Gittfd Education Internatiunal 2009 Vol 23, pp 5- 13
CO2009 A B Aaidemic Puhlishcrs
Ugur Sak\ PhD
Anadolu University, Eskisehir, Turkey
creative reversal act
(creact): teaching the ways
creators think
Abstract
The last decades have witnessed the äevclopment of a great body of knowledge and the generation of
theories and iiwdels about the nature of creative ability. Such a developtiient has shoxoed us that creative
ability is partly the product of nature but thinking creatively is the footprint of nurture. There exist
many ways to teach for creativity, as creative ability is thought of as multidimensiomi Research growth
in knowledge, accordingly, has resulted in the creation of new practices for cultivating creative capacity.
In this article, a new teaching technique, the Creative Reversal Act (CREACT) for improving creative
capacity is presented. The CREACT is developed by the author based on the theory of the jamisian
process that Is originally operationalized by Rothcnberg (197Í). The CREACT is composed of a series
of construction, segregation, opposition, combination, elaboration steps.
How creative ideay and discoveries come
about is an intriguing question tor people
who are amazed by those unusual ideas and
discoveries. Fortunately, creativity processes
leading to these discoveries have been traced
by researchers, and a number of theories and
models of the creative cognition have been
developed. As a result, we now have a better
understanding of creativity and better know
how to think creatively. The Creative Reversal
Act (CREACT) presented in this paper is a
product of the author's effort to apply a
specific creativity theory into practice.
Creativity involves the generation of
ideas or products that are original, valuable
(Sternberg & Lubart, 1995) and have impact
potential. Ideas that hold originality and
vaiue can be produced through the use of a
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variety of cognitive processes, such as
divergent thinking (Guilford, 1967),
insightful thinking (Sternberg & Davidson,
1995), associative thinking {Mednick, 1962),
homospatial thinking (Rothenberg, 1979), or
janusian thinking (Rothenberg, 1971). As
creativity ability has many components,
there exist many ways to improve creative
capacity through teaching. Speculatively
speaking, there exist at least as many ways
as the number of aspects of creative capacity.
In this article, Rothenberg's original theory
of the Janusian Process is briefly examined
first, and then, a description of the CREACT
is presented, followed by its application in
teaching. The CREACT is a specific creativethinking technique developed by the author
based on the theory of the Janusian Process
that was originally operationlized by
Volume 25 No Í, 2009. 5
Rothenberg (1971). Creative ideas holding
oppositions or paradoxes are produced
through the use of five steps of the CREACT.
The use of the CREACT includes a series of
construction-segregation-oppositioncombination-elaboration processes, resulting in creative paradoxical products.
Jamisian Process
Janusian Process is a specific type of thinking
defined by Rothenberg as, "actively
conceiving multiple opposites simultaneously - of concepts, objects or theories"
(Rothenberg, 19%, 207). During the course of
idea generation, opposite ideas or
propositions are developed or identified
purposefully. Although previously developed ideas or theories still are accepted valid,
opposite ideas also are considered as equally
valid. Then, these opposites are brought
simultaneously together to form new
conceptions. Made up of opposite ideas, these
new conceptions seem to be paradoxical.
The theory of the Janusian Process is
based on the following propositions
(Rothenberg, 1996): 1) Previous theories or
ideas are valid; 2) new ideas produced as
opposite to previous ideas are also equally
valid; 3) both previous ideas and new ideas
coexist simultaneously in conflict in a new
conception; 4) opposites are symmetrically
structured; they are reversed but equal; 5)
they possess high degrees of specificity; 6)
they encapsulate the entire dimension of a
new theory or conception.
According to Rothenberg (1996), the
Janusian Process plays a role in many
creative accomplishments, such as the theory'
of natural selection proposed by Darwin and
the general theory of relativity put forward
by Einstein. In the theory of natural
selection, for example, pairs of opposite
6. Gifted Education Intcnnilkmul
ideas, such as adaptive variants-maladaptive
variants and extinction-survival, encapsulates the entire dimension of evolution.
