Creative self‐efficacy as mediator between creative mindsets and creative problem‐solving

An emerging area of research is how one's mindset regarding the fixedness and malleability of creative ability relates to creative performance. Malleable creative mindsets tend to be positively related to creativity while fixed mindsets often show a negative association. Similarly, creative self‐efficacy, or one's beliefs that they have the capacity to be creative, is also related to creative performance and creative mindsets. While previous studies tested the direct relationship between mindsets and creativity, this study tested creative self‐efficacy in this relationship. A total of 152 students from a Midwestern university participated in the study. They were provided with measures of creative self‐efficacy, creative mindsets, and creative problem‐solving. Solutions were assessed in terms of quality and originality. Results indicated that both malleable creative mindsets and creative self‐efficacy were positively related to solution quality and originality while fixed creative mindsets were negatively related. Mediation analysis using Preacher and Hayes' (2004) bootstrapping macro showed that creative self‐efficacy mediated the relationship between malleable mindsets and quality and originality as well as the relationship between fixed mindsets and quality and originality. This research advances the study of creativity by demonstrating that creative self‐efficacy is an important mechanism through which creative mindsets relate to creative performance.     

Creative Metacognitive Feelings as a Source of Information for Creative Self-efficacy,Creativity Potential,Intrapersonal Idea Selection,and Task Enjoyment

Creativity scholars try to untangle the commonalities and differences between creative self-beliefs: creative self-efficacy, creative self-concept, creative metacognition, and creative role identity. While these efforts are already contributing significantly, we would like to suggest that for creative metacognition, we need to go beyond the assessment of confidence beliefs and regulation and include creative metacognitive feelings and intrapersonal idea selection as two additional components. To test the validity of our proposition, this study examined the influence of creative metacognitive feelings on creative self-efficacy, creative potential, accurate intrapersonal idea selection (agreement between individuals’ selection of their most creative idea and two independent judges’ selection of the participants’ best idea), and task enjoyment. To elicit metacognitive feelings, participants were randomly assigned to remember and write down two or six instances in their lives in which they generated novel and useful ideas that helped solve a problem. Participants then completed a questionnaire assessing creative self-efficacy, ease of recall as a proxy of metacognitive feelings, performance on a divergent thinking task, and task enjoyment. Results showed an indirect influence of recalling fewer examples on creative self-efficacy through its influence on metacognitive feelings. Metacognitive feelings then had an indirect influence, through creative self-efficacy, on creative potential and task enjoyment.     

Creative Self-Efficacy: An Exploration of Its Antecedents,Consequences, and Applied Implications

Creativity and innovation are at the core of important outcomes such as economic and sales growth, production of articles and students' learning. Thus, it is not surprising to find research articles on creativity and innovation across different disciplines such as business, psychology, and education. Given the importance of understanding creativity and innovation, we reviewed the empirical literature examining the antecedents and consequences of creative self-efficacy in the work domain. Our review used the theory of individual creative action and social cognitive theory as guiding frameworks to place creative self-efficacy in the creativity and innovation process, define creativity and innovation, explore how creative self-efficacy has been measured, examine the antecedents and consequences of creative self-efficacy, point out gaps in knowledge and offer suggestions for future research and provide some applied implications. One important finding was that creative self-efficacy has made a significant contribution as a process variable explaining how several organizational and personal factors influence creative outcomes via their influence on creative self-efficacy.     

From Implicit Theories to Creative Achievements: The Mediating Role of Creativity Motivation in the Relationship between Stereotypes,Growth Mindset,and Creative Achievement

Research has demonstrated that implicit theories of creativity are crucial in shaping an individual’s behavior and real‐life decisions toward being creative. The present study proposed and examined the underlying mechanisms of how two kinds of implicit theories—the growth mindset of the creative self and the stereotype of creative others—are associated with creative achievements through the mediating role of creativity motivation. Participants were 606 undergraduate students who were enrolled in an education major in two universities in China. Overall, the study found that Chinese students held a positive image toward a creative student, regarding him or her as highly competent, warm, and popular. Student perceptions of a creative other were positively related to their growth mindset of creativity. Moreover, results verified both the mediating role of creativity motivation on growth mindset, as well as the effect of positive stereotyping of the creative other on students’ creative achievement. These findings point to promising creativity motivation strategies including the cultivation of a malleable view of creativity and of creative role models, that may, in turn, promote creative achievement by encouraging students to do, learn, and accomplish new things.     

