Consensual Assessment of Creativity in Teaching Design by Supportive Peers—Its Validity,Practicality, and Benefit

Creativity in teaching is a significant and complex construct. However, in the local educational context, creativity in teaching has received little attention. This study aimed to investigate the validity, practicality, and benefits of applying a modified consensual assessment technique (CAT) to assess creativity in teaching design. Four hundred and eighty‐five written teaching designs were collected from 167 in‐service and pre‐service primary school teachers in Hong Kong. Instead of expert teachers, “supportive” peers, who had shown support, interest, and initiative in creative teaching were recruited as judges. A warm‐up exercise, with no definition of creativity, was given to the judges before beginning their assessments. The results indicated overall consistency in the judges' assessments of creativity, and that creativity factor could be distinguished from pedagogical skills and other technical factors. Most of the peer judges reported personal gains in creative teaching by engaging in the assessment process. On average, each judge spent approximately only 2 minutes rating each written teaching design. The findings confirm that the modified CAT is a valid and economical assessment method with learning benefits for the judges. The special values and implications of using supportive peer judges in consensual assessment are further discussed.     

The Impact of the Core Knowledge Curriculum on Creativity

The Core Knowledge Sequence, which has been proposed as a voluntary national curriculum and has been adopted in many school districts across the United States, is unusually specific about the content students are expected to learn at each grade level. This has led to suggestions that it may promote rote learning and result in a decline in creativity. This possibility was investigated by comparing the creative performance of middle school students who had been attending Core Knowledge schools to that of students at a matched non-Core Knowledge school. There were 3 comparisons: poems written by seventh-grade students, short stories written by seventh-grade students, and short stories written by eighth-grade students. Experts evaluated the creativity of these stories and poems using a consensual assessment technique. Only 1 of the 3 comparisons yielded a statistically significant difference, and that difference favored Core Knowledge students. These results suggest that the Core Knowledge Curriculum and its detailed and specific requirements of content to be studied at each grade level do not negatively impact students' creativity and may even have a positive impact on creative performance in some areas.     

The Effects of Competition on Improvisers’ Motivation,Stress, and Creative Performance

We explored how competition affects the quality of musical improvisation, as well as the intrinsic motivation and stress reported by improvisers. Amateur musicians improvised on a keyboard in one of two conditions: induced competition and no competition. Employing the consensual assessment technique, improvisations were assessed for creativity and technical goodness by 10 expert judges. Findings indicate that improvisations were judged as more creative under competitive than non-competitive conditions. Moreover, improvisers in the competition condition were more intrinsically motivated, as well as more stressed, than improvisers in the no competition condition. The creativity and technical goodness dimensions of improvisations were positively related to each other. The findings are discussed in light of the intense debate over the effects of extrinsic motivators on intrinsic motivation and creativity and offer mechanisms through which competition may affect creative performance as well as discuss the role of stress in affecting motivation and creativity.     

The Creative Product and Process in Computer‐Mediated Groups

The effects of information technology on the creative performance in small groups were examined. An experimental 3 × 2 design was used in order to assess the effects of Group Communication Support System (GCSS) and perceived usefulness on the creative product and the creative process. A chat, a video conference and a face‐to‐face group were compared. The consensual technique was used to obtain measurements of creativity. The results of the analysis of variance indicated that the face‐to‐face group evoked more creative results than the other two. The more real life‐like the conditions were the better fluency of ideas. The video conference group scored significantly lower on incubation in the creative process. No effects were found concerning the participants' perceived usefulness. Participants in the face‐to‐face group reported themselves to be more satisfied with both their product and process than the participants in the computer‐mediated groups. The study suggests that the measurement of both the creative product and the creative process can contribute to the research on how GCSS affects creative performance.     