Likewise, the opposite propositions, motion
in gravitational field and rest in gravitational
field sums up the general theory of relativity.
Some of other scientific theories, such as
Bohr's principle of complementarity and
Planck's quantum mechanics, also possess
pairs of opposite elements existing side-byside in conflict.
The Janusian Process is composed of four
phases (Rothenberg, 1996), The first phase,
motivation to create, implies a strong
personal and emotional involvement or
desire to produce new solutions or products
whereby problem-relevant knowledge is
accumulated. It is the second phase,
deviation, where creators depart from what
commonly is accepted as true by identifying
one or both of oppositional ideas. In this
phase, a single or multiple set of thematic
elements of an idea, theory, or condition are
segregated. These elements become bases for
opposites to be developed in the next step.
Simultaneous opposition is the third phase
during which chains of opposites are
formed. Opposites of an element identified
or developed in Phase two are formulated in
this phase. Then, these opposites are put
simultaneously together to form a new
conception
that
reflects
paradoxes.
Modification, elaboration, and reflnement
are the intellectual tasks of the fourth phase,
construction. In this phase, the configuration
or formation of the simultaneous opposition
is examined and refined thoroughly.
The theory of the Janusian Process is a
result of an extensive research carried out by
Rothenberg and his co-researchers with
creative people (Rothenberg, 1996). The
research program includes structured
interviews, controlled experiments and
documentary analyses. The research
participants consist of eminent novelists,
poets, playwrights and awardees of
distinctions such as Nobel Prize, Pulitzer
Prize, the National and American Book
Awards, the Bowdoin Poetry Prize, and
major art exhibitions. Historical documents
include primary autobiographical and
biographical sources, as well as notebooks
and manuscripts regarding creative figures
of the past.
Use ofthe Janusian Process in
Teaching
A review of the literature shows that a
contradiction
exists
between
the
operationaiization of fhe fheory of the
Janusian Process and the application of this
process in teaching. Indeed, the Janusian
Process has not been understood well by
practitioners, and it sometimes has been
used incorrectly in teaching practices. For
example, it often has been used as synonym
to paradoxical thinking. Janusian thinking is
not paradoxical thinking. If is a series of
segregation-opposition-combination-elabor
ation processes that produce paradoxical or
self-contradictory results; whereas paradoxical thinking is the thinking of two
opposites and bringing together these
opposites without further thinking, such as
sadness/happiness
and
light/dark.
Similarly, thinking of two opposites and
synthesizing or resolving these opposites
does not equal to Janusian thinking because
fhe use of the Janusian Process requires the
coexistence of two opposites simultaneously.
Creative Reversal Act
The theory of the Janusian Process describes
in detail the process of how real-life
inventions come about, and therefore, is of
great value in teaching some dimensions of
creative thinking. Creative Reversal Act
(CREACT) is the result of the author's effort
to apply the theory of the Janusian Process in
teaching. The author's belief is that the
Janusian Process does not belong to geniuses
only. Many people who have the potential
and like to be creative can learn how to use
Janusian thinking in their life.
Although the theory of the Janusian
Process is composed of four phases, as
pointed out above, the CREACT technique
consists of five steps: construction,
segregation, opposition, combination, and
elaboration (see figure 1). The phase
"motivation to create" of the Janusian
Process is the "construction" step in the
CREACT during which motivation is raised
and relevant knowledge is constructed. The
phase "deviation" is the "segregation" step
in the CREACT during which elements of a
theory or concept are segregated. The phase
"opposition" in the Janusian Process became
two separate steps in the CREACT: 1)
"opposition" during which opposife(s) of
each element is developed, and 2)
"combination" during which original ideas
and opposite ideas are puf simultaneously
together, Finally, the phase "construction" in
the Janusian Process is the "elaboration" step
in the CREACT during which the new theory
or conception is modified and refined.
