Intelligence,divergent thinking,and creativity

Guilford's Alternate Uses, Plot Titles, and Consequences tests were given to 94 university students along with the Concept Mastery Test, a traditional measure of verbal intelligence. These measures were correlated with an inventory of creative activities and accomplishments. A composite index of ideational fluency correlated with four creativity indices: Crafts, Performing Arts, Math-Science, and Total Creativity, while the Concept Mastery Test correlated with three indices: Art, Literature, and Total Creativity. With the exception that verbal intelligence was a better predictor of creativity in literature, no statistical difference between the predictive accuracies of ideational fluency and verbal intelligence were found. The need to re-examine the widely accepted association of divergent thinking with creativity was discussed.     

The Effects of a Verbal and a Figural Creativity Training on Different Facets of Creative Potential

This study investigated the effects of different types of creativity interventions on different facets of creative potential, also including more school-related creativity demands. In a sample of 77 fourth-graders in the age between 9 and 12 years, we administered a verbal and a figural creativity training, realized in two school lessons over two consecutive days each. As outcome measures, creative potential in both the verbal and the figural domain by means of two well-established divergent thinking tasks was assessed. As additional measures of creative potential, a story completion task and a picture painting task were administered to examine training effects on more school-related types of creative behavior. The verbal training was found to increase both verbal and figural divergent thinking ability, but not creative potential in the story completion and the picture painting task. The figural training yielded significant training effects only regarding the picture painting task. Findings suggest a specific training effect of the figural creativity training, and moreover indicate that the verbal creativity training, rather than stimulating “verbal” creative abilities per se, was more strongly concerned with domain-general creativity processes including ideational fluency, flexibility, and originality that are characteristics of divergent thinking tasks across different domains.     

Verbal fluency and creativity: General and specific contributions of broad retrieval ability (Gr) factors to divergent thinking

The Cattell–Horn–Carroll (CHC) model of intelligence views creativity as a first-level factor within the second-level factor of broad retrieval ability (Gr), alongside other first-level abilities such as ideational fluency and word fluency. Traditional methods of measuring creativity, however, confound idea quality with idea quantity, which might exaggerate the relationship between creativity scores and verbal fluency factors. Participants (n = 131 adults) completed two divergent thinking tasks (unusual uses for a rope and a box), which were scored using newer methods that effectively separate creativity (scored via subjective ratings) and fluency (scored as number of responses). They then completed 16 verbal fluency tasks that assessed six lower-order Gr factors: word fluency, associational fluency, associative flexibility, ideational fluency, letter fluency, and dissociative ability. Viewed singly, many of the lower-order factors significantly predicted creative quality and fluency. General Gr had substantial effects on creative quality (standardized β = .443) and fluency (β = .339) in a higher-order model as well as in a bifactor model (quality β = .380, fluency β = .327). Moreover, general Gr was the only significant predictor in the bifactor model, suggesting that it, not the specific factors, was most important. All effects were essentially the same after controlling for typing speed and vocabulary knowledge. The findings thus support the CHC view of creativity/originality as a lower-order component of Gr, illuminate the relationships between creativity and first-level Gr factors, extend the study of creativity and intelligence beyond fluid intelligence, and further indicate that creativity is more closely tied to cognitive abilities than creativity research has yet recognized.     

Higher‐order factors of creativity within Guilford's structure‐of‐intellect model: A re‐analysis of a fifty‐three variable data base

