PROCEDURES TO INCREASE SOME ASPECTS OF CREATIVITY

Instructions, reinforcement (team points), and practice were applied to four behaviorally defined creative behaviors of eight fourth- and fifth-grade students. All four aspects (number of different responses, fluency; number of verb forms, flexibility; number of words per response, elaboration; and statistical infrequency of response forms, originality) were demonstrated to be under experimental control. The procedures also raised students' scores on Torrance's tests of creativity. Application of the experimental procedures may well be practical for classroom teachers.     

THE EFFECTIVENESS OF REINFORCEMENT AND PRACTICE FOR ENHANCING THE CREATIVE WRITING OF ELEMENTARY SCHOOL CHILDREN1

Reinforcement (team points) and practice were applied to the written work of 16 fifth graders on three operationally defined components of creative writing, fluency, flexibility, and originality.4 These three components were assessed via five response measures. Fluency was defined as the number of different ideas each student listed in an idea list prepared prior to writing an essay. Flexibility was measured in two ways, idea list flexibility and story flexibility. Idea list flexibility was defined as the number of different kinds of ideas which appeared in each day's list whereas story flexibility was defined as the number of different approaches to the topic that the child used in the story itself. Originality was also measured in two ways, idea list originality and story originality. Idea list originality was defined by the statistical infrequency of ideas in the children's lists of ideas. Story originality was determined by blind, subjective ratings of stories conducted by independent raters. All of the measures of creative responding were demonstrated to be under experimental control. The procedures also raised students' scores on Torrance's Tests of Thinking Creatively With Words on three variables, fluency, flexibility, and originality. Adoption for classroom use seems straightforward.     

Verbal fluency and creativity: General and specific contributions of broad retrieval ability (Gr) factors to divergent thinking

The Cattell–Horn–Carroll (CHC) model of intelligence views creativity as a first-level factor within the second-level factor of broad retrieval ability (Gr), alongside other first-level abilities such as ideational fluency and word fluency. Traditional methods of measuring creativity, however, confound idea quality with idea quantity, which might exaggerate the relationship between creativity scores and verbal fluency factors. Participants (n = 131 adults) completed two divergent thinking tasks (unusual uses for a rope and a box), which were scored using newer methods that effectively separate creativity (scored via subjective ratings) and fluency (scored as number of responses). They then completed 16 verbal fluency tasks that assessed six lower-order Gr factors: word fluency, associational fluency, associative flexibility, ideational fluency, letter fluency, and dissociative ability. Viewed singly, many of the lower-order factors significantly predicted creative quality and fluency. General Gr had substantial effects on creative quality (standardized β = .443) and fluency (β = .339) in a higher-order model as well as in a bifactor model (quality β = .380, fluency β = .327). Moreover, general Gr was the only significant predictor in the bifactor model, suggesting that it, not the specific factors, was most important. All effects were essentially the same after controlling for typing speed and vocabulary knowledge. The findings thus support the CHC view of creativity/originality as a lower-order component of Gr, illuminate the relationships between creativity and first-level Gr factors, extend the study of creativity and intelligence beyond fluid intelligence, and further indicate that creativity is more closely tied to cognitive abilities than creativity research has yet recognized.     

The creativity quotient: An objective scoring of ideational fluency

A classical test for accessing the potential creativity of an individual is based on ideational fluency, where a person is asked to generate all possible uses for a familiar item like a piece of paper. In scoring the results, it is intuitive that the suggested uses should not be weighted equally. Those suggested in radically different categories are “worth more”; than those suggested within the same category only. We used information theory to derive a simple mathematical expression for a more objective measure of ideational fluency. We call this the creativity quotient (CQ). This innovative measure was examined using a small sample of participants, and is illustrated by the responses of two typical individuals from an ideational fluency task. The CQ accounts for the number of ideas (fluency), plus the number of categories (flexibility). Ongoing research will examine the independence of CQ from established measures of intelligence and personality.     

The Effect of Changes in the Temperature and Humidity of the Air on the Apparent Skin Resistance

The effects of affective expression on divergent thinking performance were studied in 40 male and female graduate education students. Divergent thinking was operationally defined in terms of the ideational fluency and originality dimensions of Guilford's (4) Plot Titles test. Experimental group E1, in which emotional states were related to visual stimuli, produced significantly more original responses than experimental group E2 (p < .025), in which the same visual patterns viewed in terms of their geometrical-technical dimensions, and control group C1 (p < .01), in which no training was administered. Groups E2 and C1 demonstrated no significant differences. The groups did not differ with respect to ideational fluency. Verbal ability was a poor predictor of individual differences in ideational fluency and originality. The results suggest an effective approach toward fostering originality and indicate that nonintellective variables may be significant in the creative process.     