Although the opposition phase of the
Janusian Process is a single phase in the
original theory, it is divided further in the
CREACT, as producing opposites and
combining these opposites; because in the
original fheory, it is not clear how to select
and put these opposites together. Besides,
the use of opposition and combination
processes as separate steps makes the use of
the Janusian Process easier and more
understandable in teaching practices.
Furthermore, in the original theory, the
Volume 25 No 1. 2009. 7
deviation and opposition phases seem to be
overlapping; because, whether the creator
thinks of opposites while s/he is separating
out elements of a theory or after the
separation process is not clear enough. In the
CREACT, the deviation and opposition
phases became distinct steps as 1 ) segregation
in which elements of a theory are separated
out without thinking of opposites, and 2)
opposition in which opposite(s) of each
element is produced. The rest of this article
deals with a description of the CREACT, its
use in teaching, and sample products
developed by students using the CREACT.
Step 1: Construction
The purpose of this first step of the CREACT
is to stimulate students' interest and
curiosity and raise their motivation about a
particular concept or topic, and to help them
learn more about it; thereby students
construct motivation and knowledge to be
able to produce creative results. At this step,
teachers and/or students identify a theory,
thesis, concept or problem that has complex
meaning. It also is useful to generate a list of
concepts students might like to investigate
and discuss further. Students also can
generate this list if the teacher does not have
a list for use. Then, they investigate and
discuss the meaning of the concept from
multiple perspectives to learn more about it.
The investigation and discussion should
bring about interest, curiosity and
excitement for further learning. The
investigation should be carried out prior to
the meeting in the classroom or somewhere
else if students do not have sufficient
knowledge or like to loarn more about the
subject under discussion. Following the
investigation, the teacher should ask one or
all of the following questions (see Table 1):
What do we know about this concept? What
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does this concept mean to you? What are the
uses of it for us? Teachers and/or students
should write students' responses on the
board, or students themselves can record
their responses in their own journal. For
example, in the example given in Table 2,
students discussed their personal experiences as well as others' experiences about love,
including various description of love, types
of love, love in literature, and the like.
Step 2: Segregation
The purpose of this step is to identify critical
thematic elements of the concept, theory or
thesis discussed in the first step. Therefore,
this step involves analyzing the concept,
theory or thesis to separate out their
components or elements. This step can
involve two sub-steps: 1) Segregation of
components, and 2) segregation of elements
of these components. The teacher should ask
the following questions to direct students to
segregate major components of the concept
or theory (see Table 1): What are some
components of this theory, concept, or idea?
What makes this theory? Can we separate
out this component further? What are some
elements of this component? At this step too,
students' responses should be recorded.
Their responses should be transformed into
short statements or phrases if they express
their ideas in complex and disorganized
sentences. For instance, in the love example
in Table 2, a student first identified elements
of the concept of love, such as, love is
freedom of emotions; love is romance; love is
devotion, and love is genuine emotion.
Step 3: Opposition
The purpose of this step is to identify or
formulate opposites of the thematic elements
identified in the segregation step. One
opposite, if possible, should be generated for
each thematic element. Opposites should be
specific and should represent definite points
on a scale, such as visible and invisible, or
parts of a dichotomy, such as north and
south. They should be reversed but equal. A
variety of thinking processes, such as
modification, combination, adaptation,
reflection, rotation, minifying or magnifying,
can be used to generate definite opposites to
increase the number of opposites. Opposites
generated by students should be written
across each thematic element, as seen in
Table 2. At this step, the teacher should ask
the following question to help students
generate as many and appropriate opposites
as possible (see Table 1): What is the
opposite(s) of this element/component? The
teacher should ask students the following
question to evaluate the degree of specificity
and the validity of opposites: How are they
opposite to each other on a scale /
category/plane/space? How is this opposite
you just have identified as valid/true as its
opposite? For example, as seen in Table 2, the
opposite thesis "love is freedom of
emotions" was generated by the student as
opposite to the previous thesis "love is
captivity of emotions" as the extremes of the
category of emotional restrain. Another
example from visual arts is given in Figure
two. In this drawing, red and green are
opposite in the category of colour; dark red
and bright red define the limits of red colour,
as do dark green and bright green. Circular
shapes representing floppy surfaces and
sharp shapes representing firm surfaces are
the extremes of the shape category.