Both exploratory factor analyses (varimax and promax solutions) and confirmatory maximum likelihood factor analyses were used to re‐examine a correlation matrix of 53 tests from a battery administered to a sample of more than 400 Air Force officers. The data base originated in a report from the University of Southern California Aptitudes Research Project (Guilford, Wilson, & Christensen, 1952), which was intended to identify factors of creative thinking. The major objective of this study was to ascertain whether the covariation among the test variables that were conceptualized as first‐order factors within the structure‐of‐intellect model could be explained parsimoniously in terms of a number of higher‐order creative abilities. Application of a relatively objective oblique exploratory factor analytic technique (promax) afforded a replication of four of Guilford's creativity factors—two divergent production constructs of ideational fluency and word fluency, one construct representing sensitivity to problems, and another identified as redefinition or flexibility of closure typically involving transformations. Although substantial support was found for higher‐order factor models which distinguished among five types of psychological operations and three kinds of test content, statistical indicators of closeness‐of‐fit suggested that a mixed model of both first‐order and higher‐order factors was required to describe creativity thinking, perhaps within some form of hierarchical ordering. In addition to recognition of divergent production as a key component of creative endeavor, it appeared that a higher‐order convergent production factor involving primarily semantic and symbolic transformations constituted a dimension of potential importance to the creative thinking of mathematicians, scientists, engineers, and inventors. It was hypothesized that in creative thinking a variety of psychological operations within a dynamic interactive system is employed almost simultaneously in a forward and backward manner.     

Creativity,Mood Disorders,and Emotional Intelligence

The study addressed two findings in the creativity literature that show, on the one hand, that bipolar disorder and other clinical dysfunctions are overrepresented among eminently creative people, and that positive affect is positively associated with creativity. The central hypothesis of the study was that emotional intelligence could be an intervening variable between clinical conditions and creative production. A sample of 412 undergraduates completed a wide range of divergent thinking and creative production measures, and the Emotional Intelligence Scale; 11 percent of the sample reported that they had completed treatment for mood disorder and 5 percent report that they were currently in treatment. A combination of regression and ANOVA analyses revealed: The link between mood disorders and creative production persisted after emotional intelligence was statistically removed; the same was true for ideational fluency and flexibility of cognitive style. The link between emotional intelligence and creative production persisted after the effect of clinical disorders was removed. Ideational fluency and emotional intelligence were higher among people who completed treatment compared to people in treatment. The tentative interpretation is that emotional intelligence serves as a counterweight against mood disorders in enhancing creative production.     

Measuring creative thinking: An activity‐based approach

The primary objective of this exploratory study was to test activity‐based behavioral measures of creative thinking with a sample of Hong Kong fifth‐grade school children, and also to determine the concurrent validity between activity‐based measures of creative thinking and standard divergent thinking tests. Altogether five creative thinking abilities were measured using the behavioral techniques and the children's scores for fluency, flexibility, and originality were compared with those from the Torrance Test of Creative Thinking (TTCT). The construct‐related validity among all the different abilities on the behavioral measures was also calculated. Contrary to previous assertions about the lack of creativity among Chinese populations, the Hong Kong children demonstrated their ability to use a number of creative thinking features in order to solve problems. No construct validity was found between the different measures of creativity except between originality and fluency. Possible reasons for this are reviewed. The TTCT and the behavioral techniques were found to have some concurrent validity in relationto fluency and originality on the Verbal Tests. There was no correlation for flexibility. The advantages of using activity‐based measurements of creative behavior are discussed.     

Sex differences in instructions to "be creative" on divergent and nondivergent test scores

Harrington (1975) found that both the magnitude and meaning of male subject scores on the Alternate Uses Test were altered by explicit instructions to “be creative,” and argued for the necessity of such instructions, plus qualitative scoring criteria, in the employment of tests of creativity. The present study elaborated upon this study by including female subjects, more than one test of divergent thinking and a test of nondivergent thinking. Instructions to be creative increased the proportion of creative responses output for both males and females, and sharpened correlations with Adjective Check List personality scales. Instructions did not alter performance on the nondivergent test. These results were interpreted to mean the instructions elicited strategies particularly relevant to divergent thinking and ruled out nonspecific effects such as those due to motivation. A reliable sex-difference in ideational fluency was also observed: instructions to be creative facilitated the total number of responses output for the male subjects. This supports a hypothesis that the instructions disambiguate I he test situation differently for men and women, suggesting the need to isolate individual conceptions of creativity in order to maximize test performance.     