Assessing Associative Distance Among Ideas Elicited by Tests of Divergent Thinking

Tests of divergent thinking represent the most commonly used assessment of creative potential. Typically they are scored for total ideational output (fluency), ideational originality, and, sometimes, ideational flexibility. That scoring system provides little information about the underlying process and about the associations among ideas. It also does not really capture the key principle of divergent thinking, namely that ideas may be found when cognition explores new (divergent) directions. The investigation reported here used 3 independent semantic networks, each computerized and previously validated, to quantify the distance between responses (ideas) to several tests of divergent thinking. These sources were WordNet (WN), Word Associations Network (WAN), and IdeaFisher (IF). Statistical analyses indicated that remote and close associations can be reliably measured when different sources of associative strength are used. Inter-item reliability (alpha coefficients) of what these networks had identified as remote associations were higher than those from close associations. Inter-item reliability values were higher in the WAN and IF, which provided shorter lists than the WN. Therefore, longer associative lists did not necessarily produce better indices of remote and close associations. Also, scores from a measure of creative attitudes and values were significantly correlated with remote, but not with close, associations across all 3 networks. This finding is very important because it shows that people with a higher tendency of creative attitudes and values, as measured by divergent thinking tests, are more likely to make remote associations rather than close associations. Limitations and future directions are discussed.     

Creativity and Affective Temperament in Artistic and Non-artistic Students: Different Temperaments are Related to Different Aspects of Creativity

The relationship between creativity and temperament has been well documented in studies with professional artists. This also pertains to affective temperaments which constitute the vulnerability to affective disorders. However, less is known about the contribution of particular temperaments to specific components of creativity, for example, ideational fluency, or originality of thinking. The aim of the present study was to assess affective temperaments and creativity in artistic and non-artistic students. Ninety (39 artistic and 51 non-artistic) students were enrolled in the study. Affective temperaments were evaluated by means of TEMPS-A questionnaire. Creativity was measured with BWAS test assessing the originality of thinking and a sample of tasks derived from BIS battery, assessing ideational fluency. Artistic students showed higher rates of cyclothymic temperament. They also outperformed non-artistic students in both domains of creativity. The originality of thinking correlated positively with the level of cyclothymic temperament, whereas ideational fluency was positively related to hyperthymic temperament. Ideational fluency also correlated with the level of parental education. Results indicate that creativity is related to temperaments underlying predisposition to bipolar affective disorder; however, different temperaments are related to different aspects of creativity.     

Children's original thinking: an empirical examination of alternative measures derived from divergent thinking tasks

Children's creative potential is often assessed using cognitive tests that require divergent thinking, such as the Torrance Tests of Creative Thinking (TTCT; E. P. Torrance, 1974, 1976, 1990). In this study the authors investigated the effect of various scoring systems on the originality index, evaluating the high intercorrelation of fluency and originality measures found in the TTCT scoring system and the applicability of TTCT scoring norms over time and across age groups. In 3 studies, the originality of elementary school children was measured using TTCT norms and various sample-specific scoring methods with the TTCT Unusual Uses of a Box test as well as social-problem-solving tasks. Results revealed an effect of scoring technique on creativity indices as well as on the reliability of originality scores and the relationship between originality and other ability measures. The usefulness of the various measures for understanding children's original thinking are discussed.     

Children's Original Thinking: An Empirical Examination of Alternative Measures Derived From Divergent Thinking Tasks

Children's creative potential is often assessed using cognitive tests that require divergent thinking, such as the Torrance Tests of Creative Thinking (TTCT; E. P. Torrance, 1974, 1976, 1990). In this study the authors investigated the effect of various scoring systems on the originality index, evaluating the high intercorrelation of fluency and originality measures found in the TTCT scoring system and the applicability of TTCT scoring norms over time and across age groups. In 3 studies, the originality of elementary school children was measured using TTCT norms and various sample-specific scoring methods with the TTCT Unusual Uses of a Box test as well as social-problem-solving tasks. Results revealed an effect of scoring technique on creativity indices as well as on the reliability of originality scores and the relationship between originality and other ability measures. The usefulness of the various measures for understanding children's original thinking are discussed.     

Assessment of Creative Thinking Across Cultures Using the Torrance Tests of Creative Thinking (TTCT): Translation and Validity Issues

As part of a project to translate and administer the Torrance Tests of Creative Thinking (TTCT) to Turkish elementary and secondary students, 35 professionals were trained in a full-day workshop to learn to score the verbal TTCT. All trainees scored the same 4 sets of TTCT verbal criterion tests for fluency, flexibility, and originality by filling out specially designed forms to allow item analysis of each of the criterion responses. This analysis outlines a protocol to monitor the responses of scorers at the item level, not a level of analysis that is normally performed on the TTCT. The results of item level analyses for fluency and flexibility data from the 35 trainees reveal new information about translation, training, and scoring. Based on these results, this article makes the case for item-level analysis for cross-cultural applications to prevent artificially congruent scores that will not predict accuracy in future scoring.     