Step 4: Combination
The purpose of this step is to bring
simultaneously together the elemcnt(s)
separated out in the second step and the
opposites of these elements identified or
formulated in the third step. This
combination process should result in a new
conception, thesis, or theory. Opposites to be
selected for the development of the new
theory or conception should be distinct and
identifiable in a way that encapsulates the
entire aspect of the new conception in a
polarity or dichotomy. The teacher should
ask students the following questions to bring
opposite ideas together and their reasons for
such combinations {see Table 1): Which
opposites can be used together in a new
concepfion? Why can these opposites go
together in a new conception? For example,
as seen in Table 2, the simultaneous
combination of the opposite theses "love is
captivity" and "love is freedom of emofions"
yielded a new paradoxical conception, "love
is a free captivity," and the opposite theses
"love is a logical decision" and "love is an
illogical act" resulted in a new paradoxical
conception, "love is logically an irrational
emofion."
Step 5: Elaboration
Jt is in this step that the configuration of
simultaneous conception is revised and
elaborated in a way the new conception
sounds originality even if it looks selfcontradictory in meaning or retain converse
structure. A special attention must be given
to contradictions the new conception
possesses. If multiple opposites in different
categories or aspects of the conception under
discussion are combined in the previous
step, these opposites can be brought together
in this step. Opposites should be distinct,
identifiable but uncompromised, explicating
the entire dimension of the new conception.
The teacher should ask students the
following questions to evaluate and revise
the new conception (see Table 1 ): How is this
new conception comprehensive enough to
Vii/timt-25 Nil h 2009. 9
sum up the entire dimension of the
conception? How does the contradiction of
the new conception represent symmetry? In
what ways can we revise this new
conception? For example, as seen in Table 2,
paradoxical combinations generated in the
previous step are further brought together
and slightly revised. This further
combination, "love is genuinely a free
captivity of logically developed irrational
emotions," is needed because one single
combination generated in the previous step
does not sufficiently explain the entire
dimension oí the concept love. The revision
also is needed to pinpoint the logical
developmental process of the emotion albeit
the emotion itself is irrational.
contrasting, and tolerance for conflicts; and
the elaboration step requires revising,
refining and redefining while elaborating on
the new conception. Note that many creative
breakthroughs are results of paradoxical,
metaphorical, or opposite idea generations
and combinations.
NOTE:
Preparation of this article was supported by
a grant (107K059) from the Scientific and
Technological Research Council of Turkey,
References
Guilford, J, P, (1967). The nature of Iniiium
intelligence. New York; McGraw-Hill.
Conclusion
In this article, a new teaching technique, the
Creative Reversal Act (CREACT), for
improving creative capacity is described and
discussed. The CREACT technique,
consisting of five steps, is developed based
on the theory of the Janusian Process.
Mednick, S. A. (1962). The associative bases of the
creative process. Psychological Rañeii', 69, 220-232.
Rothenberg, A. (1971). The process of Janusian
thinking in creativity, /^rr/iíi'i'í of General
Psychuitry. 24, 195-205.
Rothenberg, A, (1979). Homospatial thinking in
credtivily. Archives of Gcnernl Psychialry, 33, 17-26.
