
argued to have a utility function if it is perceived as
a creative work by a host cooking the brownie and=or
a guest eating it. However, it obtains a relatively low
utility score because other utility conditions are not
satised. It can also be argued to have an authenticity
function due to the cooks personal engagement. Finally,
although a brownie can have an attractive appearance, its
aesthetic value should be low for it does not satisfy any
other conditions of aesthetics presented above. Thus,
the brownie recipe has low creative value.
The proposed creativity construct appears particularly
useful in evaluating contemporary art and scientic
theories. In spite of vast production of artistic and scientic
works presented during art exhibitions and fairs, at
conferences and in journal publications, one senses that
truly creative work is thin on the ground. Place for example,
famous Damien Hirsts sculpture For the Love of God (a
platinum cast of an 18th century human skull encrusted
with 8,601 awless diamonds) into proposed four-dimensional space and you nd that it obtains moderate scores
on both novelty and utility, and rather low scores on aesthetics and authenticity. Nevertheless, it is regarded as an
important piece of contemporary art, and denitely the
most expensive one (n.a, 2007). The signicance of this
work was explained by Greer (2008): Damien Hirst is a
brand, because the art form of the 21st century is marketing.
To develop so strong a brand on so conspicuously threadbare a rationale is hugely creativerevolutionary even.
Thus, the creative value of this work would be primarily
associated with novelty and utility, which, according to
the proposed construct, would not approximate the ideal
of creative work. Nevertheless, as mentioned earlier, it is
honored as a masterpiece, and the question to be asked in
this regard is who is to judge creativity. And following
Murray, Who is to judge the judges? And the judges of
the judges? (as cited in Runco & Jaeger, 2012, p. 94).
Indeed, some researchers suggest that the issue of the
common framework of creativity assessment should be
taken as an integral part of the denition (e.g., Runco,
2003; Simonton, 2012). The proposed construct would
have a limited scope of application unless the assessment
methods for each criterion and underlying conditions
are provided.
CONCLUSION
The purpose of this article was to present an
extended denition of creativity that embraces potential
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