THE EFFECT OF TELEVISION AND RADIO ON CHILDREN'S CREATIVITY

The literature on creativity posits that creative abilities are stable and relatively impervious to short-term interventions. Several studies have, however, reported differential effects of media on children's imaginative play and thinking. The results of these studies are difficult to interpret owing to their reliance on nonstandardized measures of creativity. The present study examines the relative effects of television versus radio on children's creativity. Third and sixth graders were presented a story on television or radio and were then given an adapted version of the “Just Suppose” test of divergent thinking developed by Torrance (1974). Responses were scored in terms of ideational fluency, flexibility, and originality. The results indicated that the two media did not have a differential effect on children's creativity.     

Openness to experience, plasticity, and creativity: Exploring lower-order, high-order, and interactive effects

What are creative people like? Openness to experience is important to creativity, but little is known about plasticity, the higher-order factor that subsumes openness. College students (n = 189) completed measures of the Big Five and measures of creative cognition (fluency and quality of divergent thinking), everyday creative behaviors, creative achievement, and self-rated creativity. Latent variable models found broad effects of openness to experience and few effects of the other four domains. At the higher-order level, plasticity predicted higher scores on nearly all of the facets of creativity, and stability had several significant effects. For some creativity measures, plasticity and stability had opposing effects. Tests of latent interactions found no significant effects: plasticity and stability predict creatively independently, not jointly.     

Characteristics of ADHD Related to Executive Function: Differential Predictions for Creativity-Related Traits

Although the relationship between creativity and ADHD is uncertain, recent studies examining how dimensionally assessed characteristics of ADHD relate to creativity and divergent thinking in adults suggest an occasional positive, linear relationship between the constructs. However, the executive functions proposed to underlie characteristics of ADHD have not been examined in relation to creativity. This study was conducted to determine how different characteristics of ADHD related to executive functioning (as assessed by the Brown ADD Scales) predict different components of figural divergent thinking, intellectual risk-taking, and creative self-efficacy. Undergraduate engineering students (N = 60) completed the Brown ADD Scales, a figural divergent thinking task, and self-report measures of intellectual risk-taking and creative self-efficacy. A series of multivariate regression models demonstrated that several components of divergent thinking (i.e., fluency, originality, and resistance to closure) were predicted by different characteristics of ADHD. Although fluency was predicted by affect only and originality was predicted by activation only, resistance to closure was predicted by activation, effort, and attention. Additionally, intellectual risk-taking was predicted by memory, effort, and activation, whereas creative self-efficacy was predicted by effort. The implications of these results relating to the relationship between ADHD and creativity, as well as for engineering undergraduate education are discussed.     

Development and Psychometric Integrity of a Measure of Ideational Behavior

Although creativity is an important part of cognitive, social, and emotional activity, high-quality creativity assessments are lacking. This article describes the rationale for and development of a measure of creative ideation. The scale is based on the belief that ideas can be treated as the products of original, divergent, and creative thinking-a claim J. P. Guilford (1967) made years ago. Guilford himself assessed ideation with tests of divergent thinking, although through the years scores from these tests have only moderate predictive validity. This may be because previous research has relied on inappropriate criteria. For this reason, the Runco Ideational Behavior Scale (RIBS) was developed. It can be used as a criterion of creative ideation. Most items describe actual behaviors (i.e., overt actions and activities) that clearly reflect an individual's use of, appreciation of, and skill with ideas. Results obtained using both exploratory and confirmatory factor analysis are reported in this article. These suggest the presence of 1 or 2 latent factors within the scale. Based on the theoretical underpinnings of the scale, a 1-factor solution was judged to be more interpretable than a 2-factor solution. Analyses also supported the discriminant validity of the RIBS.     

