The ideas presented in this book have been incubating for over 25 years.
I was in the first grade, I believe, when the ideas that eventually
developed into this social psychology of creativity first began to
germinate. The occasion was art class, a weekly Friday afternoon event
during which we were given small reproductions of the great masterworks
and asked to copy them on notepaper using the standard set of eight
Crayola(R) crayons. I had left kindergarten the year before with encour-
agement from the teacher about developing my potential for artistic
creativity. During these Friday afternoon exercises, however, I
developed nothing but frus- tration. Somehow, Da Vinci's "Adoration of
the Magi" looked wrong after I'd fin- ished with it. I wondered where
that promised creativity had gone. I began to believe then that the
restrictions placed on my artistic endeavors contributed to my loss of
interest and spontaneity in art. When, as a social psy- chologist, I
began to study intrinsic motivation, it seemed to me that this moti-
vation to do something for its own sake was the ingredient that had been
missing in those strictly regimented art classes. It seemed that
intrinsic motivation, as defined by social psychologists, might be
essential to creativity. My research pro- gram since then has given
considerable support to that notion. As a result, the social psychology
of creativity presented in this book gives prominence to social
variables that affect motivational orientation.