Measuring the Creative Process: A Psychometric Examination of Creative Ideation and Grit

Within the investment theory of creativity (Sternberg & Lubart, 1996), creativity is defined as a 2-part process of buying low by investing in unusual ideas and then selling high by convincing others of the value or usefulness of these new ideas. This process requires both creative ideation and perseverance. The purpose of this research was to examine the psychometric properties of instrumentation proposed to assess the 2 underlying constructs in this definition: the creative ideational behavior required to buy low and the persevering behavior required to sell high. In particular, psychometric properties of a creativity ideation measure, the Runco Ideational Behavior Scale (RIBS Scale: Runco, Plucker, & Lim, 2001) and a perseverance measure, the Grit Scale (Duckworth, Peterson, Matthews, & Kelly, 2007) were examined in this study. Two samples of undergraduate students (N = 187; N = 817) completed a survey including these two scales and demographic information. Factor analyses were performed on the RIBS and Grit Scales. The RIBS Scale was found to have a 2-factor structure and 2 proposed new subscales. The Grit Scale’s previously reported 2-factor structure was confirmed.     

The Incremental Validity of a Short Form of the Ideational Behavior Scale and Usefulness of Distractor,Contraindicative, and Lie Scales

This article describes an empirical refinement of the Runco Ideational Behavior Scale (RIBS). The RIBS seems to be associated with divergent thinking, and the potential for creative thinking, but it was possible that its validity could be improved. With this in mind, three new scales were developed and the unique benefit (or “incremental validity”) of each was assessed. The three validity scales contained (a) distractor items, (b) contraindicative items, or (c) items constituting a lie scale. Step‐wise analyses using the three validity scales indicated very little incremental validity: They were interpreted in the light of psychometric theory, which suggests that their contribution may have been on a behavioral rather than on a statistical level. One additional analysis explored the possibility that a short form could be constructed. The short form of the RIBS was highly correlated with the long form (r = .94). Thus, most decisions made by the short form will be entirely compatible with decisions that would have been reached using the long form. A second significant result was that the RIBS was highly correlated with a check list of creative activities, supporting its concurrent validity.     

