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== Дефиниција ==
 
У резимеу научног истраживања о стваралаштву, Мајкл Мамфорд сугерише: „У току последње деценије, међутим, изгледа да смо постигли општи договор да креативност укључује производњу нових, корисних производа” (-{Mumford, 2003, pp. 110}-),<ref>{{cite journal | last = Mumford | first = M. D. | year = 2003 | title = Where have we been, where are we going? Taking stock in creativity research | url = | journal = [[Creativity Research Journal]] | volume = 15 | issue = 2–3| pages = 107–120 | doi=10.1080/10400419.2003.9651403| pages = 107–120 }}</ref> или, према речима [[Роберт Стернберг|Роберта Стернберга]], продукција „нечег оригиналног и вредног”<ref name="Sternberg Cognitive Psychology 2011">{{cite book|last=Sternberg|first=Robert J.|title=Cognitive Psychology|date year=2011|publisher=Cengage Learning|isbn=978-1-133-38701-5|page=479|edition=6|chapter=Creativity}}</ref> Аутори су се драматично разишли у својим прецизним дефиницијама изван ових општих истоветности: Питер Меусбергер сматра да у литератури може бити пронађено преко сто различитих анализа.<ref name="Meusburger1">{{cite book|last=Meusburger|first=Peter|title=Milieus of Creativity: An Interdisciplinary Approach to Spatiality of Creativity|year=2009|publisher=Springer|isbn=978-1-4020-9876-5 |editor=Meusburger, P. |editor2=Funke, J. |editor3=Wunder, E.|chapter=Milieus of Creativity: The Role of Places, Environments and Spatial Contexts}}</ref> Илустрацијије ради, једна дефиниција коју је дао [[Ellis Paul Torrance|Е. Пол Торанс]] описала је креативност као „процес постајања осетљив на проблеме, недостатке, празнине у знању, недостајуће елементе, дисхармоније и тако даље; идентификовање потешкоће; трагања за решењима, прављеса претпоставки или формулисања хипотеза о недостацима: тестирање и поновно тестирање тих хипотеза и евентуално њихово модификовање и поновно тестирање; и на крају саопштавање резултата.”<ref name="Torrance Test Manual Verbal">{{cite book|last=Torrance|first=Paul|title=The Torrance Tests of Creative Thinking-Norms-Technical Manual Research Edition|publisher=Personnel Press|location=Princeton, New Jersey|page=6|chapter=Verbal Tests. Forms A and B-Figural Tests, Forms A and B.}}</ref>
 
Креативност се углавном разликује од [[иновација|иновације]], нарочито када је нагласак на примени. На пример, [[Teresa Amabile|Тереза Амабил]] и Прат (2016) креативност дефинишу као продукцију нових и корисних идеја а иновацију као примену креативних идеја,<ref>{{cite journal |last=Amabile |first=Teresa M. |last2=Pratt |first2=Michael G. |title=The dynamic componential model of creativity and innovation in organizations: Making progress, making meaning |journal=Research in Organizational Behavior |date year=2016 |volume=36 |pages=157–183 |doi=10.1016/j.riob.2016.10.001| pages = 157–183 }}</ref> док -{[[Организација за економску сарадњу и развој|OECD]]}- и -{[[Eurostat]]}- наводе да је „иновација више од нове идеје или проналаска. Иновација захтева имплементацију, били стављањем у активну употребу или стављањем на располагање другим странама, фирмама, појединцима или организацијама.”<ref>{{cite book |last=OECD/Eurostat |title=Oslo Manual 2018: Guidelines for Collecting, Reporting and Using Data on Innovation |date year=2018 |publisher=OECD/Eurostat |location=Paris/Luxembourg |page=44 |edition=4th |url=https://www.oecd-ilibrary.org/science-and-technology/oslo-manual-2018_9789264304604-en}}</ref>
 
== Види још ==
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* {{Cite book | ref = harv | author=DeGraff, J. |author2=Lawrence, K. |year=2002 |title=Creativity at Work |publisher=Jossey-Bass |isbn=978-0-7879-5725-4 |url=https://archive.org/details/creativityatwork00jeff_0 }}
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* {{Cite book | ref = harv | title=Sudden Genius?: The Gradual Path to Creative Breakthroughs |last=Robinson |first=Andrew |year=2010 |publisher=[[Oxford University Press]] |location=Oxford |isbn=978-0-19-956995-3 |lay-url=http://ukcatalogue.oup.com/product/9780199569953.do |laydate=24 November 2010 |url=https://archive.org/details/suddengeniusgrad00robi_0 }}
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