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We are a psychology and neuroscience lab that studies how creativity works the mind and brain. The figure is to be used in paper we are writing in which we present a new definition of creativity as a process. The abstract for the paper and the caption for this figure (both included below) should help to provide a clearer sense of what we are hoping to accomplish in the figure. Title and Abstract: The Process Definition of Creativity: Aligning Theory with Brain-Based Insights Whereas the “standard” definition of creativity as “novel and useful” describes creative products that can be evaluated externally, creativity itself is a process that, like other cognitive processes, happens internally. Unlike process-focused definitions used for process constructs like memory, attention, or reasoning, the use of a product-focused definition for a process construct in creativity research contributes to the oft-noted challenges of operationalizing the construct of creativity. These challenges limit the advancement of the empirical science of creativity, especially cognitive and brain-based research, as well as the theoretical development of process models of creativity, which are currently difficult to link to the definition of creativity. Recently, and especially in the last 10 years, the capacity of brain-based methods to “look inside” while creativity happens has afforded qualitatively new empirical means of parsing and constraining theory. Extant neuroimaging evidence about creativity points inward to a standard aligned with components of brain function that constitute the creative process itself. Here, operating from bedrock premises of creativity theory, we develop a process definition of creativity that aligns with insights yielded by the neuroscience of creativity, and that is intended to both inform and to be enriched by future empirical research in creativity science. Specifically, we propose a definition of creativity as internal attention constrained by a generative goal. This definition comprises three primary criteria: 1) that attention is directed internally (i.e., toward mental representations; as distinct from external/perceptual attention); 2) that attentional operations (e.g., search, selection, manipulation) are constrained to fit parameters of a to-be-achieved goal state (whether or not a goal is actually achieved); and 3) that the goal is generative (a representation not already held in memory; as distinct from retrieval of extant representations). We illustrate how these process elements provide ontological clarity in distinguishing creativity from related constructs, such as mind-wandering, retrieval, and innovation; and relate the process definition to extant models of creativity, including process-based models. Lastly, we outline directions in which the process definition of creativity can be applied and extended to advance creativity research. In particular, we recommend that process-focused assessments should be collected in conjunction with more familiar product-based assessments to advance construct validity in the measurement of creativity. Figure Caption: The Creativi-Tree illustrates how the three criteria of the process definition provide a basis for taxonomic distinctions between creativity and the related constructs of mind-wandering and retrieval. These distinctions are also described in the text. On the left side of the tree, the brackets for each construct indicate the minimum set of creativity-related elements required to constitute that construct, but not always the maximum set of elements that the construct can encompass. For example, creativity can involve explicit novelty and usefulness goals that are indicated for innovation (indeed, innovation is a form of creativity; see further description of innovation below), and all process constructs bracketing elements in the trunk of the tree can yield products listed among the branches of the tree. Also, whereas the tree includes process elements relevant to creativity, constructs might also include some other elements not included in the tree. Mind-wandering, for example, is a complex construct, but here we indicate only the overlap of mind-wandering with the process elements of creativity (i.e., mind-wandering involves internally-directed attention, but is not goal-related so it does not meet the two goal-related criteria). Retrieval involves internally-directed attention and goal state constraint, but the goal is to retrieve rather than to generate (so it does not meet the generative criterion). Note that the bracket for imagination is depicted as a dotted line to indicate that the construct of imagination is somewhat less specified than the others listed here and we do not seek make a strong argument for a single definition of imagination. Nonetheless, as reflected in the figure, the term, imagination, often demarcates the processes that constitute the defining core of creativity, as distinct from the products that creativity yields. On the right side of the tree, brackets indicate the demarcation between process (including internally-directed attention and all goal-related elements), and product (including elements of product novelty and usefulness). Brackets for levels of creative eminence indicate how these levels map onto the process and product elements that constitute the tree (as described below). Above the tree, the sun and rain cloud represent the elements of external attention/perception and knowledge/learning/experience that often support creativity – nourishing the tree in this metaphor. Brackets for levels of creative eminence (mini-C, little-C, Pro-C, and Big-C) indicate how these levels map onto the process and product elements that constitute the tree (as described below)
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We would like a rendering of the figure that comes across as more polished and professional. Ideally, the design would have a simple feel — still something that appears like a scientific schematic rather than “arts-y” while being more polished in appearance. The basic elements of the figure should not change because they are important for accurately presenting our definitional account/model of creativity. Some amount of artistic license could work, but it is important that the elements of the figure and their relationships to each other are still clearly discernible.
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