愤怒情绪对恶意创造力的影响及调节策略

以两个实验考察愤怒情绪对恶意创造力表现的影响及作用路径, 并探究调节愤怒情绪对削弱恶意创造力表现的效应。实验1比较愤怒、悲伤、中性情绪下个体恶意创造力表现的差异, 发现愤怒情绪下个体生成更多、更新颖的恶意观点, 情绪唤醒度和内隐攻击性中介了愤怒对恶意创造力表现的影响。实验2探究不同情绪调节策略(认知重评、表达抑制)如何影响愤怒个体的恶意创造力表现, 发现认知重评组和表达抑制组的恶意创造力表现比无策略的控制组水平更低, 情绪唤醒度和内隐攻击性中介了两种情绪调节策略对个体恶意创造力表现的影响。上述结果表明, 愤怒情绪通过提升内隐攻击性和情绪唤醒度进而促进个体恶意创造力表现, 而认知重评和表达抑制策略可作为削弱愤怒个体的恶意创造力表现的有效策略。     

Task structure,need for structure,and creativity

Although creativity is often seen as requiring spontaneity and flexibility, recent work suggests that there is creative potential in a structured and systematic approach as well. In a series of four experiments, we show that when Personal Need for Structure (PNS) is high, either chronic (Study 1) or situationally induced (Study 2), creative performance benefits from high task structure. Further, in line with earlier work on cognitive fixation effects, we show that when high task structure contains an example of noncreative task execution, creative performance is impaired, regardless of individuals' PNS. Nevertheless, participants high in PNS react relatively favorably to high task structure (Study 3) and are more likely to adopt a structured task approach when given the choice (Study 4). In sum, our results show that task structure can both stimulate and inhibit creative performance, particularly for people high in need for structure. Copyright © 2014 John Wiley & Sons, Ltd.     

Working memory benefits creative insight, musical improvisation, and original ideation through maintained task-focused attention

Anecdotes from creative eminences suggest that executive control plays an important role in creativity, but scientific evidence is sparse. Invoking the Dual Pathway to Creativity Model, the authors hypothesize that working memory capacity (WMC) relates to creative performance because it enables persistent, focused, and systematic combining of elements and possibilities (persistence). Study 1 indeed showed that under cognitive load, participants performed worse on a creative insight task. Study 2 revealed positive associations between time-on-task and creativity among individuals high but not low in WMC, even after controlling for general intelligence. Study 3 revealed that across trials, semiprofessional cellists performed increasingly more creative improvisations when they had high rather than low WMC. Study 4 showed that WMC predicts original ideation because it allows persistent (rather than flexible) processing. The authors conclude that WMC benefits creativity because it enables the individual to maintain attention focused on the task and prevents undesirable mind wandering.     

Unraveling Effects of Novelty on Creativity

Novelty is inherent to creative processes. A positive effect of novelty on creative task performance was therefore predicted. However, creativity can benefit from divergent, as well as convergent thinking. Subsequently, novelty may benefit creative performance when divergent thinking is required, but it could inhibit creative performance when convergent thinking is required. In Study 1, participants were primed with novelty or familiarity, and performed a creativity task that required divergent thinking. Results showed a beneficial effect of novelty priming on originality of the answers. In Study 2, a creativity task that required convergent thinking was framed as novel, familiar, or neutral. Results showed an inhibitory effect of novelty on creativity. Results are related to information processing styles, and implications for creativity and novelty research are discussed.     

Cultural influences on artistic creativity and its evaluation

Two studies were designed to compare (a) the rated creativity of artworks created by American and Chinese college students, and (b) the criteria used by American and Chinese judges to evaluate these artworks. The study demonstrated that the two groups of students differed in their artistic creativity. American participants produced more creative and aesthetically pleasing artworks than did their Chinese counterparts, and this difference in performance was recognized by both American and Chinese judges. The difference between the use of criteria by American and Chinese judges was small, and consisted mainly of the American judges' use of stricter standards in evaluating overall creativity. Moreover, in general, there was a greater consensus among Chinese judges regarding what constitutes creativity than among American judges. The study also revealed, but preliminarily, that the artistic creativity of Chinese students was more likely to be reduced as a function of restrictive task constraints or of the absence of explicit instructions to be creative. The results of this study seem to support the hypothesis that an independent self‐oriented culture is more encouraging of the development of artistic creativity than is an interdependent self‐oriented culture. Other possible explanations, such as differences in people's attitudes toward and motivation for engaging in art activities, or socioeconomic factors might also account for differences in people's artistic creativity.     

