Measuring Creativity with Planned Missing Data

This paper introduces a method for the assessment of creativity that relies on creativity tasks, a subjective evaluation procedure, and a planned missing data design that offers a drastic reduction in the overall implementation costs (administration time and scoring procedure). This method was tested on a sample of 149 people, using three creativity tasks as a basis. Participants were instructed to produce several ideas in each task and then to select what they considered to be their best two ideas (i.e., “Top 2” procedure; Silvia, Winterstein, Willse, Barona, et al., Psychology of Aesthetics, Creativity, and the Arts, 2 , 2008 and 68). These ideas were then evaluated by a panel of peers and experts. Creativity ratings were analyzed with structural equations; measurement models were estimated for each task and correlations between factor-scores across the three tasks were investigated. Further insights regarding validity are provided through systematic investigation of the relationship between fluency scores, creativity ratings, intelligence tasks, self-reported idea generation abilities, and creative activities and achievements. Overall, the results support the viability of this new approach, providing evidence of convergent and discriminant validity. They are discussed in relation to past research and avenues for further extension are proposed.     

Creative idea generation: harmony versus stimulation

The literature on maintaining versus changing membership of groups has generally favored stable membership, not only for more cohesion and morale but for better performance via comfort and shared experiences. On the other hand, research on the stimulating properties of dissent, debate and diversity would argue for a change in membership in that it would provide access to differing views and stimulate more divergent and creative thought. The present study investigated idea generation when membership was maintained versus completely changed. We predicted and found that maintaining membership increases comfort and also the perception of creativity but not actual creative behavior whereas changing membership results in a less comfortable experience but also an increase in the number and creativity of the ideas generated. Copyright © 2006 John Wiley & Sons, Ltd.     

Creative Problem Solving in Small Groups: The Effects of Creativity Training on Idea Generation,Solution Creativity,and Leadership Effectiveness

This investigation evaluated the degree to which creativity training, idea generation instruction, and creative process impacted idea production, creativeness of solutions, and leadership effectiveness. Three sets of hypotheses were tested with a 114 groups of adults. First, groups whose members had some (i.e., one CPS course) or advanced training (i.e., graduate-level study in creativity or creativity professionals) were significantly more effective at idea generation than groups without training. Furthermore, leaders with some and advanced training were perceived to be significantly more effective than those with no creativity training. With respect to creativeness of solutions, the advanced training groups outperformed all others. The second set of hypotheses focused on the effectiveness of idea generation instruction (i.e., instructions without brainstorming, brainstorming, and brainstorming with criticism). Analysis revealed no significant difference for idea generation instruction relative to idea production or creativeness of solutions. The final set of hypotheses examined the use of a simple process structure for groups without prior creativity training (i.e., distinct phases for idea generation and solution development). Analysis revealed that those meetings that followed a simple process structure out performed groups that did not follow a process for both idea generation and creativeness of solutions. Further results are presented and implications discussed.     

Creativity: Intrapersonal and Interpersonal Selection of Creative Ideas

Creative idea selection—the selection of the most creative idea(s) from available ideas—is an important yet understudied topic. Creative idea selection can be performed by the idea generator (i.e., intrapersonal selection) or by another person (i.e., interpersonal selection). In the current research, we examined whether these two types of selection lead to different levels of performance. Participants generated six creative ideas to solve a societal problem. Thereafter, two selection tasks—intrapersonal selection and interpersonal selection—were performed. During intrapersonal selection, the idea generator selected the most creative idea from his/her own ideas; during interpersonal selection, another person made the selection from the same ideas. We found no effect of intrapersonal and interpersonal selection on creative idea selection performance: People selected ideas of identical creativity, irrespective of whether that idea was from themselves or from others. Moreover, we replicated the earlier finding that people perform suboptimally at creative idea selection, failing to select ideas that were more creative than an average idea, for both intrapersonal and interpersonal selection.     