Personal need for structure and creative performance: the moderating influence of fear of invalidity

Previous research has suggested that personal need for structure (PNS) is negatively related to creative performance. In this article, it is argued that this relation, in fact, depends on another personality variable: personal fear of invalidity (PFI). When PFI is high, PNS should indeed be negatively associated with creativity. However, PNS should be positively associated with creativity when PFI is low, because this combination enables people to take a structured approach to creative tasks and this can be helpful to overcome their reliance on conventional and accessible task strategies. In four studies, this hypothesis is tested using different measures of creative performance. The expected interaction effect is found for measures of ideational fluency and measures of originality but not for measures of flexibility. Moreover, it is shown that the interaction effect between PNS and PFI is mediated by perseverance within thought categories.     

The Effect of Changes in the Temperature and Humidity of the Air on the Apparent Skin Resistance

The effects of affective expression on divergent thinking performance were studied in 40 male and female graduate education students. Divergent thinking was operationally defined in terms of the ideational fluency and originality dimensions of Guilford's (4) Plot Titles test. Experimental group E1, in which emotional states were related to visual stimuli, produced significantly more original responses than experimental group E2 (p < .025), in which the same visual patterns viewed in terms of their geometrical-technical dimensions, and control group C1 (p < .01), in which no training was administered. Groups E2 and C1 demonstrated no significant differences. The groups did not differ with respect to ideational fluency. Verbal ability was a poor predictor of individual differences in ideational fluency and originality. The results suggest an effective approach toward fostering originality and indicate that nonintellective variables may be significant in the creative process.     

The Creative Personality: A Synthesis and Development of the Creative Person Profile

Several constructs from the research literature on the creative personality were reoperationalized to gain further understanding of the structure of the creative personality and to develop a broad measure of relevant traits (CPP—the Creative Person Profile). From an initial pool of 38 creativity relevant personality constructs, 7 factors were identified and labeled (emotional instability, ambition, associative orientation, motivation, need for originality, agreeableness, and flexibility) in a sample of 481 participants with a mean age of 31.6 years. In a subsample, there were theoretically meaningful correlations between the 5-factor model of personality and 5 of the CPP factors. Moreover, most of the 7 components correlated with at least 1 ability test or self-report criterion of creativity (creative problem solving, remote associates test, ideational fluency, items from a creative activities checklist). Finally, in a discriminant validity study, scores on the 7 factors clearly differentiated between a group of professional artists (n = 69) and the remainder of the sample, and between a group of marketing students (n = 40) and the remainder of the sample.     

Creative Ideation Meets Relational Support: Measuring Links Between these Factors in Early Adolescence

This study examines measurement of creative ideational behaviors alongside factors of student engagement that may play a role in the development of students’ creative potential during early adolescence in school. Two studies used exploratory and confirmatory factor analyses, cross-validation, and invariance testing of 2 extant measures with multiple samples of 6th grade students in the United States. Key findings show that reduced versions of the Runco Ideational Behavior Scale for Students (RIBS-C) and the student engagement instrument (SEI) demonstrated a close fit to the data and sufficient evidence of reliability and validity. In addition, flexibility in creative ideation showed consistently high correlations with relational support with peers and teachers and educational aspiration and relevance. Results provide greater precision for future measurement and support for developmental and sociocultural theories of creativity in the learning environment. This study also reinforces the cognitive perspective that distinguishes properties of fluency and flexibility.     

Maternal teaching techniques and preschool children's ideational fluency

As a counterpart to research showing relationships between parental behaviors and attitudes and children's divergent thinking, this study investigated mothers’ teaching techniques and preschool children's ideational fluency, one aspect of creativity. Twenty mother‐child dyads were videotaped interacting in both a warm‐up and structured teaching session. Mothers’ teaching behaviors were assessed with the Maternal Teaching Observation Technique (MTOT) and children's ideational fluency was measured with the Multidimensional Stimulus Fluency Measure (MSFM). Correlational analyses indicated relationships between children's divergent thinking and mothers’ use of verbal negative feedback (r = .51), physical control (r = ‐.40), and visual cues (r = ‐.44).     