Illuminating the dark side of creative expression: assimilation needs and the consequences of creative action following mortality salience

Previous research indicates that mortality salience and creative behavior combine to increase feelings of guilt, presumably over the disruption to social connection elicited by the call for innovative expression. The present studies examined whether satiating assimilation motives by highlighting conformity to others reduces this effect (Study 1) and facilitates positive psychological engagement (Study 2). Study 1 used a 2 (conformity vs. neutral feedback)x2 (mortality salience vs. control)x2 (creative task vs. noncreative task) design and had participants complete a self-report measure of guilt. Study 2 used a 2 (mortality salience vs. control)x2 (other goal task vs. self-goal task) design, and after a creativity exercise, had participants complete measures of positive mood, vitality, and creative problem solving. Results indicated attending to assimilation needs reduced the elevated guilt that follows the juxtaposition of mortality salience and creative behavior and also increased a sense of positive engagement. Implications are briefly discussed.     

Recognizing creative leadership: Can creative idea expression negatively relate to perceptions of leadership potential?

Drawing on and extending prototype theories of creativity and leadership, we theorize that the expression of creative ideas may diminish judgments of leadership potential unless the charismatic leadership prototype is activated in the minds of social perceivers. Study 1 shows that creative idea expression is negatively related to perceptions of leadership potential in a sample of employees working in jobs that required creative problem solving. Study 2 shows that participants randomly instructed to express creative solutions during an interaction are viewed as having lower leadership potential. A third scenario study replicated this finding showing that participants attributed less leadership potential to targets expressing creative ideas, except when the “charismatic” leader prototype was activated. In sum, we show that the negative association between expressing creative ideas and leadership potential is robust and underscores an important but previously unidentified bias against selecting effective leaders.     

The Mediating Role of Creative Process Engagement in the Relationship between Shyness and Self‐Rated Creativity

Shyness has been found to have a negative impact on creativity. However, little attention has been given to the underlying process of the relationship between shyness and creativity. On the basis of literature, we hypothesize that shyness has an indirect impact on creativity through creative process engagement. Two studies were conducted on undergraduate students (Study 1) and working adults (Study 2) to test the hypothetical relationship. Analysis on participants self‐report showed that shyness was negatively associated with self‐reported creativity as well as creative process engagement. There was a positive relationship between creative process engagement and creativity. More importantly, mediation analysis supported that shyness was indirectly linked to creativity via creative process engagement. Specifically, shy people are found to be less involved in creativity‐relevant processes such as information searching and idea generation. The low level of creative process engagement, in turn, hinders their creativity. The findings not only lend support to the detrimental effect of shyness on creativity but also shed light on the underlying mechanism of the relationship.     

Creativity,preference for complexity,and physical and mental illness

Mental illness might be associated with creative achievement among highly functioning people, but with the mentally ill or with ordinary people, there might be a negative relationship. In Study 1, two measures of creativity (preference for complexity and writing stories rated for creativity) were administered to 37 psychotics. The psychotics were found to be less creative than the control group. Study 2 investigated physical illness and its effects on preference for complexity. People (N=80) diagnosed as having influenza decreased in preference for complexity, suggesting a decline in creativity. However, no significant results occurred with regard to complexity preference and diabetes or genital herpes. The results suggest that physical or mental illness may decrease creativity.     

愤怒情绪对不同类型恶意创造力表现的影响

个体的恶意创造力主要体现在伤害、欺骗与捉弄他人三方面。本研究旨在考察愤怒情绪对上述三类恶意创造力表现的影响及作用路径。研究设计了愤怒、恐惧和中性三种情绪诱发条件（后两者分别作为愤怒情绪的消极和中性情绪对照）,以考察不同情绪状态下个体在三类恶意创造力表现上的差异。结果发现,对于伤害和欺骗他人,愤怒情绪诱发组在观点流畅性、新颖性和伤害性上均高于中性情绪诱发组;而对于捉弄他人,愤怒情绪诱发组仅在观点流畅性和新颖性上高于中性情绪诱发组。内隐攻击性中介了愤怒情绪对三类恶意创造力表现的影响,而情绪唤醒度仅中介了愤怒情绪对伤害他人恶意创造力表现的影响。上述结果表明,内隐攻击性是愤怒情绪促进不同类型恶意创造力的通用路径,而情绪唤醒度是愤怒情绪促进伤害他人恶意创造力的特异路径。     