Directed forgetting in pigeons resulting from the reallocation of memory-maintaining processes on forget-cue trials

When procedural artifacts are controlled, it has been difficult to demonstrate directed forgetting in pigeons. However, previous research with pigeons has not allowed for the reallocation of working memory (from forget items to remember items) on forget-cued trials as is possible in human directed forgetting experiments. In the present experiment, directed forgetting was found while controlling for procedural artifacts and allowing the pigeons to reallocate memory resources on forget trials. The results indicate that under these conditions, pigeons have active control over memory processing.     

Problem Finding,Creativity Style and the Musical Compositions of High School Students

This study sought to understand the effect of problem finding and creativity style on the creative musical product. Participants (N = 32) were categorized by creativity style (adaptor or innovator) using the Kirton Adaption-Innovation Inventory. The participants completed two musical composition problems involving two different degrees of problem finding behaviors: an open (ill defined) and a closed (more defined) problem. The resulting products were scored for creativity by three judges using a modified version of Amabile's “consensual assessment technique.” A repeated measures analysis of variance (ANOVA) was used to analyze the data. The independent variables were composition problem type and creativity style, and the dependent variable was the creativity score on the open and closed problems. No significant differences due to problem type, creativity style, or the interaction of the two factors was found. This research supports the assertion of Kirton that adaption-innovation theory is a measure of creativity style rather than creativity level, but calls into question its use in individual creativity style.     

The modification of sentence structure and its relationship to subjective judgements of creativity in writing

The present study objectively defined and manipulated some compositional variables in 10-sentence stories written by fourth-, fifth-, and sixth-grade students, and related these operationally defined variables to subjective judgements of creativity. Points, exchangeable for candy and extra recess, were given to members of two teams contingent upon their using different adjectives, different action verbs, and different sentence beginnings. The students' use of these selected parts of speech was modified and the independent subjective ratings indicated that stories written during contingency conditions were generally rated as more creative than those written during baseline conditions. Operational definitions that specify non-repetition or variety of responses, and contingencies that require response diversity may provide a beginning basis for defining writing creativity and the conditions that maximize its occurrence.     

Creativity: Yesterday,Today and Tomorrow

ABSTRACT Nineteenth century science neglected creativity, and the limited twentieth century approach (to 1950) was largely anecdotal. Recently, research has multiplied, although it has involved little experimental hypothesis testing. Creativity comprises many discrete abilities which often do not correlate very much with each other, and creativity and IQ correlate substantially only at lower IQ levels. Much work has been done in developing evaluative criteria for creative scientific production, and on teaching and learning creativity. Future basic research should concern transfer recall, transformations, reclassification, elaboration, incubation, environmental conditions, and motivation. The social consequences of releasing creative abilities are potentially enormous.     

State humility: Measurement,conceptual validation,and intrapersonal processes

Humility is a core psychological process theoretically marked by low self-focus, secure identity, and balanced awareness of strengths and weaknesses. We began with a consensual definition of humility before theoretically unpacking it. First, using 25 samples and 2622 adults, we developed the Brief State Humility Scale, which demonstrates strong construct validity and good reliability, is sensitive to experimental manipulation, and is uncorrelated with social desirability. Second, using this measure, we replicated previously reported relationships involving interpersonal processes; revealed links between state humility and intrapersonal processes (e.g. affect, creativity, and personality); and demonstrated key theoretical differences between state humility and modesty. This framework highlights new avenues for humility research and suggests how humility plays a critical role in emotional experience.     

Putting Raters in Ratees’ Shoes: Perspective Taking and Assessment of Creative Products

This study reported 2 experiments that studied the effect of perspective taking on assessment of creative products by using human raters. Forty responses of 2 alternative uses tasks (AUTs) and 15 alien stories generated by 6th-grade students were used as assessment materials. Undergraduate students as the novice raters assessed the products under 3 experimental conditions: assessing without any information of the ratees, assessing only with age information of the ratees, and assessing with age information and taking the perspective of the ratees. Results of Experiment 1 showed significant differences in creativity ratings between group 1 and 2. But no significant difference was found between group 2 and 3. In Experiment 2, raters in group 1 used objective perception and raters in group 3 were asked to take the perspective for more time. Raters in group 3 assigned higher ratings than the other 2 groups but no difference was found between group 1 and 2. Overall, the results showed the effect of perspective taking on assessment of creative products. Possible mechanisms of the effect and implications for creativity assessment and creativity teaching practice were discussed.     

