Creativity or creative habits

In today's world, we frequently come across phrases like "creativity or creative habits." Since the demands of society greatly value distinction and novelty in people's actions, these words are already widely used. People are typically thought to handle jobs in more of a creative manner than they would in a more conventional manner. Todd I. Lubart defined the essential component of the creative process as an issue in his essay about it. People generally aim to complete this job. In terms of my creative habits, I first consider what and how an issue might be solved when I encounter it in my day-to-day existence.Then, all of a sudden, a fresh thought after unwinding and completing other tasks came to mind. Whenever a new idea enters my head, I instantly put it into practice. For instance, if I need to reorganize my wardrobe to make more room, I might fold my clothes differently and create my own homemade organizers for them out of discarded boxes. Or I can use vegetables to create entirely novel foods during meal preparation. In my experience instructing, a single item or activity can have a significant impact on a student's learning. For instance, I can use a marker as a writing instrument or describing item on the whiteboard. The list is endless. My inventive tendencies enable me to produce novel methods or tools for the job. They are very helpful to me because they make my life simpler and I love creating new productions. The psychology of creativity has been actively attempting over the last few decades to include this societal component in an otherwise individual-focused field of study. Conceptualizing the role of others in creative work has been a constant challenge for both epistemological and methodological reasons, from the emergence of a social psychology of creativity (Amabile, 1996; Hennessey, 2003) to sociologically looking systems models of this phenomenon (e.g., Csikszentmihalyi, 1988). Researchers must frame their questions in terms of how the two interact (i.e., how the presence or role of others affects the person's creative expression) rather than beginning from a perspective in which the two are interdependent due to the pervasive separation between self and other, ego and alter (Markova, 2003). Not only is the latter viewpoint challenging to hypothesize.

References ;

Lubart, T. I. (2001). Models of the creative process: Past, present and future. Creativity Research Journal, 13(3-4), 295-308.
Glăveanu, V. P. (2015). Creativity as a sociocultural a