Does the Eye of the Beholder Construct Beauty? Contributions of Self-Efficacy Factors to Divergent Thinking Traits

The study initiated a project exploring a contribution of creative perception to creative behavior. This study investigated the factors in creative self-perception contributing to creative potential. Creative potential was operationalized as divergent thinking and measured by the Abbreviated Torrance Test for Adults. Creative self-perception was operationalized as creative self-efficacy and assessed by Khatena-Torrance Creative Perception Inventory. Undergraduate college students’ creative self-efficacy was found to make a reliable and measurable contribution to their divergent thinking performance. Specifically, fluency was predicted by initiative and intellectuality, originality—by initiative, and flexibility—by environmental sensitivity and self-strength. These findings suggested that in addition to process, product, person, place, persuasion, and potential perspectives, creativity construct could be evaluated from a standpoint of creative perception.     

Toward a Theory of Creativity in Diverse Creative Women

ABSTRACT: Little is known and limited research has been completed about creative women, their creative processes, and the decisions they face about their own creative productivity. Few books or even articles suggest how creativity can be better developed, enhanced, or increased in a diverse population of girls and women. The social and political movement focusing on women during the past five decades has provided some understanding of women's creative processes as well as the creative roles that women have played in our society and the forces that shape those roles. In this article, current research is analyzed, focusing on the development of women's creativity and the classification of this research into major themes. Internal and external blocks to creativity in women are discussed, as is current research on these blocks, and an explanation is suggested for different types of creative productivity exhibited by women. A theory is proposed regarding the diversion of women's creativity into multiple areas in their lives, including relationships, work related to both family and home, personal interests, and aesthetic sensitivities. This diversion of creative efforts may result in different levels of creativity applied to work, as well as the existence of very different patterns of creative productivity in creative women.     

师生关系对小学生创造性的作用:一个有调节的中介模型

以658名儿童为被试,采用测验法和问卷法考察师生关系与小学生创造性思维的关系,同时探析创新自我效能感的中介作用,以及该作用是否受到开放性人格的调节。结果发现:(1)师生关系对小学生创造性思维、创新效能感均有显著的正向预测作用;(2)创新效能感在师生关系与小学生创造性思维总分、流畅性和独特性得分之间起完全中介作用;(3)开放性可以调节创新效能感对小学生创造性思维的作用,开放性高时效能感的中介效应显著,而开放性低时该效应不显著。这些结果对于综合解释教育过程中环境与个体因素对创造性的作用路径与机制具有重要意义。     

Teachers’ Beliefs of Creative Children

Teachers’ beliefs about characteristics of creative children do not always align with how creative children actually behave. Understanding these misaligned beliefs—defined as misconceptions—is important because teachers’ misconceptions can undermine efforts to foster children's creative development. This study aimed to identify teachers’ beliefs about the characteristics of creative children with an emphasis on their misconceptions about characteristics as either indicative or contraindicative of creative children. We analyzed responses of 136 teachers to 29 characteristics, indicating or contraindicating creative children, on Gough's (1979). Creative Personality Scale using the Rating Scale Model. Results revealed that teachers tended to have more misconceptions about characteristics contraindicative of creative children than characteristics indicative of creative children while teachers were able to accurately recognize certain characteristics when compared with explicit theories of creativity. In both the indicative and contraindicative characteristics, misconceptions appeared to increase if characteristics were desirable in the classroom. Teachers’ misconceptions may conceal creative potential in children who do not manage their undesirable characteristics in constructive ways. Findings provide practical implications to aid teachers and teacher educators in correcting misconceptions about the characteristics of creative children.     

Potential Originality and Effectiveness: The Dynamic Definition of Creativity

Given the central role of creativity in the future post-information society, a call for a pragmatist approach to the study of creativity is advocated, that brings as a consequence the recognition of the dynamic nature of this phenomenon. At the foundation of the proposed new theoretical framework lies the definition of creativity itself, which is turned from static to dynamic through the introduction of the concept of potential originality and effectiveness. Starting from this central definition, and through the introduction of the auxiliary definitions for focus area, creativity goal, creative agent, creative potential of an agent, creative potential of an environment, creative process, product of a creative process, creativity potential of a process, representation of the product of a creative process, and estimator, we arrive at the definitions of creative achievement and creative inconclusiveness. Although both aspects are key in the creative process, creative inconclusiveness was not part of previous definitions, but it is argued that its role is fundamental for effective education in creativity. The new definitions are shown to have full backward compatibility with the extant corpus of scientific research in creativity, as well as forward effectiveness in suggesting novel investigation approaches to support the consideration of new theoretical hypotheses.     