Creative potential and conceptual tempo in preschool children

The individual stylistic variations of creative potential and conceptual tempo were investigated in preschool children (n = 61; mean age = 56.9 months). The measure used for the conceptual tempo was the Kansas Reflection Impulsivity Scale for Preschoolers (KRISP), and the Multidimensional Stimulus Fluency Measure (MSFM) was used to assess ideational fluency and creative potential Contrary to expectations, no differences between reflective and impulsive preschoolers were found on the ideational fluency measure. However, analysis of all four quadrants of the conceptual tempo dimensions derived from median splits revealed an interaction of KRISP latency and error scores, F(157) = 12.78, p < .001, with greater originality scores evidenced by the fast/accurate and slow/inaccurate groups than the slow/ accurates and fast/inaccurates. Implications of this unusual finding were discussed in terms of the manner in which children may approach convergent and divergent tasks.     

Is Originality in the Eye of the Beholder? Comparison of Scoring Techniques in the Assessment of Divergent Thinking

Divergent thinking (DT) tests are among the most popular techniques for measuring creativity. However, the validity evidence for DT tests, as applied in educational settings, is inconsistent partly due to different scoring methods. This study explored the reliability and validity issues of various techniques for administering and scoring two DT tests. Results show distinct differences among several methods for scoring these DT tests and suggest that the percentage scoring method (i.e., dividing originality scores by fluency scores) may be the most appropriate scoring strategy. The potential impact on educational research and practice is discussed in detail.     

Flexibility and Originality in Children's Divergent Thinking

Previous research on the ideational process indicates that original ideas increase in frequency as an examinee works through an open-ended task. In the present investigation, ideational flexibility was evaluated to determine if ideas also become more varied and diverse. Additionally, the relationship of intelligence (IQ) with order effects of both originality and flexibility was investigated. Tests of verbal and figural divergent thinking were administered to 80 intermediate school children. The midpoint of each individual's ideational set was found, and the flexibility and originality scores of each half of the set were compared. Results indicated that flexibility and originality scores were higher in the second half than the first half of the ideational set, but there were significant differences between high- and low-originality subjects and differences between the verbal and the figural tests. The order effect was unrelated to the IQ scores of the subjects. Suggestions are made to integrate ideational flexibility into existing theories of divergent ideation.     

An Analysis of Early vs. Later Responses on a Divergent Production Task Across Three Time Press Conditions

Traditional assessments of divergent production have employed standard time press conditions of three minutes for measures of fluency, flexibility, and originality. Recent studies have provided evidence that the traditional time press condition may impede both fluency and quality of responses and that differences in divergent production responses have been found under a variety of creative prompting conditions. The purpose of the present study was to examine the effects of three time press and three creative prompt conditions on early vs. later trial originality scores for three divergent production stimuli. The participants were 91 undergraduate students enrolled in Educational Psychology courses who were randomly assigned to one of six experimental groups. The six groups were counterbalanced across the three vignette tasks in time press requirements and creative prompting. Aggregate differences were found in which there was a higher frequency of originality scores for the latter portions of trials as compared with the early portion of trials for all time press and prompting conditions.     

The instructional enhancement of the flexibility and originality scores of divergent thinking tests

This investigation was conducted to examine the effects of insturctions designed to enhance ideational origianlity and flexibility, and to test the prediction that flexibility is functionally related to originality. Twenty-nine adolescents received three divergent thinking tests with conventional (inexplicit) instructions, one test with explicit originality instructions, and one test with explicit flexbility instructions. Contrary to expection, results indicated that originality scores were low when the adolescents were given the explicit flexiibility instructions. This suggests that flexibility does not facilitate originality. However, the explicit originality instructions did elicit the highest originality scores, and the explicit flexibility instructions elicited the highest flexibility scores.     