The CREACT can be used in a variety of
settings,
including
classrooms
and
workplaces. Although the CREACT might
seem to be a specific technique based
primarily on opposite finding and opposite
aggregation, an examination of each step of
the CREACT shows that its use involves a
variety of cognitive processes. Here, I can
give a few examples of these processes. For
example, the segregation step involves
analysis and fluency and flexibility in
thinking while separating out a concept; the
opposition step involves fluent idea
generation while generating opposites and
critical
thinking
while
comparing,
contrasting and evaluating the validity and
appropriateness of these opposites; the
combination step entails comparison and
Ul Gißfil F.ilucalioii Itileniatiaiiai
Rothenberg, A. (1996). The Janusian Process in
scientiiic creativity. Crcalwity Research journal, 9,
207-209,
Stemberg, R. J,, & Davidson, ]. E. (1995). The
nature of insight, Cambridge, MA: The M!T Press.
Sternberg, R, J,, & Lubart, T, I. {1995). Defying the
crowd: Cultivating creativity in a culture of
conformity. New York: The Free Press.
Table 1: The CREACT Discussion Form
Steps
Focus Question
Behaviour/Action
1, Construction
What do we know about this
theory, idea, or concept?
What are the uses of it for us?
What else should we know about it?
Explore the theory from
multiple perspectives.
2. Segregation
a) Segregate the What are some components of this
concept into
theory, idea, or concept?
components
What makes this theory, idea
or concept?
/') Segregate
Can we separate out fhis
components
component further?
into elements What are some elements of this
component?
Identify and separate out
major components of...
Identify and segregate
distinct elements of
a component.
3, Opposition
a. What is the opposite(s) of this
element / component?
I'. How are tbey opposite to each other
on a scale/category/plane/space?
c. How is this opposite you just have
identified as valid/true as its opposite?
1. Generate opp{)site(s)
of each element.
2, Evaluate specificity
of opposites.
3. Determine whether
oppO!iites are as true
as previous ideas.
4, Combination
(I. Which opposites can be used
together in a new conception?
b. Why Ccin these opposites go
together in a new conception?
Identify whether two
or more opposites cin be
used together in a new
conception.
5. Elaboration
ii. How is this new conception
comprehensive enough to sum up
the entire dimension of the new
conception?
b. How does the new conception
possess symmetry?
L". In vvh¿it ways can we revise this
new conception?
Evaluate whether the
opposites hold symmetry,
specificity and sum up the
entire dimension of the
new conception.
Volume 25 Nil I, 2(«Í9, II
Table 2: A Conception of Love Created Through the Use of the CREACT
SlepI
Construction
What does love mean to you?
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
Love for a person
Love for friends
Love for country
Love for beauty
Love is a need.
Love is something biological.
Love is something emotional.
Love is something bioemotional.
Love is a story.
Step II
Segregation
Slep III
Opposition
Whal cotislitules love?
What are the opposites ofthe elements i/ou
identified in Ihe previous step?
Love is captivity.
Love is a choice.
Love lacks restrictions.
Love is devotion.
Love is fhe happiest emotion.
Love is genuine.
Love is a logical decision.
•
•
•
•
•
•
•
Love is freedom of emotions.
Love is blindness.
Love is custody of the other.
Love is selfish.
Love is miserable?
Love is fake.
Love is an illogical act.
Step IV
Combination
StepV
Elaboration
Wliich opposites can be used together in a new
conception of love?
in what ways can uv revise this new
conception?
• Love is a free captivity.
• Love is logically an irrational
emotion.
J2, Gifli'il Ediii-alioii lutriiiiiliaiii]!
• Love is genuinely a free
captivity of logically
developed irrational emotions!
Steps (jflhcCRKACT
Con s truel ¡on
3.OpposilÍon
Figure 1: Figurative representation of the Creative Reversal Act. E: Original element; O:
Opposite element.
Figure 2: Painting drawn by a student. Red and green are opposite in the category of colour;
dark red and bright red define the limits of red colour, as do dark green and bright green.
Circular shapes representing floppy surfaces and sharp shapes representing firm surfaces are
the extremes of the shape category. Upward and downward red shapes representing
symmetry are the rotations and reflections of each other. As a whole, the painting represents
simultaneous opposites.
Volume 2!^ No I. 2009. I.i