Building Institutions for the Next 50 Years of Creativity Research

The Journal of Creative Behavior 's remarkable half‐century is a good occasion for reflecting on the role of a scholarly field's institutions in fostering creative work. In creativity studies, some of our institutions are flourishing, particularly our many excellent peer‐reviewed journals. But we face some institutional challenges that will require some creative solutions from creativity researchers. This article considers three challenges: (a) how to train and place the next generation of scholars when so few creativity researchers work at doctoral‐level graduate programs; (b) how to tighten the field's social network by bringing together people from different subfields and career stages in face‐to‐face gatherings; and (c) how to identify and develop the leadership needed to manage our scholarly organizations.     

Participation by women in behavior analysis

The participation of women in behavior analysis as authors of articles published in the Journal of the Experimental Analysis of Behavior (JEAB) and the Journal of Applied Behavior Analysis (JABA), as members of the Association for Behavior Analysis (ABA), and as contributors to the 1982 ABA convention was examined. Since the inception of JEAB and JABA, men have appeared as authors far more frequently than women, although women have published relatively more frequently in the latter journal than in the former. Across years, there has been an upward trend in the proportion of JEAB authors who are female; this is not the case for all JABA authors, although it does hold for senior authors. In 1980-1981 and 1981-1982, females represented approximately half of ABA's student and affiliate members but less than a third of its full members. Approximately a third of the contributors to posters and symposia and a seventh of those delivering invited addresses at the 1982 ABA convention were women.     

Creative Thinking Processes: The Past and the Future

For more than one hundred years, students of creativity, including seminal efforts published in the Journal of Creative Behavior , have sought to identify the key processes people must execute to produce creative problem solutions. In recent years, we have seen a consensual model of key creative thinking processes being accepted by the field. In the present effort, we review the evidence bearing on the eight core processes proposed in this consensual model. Subsequently, directions for future research on creative thinking processes are discussed.     

The Development of a Preliminary Creativity Scale for the MMPI-2: The C Scale

A creativity scale was developed for the Minnesota Multiphasic Personality Indicator, 2nd edition (MMPI-2). A criterion-based, contrasting group strategy was implemented using the Creative Behavior Inventory (CBI; Hocevar, 1979 Hocevar , D. ( 1979 ). The development of the Creative Behavior Inventory . Paper presented at the annual meeting of the Rocky Mountain Psychological Association . (ERIC Document Reproduction Service No. ED 170 350) . [Google Scholar]) to define high versus low creative groups. Two-thirds of the valid 192 data sets were randomly selected to identify the MMPI-2 items included for consideration in the creativity (C) scale. The remaining third of the sample served to determine the psychometric properties of the 31 item C scale, which was found to have adequate discriminant ability and reliability. MMPI-2 scales with significant correlations to the C scale were Scale 4, Scale 5, Scale 9, and Scale O; as well as GF, MAC-R, ES, and SOD.     

Creativity and Intuition Revisited

This study used the recently revised Myers Briggs Type Indicator (MBTI) and a variety of validated creativity measures to replicate a classic finding — that sensing‐intuition predicts creativity — and to evaluate whether the other MBTI scales add to the prediction of creativity. 94 undergraduates completed the MBTI (form M self‐scorable) and criterion measures including the Creative Personality Scale, an abbreviated Creative Behavior Inventory (self‐reported past accomplishments) and the Test of Creative Thinking‐Drawing Production (creative product ratings using consensual assessment). Results showed that intuition predicted all three criteria but that, contrary to expectation from past research, judging‐perceiving did not add to the prediction model. Thinking‐feeling emerged as a possible suppressor variable. We suggest that judging‐perceiving predicts creativity as an artifact of its relation with intuition and that the combination of intuition and feeling best characterizes high scorers on a composite creativity measure.     

Publication Patterns of The Personnel and Guidance Journal/Journal of Counseling & Development: 1978 to 1993

The purposes of this study were (a) to identify the primary institutional sources of articles to The Personnel and Guidance Journal/Journal of Counseling & Development from 1978 to 1993 (Volumes 57–71); (b) to identify the primary individual contributors to this journal during the survey period; (c) to identify and compare the program affiliations of individual contributors by editor during the survey period; and (d) to speculate as to whether the study results, collectively, indicate a trend toward more psychologists than counselors contributing to this journal. A total of 1,843 articles were reviewed. Of the 2,198 authors, 69% were academicians and 31% were practitioners. The data suggest that there has been a clear pattern of more psychologists than counselors contributing to this journal.     

