A Critique of Six Measures for Assessing Creativity

Tests and measures of creativity are critical instruments guiding educators in identifying highly productive individuals capable of contributing insightful and far reaching solutionsto ourproblem ridden civilization. This paperanalyzesand critiques six popularlyused measures ofcreativity: 1) The Torrance Test of Creative Thinking by E. Paul Torrance (1966); 2) The Creativity Assessment Packet by frank Williams (1980); three subtests of divergent production of the 3) Structure ofthe Intellect Learning Abilities Test by Mary Meeker; 4) Thinking Creatively With Sounds and Words by E. Paul Torrance, Joe Khatena and Bert F. Cunnington (1973); 5) Thinking Creatively In Action and Movement by E. Paul Torrance (1981); 6) Khatena-Torrance Creative Perception Inventory by Joe Khatena & E. Paul Torrance (1976). Reviewed through personal observation and published literature, these tests reveal a capacity as partial measures of divergent and productive thinking. Findings indicate that updating and upgrading of several tests with thought toward key constituent factors of the creative process would be qualitatively beneficial to test design. Harnessing creative potential is a main concern of educators hoping to prepare America's youth for a fast paced and rapidly changing existence. The questions at the heart of this concern: what creativity is, what constitutes creative thinking, and what the creative individual is like, have given birth to many tests and biographical checklists. Understanding the dimensions ofcreativity is difficult at best, and assessing it through tests or biographical checklists is even more problematic. Through direct examination and a review ofthe literature, this paper critiques six such measures for validity, reliability and utility. Those measures included: the Creativity Assessment Packet (CAP), the Torrance Test of Creative Thinking (TICT), Thinking Creatively in Action and Movement, Thinking Creatively with Sound and Words, Khatena-Torrance Creative Perception Inventory, and three divergent thinking subtests ofthe Structure of Intellect Learning Abilities Test (SOl-LA).     

Creativity and Certain Personality Traits: Understanding the Mediating Effect of Intrinsic Motivation

Two brief, 15-minute measures of creative ability have become available quite recently. The Abbreviated Torrance Test for Adults (ATTA) objectively measures creative ability in terms of the creativity of answers over 3 tasks. The Abedi Test of Creativity (ATC) subjectively measures creative ability by means of a self-rating questionnaire. Our first study examined the predictive validity of both methods by correlating prospective marketing employees' ATTA and ATC scores with the expert-judged creativity of a marketing campaign that they were asked to design. The objective ATTA test scores correlated substantially with creative performance, unlike the subjective ATC self-rating method that was much less predictively valid. A second study with current employees of a marketing agency demonstrated discriminant validity for the ATTA by revealing that ATTA scores and supervisor ratings of creative ability correlated highly for longer-term employees, but poorly for new recruits. Based on the results of these 2 studies, we propose an even shorter-scored version of the ATTA for use in business settings.     

Preservice Teachers' Personality Traits and Engagement in Creative Activities as Predictors of Their Support for Children's Creativity

The purpose of this study was to examine relationships among preservice teachers' personality traits, their own engagement in creative activities, and their beliefs about the teaching practices that have been shown to support children's creativity. A total of 302 early childhood and elementary preservice teachers participated in this study. The Ten-Item Personality Inventory (TIPI), the Creative Behavior Inventory (CBI), and the Creativity-Fostering Teacher Behavior Index (CFTI) were used to measure the preservice teachers' personality traits (Five-Factor Model), creativity-related experiences, and their creativity-fostering teaching practices. A conceptual model was hypothesized, tested, and supported by the results using multiple regression analyses and Sobel mediator tests. Findings indicate that preservice teachers who had higher scores on the openness to experience personality trait had more engagement in creativity-related experiences; those who had higher scores on the openness trait and who had more creativity-related experiences were more likely to espouse creativity-fostering teaching styles; and preservice teachers' own creativity-related experiences fully/partially mediated the relationship between the openness trait and their beliefs about specific creativity-fostering teaching practices. Implications for teacher education are discussed, and suggestions are made for future research on the relationships between teacher attributes and the use of teaching behaviors, which support children's creative development.     

基于正常人群的阈下自闭特质：概念、结构和影响因素

阈下自闭特质是正常人群表现出来的, 自闭症谱系障碍(Autism Spectrum Disorder, ASD)阈限以下温和的社会性、交流能力损伤以及与ASD相关的人格和认知特征。其研究有助于ASD的干预及对ASD实质的更好理解。研究者用共情–系统化理论对其进行了理论解释。近来研究表明阈下自闭特质的结构与ASD核心行为维度类似, 且遗传、性别、认知风格等因素影响阈下自闭特质水平。未来研究应更有效地对阈下自闭特质进行评估, 并进一步探讨其可能存在的病理性质、与ASD的理论界限等问题。     

The Measurement of Empathic Ability in Normal and Atypical Five and Six Year Old Boys