Cognitive Abilities and Creative Behaviors: CAB-5 and Consequences

The validity of six indices of divergent production is examined with reference to creative output in eight content domains: visual arts, music, literature, theater, science and engineering, business ventures, apparel design, and video and photographic work. Undergraduates (n = 144) completed Consequences, four scales from the Comprehensive Ability Battery, and a specially developed self-report inventory that produced eight creative content scores and a total score. Correlational analysis determined that Semantic Fluency, Ideational Fluency, Originality and Remote Consequences were substantially correlated with most creative behaviors and were uncorrelated with grade point average. A factor analysis of criteria revealed two underlying patterns of creativity, suggesting that proficiency in one creative domain is predictive of proficiency in several others. The study of creativity has traditionally been propelled by aesthetic, scientific, and economic concerns. While revolutionary breakthroughs in science, technology, and design often command our attention and respect, it is the small, evolutionary innovations that typically have the greatest immediate economic impact (Haustein, 1981). From any vantage point there has always been an interest in the prediction and measurement of creative behavior and aptitude. The available measurement approaches for creativity include cognitive abilities, personality traits, self-reports of creative behavior and peer and teacher ratings of creative works (Hocevar, 1981). The purpose of this study is to assess the validity of an underresearched set of cognitive measures: four subtests of the Comprehensive Ability Battery (CAB-5; Hakstian & Cattell, 1976) and the Consequences test (Christensen, Merrifield, & Guilford, 1958). Our validity strategy was correlational; criteria were eight self-report indices of creative endeavor. The following paragraphs elaborate the underlying theory from which these measures originated and some unresolved issues. Perhaps the largest single breakthrough in the cognitive approach to understanding creativity came from Guilford's (1967) 120-factor structure of intellect model. While commonly used intelligence tests measure convergent forms of thinking, creativity involves divergent thought processes which, according to Guilford, account for 30 of the 120 factors of intelligence. Working through a factor analytic paradigm, Guilford was able to identify over 100 out of 120 factors. Guilford's structure of intellect may be criticized for having fractured intellectual functioning into too narrowly defined units relative to what human faculties are actually engaged in ordinary intellectual endeavors. Nonetheless, the theory did provide a provocative explanation for the nature of creative thought and some interesting measurements of same. Measurements of creative thought (divergent production) involve word fluency, category formation and reformation, ideational fluency original uses for common objects (opposite of functional fixedness). One test, Consequences (Christensen et al., 1958), is of particular concern to this research project and involves a certain amount of social awareness on the part of the examinee in conjunction with divergent production. In a typical test item, examinees are presented with a hypothetical situation, “What would be the consequences if people no longer needed to sleep?” along with a few common responses. Examinees are then given five minutes to write as many consequences of the hypothetical situation as they can think of. Responses are scored by, first, eliminating responses that are redundant with the samples or other responses or that are completely irrelevant Remaining responses are then categorized as obvious and remote. The numbers of obvious and remote responses are counted to produce two scores. Consequences continues to be listed as a research instrument by its publisher. Norms in the manual (Guilford & Guilford, 1980) are only available for 331 engineers who took two forms of the test, 665 ninth-graders, 80 twelfth graders, and a college sample of 87 cases. According to Guilford & Guilford, the consequences scores are closely related to other divergent production measures, remote more so than obvious. The CAB-5 developed by Hakstian & Cattell (1976, 1978) who also worked in the factor analytic mode, consists of 20 subscales that appear to capture the essentials of convergent and divergent thinking in a timed battery of manageable size. The four divergent thinking scales — semantic fluency, ideational fluency, word fluency, and originality — are of particular interest to this project While the usual types of validity and norm-building research have been done with the convergent scales (Hakstian & Cattell, 1976; Hakstian & Woolsey, 1985) little external validation work is available for the divergent scales. Hakstian & Woolsey (1985) found that semantic fluency and ideational fluency were significantly correlated with grades in an introductory psychology course (r = .33 and .30 respectively). The rationale for why divergent production would be related to grades in that course was vague. Norms for the divergent scales are currently available for 216 college and 1098 high school students. While the validation question is framed around a limited set of scales in this research project, it does represent an issue of more general concern. According to Storfer (1990), several researchers have questioned whether measures of divergent production have any external validity with actual creative works. He cited a study where teachers' ratings of their students' creativity were based on logical or convergent measures but had no relationship to divergent measures. In his review of creativity measures, Hocevar (1978) noted a generally low level of interrelationship among personality, cognitive, self-report, and rating measures of creativity; from this trend he opined that self-report measures of creative behavior were perhaps the most defensible indices of creativity. On the other hand, a study of approximately 500 college students showed that those that had won science prizes, or who published or exhibited their work scored higher than others on ideational fluency (Wallach & Wing, 1969). While the latter finding is reassuring, we are not convinced that prizes, publication, or exhibition represent the full range of creative behavior to be found at the college level. Prizes require a propensity to compete among the participants, and a proclivity toward subjectivity, among the judges. As academic researcher know, earth-shattering ideas are not quickly snapped up by scientific journals, and much of what is published is indicative of the evolutionary progress mentioned at the outset of this article. There is reason to assume that there is much valuable creative effort taking place that does not reach wide audiences or that is otherwise shoved into drawers. From a statistical point of view, it is preferable to conduct a criterion related validity study that encompasses a wide (if not complete) range of criterion values and to avoid an extreme groups methodology, such as a comparison of prizewinners and others. The latter has the impact of exaggerating the predictor-criterion effect size. Altogether, Hocevar (1981) identified 15 studies showing a positive relationship between divergent production and other measures of creativity, and 15 other studies that showed no such relationship. With the foregoing theoretical and methological points in mind, the following hypotheses were examined: 1. Consequences and CAB-5 divergent scale scores would be significantly related to several types of creative behavior. 2. Consequences and CAB-5 divergent scale scores would be significantly related to each other. 3. There would be a substantial interrelationship among the various types of creative behavior. Significant findings would dispel the notion among critics of divergent thinking theory (cf. Stolper, 1990) that the prediction of creativity is situationally specific. 4. Divergent measures and indices of creative behavior would not be related to college students' grade point average (GPA). While we recognize that no point is proven by failing to reject the null hypothesis, a null relationship with GPA is expected from the general theory, on the basis of findings concerning teachers' rates cited in Stolper (1990) and our own assumptions that much creative work goes unnoticed in favor of traditional academic demand. An expected null relationship thus adds an element of convergent-discriminant validity analysis to the research plan.     

Association of Dopamine D2 Receptor Gene with Creative Ideation

Although several studies suggest that dopamine D2 receptor (DRD2) gene may contribute to creativity, the relationship between DRD2 and creativity still needs to be further validated. To further test the relevance of DRD2 and creativity, this study explored the association between DRD2 and creative ideation in 483 unrelated healthy Chinese undergraduate students. A total of 15 single nucleotide polymorphisms (SNPs) covering the DRD2 were genotyped, and creative ideation was assessed by the Runco Ideational Behavior Scale (RIBS). Single SNP analysis showed that 2 SNPs (rs4648317 and rs4938019) were nominally associated with fluency, 4 SNPs (rs4648317, rs4938019, rs4648319, and rs1800497) were nominally associated with flexibility, and 1 SNP (rs4648317) was nominally associated with originality. Haplotype analysis showed several haplotypes were nominally associated with various creative ideation indexes. However, none of these nominal associations survived correction for multiple testing. Overall, this study provides suggestive evidence for the genetic impact of DRD2 on creative ideation and supports the assumption that the genotype variations in DRD2 contribute to creativity.     