THE ROLE OF RESPONSE DELAY IN IMPROVING THE DISCRIMINATION PERFORMANCE OF AUTISTIC CHILDREN

This study investigated the influence of a response delay requirement on the discrimination performance of autistic children. In the context of a multiple baseline design with subsequent repeated reversals, two conditions were compared: a no-response-delay condition, where the child was allowed to make the target response immediately after presentation of the discriminative stimulus versus a response-delay condition, where the target response was permitted three seconds following the discriminative stimulus when the therapist would signal the child to respond. The results showed that the response-delay condition produced higher levels of correct responding than the no-response-delay condition. In addition, teachers in the research setting rated the response-delay procedure to be a practical and effective teaching technique that could be implemented in a classroom setting. The results were discussed in relation to the literature on impulsivity, and were interpreted as indicating that the response-delay procedure provides a valuable technique for teaching autistic children.     

Artistic Creativity and Rorschach Whole Responses

The present experiment investigated artistic creativity as it functions in the production of whole responses to Rorschach ink blots. The number, percentage, and quality of whole responses produced by a group of artists were compared to that of a group of nonartists under two instructional sets (regular instructions versus whole response set). Artists and nonartists did not differ significantly in whole response quality. Artists and nonartists gave significantly more whole responses under the whole response set, but artists produced a significantly greater number of whole responses, regardless of instructions. Artists gave a significantly greater proportion of whole responses only under regular instructions. These results give statistical verification to the discriminatory power of Rorschach whole responses in the identification of artistic creativity.     

有关创造力测量的一些思考

创造力测量是创造力研究的基础, 然而该领域研究成果却一直饱受质疑, 因此如何准确测量创造力是研究者亟需解决的问题。近几年, 创造力测量领域围绕一些研究热点, 在多方面取得显著进展。例如：发散思维测验独特性维度的计分问题, 或许可以通过主观计分法解决; 顿悟类测验可能表征个体创造力水平, 但效度仍有待于进一步确认; 创造力成就测验可能带来的共同方法变异问题, 需要通过合理应用测验规避; 同感评估技术或许会引起评定者效应; 研究者开始从语义网络角度测量创造力等等。未来该领域研究应当在：基本概念问题上达成共识; 从测验内容和施测过程优化测验质量; 采用混合测验的策略以及通过跨领域研究增进测量技术多样化等方面进行努力。     

Effects of Association Instruction on Fourth Graders' Poetic Creativity in Taiwan

In this study, we used a quasi-experimental pretest–posttest mixed design to assess the effect of association instruction on students' poetic creativity. Creativity was judged using the consensual assessment technique. A total of 64 fourth-grade students from two intact classes participated in the study. One class was assigned to the experimental group (n = 34) and the other to the control group (n = 30). Weekly for 5 weeks, the experimental group received 30 minutes of instruction in forming associations, and then each student composed a Chinese free verse based on a given association theme. The control group received traditional writing lectures prior to composing Chinese free verses. Three groups of judges assessed the completed poems (a total of 320 poems), evaluating their creativity on 14 dimensions. The judges included three expert teachers with at least 10 years of teaching experience in Chinese, three teachers who had won awards in nationwide Chinese writing contests, and three professors of children's literature; the overall inter-rater reliability was .85. The experimental group showed greater creativity compared to the control group in number association (d = 1.09), picture association (d = 0.62), and free association (d = 1.07). This article also discusses how to select judges, assessment criteria for children's poetic creativity, and techniques for association instruction to enhance children's poetic creativity.     

