Entrepreneurial Creativity Through Motivational Synergy

This paper defines and describes entrepreneurial creativity, which is the generation and implementation of novel, appropriate ideas to establish a new venture. Entrepreneurial creativity can be exhibited in established organizations as well as in start-up firms. The central thesis of this paper is that entrepreneurial creativity requires a combination of intrinsic motivation and certain kinds of extrinsic motivation — a motivational synergy that results when strong levels of personal interest and involvement are combined with the promise of rewards that confirm competence, support skill development, and enable future achievement.     

Creativity in Science Through Visualization*

ABSTRACT The fact that attempts to gain insight into the creative process have been so unsuccessful suggests that they have overlooked at least one basic ingredient in the process. This ingredient may lie in the way the individual mind goes about remembering and manipulating data. The hypothesis is advanced that the creative persons appear to have stumbled onto and then developed to a high degree of perfection the ability to visualize—almost hallucinate—in the area in which they are creative. And their visualizations seem to be of a sort that lend themselves to easy manipulation in the thinking process. This is illustrated by reports from many of the great inventors of the past and it is easy to demonstrate that individuals differ enormously in the kind and degree of their ability to think in such manipulatable visualizations. If correct, this view of creativity suggests many research attacks and many potential changes in education for creative activity.     

Teaching Spelling Through Prompting and Review Procedures Using Computer-Based Instruction

Computer-based instruction (CBI) was used to teach 3 sets of 20 spelling words to two 6th graders in a multiple baseline design. The CBI presented a voice recording of each spelling word and prompted the students to type the word. If they spelled the word incorrectly, a training procedure was initiated that included prompt fading and systematic review practice. Results showed that three to ten 15-min training sessions were needed for participants to score 100% on each word set. During a subsequent maintenance phase, one participant received 2 re-training sessions on word Set 2 due to low performance but no other training was provided. Average performance was 93% across all word sets during the final three sessions of the maintenance phase and 79% on a 3-week follow-up test. Kristin H. Mayfield, now at iLearn, Inc., Marietta, GA, USA.     

Promoting Relational Competencies in Counselor Education Through Creativity and Relational-Cultural Theory

Abstract

This article addresses the need to identify requisite relational competencies that professionals providing creative and innovative counseling services must hold when facilitating responsible, growth-fostering connections between service providers and others. This article also includes a discussion on how the relationally responsible use of power must be included in any forum that examines relational dynamics and competencies. Although subsequent writings will discuss creativity-related competencies in greater depth, the focus of this paper rests on some relational challenges that students and professionals in the counseling and related fields face and on the need to identify relational competencies that can facilitate successful resolution of these challenges.     

THOG问题促进效应研究

通过选取经典的THOG问题作为实验材料,探讨了大学生解决具体以及抽象选言推理问题的认知机制,结果发现:(1)具体内容的选言推理问题对抽象内容的选言推理问题有明显的促进效应,表现为先解决逃犯问题后解决THOG问题组的正确率显著高于先解决THOG问题后解决逃犯问题组;(2)提供笼统的解题策略对大学生解决THOG问题几乎没有促进作用。     

The Conditions for Creativity

ABSTRACT We must attempt to formulate those conditions which are both necessary and sufficient for creativity. These conditions, at a minimum, appear to be: (1) Motivation. This includes inherent needs, which provide the “push”, and acquired traits and attitudes, which provide the “pull”. (2) Self-limitation (or selectivity). This means proper use and the setting of proper curbs on our talents and energies; the adoption of an adequate valuing-system and the development of the kind of character that will help us meet the demands of the environment and our creative projects. (3) Receptivity (or openness). This makes it possible for us to take in new ideas, experience new feelings and attitudes, apprehend new aesthetic forms relevant to originality. (4) Competence. This involves mastery of those tools used in, and required for, the creative project. These conditions may be held to be minimal for creativity.     

The Enhancement of Creativity*

Upon submission of this article, Dr. Hughes wrote the following acknowledgement: “With gratitude, I wish to record my debt to the Director of the Creative Science Program at New York University and my longtime friend, Myron A. Coler, who first made me aware of the importance of creativity.”