A Culture‐Inclusive,Socially Engaged Agenda for Creativity Research

The 50 years anniversary of The Journal of Creative Behavior offers a festive occasion to reflect on the recent history of the field as well as look toward its future. From the standpoint of sociocultural psychology, I celebrate the growing importance of society and culture within creativity research. However, I also note an important distinction between “social inside” and “social outside” approaches. A truly culture‐inclusive field would go beyond the view of culture as “container” and explore the ways in which sociocultural contexts actively participate in creativity. At the same time, it would examine how creative action, in turn, shapes society and culture, particularly at times of growing intolerance, nationalism, and inequality. A socially engaged agenda for creativity research is timely both conceptually and practically. Taken together, these two pillars could not only advance but also fundamentally transform our field, carrying it for the next 50 years and beyond.     

The Creative Industries Entrepreneur: An Analysis of Lived Experience

Expanding our understanding of the lived experience of individuals who use their creativity to realize entrepreneurial opportunity is the primary aim of this paper. Interpretative Phenomenological Analysis is used, based on two interviews of one-hour duration, with eight participants. The key contribution of this research is the recognition of the Creative Industries Entrepreneur. A Creative Industries Entrepreneur is an individual who occupies a space between traditional entrepreneurship theory and established creativity models. The main driving force in opportunity formation for a Creative Industries Entrepreneur is their creative impulse. This pushes them to achieve a personhood, which can reconcile intrinsic impulses with external market forces and social imperatives.     

Assessment of the Long Term Effects of the Master of Science Degree in Creative Studies on its Graduates

This article will report the results of a study that was conducted to determine the long-term impact of the Master of Science Degree in Creative Studies, at Buffalo State College, on the personal and professional lives of the program graduates. A questionnaire designed to assess how graduate study in creativity has impacted graduates' personal and professional lives was sent to all program graduates. Analysis of the responses of the 38 Creative Studies graduates who completed the questionnaire indicated that study in creativity has significantly influenced their lives and is an integral part of their personal and professional activities. The authors would like to thank the following individuals for their valuable assistance in the development of this study: Scott Isaksen, Mary Murdock, Donald Treffinger, E. Paul Torrance, Ruth Noller, Sidney Parnes, Andrew Joniak, Gerard Puccio, K. Brian Dorval, and graduates of the Master of Science Degree in Creative Studies at Buffalo State College.     

Trends in the creativity literature: An analysis of research in the journal of creative behavior (1967–1989)

Abstract

Many have noted a renewed interest in creativity. However, even with a 40‐year history, little effort has been directed at the study of changes in the field, and no effort has been made to develop a historical perspective of the work being conducted. Which topics have consistently been examined? Which have gone out of favor, and which have shown surges of interest? The present investigation addressed these questions by examining 311 articles, representing a 23‐year span (1967–1989). This span began in 1967 with the founding of the Journal of Creative Behavior. Predictions were based on previous literature reviews and similar studies conducted in other areas of the social sciences. One prediction was that there would be increases in the number of authors per article (women authors in particular) and in the total number of references. Furthermore, empirical articles were expected to be on the rise, as were articles focusing on social and educational issues. The number of articles concerned with personality and related topics were expected to show a decrease. Results generally supported the hypotheses: The number of authors, number of female authors, number of references, and social and educational articles all showed upward trends. However, the number of empirical articles did not increase during the 23‐year period. Overall, the findings suggest that trend‐analytic research is viable and informative. It tells us not only where the field has gone, but also gives hints as to where it may be going.     

Editors As Authors: Publication Trends Of Articles Authored By JABA Editors.

Journal editors are gatekeepers; they review and shape the work of others, and influence the journal's direction and quality. They also contribute to the body of knowledge within a field as authors. The author role of editors of the Journal of Applied Behavior Analysis is described. Annual publication rates of the 55 former and current editors and associate editors are presented and discussed.     