Team Proactivity as a Linking Mechanism between Team Creative Efficacy,Transformational Leadership,and Risk‐Taking Norms and Team Creative Performance

Despite the growing body of research on creativity in team contexts, very few attempts have been made to explore the team‐level antecedents and the mediating processes of team creative performance on the basis of a theoretical framework. To address this gap, drawing on Paulus and Dzindolet's (2008) group creativity model, this study proposed team creative efficacy, transformational leadership, and risk‐taking norms as antecedents of team creative performance and team proactivity as an intervening mechanism between these relationships. The results of team‐level regression analyses conducted on the leaders and members of 103 Korean work teams showed that team creative efficacy and risk‐taking norms were positively associated with team creative performance. Furthermore, the relationships between team creative efficacy and team creative performance and between risk‐taking norms and team creative performance were mediated by team proactivity. These findings offer new insights regarding the antecedents and the mediator of creative performance in team contexts and important implications for theory and practice.     

Creative self-efficacy development and creative performance over time

Building from an established framework of self-efficacy development, this study provides a longitudinal examination of the development of creative self-efficacy in an ongoing work context. Results show that increases in employee creative role identity and perceived creative expectation from supervisors over a 6-month time period were associated with enhanced sense of employee capacity for creative work. Contrary to what was expected, employees who experienced increased requirements for creativity in their jobs actually reported a decreased sense of efficaciousness for creative work. Results show that increases in creative self-efficacy corresponded with increases in creative performance as well.     

Creativity and Imitation: Effects of Regulatory Focus and Creative Exemplar Quality

In creative settings, exposure to creative exemplar products may invite imitation and as such influence creative performance. In understanding creativity, it, therefore, is important to be able to predict imitation of creative exemplar products. Regulatory focus theory can do so, and leads to predictions that deviate from the existing body of knowledge concerning regulatory focus and creativity in the absence of exemplar products. In this study, we proposed that high creative exemplar quality elicits more imitation—and thus lowered creativity—for promotion-focused individuals, whereas creative exemplar quality does not affect the creative process for prevention-focused individuals. To enable a relatively objective measurement of creativity and imitation, these predictions were tested in a laboratory experiment. Results supported predictions, indicating that knowledge about how strongly people engage in imitation in the face of a creative exemplar product leads to more adequate predictions how creative people really are.     

Effects of explicit instructions to "be creative" on the psychological meaning of divergent thinking test scores.

The Alternate Uses Test was administered to 50 undergraduate males instructed to produce creative (i.e., novel and worthwhile) uses and to 55 comparable subjects simply instructed to produce as many uses as possible. All uses were rated for creativity. An index of self-assessed creative thinking ability correlated significantly more strongly (p less than .05) with the number of creative uses produced in the qualitatively-oriented condition than with the number of creative or total uses produced in the standard, quantitatively-oriented condition. The correlation between self-rated creative ability and creative uses production in the qualitatively-oriented condition remained significant (p less than .001) after indices of achievement motivation and general verbal aptitude were partialled out. The results were interpreted as demonstrating the value of coordinating informative divergent thinking test instructions with qualitative scoring criteria.     

The Road to Creative Achievement: A Latent Variable Model of Ability and Personality Predictors

This study investigated the significance of different well‐established psychometric indicators of creativity for real‐life creative outcomes. Specifically, we tested the effects of creative potential, intelligence, and openness to experiences on everyday creative activities and actual creative achievement. Using a heterogeneous sample of 297 adults, we performed latent multiple regression analyses by means of structural equation modelling. We found openness to experiences and two independent indicators of creative potential, ideational originality and ideational fluency, to predict everyday creative activities. Creative activities, in turn, predicted actual creative achievement. Intelligence was found to predict creative achievement, but not creative activities. Moreover, intelligence moderated the effect of creative activities on creative achievement, suggesting that intelligence may play an important role in transforming creative activities into publically acknowledged creative achievements. This study supports the view of creativity as a multifaceted construct and provides an integrative model illustrating the potential interplay between its different facets. © 2013 The Authors. European Journal of Personality published by John Wiley & Sons Ltd on behalf of European Association of Personality Psychology.     