The phenomenology of minority–majority status: Effects on innovation in argument generation

In three experiments, we manipulated participants' perceived numerical status and compared the originality and creativity of arguments generated by members of numerical minorities and majorities. Independent judges, blind to experimental conditions, rated participants' written arguments. In Studies 1 and 2, we found that participants assigned to a numerical minority generated more original arguments when advocating their own position than did numerical majorities. In Study 3, an equal‐factions control group was included in the design, and all participants were instructed to argue for a counter‐attitudinal position. Those in the numerical minority generated more creative arguments than those in both the majority and equal‐factions conditions, but not stronger arguments. We propose cognitive and social processes that may underlie our obtained effects and discuss implications for minority influence research. Copyright © 2008 John Wiley & Sons, Ltd.     

Differences in Gender and Ethnicity as Measured by Ratings of Three Writing Tasks

The issue of racial/ethnic and gender differences in intelligence and academic abilities is fiercely and frequently debated, yet the examination of these differences in creativity is less studied. Our goal in this study was to use the Consensual Assessment Technique, in which experts judge a product's creativity, to examine differences in creativity among gender and ethnic groups. We conducted three separate analyses in which 13 experts rated 103 poems, 104 fictional stories, and 103 personal narratives written by Caucasian, African American, Latino/a, and Asian eighth‐grade students. There were no significant African American‐Caucasian differences on any of the writing tasks and there were no gender differences on all three tasks. The only significant differences in the creativity ratings on any of the tasks occurred in poetry, between the Latino/ a‐Caucasian groups and Latino/a‐Asian groups. Implications and future directions are discussed.     

Revisiting Individual Creativity Assessment: Triangulation in Subjective and Objective Assessment Methods

Compared to the significant development of creativity studies, individual creativity research has not reached a meaningful consensus regarding the most valid and reliable method for assessing individual creativity. This study revisited 2 of the most popular methods for assessing individual creativity: subjective and objective methods. This study analyzed 1,500 individuals to investigate whether the methods for assessing individual creativity affect the measurement outcomes of individual creativity. Findings indicated that subjective assessments have a smaller variance a higher mean and a moderate but significant correlation with objective assessment methods. Such differences can be motivated by social desirability, consistency motif, illusory superiority, and leniency biases. Based on these findings, this study highlighted the need to acknowledge how subjective and objective assessment methods may affect individual creativity assessment outcomes.     

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.     

Contingency management in writing and the appearance of creative ideas: Implications for the treatment of writing blocks

Data for 3 groups of 9 ‘blocked’ writers who sought treatment to increase their output as writers are presented. Academicians who charted both their writing output and their generation of creative ideas for writing over 10 weeks of treatment showed the highest level of creativity under contingency management conditions that essentially forced them to write habitually. Subjects who wrote spontaneously reported modest levels of creativity, once writing was practiced with some regularity. Subjects who voluntarily abstained from professional writing generated minimal numbers of creative ideas. Conclusions:(1) External contingencies that ‘produce’ writing seem to facilitate, not impede, creativity.(2) Spontaneity in writing is relatively ineffective, compared to contingency management, for producing written copy or novel and useful ideas.     

Validation of a reflective practice rubric for evaluating the complexity of teacher candidate digital and written reflections

This study was conducted to validate the effectiveness of a previously published rubric for evaluating the reflective characteristics contained within reflective artifacts. The goal of the study was to test the validity of the rubric when evaluating written reflection and digital artifacts of teacher candidates. The theory of reflection is discussed, and the process of eliciting higher levels of reflection through various modalities from written prompts. Secondly, this study describes the process participants followed while learning to use the rubric, the methods of evaluating artifacts using the rubric, and the results the study produced. The rubric proved to be an effective tool when determining the level of reflection, a teacher candidate demonstrated. Lastly, this article discusses limitations of the rubric, as well as suggestions for further research regarding teaching reflective practices, and how to refine one’s own reflective skills to achieve a level of deep reflection on/for action.