Longoria R. Cantu I. -2000-. Pensamiento Creativo. Mexico Jun 2026

The authors outline specific qualities and behaviors found in creative individuals, encouraging students to self-identify with these traits through exercises like collages and self-discovery tables. Methodology of the Creative Process:

Longoria R. and Cantu I. were likely affiliated with institutional psychology or educational pedagogy departments. Their names suggest a collaborative effort between a researcher (Longoria) and a practitioner (Cantu), a common dyad in Mexican academic publishing at the time. Their goal was pragmatic: to produce a manual or textbook that could be used in undergraduate courses for business, education, and psychology students who needed to learn how to think, not just what to think.

Creative thinking, divergent thinking, educational psychology, Mexican pedagogy, Longoria & Cantu (2000) Longoria R. Cantu I. -2000-. Pensamiento Creativo. Mexico

In the year 2000, as the world held its breath for the Y2K bug and the internet was transitioning from a novelty to a necessity, two Mexican scholars—Longoria R. and Cantu I.—published a work that sought to anchor one of humanity’s most elusive faculties in pedagogical reality. Titled Pensamiento Creativo (Creative Thinking), this book arrived at a crucial moment. The 1990s had been dominated by total quality management and process optimization. The new millennium demanded something different: innovation, adaptability, and original problem-solving.

Furthermore, the book addresses the "Authority Bias" prevalent in hierarchical Mexican organizations. How can a junior employee be creative if the boss expects blind obedience? Longoria and Cantu provided role-playing exercises designed to flatten hierarchies temporarily during "creative sessions." The authors outline specific qualities and behaviors found

Before this book, creativity in Latin American classrooms was often viewed as an artistic trait—reserved for poets and painters. Longoria and Cantu dismantled this myth by defining creativity as a four-stage cycle, likely drawing on Wallas’ 1926 model (Preparation, Incubation, Illumination, Verification) but adapting it for the 21st-century worker.

Published in 2000, the book makes almost no mention of the internet as a creative tool. It focuses on analog methods (paper, whiteboards, Post-it notes). Today’s concepts of AI-assisted creativity (Midjourney, ChatGPT) or global virtual collaboration are absent. This makes the book feel quaint, though the core cognitive principles remain valid. esto era revolucionario

Los autores dedican una sección importante a entender por qué perdemos la creatividad natural que tenemos en la infancia. Identifican barreras emocionales (miedo al fracaso), barreras culturales (tabúes sociales) y barreras perceptuales (ver solo lo que esperamos ver). En el contexto mexicano de hace dos décadas, esto era revolucionario, pues desafiaba el modelo educativo vertical donde el maestro tenía la verdad absoluta y el alumno solo debía repetirla.

One afternoon, he found a weathered copy of Pensamiento Creativo by Longoria and Cantú. As he turned the pages, the text didn't just teach him how to draw; it taught him how to .