When paying attention pays off: the mindfulness skill act with awareness promotes creative idea generation in groups

ABSTRACT

Past work has linked mindfulness to improved individual-level creativity, but remained silent about group-level creativity. Of all mindfulness skills, the ability to observe and attend to various stimuli (Observation) is the most powerful predictor of individual-level creativity. Studies examining effects of specific mindfulness skills on factors pertinent to group creativity suggest that for group-level creativity, the ability to focus attention with full awareness (Act with awareness), may be equally, or even more, important. We tested the relation between mindfulness and group-level creative idea generation using two brainstorming studies: one exploratory and one confirmatory. Mindfulness skills were either measured (Study 1; N = 88 groups) or the Act with awareness skill was targeted with a short, incidental guided meditation session (Study 2; N = 68 groups). Results from both studies showed differential relations between mindfulness and group creative idea generation: Only Act with awareness positively predicted the originality of ideas (Study 1 and 2) and the number of creative ideas in groups (Study 2). How mindfulness skills relate to creativity thus depends on the particular mindfulness skill involved and whether creativity happens at the individual or group level.     

The dual pathway to creativity model: Creative ideation as a function of flexibility and persistence

The dual pathway to creativity model argues that creativity—the generation of original and appropriate ideas—is a function of cognitive flexibility and cognitive persistence, and that dispositional or situational variables may influence creativity either through their effects on flexibility, on persistence, or both. This model is tested in a number of studies in which participants performed creative ideation tasks. We review work showing that cognitive flexibility, operationalised as the number of content categories surveyed, directly relates to idea originality, but that originality can also be achieved by exploring a few content categories in great depth (i.e., persistence). We also show that a global processing mode is associated with cognitive flexibility, but only leads to high originality in tasks that capitalise on cognitive flexibility. We finally show that activating positive mood states enhance creativity because they stimulate flexibility, while activating negative mood states can enhance creativity because they stimulate persistence. Implications for theory and practice are discussed.     

Multicultural experience enhances creativity: the when and how

Many practices aimed at cultivating multicultural competence in educational and organizational settings (e.g., exchange programs, diversity education in college, diversity management at work) assume that multicultural experience fosters creativity. In line with this assumption, the research reported in this article is the first to empirically demonstrate that exposure to multiple cultures in and of itself can enhance creativity. Overall, the authors found that extensiveness of multicultural experiences was positively related to both creative performance (insight learning, remote association, and idea generation) and creativity-supporting cognitive processes (retrieval of unconventional knowledge, recruitment of ideas from unfamiliar cultures for creative idea expansion). Furthermore, their studies showed that the serendipitous creative benefits resulting from multicultural experiences may depend on the extent to which individuals open themselves to foreign cultures, and that creativity is facilitated in contexts that deemphasize the need for firm answers or existential concerns. The authors discuss the implications of their findings for promoting creativity in increasingly global learning and work environments.     

预期交流与创造力的关系:解释水平的调节作用

该研究探讨了预期交流对创造力的影响, 以及解释水平在其中的调节作用。实验1采用结构性想象任务探讨预期交流是否影响创造力。结果表明, 相较于没有预期交流, 预期交流条件下的个体表现出更高的创造力。实验2采取了创意产生任务, 并探讨了解释水平在其中的调节作用。结果表明, 当完成抽象的、高解释水平任务时, 相较于无预期交流, 预期交流条件下个体在新奇性和变通性两个维度上表现出了更高的创造力; 当完成具体的、低解释水平任务时, 预期交流的效应不复存在。也就是说, 只有当创造力任务要求高解释水平的抽象思维时, 预期交流才能促进创造力的发挥。总结而言, 本研究在过往对于交流与创造力以及解释水平与创造力的研究基础上进一步发现, 对于抽象创造力任务, 虽然真正的信息交流尚未发生, 但仅仅对于交流的预期就会提高创造力水平。     

Beyond Idea Generation: The Power of Groups in Developing Ideas

Brainstorming research has claimed that individuals are more creative than groups. However, these conclusions are largely based on measuring creativity by the number of ideas generated, and researchers have tended to neglect other important components of creativity, such as the quality of developed ideas. These studies aim to address this gap in the literature and investigate how well individuals and groups develop ideas. The first study compared collaborative groups, nominal groups (i.e., groups composed of individuals working separately), and individuals on developing an original design for a language-learning game. No differences were revealed between conditions on the game ratings. In the second study, one idea was preselected and given to the participants for further development. Groups received higher ratings in the marketability and overall categories than both nominal groups and individuals, and higher ratings in the fun category than individuals. The qualitative data showed that groups discussed a wider range of topics and topics related to marketability more than individuals did. Thus it appears that there are benefits to developing ideas in a collaborative group rather than individually. Possible explanations for the present findings are explored.     