Creative potential, creative achievement, and personal growth

We tested the idea that young people who have creative potential (are complex and unconventional) increase in intrapsychic awareness as they mature but often have difficulty with psychosocial growth, especially the development of a cohesive identity; and that for some women commitment to creative work solves the problem of psychosocial integration and leads to creative achievement. In a longitudinal sample of 109 women, these ideas were supported: Creative potential and creative achievement were both associated with intrapsychic growth but only creative achievement was associated with psychosocial growth. Regression analyses showed that the development of a cohesive identity from early to middle adulthood added to and interacted with creative potential in the prediction of creative achievement.     

Leaders’ receptivity to subordinates’ creative input: The role of achievement goals and composition of creative input

We identified leaders’ achievement goals and composition of creative input as important factors that can clarify when and why leaders are receptive to, and supportive of, subordinates’ creative input. As hypothesized, in two experimental studies, we found that relative to mastery goal leaders, performance goal leaders were less receptive to subordinates’ voiced creative input. In Study 1, we further showed that image threat appraisal and learning opportunity appraisal mediated this effect. In Study 2, we demonstrated that when merely creative ideas were expressed by the subordinate, performance goal leaders responded like mastery goal leaders. However, as in Study 1, performance goal leaders were less receptive to, and less supportive of, subordinates’ creative input than mastery goal leaders when the composition of subordinates’ creative input included both problem identifications and creative ideas.     

Can People Creative in Imagery Interpret Ambiguous Figures Faster than People Less Creative in Imagery?

The purpose of the research study was to investigate whether people creative in imagery are better than people non‐creative in imagery at interpreting ambiguous figures. Creativity, in the imagery paradigm, is said to involve two processes: combinational play and discovery. Discovery plays a major role in creativity as it is the process of discerning, judging or interpreting the value of a mental construction. Furthermore, creative people have been said to be insightful thus supporting the proposition advanced here that people creative in imagery are faster at interpreting and finding alternative interpretations for ambiguous figures than people less creative in imagery. This study reports both latencies and discoveries in perception and mental imagery as measured on a figure combination task. The data support the conclusion that people creative in imagery are more capable in reinterpreting ambiguous figures and that they are quicker in their discoveries than people less creative in imagery. The analysis to the questions of how the subjects arrived at their discoveries may also illustrate the Gestalt literature on insight as a rapid pattern recognition.     

青少年创造性思维的特点及其对日常创造性行为的影响：人格的中介作用

采用言语和空间创造力测验、青少年人格问卷、中学生日常创造性行为问卷对1048名中学生施测,考查青少年创造性思维的特点,并探讨创造性思维、人格对日常创造性行为的影响.结果发现:(1)女生在言语创造力的流畅性、灵活性维度以及图形创造力各维度的得分均显著高于男生;高一年级的言语创造力流畅性、灵活性维度显著高于其他三个年级,高一年级的图形创造力质量维度显著高于初二、高二年级;(2)言语创造力与人格的开放性和外向性、语言文学、文艺表演和社会活动维度呈显著正相关.图形创造力与开放性、语言文学、文艺表演和手工技术呈显著正相关;(3)开放性和外向性在言语创造力和创造性行为之间起完全中介作用,在图形创造力上中介作用不显著.具体到创造性行为的各个领域,开放性和外向性在创造性思维和创造性行为间起着不同的作用.     

Creative Cognition and Psychosis Vulnerability: What’s the Difference?

Evidence from experimental psychology provides unequivocal support for enhanced creativity among individuals who are prone to psychotic and mood disorders. At the same time, there is strong epidemiological evidence for greater incidence of creative achievement among those diagnosed with bipolar disorder (but not schizophrenia). This review examines the evidence for common factors predisposing an individual to creativity and psychosis, as well as factors that distinguish the capacity for creative achievement from the creative potential that may be inherent in psychosis vulnerability. Factors implicated as common to creative potential and psychosis vulnerability include enhanced divergent thinking, reduced latent inhibition and preattentive filtering mechanisms; on the other hand, greater cognitive flexibility, motivation, and openness to experience tend to be associated with creative achievement, but not psychosis. This evidence is considered with respect to the utility of tailored vocational interventions to effectively harness creative potential, which may be useful for young individuals in the early stages of illness or their unaffected family members.