Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-7cvxr Total loading time: 0 Render date: 2024-12-31T20:44:37.140Z Has data issue: false hasContentIssue false

11 - Emotions across the Creative Process and across Domains of Creativity

from Part II - The Development of Creativity

Published online by Cambridge University Press:  16 February 2023

By
Marion Botella
Edited by
Zorana Ivcevic ,
Jessica D. Hoffmann  and
James C. Kaufman
Zorana Ivcevic
Affiliation:
Yale University, Connecticut
Jessica D. Hoffmann
Affiliation:
Yale University, Connecticut
James C. Kaufman
Affiliation:
University of Connecticut
Get access

Summary

Emotions describe a transitory, short-term, and intense state in response to a stimulus. This state will have physiological, cognitive, and behavioral manifestations (Luminet, 2002; Scherer, 2000). It is possible to regulate an emotional state by directly interacting with the stimulus (Gross, 2007). The creative process describes the sequence of thoughts and actions that produces an idea that is both original and contextually appropriate (Lubart et al., 2015). This process is "dynamic by its components itself, their organization, their combination, the successive interactions it maintains with the environment, the unfolding nature of a phenomenon over time and its cyclical nature" (Botella & Lubart, 2019, p. 272). Thus, if we cross the definitions of the emotions and the creative process, two dynamic phenomena, we understand that they will influence each other and vary over time. But how will emotions vary during the creative process? In this chapter, we will lead a literature review to answer this question and we will also discuss these emotional variations according to the creative domain. Indeed, the process is not similar in art, science, design, theater, music, etc. (Glăveanu et al., 2013). We will see how models of the creative process integrate emotions across domains of creativity.

Keywords

emotionsprocessartdesignscience
Type
Chapter
Information
The Cambridge Handbook of Creativity and Emotions , pp. 205 - 220
Publisher: Cambridge University Press
Print publication year: 2023