A meta-analytic investigation of the relationship of state and trait anxiety to performance on figural and verbal creative tasks

Extensive research suggests when and how anxiety has debilitating or facilitating effects on routine cognitive tasks or motor tasks. However, research examining anxiety's relation to performance on creative tasks such as divergent thinking and artistic tasks is less conclusive despite a rather substantial literature. The authors' meta-analytic investigation of 59 independent samples finds that anxiety is significantly and negatively related to creative performance. In addition, the findings provide insights into factors such as task complexity, type of task (i.e., figural or verbal), and type of anxiety (i.e., state or trait) that moderate the relationship between anxiety and creativity-all of which are consistent with the idea that anxiety and creativity present competing cognitive demands. In addition to identifying gaps in the literature such as the need for research using a two-component model of anxiety in relation to creativity, the authors' results have practical implications for those seeking to increase individual creativity.     

Idea Generation in Computer-Based Groups: A New Ending to an Old Story

Previous research on brainstorming and related idea-generating techniques has generally found interacting groups to produce fewer ideas than equivalent numbers of individuals working alone whose ideas are later pooled (i.e., nominal groups). In this paper we report four experiments. The first three contrast groups of various sizes using a computer-based idea generation system to equivalently sized nominal groups. The results of these experiments were consistent; large groups using a computer-based idea generation system outperformed equivalent nominal groups in idea-generating tasks. A fourth experiment is then reported which tests the primary hypothesis as to why groups using the computer-based idea generation system outperformed nominal groups. This study concluded that the elimination of production blocking in the computer-based groups (a problem common in groups that communicate verbally where only one member of the group can speak at a time) accounts for a significant portion of the enhanced productivity for the computer-based groups.     

Taking Time to Incubate: The Moderating Role of ‘What You Do’ and ‘When You Do It’ on Creative Performance

We explore how the choices available to individuals planning multi‐task work can facilitate the incubation of ideas and enhance creative performance. Using opportunistic assimilation theory, we hypothesize that two considerations can determine the effectiveness of incubation and creative performance. First, we argue that having the discretion to switch tasks when needed, as well as the timing of this discretionary switch between tasks (i.e., earlier versus later in the work process on the main task) is important. Second, the scope of the intervening task (i.e., in the same knowledge domain as the main task versus in a different domain) can lead to more effective incubation and creativity. Results of a laboratory study indicate that participants who made a discretionary switch to an intervening task later in their work process on the main task benefited significantly more in terms of creative performance than those who chose to switch earlier in their work process or chose not to switch tasks. Additionally, participants who worked on an in‐domain intervening task exhibited significantly higher creativity on the main task than those who worked on an out‐of‐domain intervening task. Furthermore, focus of attention on the main task partially mediated these results.     

A Lighthouse In The Desert? Evaluating The Effects Of Creativity Training On Employee Innovation

The contribution of three different creativity training programmes to employees' workplace idea generation and implementation was evaluated. The research was conducted within a government organization, where 191 employees (a mixture of participants and non‐participants in creativity training) were surveyed. Analyses showed that creativity training participants in one type of course only were more likely to generate ideas back at work and that this relationship was mediated by their creative ability and motivation to innovate. However, in terms of later implementation of those ideas, the environmental factors of management support and divisional climate were much more strongly related than the creativity training.     

Toward More Creative and Innovative Group Idea Generation: A Cognitive-Social-Motivational Perspective of Brainstorming

In many meetings and work sessions, group members exchange ideas in order to come up with novel, creative solutions for problems and to generate ideas for future innovations. This type of group idea generation or brainstorming process has been studied in detail, and we have discovered much about the cognitive and social processes that underlie group idea generation. It appears that the brainstorming performance of groups is often hindered by various social and cognitive influences, but under the appropriate conditions, group idea exchange can be quite effective. In this article, we summarize the present state of knowledge, point out some significant gaps in our knowledge, and suggest a cognitive-social-motivational perspective to integrate the major findings and to guide future research in the area of group creativity and group idea generation.     