Revisiting Mednick's Model on Creativity‐Related Differences in Associative Hierarchies. Evidence for a Common Path to Uncommon Thought

Fifty years ago, Mednick [Psychological Review, 69 (1962) 220] proposed an elaborate model that aimed to explain how creative ideas are generated and why creative people are more likely to have creative ideas. The model assumes that creative people have flatter associative hierarchies and as a consequence can more fluently retrieve remote associative elements, which can be combined to form creative ideas. This study aimed at revisiting Mednick's model and providing an extensive test of its hypotheses. A continuous free association task was employed and association performance was compared between groups high and low in creativity, as defined by divergent thinking ability and self‐report measures. We found that associative hierarchies do not differ between low and high creative people, but creative people showed higher associative fluency and more uncommon responses. This suggests that creativity may not be related to a special organization of associative memory, but rather to a more effective way of accessing its contents. The findings add to the evidence associating creativity with highly adaptive executive functioning.     

A Meta-Analysis of the Relation between Creative Self-Efficacy and Different Creativity Measurements

This meta-analysis investigated the relations between creative self-efficacy (CSE) and creativity measures and hypothesized that self-assessed questionnaires would have a different relation to self-efficacy beliefs compared to other creativity tests. The meta-analysis synthesized 60 effect sizes from 41 papers (overall N = 17226). Taken as a whole, the relation between CSE and creativity measures was of medium size (r = .39). Subgroup analyses revealed that self-rated creativity correlated higher with self-efficacy (r = .53). The relation with divergent thinking (DT) tests was weak (r = .23). Creativity scales had a medium size relation (r = .43), and was stronger than the relation to verbal performance tasks (r = .27) and figural performance tasks (r = .19). In a comparison between measures focusing on the creative person (r = .47), the creative product (r = .32), and the creative process (r = .27), the person aspect was most strongly linked to CSE. Thus, the relation between self-efficacy and creativity measures is dependent on the type of measurement used, emphasizing the need for researchers to distinguish between different instruments—not the least between self-report scales and more objective test procedures. Conceptual implications are discussed and critique concerning the creativity concept is brought up.     

The creativity quotient: An objective scoring of ideational fluency

A classical test for accessing the potential creativity of an individual is based on ideational fluency, where a person is asked to generate all possible uses for a familiar item like a piece of paper. In scoring the results, it is intuitive that the suggested uses should not be weighted equally. Those suggested in radically different categories are “worth more”; than those suggested within the same category only. We used information theory to derive a simple mathematical expression for a more objective measure of ideational fluency. We call this the creativity quotient (CQ). This innovative measure was examined using a small sample of participants, and is illustrated by the responses of two typical individuals from an ideational fluency task. The CQ accounts for the number of ideas (fluency), plus the number of categories (flexibility). Ongoing research will examine the independence of CQ from established measures of intelligence and personality.     

Creativity in the Age of Technology: Measuring the Digital Creativity of Millennials

Digital technology and its many uses form an emerging domain of creative expression for adolescents and young adults. To date, measures of self-reported creative behavior cover more traditional forms of creativity, including visual art, music, or writing, but do not include creativity in the digital domain. This article introduces a new measure, the Creative Behavior Questionnaire: Digital (CBQD), which assesses self-reported creative behavior in the digital domain. High school students (N = 230) completed the CBQD, as well as several other measures of creativity and personality. Factor analysis revealed 3 factors: digital creativity achievement, school-based everyday creativity, and self-expressive digital creativity. Factor-based scales showed expected correlations with other creativity measures, as well as Big-Five personality traits and Unconventionality, supporting construct validity. Results indicate that the CBQD can be used as an independent or a supplemental measure of creative behavior.