Domain‐General and Domain‐Specific Creative‐Thinking Tests: Effects of Gender and Item Content on Test Performance

The study examined the effects of gender and item content of domain‐general and domain‐specific creative‐thinking tests on four subscale scores of creative‐thinking (fluency, flexibility, originality, and elaboration). Chinese tenth‐grade students (234 males and 244 females) participated in the study. Domain‐general creative thinking was measured by using two domain‐independent items—box and newspaper. Domain‐specific creative thinking was measured in the domain of history by two history‐specific items—school uniform and health food—that were part of lessons in modern Chinese history. Domain‐general creative‐thinking scores were not different across gender in any of the four subscales. In domain‐specific creative thinking, female students produced more responses (fluency) and more categories of ideas (flexibility), and more detailed answers (elaboration) on both items than did males. Gender difference was not found in originality. Item effects were significant in both general and specific creative‐thinking scores, with higher fluency, flexibility, and elaboration for the newspaper than the box item, and higher fluency, flexibility, originality, and elaboration for the school uniform than the health food item. The findings on both gender and item effects support the contention that personal interest and life experience influence the generation of creative solutions. The finding that gender did not differ in domain‐general creative‐thinking was expected, as the two general items (box and newspaper) are experienced similarly by both genders. As most of the creative‐thinking tests are influenced by individuals' experience beyond creative‐thinking ability, judicial evaluation and use of creative‐thinking scores are underscored.     

Typing Speed as a Confounding Variable and the Measurement of Quality in Divergent Thinking

The need to control for writing or typing speed when assessing divergent-thinking performance has been recognized since the early ‘90s. An even longer tradition in divergent-thinking research has the issue of scoring the responses for quality. This research addressed both issues within structural equation modeling. Three dimensions of originality—uncommonness, remoteness, and cleverness—were used to derive an overall quality score. Mixed evidence was found in Study 1 for the direct effect of typing speed on fluency. In addition, indirect effects of typing speed via cognitive complexity on overall quality of ideas were uncovered but marginal in both Study 1 and Study 2. This indirect effect was also found for cleverness in Study 2. Another indirect effects of typing speed via fluency was found for cleverness and uncommonness. These findings indicate that controlling for typing speed is important in online divergent-thinking assessment. The inter-relations of various quality scores pertaining to the dimensions of uncommonness, remoteness, and cleverness were promising in terms of convergent validity. Important problems with respect to these scores were identified and discussed to guide future attempts to measure quality in DT.     

Sex differences in instructions to "be creative" on divergent and nondivergent test scores

Harrington (1975) found that both the magnitude and meaning of male subject scores on the Alternate Uses Test were altered by explicit instructions to “be creative,” and argued for the necessity of such instructions, plus qualitative scoring criteria, in the employment of tests of creativity. The present study elaborated upon this study by including female subjects, more than one test of divergent thinking and a test of nondivergent thinking. Instructions to be creative increased the proportion of creative responses output for both males and females, and sharpened correlations with Adjective Check List personality scales. Instructions did not alter performance on the nondivergent test. These results were interpreted to mean the instructions elicited strategies particularly relevant to divergent thinking and ruled out nonspecific effects such as those due to motivation. A reliable sex-difference in ideational fluency was also observed: instructions to be creative facilitated the total number of responses output for the male subjects. This supports a hypothesis that the instructions disambiguate I he test situation differently for men and women, suggesting the need to isolate individual conceptions of creativity in order to maximize test performance.     

Assessing Ideational Fluency in Primary Students in Hong Kong

We tested 462 primary students (244 boys and 218 girls) in Grades 1, 2, and 3 from 20 primary schools in Hong Kong. Their ideational fluency was assessed by using 2 items each on 3 types of verbal tasks (instances, uses, and similarities) and 2 types of figural tasks (pattern meanings and line meanings) from the Wallach-Kogan tests. On the average, students generated about 20 instances, gave 9 alternative uses of a common object, listed 11 possible similarities between a pair of named objects, and gave 13 and 15 possible meanings for visual patterns and lines, respectively. Although boys scored consistently higher in ideational fluency than girls on verbal tasks, significant gender differences did not emerge for figural tasks. Significantly higher scores on ideational fluency were evident for students in higher grades especially for verbal tasks. The use of the Wallach-Kogan tests in the assessment of divergent thinking ability and creativity for Chinese children is discussed.     

Mood and Creativity over Time in a Bipolar Participant

When depression alternates with mania, as in a bipolar affective disorder, creativity might be enhanced. To investigate this, we employed a single‐subject design, looking at both affective space and the spectral covariation of mood and creativity in a participant presenting with bipolar affective disorder. The study was conducted over a period of 54 days, and employed a standard measure of mood (the Brief Mood Introspection Scale) and a standard task of creativity (Alternative Uses Task). Both positive affect and negative affect appear to be somewhat undifferentiated for this participant, and her mood space does not conform to that described by the accepted major dimensions of Arousal and Pleasure. Conceivably, this is because of her rapid mood fluctuations. A 2.7‐day periodicity was found for Tired, Peppy, Nervous, and Calm, on the one hand, and ideational fluency, ideational flexibility, and originality, on the other. In addition, a 9‐day periodicity was common to Happy, Sad, and Gloomy—all three affects clustering in the same affective space—together with both ideational flexibility and originality. This finding brings into question the relationship between creativity and both positive and negative mood.