Essays on Comparison of Two Approaches - Whole Brain Model of Creativity and Wallass Model of the Creative Process Coursework

Download full paperFile format: .doc, available for editing

The paper "Comparison of Two Approaches - Whole Brain Model of Creativity and Wallas’ s Model of the Creative Process" is an outstanding example of business coursework.   Creativity does not simply occur. Rather, it is a cognitive process that leads to the creation of new ideas or transforms old thoughts into restructured concepts. During this process, a person uses imagination as well as intuition to develop ideas and come up with a solution to a given problem. Although this appears to be a simple process, there is no clear cut definition of how the process of creativity happens.

Therefore, various theories and models have been put forward by researchers in an attempt to describe how creativity occurs. This essay will compare and evaluate two of these models: the Whole Brain Model of creativity and Wallas’ s Model of the creative process. To illustrate the relevance of the models, several examples will be used in the explanation. The Whole-Brain Model of Creativity The Whole-Brain Model, which was created by Herrmann (1989), is a concept that considers both a person’ s preference for left-brained versus right-brained thinking and experiential versus conceptual thinking (Potgieter 1999, p.

10). In doing so, Herrmann came up with the concept of four quadrants of the brain, which are related to different styles of thinking. Based on the split-brain theory that separated the functions of the human brain into right and left hemispheric processes, Herrmann separated the functions of the two hemispheres each into a lower quadrant and an upper quadrant (Potgieter 1999, p. 10). This is what is referred to the whole brain model with A, B, C, and D quadrants representing different abilities as shown in figure 1 below. Source: Potgieter (1999, p.

10) Each of the four quadrants A, B, C and D in the Whole Brain Model has different functions as follows. Quadrant A is associated with logical thinking, analysing of facts, as well as processing numbers. According to the reasoning behind the model a person who has a quadrant A dominance is rational and sensible is a critical thinker and likes to work with numbers and technical matters. Such a person likes to know how things work and to follow logical procedures.

On the other hand, quadrant B deals with planning, organising facts, and meticulous review. An individual who relies heavily on this quadrant is well-organised, reliable, and orderly. Such a person likes to create plans and procedures and having things done on time. Quadrant C is related to interpersonal relationships and affects instinctive and emotional thinking processes. Individuals with a quadrant C dominance are sensitive to others and enjoy relating with and teaching others. Last but not least, quadrant D is associated with conceptualising, synthesising, and integrating details and patterns, and involves seeing the bigger picture rather than mere details (Potgieter 1999, p.

10; Daft 2008, p. 116). Although the four quadrants of the brain suggested in the Whole Brain Model seem to have different functions, it has been suggested that these functions are usually coordinated (Polette 2012, p. 63). This implies that no matter the quadrant that seems to be dominant in a person, the person will undergo the creative process using the entire brain. This is well discussed by Polette (2012, p. 63), who argues that “ creative thinking is a whole-brain process” .

That is, creative thinking results in new methods or procedures of doing something, or new products, and every part of the brain is involved (Polette 2012, p. 63). The upper right quadrant (quadrant D) visualises, creates and discerns an idea. The lower right quadrant (quadrant C) inspires and stimulates the idea. The lower left quadrant (quadrant B) organises and restructures the idea to make it presentable and the upper left quadrant (quadrant A) critiques the idea to ensure that it not only logical but also factual.

This shows that all the process involved are essential in the creative process.

References

Burkus, D 2014, The myths of creativity: the truth about how innovative companies and people generate great ideas, Jossey-Bass, San Francisco, CA.

Daft, R L 2008, The leadership experience, 4th edition, Thomson Learning, Mason, OH.

Deb, T 2006, Strategic approach to human resource management, Atlantic Publishers & Distributors, New Delhi.

Griffin, W G & Morrison, D 2010, The creative process illustrated: how advertising's big ideas are born, F+W Media, Inc., Cincinnati, Ohio.

Narula, U 2006, Business communication practices: modern trends, Atlantic Publishers & Distributors, New Delhi.

Polette, N J 2012, ‘Developing the creative mind’, The brain power story hour: higher order thinking with picture books, McFarland, Jefferson, North Carolina, pp. 63-76.

Potgieter, E 1999, ‘Relationship between the whole brain creativity model and Kolb’s experiential learning model’, Curationis, December 1999, pp. 9-14, viewed 2 July 2014,

Pritzker, S R 1999, Encyclopaedia of creativity, two-volume set, San Diego, California.

Download full paperFile format: .doc, available for editing
Contact Us