Questão FC700163
What conclusion does the author draw about the necessity of achieving a precise, universally accepted definition of creativity?
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VUNESP · 2025
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Creativity is a quality which manifests itself in many different ways, and this is one of the reasons it has proved so difficult to define. As Amabile (1996) points out, ‘a clear and sufficiently detailed articulation of the creative process is not yet possible.’ Yet we readily recognise creativity when we meet it, even if we cannot define it precisely. For all practical purposes this is enough, and we do not need to spend too much time agonising over a definition.
There are of course some features which are almost always present in a creative act. The core idea of ‘making something new’ is at the heart of creativity. But novelty is not alone sufficient for something to be recognised as creative. We could, for example, wear a clown’s red nose to class. This would certainly be doing something new and unusual but it would only count as creative if we then did something with it, like creating a new persona. It is also necessary for creative acts to be recognised and accepted within the domain in which they occur. They need to be relevant and practicable – not just novel. Sometimes creative ideas are ahead of their time and have to wait for technology to catch up. Leonardo da Vinci designed an aeroplane in the 15th century, but before aeroplanes could become a reality, materials and fuels had to be available.
[…]
[…] Boden (1990) takes an AI (artificial intelligence) approach to investigating creativity. She asks what a computer would need to do to replicate human thought processes. This leads to a consideration of the self-organising properties of complex, generative systems through processes such as parallel distributed processing. For her, creativity arises from the systematic exploration of a conceptual space or domain (mathematical, musical or linguistic). She draws attention to the importance of constraints in this process. ‘Far from being the antithesis of creativity, constraints on thinking are what make it possible’ (p. 82). Chaos theory (Gleick, 1987) tends to support her ideas. Boden’s approach is richly suggestive for language acquisition, materials writing and for teaching, in that all are rooted in complex, self-organising systems.
(Alan Maley, Nik Peachey. Creativity in the English language classroom.)
What conclusion does the author draw about the necessity of achieving a precise, universally accepted definition of creativity?
- The detailed articulation of the creative process is paramount and a definition should be reached by researchers in the field.
- Creativity can be precisely defined when human thought’s self-organizing features are reproduced.
- A precise definition is crucial for the field’s advancement, despite the immediate difficulty in achieving a clear articulation of the concept.
- For practical purposes, a precise definition is not necessary since creativity is readily recognized upon being met.
- Agonizing over a definition is required because creativity’s manifestation in many different ways makes its recognition too subjective.
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Gabarito
D
Comentário do professor
Alternativa D: o autor conclui que uma definição precisa e universal de criatividade não é necessária para os propósitos práticos, porque a criatividade é facilmente reconhecida quando a encontramos.
O texto aponta que, embora autores como Amabile reconheçam a dificuldade em articular um processo criativo detalhado, isso não impede que identifiquemos atos criativos na prática. A ideia central é que a clareza conceitual absoluta não é condição para o reconhecimento.
Além disso, o autor ressalta que não vale a pena gastar tempo excessivo em disputas terminológicas quando, na aplicação cotidiana, conseguimos distinguir o que é criativo e relevante dentro de um domínio.
Assim, para avaliação e ensino, adota‑se uma postura pragmática: aceitar uma noção funcional de criatividade que permita reconhecimento e uso, sem exigir uma definição exata e consensual.
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