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Amabile, T. M., Barsade, S. G., Mueller, J. S., & Staw, B. M. (2005). Affect and creativity at work. Administrative Science Quarterly, 50(3), 367–403. https://doi.org/10.2189/asqu.2005.50.3.367CrossRefGoogle Scholar
Barbot, B., Besançon, M., & Lubart, T. (2016). The generality-specificity of creativity: Exploring the structure of creative potential with EPoC. Learning and Individual Differences, 52, 178–187. https://doi.org/10.1016/j.lindif.2016.06.005CrossRefGoogle Scholar
Bonnardel, N., & Lubart, T. (2019). La créativité: approches et méthodes en psychologie et en ergonomie. RIMHE: Revue Interdisciplinaire Management. Homme Entreprise, 4, 79–98. https://doi.org/10.3917/rimhe.037.0079Google Scholar
Botella, M. (2018). The creative process in graphic art. In Lubart, T. I. (Ed.), The Creative Process: Perspectives from Multiple Domains (pp. 59–88). Palgrave Macmillan.Google Scholar
Botella, M., & Dalloubeix, C. (2020, September). What is the path followed by the most creative engineering students? Communication presented to MIC Conference – Nuturing creative potential, Marconi Institut for Creativity, Bologna (Italy). Virtual conference.Google Scholar
Botella, M., & Lubart, T. I. (2019). From dynamic processes to a dynamic creative process. In Beghetto, R & Corazza, G. (Eds.), Dynamic Perspectives on Creativity: New Directions for Theory, Research, and Practice in Education (pp. 261–278). Springer.Google Scholar
Botella, M., Glăveanu, V. P., Zenasni, F., et al. (2013). How artists create: Creative process and multivariate factors. Learning and Individual Differences, 26, 161–170. https://doi.org/10.1016/j.lindif.2013.02.008CrossRefGoogle Scholar
Botella, M., Lockner, D., & Pavani, J.-B. (in press). Créativité et émotions. In Bonnardel, N, Girandola, F, Bonetto, E, & T. Lubart (Eds.), Créativité en situations: Des théories aux applications (pp. 99–112). Dunod.Google Scholar
Botella, M., Nelson, J., & Zenasni, F. (2016). Les macro et micro processus créatifs [The mirco and macro creative processes]. In Capron-Puozzo, I. (Ed.), Créativité et apprentissage [Creativity and Learning] (pp. 33–46). De Boeck.Google Scholar
Botella, M., Nelson, J., & Zenasni, F. (2019). It is time to observe the creative process: How to use a Creative process Report Diary (CRD). Journal of Creative Behavior, 53(2), 211–221. https://doi.org/10.1002/jocb.172CrossRefGoogle Scholar
Bourgeois-Bougrine, S., Glãveanu, V., Botella, M., et al. (2014). The creativity maze: Exploring creativity in screenplay writing. Psychology of Aesthetics, Creativity, and the Arts, 8(4), 384–399. https://doi.org/10.1037/a0037839CrossRefGoogle Scholar
Brand, A. G. (1990). Writing and feelings: Checking our vital signs. Rhetoric Review, 8(2), 290–308.Google Scholar
Bronowski, J. (1958). The creative process. Scientific American, 199(3), 58–65.Google Scholar
Chaffin, R., Imreh, G., Lemieux, A. F., & Chen, C. (2003). “Seeing the big picture”: Piano practice as expert problem solving. Music Perception, 20(4), 465–s490. https://doi.org/10.1525/mp.2003.20.4.465Google Scholar
Da Costa, C. G., Zhou, Q., & Ferreira, A. I. (2018). The impact of anger on creative process engagement: The role of social contexts. Journal of Organizational Behavior, 39(4), 495–506. https://doi.org/10.1002/job.2249Google Scholar
Desmet, P. M. A., & Hekkert, P. (2009). Special issue editorial: Design & emotion. International Journal of Design, 3(2), 1–6.Google Scholar
Desmet, P. M. A., & Schifferstein, H. (2012). Emotion research as input for product design. In Beckley, J., Paredes, D., Lopetcharat, K. (Eds.), Product Innovation Toolbox: A Field Guide to Consumer Understanding and Research (pp. 149–175). John Wiley & Sons.Google Scholar
Donaghey, J., & Magowan, F. (2021). Emotion curves: Creativity and methodological “fit” or “commensurability.” International Review of Qualitative Research. Online first. https://doi.org/10.1177/_1940_8447_2110_02768.CrossRefGoogle Scholar
Ekman, P., & Davidson, R. J. (1994). Afterword: How are emotions distinguished from moods, temperament, and other relative affective constructs? In Ekman, P & Davidson, R. J (Eds.), The Nature of Emotions: Fundamental Questions (pp. 94–96). Oxford University Press.Google Scholar
Flanders, J. L. (2004). Creativity and emotion: Reformulating the Romantic theory of art. In Hardy-Vallée, B (Ed.), Cognitio: Matter and Mind (pp. 95–102.Google Scholar
Folkman, S. (2013). Stress: Appraisal and coping. In Gellman, M. D., & Turner, J. R. (Eds.), Encyclopedia of Behavioral Medicine (pp. 1913–1915). Springer. https://doi.org/10.1007/978-1-4419-1005-9_215CrossRefGoogle Scholar
Glăveanu, V. P., Lubart, T., Bonnardel, N., et al. (2013). Creativity as action: Findings from five creative domains. Frontiers in Educational Psychology, 4, 1–14. https://doi.org/10.3389/fpsyg.2013.00176Google Scholar
Grebot, E. (2011). Stress et burnout au travail: Identifier, prévenir, guérir. Editions Eyrolles.Google Scholar
Gross, J. J. (2007). Handbook of Emotion Regulation. Guilford Press.Google Scholar
Héroux, I. (2018). Creative processes in the shaping of a musical interpretation: A study of nine professional musicians. Frontiers in Psychology, 9, 665. https://doi.org/10.3389/fpsyg.2018.00665CrossRefGoogle ScholarPubMed
