试论团体创造力研究与创造心理学的理论转向

团体创造力研究是当前创造心理学的新方向。本文讨论了自J．P．Guilford以来,从个体层次创造力研究发展到重视团体创造力研究的演变过程。认为团体创造力研究不仅在创造心理学传统理论框架内开辟了一个新时期,其方法论视角的转换为以更广阔视野揭示创造力本质打开了思路。     

Mapping Creativity: Creativity Measurements Network Analysis

This article borrowed network analysis tools to discover how the construct formed by the set of all measures of creativity configures itself. To this end, using a variant of the meta-analytical method, a database was compiled simulating 42,381 responses to 974 variables centered on 64 creativity measures. Results, although preliminary, indicate the existence of a core dimension filled with variables that indicate novelty, which is surrounded by the paired dimensions of negative affect and social leadership, and high cognitive performance and positive affect. As for the measurement instruments, it was found that, although tests of divergent thinking, self-reported biographies, and composite scores are the most appropriate tools to gauge creativity itself, both attitude and personality inventories are best for diagnosing the different kinds of creators.     

Creativity in the Age of Technology: Measuring the Digital Creativity of Millennials

Digital technology and its many uses form an emerging domain of creative expression for adolescents and young adults. To date, measures of self-reported creative behavior cover more traditional forms of creativity, including visual art, music, or writing, but do not include creativity in the digital domain. This article introduces a new measure, the Creative Behavior Questionnaire: Digital (CBQD), which assesses self-reported creative behavior in the digital domain. High school students (N = 230) completed the CBQD, as well as several other measures of creativity and personality. Factor analysis revealed 3 factors: digital creativity achievement, school-based everyday creativity, and self-expressive digital creativity. Factor-based scales showed expected correlations with other creativity measures, as well as Big-Five personality traits and Unconventionality, supporting construct validity. Results indicate that the CBQD can be used as an independent or a supplemental measure of creative behavior.     

Motives for Creativity: Exploring the What and Why of Everyday Creativity

People spend a lot of time on creative activities in their leisure time, but we still know little about what these activities are and what drives them. The literature suggests that several specific motives may be relevant for everyday creative behavior, including enjoyment, expression, challenge, coping, prosocial, social, material, recognition, and duty motives. Across two online studies totaling 750 participants, enjoyment was the strongest motive for everyday creativity, consistent with previous research linking creativity to intrinsic motivation and positive affect. Importantly, however, the relevance of motives differed across creative domains: visual arts, literature, and music were more strongly motivated by expression and coping motives, whereas handicrafts and creative cooking were more strongly motivated by prosocial and recognition motives. Intrinsic motives for creative activities were substantially related to high openness to experience, but explained incremental variance in the prediction of self-reported creativity as well as rated creative achievements. Together, these findings provide new insights into the motivational basis and function of everyday creativity.     

Creativity in the Later Life: Factors Associated with the Creativity of the Chinese Elderly

This study examined a total of 140 elderly Chinese from China and the United States to investigate the relationship between attitude toward aging, daily activities, general health, education, and other demographics and rated creativity as measured by collage making and storytelling. The result of this study shows that creativity declines with age. However, education, general health status, daily activities, and the attitude toward aging are also found to be decisive factors of creativity. The implications of the findings are discussed.     

Intellectual Creativity and the Teacher

ABSTRACT Teachers must be trained to recognize the creative student, and we now have some useful materials for this purpose. Four characteristics of intellectual creativity are universality, diversity, its nature as a process, and its dependence on large inputs of information. The creative person is as complex as the creative process, and often possesses contradictory or inconsistent traits. We can encourage creativity through subject-matter instruction, but this requires that teachers be trained to recognize and develop creativity, and be innovative themselves. Teachers need freedom to experiment with the involved concepts of divergent thinking if these are to be developed more fully in school classrooms.     

Creativity and the Clinical Exchange

Using examples from my small c experiences I distinguish between creativity with a big C and small c. I draw analogies between the dialogic interplay of creative artists and their medium and the analyst and his “medium”, the analysand.     

论创造阈

创造阈是人观念地把握了的某一文化领域的现状与所期望的目的之间的、处在意识领域边缘的、具体实现创造思维的心理区域 ,是人通过长期的学习、积累和广阔自由的思维探索 ,特别是通过比较、质疑、直觉思维而建构起来的一个心理区域。问题、概念、论题、纲要、要求、意念等是创造阈的具体存在形态     

Against Creativity

Creativity is typically defined as a disposition to produce valuable ideas. We argue that this is a mistake and defend a new definition of creativity in terms of the imagination. It follows that creativity has instrumental value at most and then only in the right circumstances. We consider the role of tradition and judgment in worthwhile creativity and argue that there is frequently a tension between greater creativity and the production of value.     

Narrowing the Creativity Gap: The Moderating Effects of Perceived Support for Creativity

This article examines the role of 3 types of perceived support for creativity in moderating the relation between creative self-efficacy and self-perceived creativity. The findings suggest significant interaction effects for perceived work-group support and supervisor support, but not for perceived organizational support. This study is among the first to (a) examine the importance of perceived support for creativity in unlocking creative potential and increasing creativity in organizations and (b) use interaction terms in structural equation modeling (SEM) to investigate moderator effects in an applied research setting. These results imply that organizational interventions focused on training supervisors and work-group members to support creativity in the workplace may be more effective than broader and less focused interventions at the organizational level.