The Minnesota Studies of Creative Behavior: National and International Extensions

ABSTRACT On the basis of over 300 reports by independent investigators and voluminous correspondence from all of the United States and over 36 foreign countries, the author summarizes some of the national and international extensions of the Minnesota (now Georgia) Studies of Creative Behavior. In these extensions, other investigators have used the research instruments and instructional materials developed by the author and his associates. Instruments have been translated into at least seventeen different languages, and one book, Gifted Children in the Classroom, has been published in both Spanish and Japanese. In the judgment of the author, there is little relationship between the kinds of effort that have an impact on research and the ones that influence educational practice. The most popular topic of the research studies collected was the validity of the Torrance Tests of Creative Thinking. Unfortunately, most of these studies have been preoccupied with the relationship between measures of creativity and measures of intelligence and school achievement. Nevertheless, these studies did yield a variety of evidence of construct, concurrent, and predictive validity, and test-retest reliability. The author makes a plea for future investigators to build upon rather than endlessly repeat these studies and make use of the theoretical rationales upon which the instruments and materials have been developed.     

Teaching Disobedience: Jung,Montuori, and the Pedagogical Significance of Conflict

Alternative education often seeks to promote creativity. In so far as this tendency might come to suggest something ideological, then the intent thus indicated is liable to become self-defeating. This article considers C.G. Jung's conservative ideas about education, and explores how these notions might relate to his wider psychology. Contrasting Jung's position with Alfonso Montuori's notion of Creative Inquiry, the author argues for the importance of a more conscious relationship to the role of conflict in the development of a relationally focused pedagogy.     

International publication trends of JABA authorship

The present study addressed international publication trends in JABA authorship between 1970 and 1999. First, we analyzed authorship patterns to identify trends in the appearance of new first authors, unfamiliar authors, and frequent contributors. Second, articles were assigned to either a North American or an international category. The data show a decline in the number of articles by new authors and an increase in the publications of frequent contributors from North America. Trends are shown in comparison to those from the American Journal on Mental Retardation.     

开发儿童创造力的实验研究

采用吉尔福特的智力结构模型,结合现代心理学对创造力的研究观点,编出一套实验教材,为学生开设每周２课时的创造活动课,对学生进行创造力的全面培养。研究结果表明,创造活动课促进了学生智力和创造力的发展,同时也促进了学生其它学科的学习。     

家庭创新环境的特征及其与中学生日常创造性行为的关系：创造性人格的中介作用

以1117名中学生为被试,采用问卷法考察家庭创新环境的特点及其对日常创造性行为的影响机制。结果发现：（1）家庭创新环境体现在家庭情感氛围、父母创造性行为、父母教育理念和自主准予,可分为抑制型（17.3%）、一般型（41.9%）和创新型（40.8%）,创新型在日常创造性行为上得分显著高于抑制型;（2）家庭创新环境与创造性人格、日常创造性行为以及同伴提名得分相关显著;（3）创造性人格在家庭创新环境和同伴提名之间起完全中介作用,在家庭创新环境和日常创造性行为之间起部分中介作用。     

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.     

Creativity and Self-esteem in Adolescence: A Study of Their Domain-Specific,Multivariate Relationships

Although empirical investigations on the Creative Self have historically started with a focus on self-esteem, the literature on its relationship with creative performance remains thin and inconsistent, with estimated relationships ranging from moderate and negative, to strongly positive. Discrepancies may be explained by the domain-specificity of both creativity and self-esteem that have been widely overlooked in this line of work. Therefore, this study explores the multivariate relationships between creativity in three domains (Music, Literary-Verbal, Graphic) and self-esteem in seven domains (e.g., Academic, Emotional) among 170 adolescents. Creative productions were scored by four raters, and latent consensus in each domain captured using a multi-informant latent-consensus model in SEM. This model was further extended in a structural model reveling that (a) creativity is mainly domain-specific, and (b) the contribution of domain-specific self-esteem on domain-specific creativity greatly varies according to both the domains of creativity and self-esteem. Up to 30% of the variance in creative performance was explained by “domain-relevant” self-esteem facets, and a moderate contribution of creative self-esteem across creativity domains. Results are discussed in light of several important methodological directions for this line of work, as well as its implications for creativity-based interventions designed to support positive self-esteem development in adolescence.