Héroux, I., & Fortier, M.-S. (2014). Expérimentation d’une méthodologie pour expliciter le processus de création d’une interprétation musicale. Cahiers Société Québécoise Recherche Musique, 15, 67–79. https://doi.org/10.7202/1033796arGoogle Scholar
Ho, A. G. (2010). Exploring the relationships between emotion and design process for designers today. In DS 66-2: Proceedings of the 1st International Conference on Design Creativity (ICDC 2010).Google Scholar
Horng, J. S., & Hu, M. L. (2008). The mystery in the kitchen: Culinary creativity. Creativity Research Journal, 20(2), 221–230. https://doi.org/10.1080/1040041080206016Google Scholar
Horng, J.-S., & Lee, Y.-C. (2009). What environmental factors influence creative culinary studies? International Journal of Contemporary Hospitality Management, 21, 100–117. https://doi.org/10.1108/09596110910930214Google Scholar
Lazarus, R. S., & Folkmann, S. (1984). Stress, Appraisal, and Coping. Springer.Google Scholar
Leong, M. W. A., Yeh, S. S., Fan, Y. L., & Huan, T. C. (2020). The effect of cuisine creativity on customer emotions. International Journal of Hospitality Management, 85, 102346. https://doi.org/10.1016/j.ijhm.2019.102346Google Scholar
Lubart, T. I. (1999). Componential models. In Runco, M. A. & Pritzker, S. R. (Eds.), Encyclopaedia of Creativity (vol. 1, pp. 295–300). Academic Press.Google Scholar
Lubart, T. I., & Getz, I. (1997). Emotion, metaphor, and the creative process. Creativity Research Journal, 10(4), 285–301. https://doi.org/10.1207/s15326934crj1004_1Google Scholar
Lubart, T. I, Mouchiroud, C., Tordjman, S., & Zenasni, F. (2015). La psychologie de la creativité [Psychology of Creativity] (2nd ed.). Armand Colin.Google Scholar
Luminet, O. (2002). Psychologie des émotions: Confrontation et évènement. De Boeck University.Google Scholar
Madeira, A., Palrão, T., Mendes, A. S., & Ottenbacher, M. C. (2021). The culinary creative process of Michelin Star chefs. Tourism Recreation Research, 1–19. https://doi.org/10.1080/02508281.2021.1958170CrossRefGoogle Scholar
McNally, C. (1982). The Experience of Being Sensitive. Unpublished doctoral dissertation, Center for Humanistic Studies, Detroit.Google Scholar
Mikolajczak, M., Quoidbach, J., Kotsou, I., & Nelis, D. (2009). Les compétences émotionnelles. Dunod.Google Scholar
Peilloux, A., & Botella, M. (2016). Ecological and dynamical study of the creative process and affects of scientific students working in groups. Creativity Research Journal, 28(2), 165–170. https://doi.org/10.1080/10400419.2016.1162549Google Scholar
Plutchik, R. (2001). The nature of emotions: Human emotions have deep evolutionary roots, a fact that may explain their complexity and provide tools for clinical practice. American Scientist, 89(4), 344–350.CrossRefGoogle Scholar
Russ, S. W. (1993). Affect and Creativity: The Role of Affect and Play in the Creative Process. Routledge.Google Scholar
Russ, S. W. (1999). Emotion/Affect. In Runco, M. A. & Pritzker, S. R. (Eds.), Encyclopaedia of Creativity (vol. 1, pp. 659–668). Academic Press.Google Scholar
Scherer, K. R. (2000). Psychological models of emotion. In Blood, J (Ed.), The Neuropsychology of Emotion (pp. 92–120). Oxford University Press.Google Scholar
Schlewitt-Haynes, L. D., Earthman, M. S., & Burns, B. (2002). Seeing the world differently: An analysis of descriptions of visual experiences provided by visual artists and nonartists. Creativity Research Journal, 14, 361–372. https://doi.org/10.1207/S15326934CRJ1434_7Google Scholar
Shaw, M. P. (1989). The eureka process: A structure for the creative experience in science and engineering. Creativity Research Journal, 2(4), 286–298. https://doi.org/10.1080/10400418909534325CrossRefGoogle Scholar
Shaw, M. P. (1994). Affective components of scientific creativity. Shaw, M. P. & Runco, M. A. (Eds.), Creativity and Affect (pp. 3–43). Ablex.Google Scholar
Stanko-Kaczmarek, M. (2012). The effect of intrinsic motivation on the affect and evaluation of the creative process among fine arts students. Creativity Research Journal, 24(4), 304–310. https://doi.org/10.1080/10400419.2012.730003Google Scholar
Sternberg, R. J., & Lubart, T. I. (1991). An investment theory of creativity and its development. Human Development, 34, 1–31. https://doi.org/10.1159/000277029Google Scholar
Sternberg, R. J., & Lubart, T. I. (1995). Defying the Crowd: Cultivating Creativity in a Culture of Conformity. Free Press.Google Scholar
St-Louis, A. C., & Vallerand, R. J. (2015). A successful creative process: The role of passion and emotions. Creativity Research Journal, 27(2), 175–187. https://doi.org/10.1080/10400419.2015.1030314Google Scholar
Vosburg, S. K. (1998). The effects of positive and negative mood on divergent-thinking performance. Creativity Research Journal, 11(2), 165–172. https://doi.org/10.1207/s15326934crj1102_6Google Scholar
Xu, Y. (2016). The emotion analysis during oil painting creation process. Advances in Social Science, Education and Humanities Research, 5, 37–40. https://doi.org/10.2991/icadce-16.2016.8Google Scholar
Wallas, G. (1926). The Art of Thought. Harcourt, Brace and Company.Google Scholar
Wei, Z., & Chen, J. (2019). The application of emotion creative strategy in advertising design. Journal of Literature and Art Studies, 9(10), 1088–1092. https://doi.org/10.17265/2159-5836/2019.10.012Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×