Incremental effects of reward on creativity

The authors examined 2 ways reward might increase creativity. First, reward contingent on creativity might increase extrinsic motivation. Studies 1 and 2 found that repeatedly giving preadolescent students reward for creative performance in 1 task increased their creativity in subsequent tasks. Study 3 reported that reward promised for creativity increased college students' creative task performance. Second, expected reward for high performance might increase creativity by enhancing perceived self-determination and, therefore, intrinsic task interest. Study 4 found that employees' intrinsic job interest mediated a positive relationship between expected reward for high performance and creative suggestions offered at work. Study 5 found that employees' perceived self-determination mediated a positive relationship between expected reward for high performance and the creativity of anonymous suggestions for helping the organization.     

Necessity is the mother of invention: avoidance motivation stimulates creativity through cognitive effort

Compared with approach motivation, avoidance motivation has often been related to reduced creativity because it evokes a relatively inflexible processing style. This finding seems inconsistent with the dual pathway to creativity model, which poses that both flexible and persistent processing styles can result in creative output. Reconciling these inconsistencies, the authors hypothesized that avoidance-motivated individuals are not unable to be creative, but they have to compensate for their inflexible processing style by effortful and controlled processing. Results of 5 experiments revealed that when individuals are avoidance motivated, they can be as creative as when they are approach motivated, but only when creativity is functional for goal achievement, motivating them to exert the extra effort (Experiments 1-4). The authors found that approach motivation was associated with cognitive flexibility and avoidance motivation with cognitive persistence (Experiment 1), that creative tasks are perceived to be more difficult by avoidance- than by approach-motivated individuals, and that avoidance-motivated individuals felt more depleted after creative performance (Experiment 2a, 2b, and 3). Finally, creative performance of avoidance-motivated individuals suffered more from a load on working memory (Study 4). The present results suggest that for people focusing on avoiding negative outcomes, creative performance is difficult and depleting, and they only pay these high cognitive costs when creativity helps achieving their goals.     

Identifying the Creative Act in Advertising: A Study on Naïve People's Awareness of Restructuring

This study investigates whether laypersons can distinguish between creative and non-creative artifacts, identify when creativity emerges, and be aware of the merit to be attributed to those who conceive a creative idea. Study 1 analyzed a creative and a non-creative version of two advertisements. In the creative version, there was an ideational process of advertising drafts where the first meaning changed, whereas in the non-creative version the original meaning did not change. Forty undergraduates were asked to judge beauty and originality of each draft and the contribution that graphics managers gave to the outcome. Non-creative changes did not affect beauty and originality ratings, whereas creative modifications increased originality, but not beauty score. Merit was attributed to the graphics manager who transformed the original meaning. In Study 2, one hundred twenty-eight participants evaluated four combinations of textual (creative/noncreative) and iconic (creative/non-creative) elements which were added to the advertisements. Again, the creative, but not the non-creative, contribution to drafts was acknowledged regarding originality by participants. Findings suggest that people can recognize the presence of creativity when it develops and the restructuring mechanism that supports it.     

Dissimilarity in Creative Categorization

Theories of categorization need to account for ways in which people use their creativity to categorize things, especially in the context of similarity. The current three‐phase study is a preliminary attempt to understand how people group concepts together as well as to explore the role of similarity between concepts in creative categorization. Participants were asked to categorize a list of 100 words and the resulting categories were rated for creativity by another set of participants. In the last phase, similarity between words from all the categories was computed using latent semantic analysis. There was a significant correlation between similarity values and creativity ratings for all the categories. In addition, a new set of participants were asked to rate the similarity among the words in the least and most creative categories and there was a significant difference between the mean ratings of the two types of categories. The results indicate that creative categorization is characterized by grouping of dissimilar words. People use creative imagination to construct novel categories by linking apparently dissimilar words.     