Linkographic Evidence for Concurrent Divergent and Convergent Thinking in Creative Design

For a long time, the creativity literature has stressed the role of divergent thinking in creative endeavor. More recently, it has been recognized that convergent thinking also has a role in creativity, and the design literature, which sees design as a creative activity a priori, has largely adopted this view: Divergent and convergent thinking are seen as occurring in cyclic phases within the design process. Neurological evidence suggests that frequent shifts between defocused and focused attention to stimuli in memory activation, which equate divergent and convergent thinking, are a hallmark of creative thinking. In this article, we use linkography to show that the shifts between divergent thinking—forelinking of design moves, and convergent thinking—backlinking of moves, are so frequent that at the cognitive scale they can be seen as occurring concurrently in the ideation phase of creative designing. It is proposed that in assessments of creative potential, shifts between divergent and convergent thinking should be the yardstick instead of, or alongside measurements of divergent thinking.     

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.     

Something Old,Something New: Revisiting Guilford's Conception of Creative Problem Solving

Over the course of his career, Guilford produced a remarkable body of research on creative thought. Today, this research is remembered primarily for its articulation of the notion that divergent thinking plays a key role in creative thought. However, a number of other capacities relevant to understanding creative thought were identified in the course of this research effort. In this article, I review this research program as a whole with special reference to those capacities that warrant more attention in current studies of creativity. Implications for current research are discussed.     

小而灵通，老而顽固？年龄信息对创造性观念评价的影响及其机制

创作者的年龄作为重要的社会线索信息,可能会影响大众对其观点的创造性评价。本研究以物品非常规用途想法作为评价材料,考察了4类年龄信息对创造性观念评价的影响,以及相关刻板印象在其中的作用。结果发现,10岁左右年龄信息会提升被试的新颖性和适用性评分;30岁左右的信息提升了新颖性评分,但刻板印象强弱对评分变化不具有预测作用。这表明,对于领域一般性产品,有关创作者的刻板印象不易被激活并应用于创造性评价。     

The Impact of Affective States and Affective Shifts on Creative Ideation and Evaluation

This study aims to examine the impact of affective states and affective shifts on ideation and evaluation of creativity. Affects were induced by a two‐stage imagination procedure of recalling autobiographical experiences. Three periods of divergent thinking were measured to represent the participants’ creative ideation at different times. Creative evaluation was measured by estimating the originality of each response provided by the participants. The results indicate that (a) during the initial period of ideation, groups with positive affect obtain better creative ideation than the groups with neutral or negative affect. (b) The ideation in positive affect groups gradually decreases over time, while the ideation in negative affect groups gradually increases over time. (c) During the evaluation of originality, groups with negative affect have a higher proportion of over‐estimates and a lower proportion of under‐estimates than groups with positive affect. The viewpoints of cognitive tuning theory, which posit that the affective state influences creativity, are supported.     

The Role of Bilingualism in Creative Performance on Divergent Thinking and Invented Alien Creatures Tests

This study continues the effort to investigate the possible influence of bilingualism on an individual's creative potential. The performances of Farsi‐English bilinguals living in the UAE and Farsi monolinguals living in Iran were compared on the Culture Fair Intelligence Test battery and two creativity tests: divergent thinking test (the Abbreviated Torrance Test for Adults) and structured imagination test (Invented Alien Creatures task). The findings of the divergent thinking test revealed that bilingualism facilitates the innovative capacity, the ability to extract novel and unique ideas, but not the generative capacity, the ability to generate and process a large number of unrelated ideas. The findings of the test of structured imagination demonstrated that bilingualism strengthens an ability to violate a standard set of category properties. In addition, the study hints at the construct validity of these two tests of creative functioning. However, the study acknowledges its rather exploratory character as the bilingual and monolingual groups might differ in a number of uncontrolled sociocultural factors that could potentially mediate the effect of bilingualism.     

Motor Creativity and Self-Concept

Creative children often have difficulty in forming their self-concept because parents may suppress their creative ideas. The purpose of this study was to investigate the relationship between motor creativity and self-concept. Wyrick's Motor Creativity Test and the Pictorial Scale of Perceived Competence and Social Acceptance for Young Children were administered to a sample of 414 children aged from 6 ± 0.3 years to 7 ± 0.3 years. Factor analysis for the self-concept measures revealed a 4-factor solution. The amount of variance explained by all 4 factors was 30.28% with the first factor explaining most of the variance (18.2%). Correlation analysis related motor creativity with the self-concept factors, and specifically with the first factor. It seems that perceived maternal acceptance has a significant role in explaining children's motor creativity.     