Eight atypical and eight normal five and six year old boys were tested for differences in empathy using Borke's Interpersonal Awareness Test (IAT). This test, consisting of two parts, requires the subject (s) to predict a cartoon character's emotions based on narrated situations. Part 1 involves asking the S to predict how others' behavior would affect the cartoon character (Johnny); Part II requires the S to predict how his own actions would affect Johnny. The IAT score means for both groups on Part I were similar. On Part II the atypical group scored the same as on Part I, but the normal subjects' scores increased. Inspection of the data revealed that on the Peabody Picture Vocabulary Test the atypical S's variance was five times greater than the normal S', and that IQ significantly correlated with performance on Part II. Controlling for the effects of IQ, an analysis of covariance indicated no significant differences between the normal and atypical groups on Part I or Part II. This apparent lack of differences is inconsistent with the literature indicating that autistic-like children have difficulty relating with others on an affective level. The implications of these findings for further investigation of empathy in autistic children and children with childhood onset pervasive developmental disorder are discussed.     

Creativity.4in1: Four-Criterion Construct of Creativity

The purpose of this theoretical article is to provide an extended definition of creativity that embraces potential cross-cultural variations in this construct. Creativity is defined as a 4-criterion construct, which includes attributes of novelty, utility, aesthetics, and authenticity. Novelty attribute stipulates that a creative work brings something new into being, which presents a new conceptual framework and/or modifies or violates an existing one. Utility attribute stipulates that a creative work is what a producer or a recipient considers creative, what represents an important landmark in spiritual, cultural, social, and/or political environment, and what addresses moral issues. The aesthetics attribute stipulates that a creative work presents the fundamental truth of nature, which is reflected in a perfect order, efficiently presents the essence of the phenomenal reality, and is satisfactorily complex, expressing both tension and intrinsic contradiction. Authenticity attribute stipulates that a creative work expresses an individual's inner self and relates one's own values and believes to the world. These attributes establish a comparison matrix, which can be used to evaluate and compare the levels of creativity of works from different areas of human endeavor.     

Malevolent Creativity in Criminals

The article by Cropley, Kaufman, and Cropley (this issue) showing that creativity can be malevolent is very helpful, giving a better understanding of creativity. In this article, I present 9 examples of malevolent creativity in criminals. These examples should help us better understand both creativity and criminals. We should never again assume that creativity is only positive.     

Creativity in old age

Sixty elderly subjects (M = 72 years) were tested and interviewed to find out how they experience and come to terms with the advent of illness, aging, and death. The choice of test instruments was steered by the necessity to learn how our subjects handled their anxiety (the Meta‐Contrast Technique [MCT]); to operationally define the concept of self‐image (the Identification Test [IT]); and to illuminate the findings from the perspective of creativity (the Creative Functioning Test [CFT]). The results revealed creativity to be a key factor in aging. The attitude of creative individuals towards aging was less negative and their attitude to illness less defensive. On the whole, their self‐projections were not only more flexible but also more emotional. However, creativity is not uninfluenced by context, particularly when it is of medium strength. The results also revealed that the subliminal messages used in the IT to manipulate the projected self‐image were effective.     

Gender Differences in Creativity

Research on gender differences in creativity, including creativity test scores, creative achievements, and self‐reported creativity is reviewed, as are theories that have been offered to explain such differences and available evidence that supports or refutes such theories. This is a difficult arena in which to conduct research, but there is a consistent lack of gender differences both in creativity test scores and in the creative accomplishments of boys and girls (which if anything tend to favor girls). As a result, it is difficult to show how innate gender differences in creativity could possibly explain later differences in creative accomplishment. At the same time, the large difference in the creative achievement of men and women in many fields make blanket environmental explanations inadequate, and the explanations that have been proposed thus far are at best incomplete. A new theoretical framework (the APT model of creativity) is proposed to allow better understanding of what is known about gender differences in creativity.     

Fostering Creativity in Philosophy

The American Philosophical Association suggests that studying philosophy can have an important impact on one's creative thinking ability. This paper abstracts from the empirical research on creativity a reasonable model of creative thinking, and discusses what the account implies about fostering creative thinking in philosophy courses. Given the empirical research on creativity and the nature of philosophy, studying philosophy can have an important impact on one's creative thinking ability, but faculty need to focus on it in their courses.     

Malevolent Creativity: A Functional Model of Creativity in Terrorism and Crime

Although creativity is often seen as an aspect of self-fulfillment, it is important to recognize its social effects. The traditional view is that these should be beneficial, creativity thus being benevolent. However, those who wish to do deliberate harm to others can also display creativity, in this case malevolent creativity. This is governed by the same principles as benevolent creativity, differing only in its intended purpose. Like any creativity, malevolent creativity can be examined through its products. Concepts from research on creative products provide important insights into the activities of terrorists and criminals, especially the idea of competing solutions. The key ideas in malevolent creativity are summarized in 11 principles; recognizing these helps in developing more effective means for counteracting terrorism.