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This second edition of the renowned Cambridge Handbook of Creativity expands on the first edition with over two thirds new material reaching across psychology, business, entrepreneurship, education, and neuroscience. It introduces creativity scholarship by summarising its history, major theories and assessments, how creativity develops across the lifespan, and suggestions for improving creativity. It also illustrates cutting-edge work on genetics and the neuroscience of creativity, alongside creativity's potential for both benevolence and malevolence. The chapters cover the related areas of imagination, genius, play, and aesthetics and tackle questions about how cultural differences, one's physical environment, mood, and self-belief can impact creativity. The book then examines the impacts on creativity of behaviour by teachers, managers, and leaders in particular.

There are many approaches to understanding how creativity is manifested, from the influence of the context or environment to understanding differences in processes or domains. However, less work has focused on a creator's instinctual reaction to external stimuli and how it shapes the creative activities that follow. This paper proposes the CAUSE Model of Creativity Languages: Connect, Apply, Understand, Share, and Express. The authors consider how an individual's varying levels across these five Creativity Languages (innate, proficient, independent, basic, or dormant) may influence creative behavior, choice of domains to pursue, and potential eventual success. The model is also discussed in terms of potential measurement as well as how it could intersect with the Four C's Model of creativity, including how Pro-c creators would benefit from understanding all five Creativity Languages.

This paper proposes a model of three needs for theater and other creative arts. The first level, functional needs, is necessary for basic existence. For theater, that would entail such components as a physical space and players. The second level, quality needs, is comprised of the skills and abilities of the people and materials; it contributes to the professionalism and enjoyability of the show in theater. The third and final level, possible needs, is the degree to which a show or any other type of creative arts can inspire emotions, engage intellect, and develop meaning. Many of the positive outcomes that come from theater and other creative arts, we argue, are a result of this third possible level.

Is creativity good, bad, or neutral? Although creative outcomes can serve malevolent purposes, we argue the underlying processes that support creative expression—what we call here the Creativity Ethos—lean toward the good in human nature. The dimensions of this Ethos can be metaphorically grouped under three main colors, Blue, Yellow and Red, related to cognition and personality, socioemotional interactions, and motivation, respectively. Blue processes are flexibility and openness, Yellow processes are perspective-taking and compassion, and Red processes are passion and inspiration. In the end, a well-developed Creativity Ethos can be compared to a rainbow that showcases how different colors valorize each other; further, they can all be enhanced through co-creation, leading to emergent changes in the world. However, there are also cases in which these components are underdeveloped, which may lead to less benevolent outcomes via profiles we call the "idle activist," "selfish CEO," and the "potential fanatic." We end with reflections on why discussions of the Creativity Ethos are important not only for positive and humanistic psychology, but for any discipline, including Possibility Studies, interested in developing wise and humanizing forms of creativity.

Part I Educational and Developmental Explorations of Creativity, Innovation, and Change -- 1 The Never-Ending Innovativeness of Homo Sapiens -- 2 Supporting Innovation: Sociocultural and Developmental Considerations in the Assessment of Creativity -- 3 Innovation and Change Within Education -- Part II Creativity, Innovation, and Change in Organizations and Work -- 4 Creativity and Organizational Culture -- 5 Strategic Considerations for Enhancing Creativity in the Firm -- 6 Engineering Innovation: The Impact of Digital Transformation -- Part III Sociocultural Explorations of Creativity, Innovation, and Change -- 7 Innovative Deception across Cultures -- 8 Creative Activities During the COVID-19 Pandemic: Chinese and German Observations -- 9 Who's Got Talent and How They Got it: How Culture and Media Might Shape (Creative) Mindsets -- 10 Theater History and Models of Creativity -- 11 Mind Wandering and Mindfulness During Innovation: An Outline and an Illustration in Poetry -- Part IV Creativity and Innovation as a Vehicle for Cultural Change -- 12 A Mirror to the World: Art, Creativity, and Racial Bias -- 13 Social Change and Creativity Change: How Creative Products and the Nature of Creativity Differ in Subsistence Ecologies with High Mortality and Commercial Ecologies with Low Mortality -- 14 Cultural Creativity: A Componential Model -- Part V Creativity, Innovation, and Change Looking Forward -- 15 How Technology Is Changing Creativity -- 16 Uncertainty as a Lever for Change and Innovation -- 17 Innovating in the Post-Anthropocene Era: A New Framework for Creativity.

Rapid technological change, global competition, and economic uncertainty have all contributed to organizations seeking to improve creativity and innovation. Researchers and businesses want to know what factors facilitate or inhibit creativity in a variety of organizational settings. Individual Creativity in the Workplace identifies those factors, including what motivational and cognitive factors influence individual creativity, as well as the contextual factors that impact creativity such as teams and leadership.The book takes research findings out of the lab and provides examples of these findings put to use in real world organizations