Creativity of Turkish Prospective Teachers

Universities in developed countries require people who can think, make new scientific discoveries, and find more adequate solutions to compelling world problems. For developing countries, integration of creative thinking skills in university education is a crucial need for shaping their future orientations and actualizing reforms in political, economic, and cultural areas. For many developing countries, creativity remains neglected, whereas in developed countries, educational philosophy and goals rely on students' enhancement of creativity and self-actualization. The Turkish educational system, which is highly centralized and achievement oriented, seeks creative and innovative teachers who are able to enhance creative thinking strategies and who respect the creative ideas of students. This study investigated whether 4 dimensions of creativity (fluency, flexibility, originality, and elaboration) are accounted for at the university entrance examination (OSS) to select prospective teachers in Turkey. The study sample consisted of the students of Akdeniz University, Faculty of Education. Regression analyses demonstrated that although creativity dimensions were not included in OSS in previous years, they are taken into consideration at moderate but significant levels in recent years. This shift at OSS, which is a standardized test, appears to be the sign of an educational innovation; however, it is not sufficient to produce an educational reform for a creative, developed society. This article discusses the alternative ways of selecting and training prospective teachers who are creative and who can develop creativity and innovation in Turkish society.     

In Praise of Convergent Thinking

ABSTRACT: Free production of variability through unfettered divergent thinking holds out the seductive promise of effortless creativity but runs the risk of generating only quasicreativity or pseudocreativity if it is not adapted to reality. Therefore, creative thinking seems to involve 2 components: generation of novelty (via divergent thinking) and evaluation of the novelty (via convergent thinking). In the area of convergent thinking, knowledge is of particular importance: It is a source of ideas, suggests pathways to solutions, and provides criteria of effectiveness and novelty. The way in which the 2 kinds of thinking work together can be understood in terms of thinking styles or of phases in the generation of creative products. In practical situations, divergent thinking without convergent thinking can cause a variety of problems including reckless change. Nonetheless, care must be exercised by those who sing the praises of convergent thinking: Both too little and too much is bad for creativity.     

Creativity of university students: What is the impact of field and year of study?

There is a long‐lasting dispute about development of students' creativity in the course of their university education. Both the duration and major field of study may represent the educational effects. To address the issue, the present study collected data (N = 859) from a series of surveys of students in Hong Kong to clarify educational effects by controlling a number of background characteristics and prior scores on creativity. Apart from measuring self‐reported creative traits and creative products, it measured divergent thinking with five tasks to elicit students' creative ideas, which led to scores of fluency, flexibility, novelty, innovativeness, and originality. Results indicate the trend of monotonic decline in creativity with years of study at university and the general superiority of verbal creativity among students of humanities and social sciences, whereas business students had the highest scores on self‐assessed creative traits and products.     

Creativity. Cognitive, personal, developmental, and social aspects

Although many psychologists have expressed an interest in the phenomenon of creativity, psychological research on this topic did not rapidly expand until after J. P. Guilford claimed, in his 1950 APA presidential address, that this topic deserved far more attention than it was then receiving. This article reviews the progress psychologists have made in understanding creativity since Guilford's call to arms. Research progress has taken place on 4 fronts: the cognitive processes involved in the creative act, the distinctive characteristics of the creative person, the development and manifestation of creativity across the individual life span, and the social environments most strongly associated with creative activity. Although some important questions remain unanswered, psychologists now know more than ever before about how individuals achieve this special and significant form of optimal human functioning.     

Openness to Experience and Intellect Differentially Predict Creative Achievement in the Arts and Sciences

The Big Five personality dimension Openness/Intellect is the trait most closely associated with creativity and creative achievement. Little is known, however, regarding the discriminant validity of its two aspects—Openness to Experience (reflecting cognitive engagement with perception, fantasy, aesthetics, and emotions) and Intellect (reflecting cognitive engagement with abstract and semantic information, primarily through reasoning)—in relation to creativity. In four demographically diverse samples totaling 1,035 participants, we investigated the independent predictive validity of Openness and Intellect by assessing the relations among cognitive ability, divergent thinking, personality, and creative achievement across the arts and sciences. We confirmed the hypothesis that whereas Openness predicts creative achievement in the arts, Intellect predicts creative achievement in the sciences. Inclusion of performance measures of general cognitive ability and divergent thinking indicated that the relation of Intellect to scientific creativity may be due at least in part to these abilities. Lastly, we found that Extraversion additionally predicted creative achievement in the arts, independently of Openness. Results are discussed in the context of dual‐process theory.     

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.