Practice other than playing games apparently has only a modest role in the development of chess expertise

Evidence that chess expertise rests on practice alone mostly comes from studies using a correlational retrospective recall paradigm, which confounds amount of study with number of games played and possible innate talent. Researchers also often use latest performance rating and include participants who play and study little. Study 1 partially replicated such studies with improvements such as use of peak rating and a large, skilled sample. Number of internationally‐rated games played was the strongest predictor of peak rating. Total study hours was a significant but weaker predictor. Study 2 controlled for sampling confounds by including only very well‐practiced players who had played at least 350 internationally‐rated games. Total study hours did not predict rating at 350 games. Study 3 found that the subjective phenomenon of reaching a performance ceiling and undertaking specific practice to get beyond it does occur but does not distinguish between stronger and weaker players. Study 4 found that many players play relatively few internationally‐rated games mostly because of other commitments, such as work and education. Extensive study may go along with great interest in and persistence at chess but apparently lacks a major causative role in chess performance level.     

Different Brain Wave Patterns and Cortical Control Abilities in Relation to Different Creative Potentials

Contemporary understanding of brain functions provides a way to probe into the mystery of creativity. However, the prior evidence regarding the relationship between creativity and brain wave patterns reveals inconsistent conclusions. One possible reason might be that the means of selecting creative individuals in the past has varied in each study. By distinguishing creative potential as open-ended versus closed-ended based on theoretical views, this study examined different brain wave patterns and cortical control abilities in relation to different creative potentials by using electroencephalogram (EEG) biofeedback equipment. The results demonstrated that participants’ performance on the open-ended creative problem was positively related to EEG alpha frequencies, whereas performance on the closed-ended creative problem was related to larger variability in EEG dynamics between alpha and beta waves when performing either open-ended or closed-ended creativity tasks. Further, better control in changing states of brain wave activities according to the EEG biofeedback signals could predict closed-ended creativity performance. Open-ended creativity was related only to the enhancement of alpha signals. These results help clarify previous inconsistent findings, reveal different natures of distinct creativities, and further suggest ways to improve different aspects of creativity with modified biofeedback procedures.     

Domain‐Specificity of Creativity in Young Children: How Quantitative and Qualitative Data Support It

One of the most controversial issues in contemporary research of creativity, whether a person's creativity is domain‐specific or domain‐general, was investigated in the present study. This study is composed of two parts, Study 1 and Study 2. In study 1, the relationships among 109 children's creative performances in three domains, and the relationships between those children's general creative thinking skills and their creative performances in three domains have been examined. Study 2 examines how the domain‐specificity and ‐generality issue is addressed in individual children via case studies of three highly creative children, hoping to provide enriching and qualitative specification to the quantitative data of the present study. In both studies, children's performances in language, art, and math domains were respectively judged by three experts who rated children's creativity on story‐telling, collage making, and math word‐problem creating tasks. Children's general creative thinking skills were assessed by a battery of two divergent thinking tests, including the Wallach‐Kogan Creativity Test (Wallach & Kogan, 1965) and the Real World Divergent Thinking Test adapted from Okuda, Runco, and Berger (1991). The findings of this study support the position that creative ability in young children is rather (but not absolutely) domain‐specific.     

Teachers’ Perceptions of Creativity in the Classroom

Teachers’ implicit understandings of creativity may not align with current research-based understanding of creativity and characteristics associated with creative students. Even teachers who say they value creativity may actually find creative characteristics undesirable. Participating teachers (n = 371) rated student characteristics on a scale of very undesirable to very desirable. Participants also completed a brief self-assessment of personal creativity and rank-ordered a set of educational objectives based on what they perceived as most important. Results indicated that teachers found student characteristics associated with creativity less desirable than those characteristics contraindicative to creativity (d = 2.70). No effects were found based on the grade level (d = 0.07) and small effects were found for subjects taught (η² = 0.023). Similarly, no effects were found for the teachers’ level of experience (η² = 0.004) or age (η² = 0.002). Teachers’ level of personal creativity was related (r = .248) to how desirable they rated student characteristics associated with creativity, but the importance with which teachers ranked creative thinking had small effects (η² = 0.04) on how desirable they found characteristics associated with creativity. These results generally confirm previous studies and suggest that teachers’ grade level, subject, experience, and age have no effect on their perception of creative characteristics. However, some evidence suggests that teachers who are more creative find student characteristics associated with creativity more desirable in class.