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。     

The Importance of the Default Mode Network in Creativity—A Structural MRI Study

Anecdotal reports as well as behavioral studies have suggested that creative performance benefits from unconscious processes. So far, however, little is known about how creative ideas arise from the brain. In the current study, we aimed to investigate the neural correlates of creativity by means of structural MRI research. Given that unconscious and less controlled processes are important in creative thinking, structural brain research may find a positive correlation between well‐established creativity measures and cortical thickness in brain structures of the default mode network (i.e., the counterpart of the cognitive control network). Individuals performed the Alternative Uses task by which an individual's cognitive flexibility and the average uniqueness and average creativity of a participant's ideas were assessed. We computed optimized voxel‐based‐morphometry (VBM) to explore the correlation between inter‐individual differences in creativity and inter‐individual differences in gray matter volume. For all creativity measures, a positive correlation was found between creative performance and gray matter volume of the default mode network. These findings support the idea that the default mode network is important in creativity, and provide neurostructural support for the idea that unconscious forms of information processing are important in creativity. Theoretical and practical implications are discussed.     

Hedonic tone and activation level in the mood-creativity link: toward a dual pathway to creativity model

To understand when and why mood states influence creativity, the authors developed and tested a dual pathway to creativity model; creative fluency (number of ideas or insights) and originality (novelty) are functions of cognitive flexibility, persistence, or some combination thereof. Invoking work on arousal, psychophysiological processes, and working memory capacity, the authors argue that activating moods (e.g., angry, fearful, happy, elated) lead to more creative fluency and originality than do deactivating moods (e.g., sad, depressed, relaxed, serene). Furthermore, activating moods influence creative fluency and originality because of enhanced cognitive flexibility when tone is positive and because of enhanced persistence when tone is negative. Four studies with different mood manipulations and operationalizations of creativity (e.g., brainstorming, category inclusion tasks, gestalt completion tests) support the model.     

Openness to Experience and Team Creativity: Effects of Knowledge Sharing and Transformational Leadership

This study extends the research on the creative work process in teams by integrating personality traits, knowledge-sharing behavior, and transformational leadership. Analyses of multisource data from 347 members of 53 creative teams in 26 firms reveal the associations between heterogeneity of openness to experience in teams and team creativity (i.e., idea generation and idea development). Further, knowledge sharing mediated the relationships between personality heterogeneity and team creativity. Transformational leadership amplified the relationship between personality heterogeneity and idea development. Theoretical and practical implications are discussed.     

Mild Affective Shifts and Creativity: Effects on Idea Generation,Evaluation, and Implementation Planning

This study investigated the impact of mild shifts in affective tone (i.e., pleasant vs. unpleasant) and arousal (i.e., high vs. low) on three creative processes. Undergraduates read short stories designed to induce affective shifts and then were asked to generate solutions to a complex business problem. Shifts in affective tone and arousal interacted to influence idea generation and implementation planning, but not idea evaluation. The strongest creative performance was exhibited by participants who experienced a stable and pleasantly toned, low-arousal (i.e., relaxed) state and by those who shifted to an unpleasantly toned, high-arousal (i.e., angry) state. In contrast, those who shifted to an unpleasantly toned, low-arousal (i.e., sad) state or a pleasantly toned, high-arousal (i.e., happy) state tended to exhibit poorer creative performance. These results demonstrate the need to revisit the popular conception that organizations should promote intense levels of pleasant affect to enhance employee creativity.     

Creativity,Originality, and Appropriateness: What do Explicit Instructions Tell Us About Their Relationships?

Originality is a necessary part of creativity, but creative things are more than just original. They also solve a problem, or more generally are somehow fitting or appropriate. Yet previous research found an inverse relationship between ratings of originality and ratings of appropriateness. The present investigation employed a different methodology — it focused on the generation of ideas instead of judgments about them — to reexamine the relationships between originality, appropriateness, and creativity. Undergraduate students (N = 170) from two large universities received either realistic or unrealistic divergent thinking tasks. These were given with one of four types of instructions. These asked them to give (a) as many ideas as possible (which is the standard type of instruction for these kinds of tests), (b) only original ideas, (c) only appropriate ideas, or (d) only creative ideas. Brief definitions of originality, appropriateness, or creativity were also provided. Comparisons of the four groups indicated that there were significant differences between the different kinds of tasks, with the realistic set eliciting more appropriate ideas than the unrealistic, but the unrealistic tasks eliciting more original and varied (flexible) ideas. There was an interaction indicating that the magnitude of the impact of the instructions varied across tasks. Correlational analyses indicated that the correlation between the originality and appropriateness scores was the lowest among all possible inter‐index relationships (only 7% shared variance). Future research and practical implications are explored.