Creativity is not limited to people practising one of the traditional forms of art, and even in the case of artists, creativity is not confined to the exercise of their art. Each one of us has a creative potential, which is hidden by competitiveness and success-aggression. To recognize, explore and develop this potential is the task of the School. Creation – whether it be a painting, sculpture, symphony or novel – involves not merely talent, intuition, powers of imagination and application, but also the ability to shape material that could be expanded to other socially relevant spheres.

Creativity is not limited to people practising one of the traditional forms of art, and even in the case of artists, creativity is not confined to the exercise of their art. Each one of us has a creative potential, which is hidden by competitiveness and success-aggression. To recognize, explore and develop this potential is the task of the School. Creation – whether it be a painting, sculpture, symphony or novel – involves not merely talent, intuition, powers of imagination and application, but also the ability to shape material that could be expanded to other socially relevant spheres.

Common elements of creativity are originality and imagination. Creativity is intertwined with the freedom to design, to invent and to dream. In engineering and science a creative idea is useful only if it meets three conditions: the constraint of the natural laws, the constraint of cost, and the constraint of technical feasibility.

an examination of history and of reports of those who have done great work, all seem to show that typically the pattern of creativity is as follows. There is first the recognition of the problem in some dim sense. This is followed by a longer or shorter period of refinement of the problem. Do not be too hasty at this stage, as you are likely to put the problem in the conventional form and find only the conventional solution. This stage, moreover, requires your emotional involvement, your commitment to finding a solution, since without a deep emotional involvement you are not likely to find a really fundamental, novel solution.

The important aspect of creativity is seeing the same thing as everybody else, but thinking of something different. Innovation and creativity ultimately results into the culture of excellence.

Creativity is the result of a struggle between vitality and form. As anyone who has tried to write a sonnet or scan poetry, is aware, the forms ideally do not take away from the creativity but may add to it.

Creativity is the focused combination of unlikely things. Your mind locks onto a certain element and then searches widely for something unexpected that fits with it. What can scuba diving teach you about agriculture? What can trees teach you about public speaking? There is always some connective tissue between disciplines. If you wish to be more creative, look for the connections between two previously unconnected things.

Whatever creativity is, it is in part a solution to a problem.

People think that creativity is largely a matter of talent, experience, or luck. They are wrong. Talent, experience, and luck are all key elements, but there is something more fundamental, accessible, and powerful that you can use to multiply your creative effect.

In this sense genuine artists are so bound up with their age that they cannot communicate separated from it. In this sense, too, the historical situation conditions the creativity. For the consciousness which obtains in creativity is not the superficial level of objectified intellectualization, but is an encounter with the world on a level that undercuts the subject-object split. "Creativity" to rephrase our definition, “is the encounter of the intensively conscious human being with his or her world.”

Psychologists tend to see creativity exclusively as a mental process [but] creativity is as much a cultural and social as it is a psychological event. Therefore what we call creativity is not the product of single individuals, but of social systems making judgements about individual’s products. Any definition of creativity that aspires to objectivity, and therefore requires an intersubjective dimension, will have to recognise the fact that the audience is as important to its constitution as the individual to whom it is credited.

Creativity is the universal of universals characterizing ultimate matter of fact. It is that ultimate principle by which the many, which are the universe disjunctively, become the one actual occasion, which is the universe conjunctively. It lies in the nature of things that the many enter into complex unity.

Creativity is difficult. When you are being creative, you’re living by faith. You don’t know what’s next because the created, by definition, is what’s never been before. So you’re living at the edge of something in which you’re not very confident. You might fail: in fact, you almost certainly will fail a good part of the time. All the creative persons I know throw away most of the stuff they do.

The mainspring of creativity appears to be the same tendency which we discover so deeply as the curative force in psychotherapy — man’s tendency to actualize himself, to become his potentialities. By this I mean the directional trend which is evident in all organic and human life — the urge to expand, extend, develop, mature — the tendency to express and activate all the capacities of the organism, or the self. This tendency may become deeply buried under layer after layer of encrusted psychological defenses; it may be hidden behind elaborate façades which deny its existence; it is my belief however, based on my experience, that it exists in every individual, and awaits only the proper conditions to be released and expressed. It is this tendency which is the primary motivation for creativity as the organism forms new relationships to the environment in its endeavor most fully to be itself.