Extroversion Personality,Domain Knowledge,and the Creativity of New Product Development Engineers

Creativity refers to a person’s thinking of new and useful ideas at work. Drawing on the personality literature, this study proposes that employees with high extroversion personality will exchange job relevant information with colleagues to generate creativity. Drawing on the information exchange theory, this study further proposes that the effect of extroversion personality with creativity via information exchange will be stronger for workers with insufficient domain knowledge. Data collected from Taiwanese new product development engineers support our hypotheses. Previous research found that extroverted persons perform more creatively because they are more confident in their abilities. This study further demonstrates that, after controlling for self-efficacy, extroverted engineers can still think of creative ideas via exchanging information with colleagues. Although domain knowledge has been shown as crucial to creativity, few studies have explored how to stimulate creative ideas from workers with insufficient domain knowledge. This study demonstrates a useful substitute for domain knowledge, namely the extroversion personality, which may inspire creativity via exchanging information with colleagues.     

高低创造性思维水平者定向遗忘效应的差异研究

采用单字法定向遗忘范式,考察远距离联想任务得分高低者在中性和负性词语定向遗忘效应上的差异,来探讨创造性思维水平高低与主动抑制的关系。实验采用2(高/低创造性思维水平)×2(中性/负性词汇)×2(记住/忘记指令)×2(2s/5s时间间隔)混合设计,发现高低创造力组,在材料不同呈现时间下,对不同情绪材料的定向遗忘效应分别不同。低创者在2s和5s以及高创者在5s时间间隔时,均对中性词语表现出定向遗忘效应,而对负性词汇没有表现出明显的定性遗忘效应。高创者在2s时间间隔下,对中性和负性词语均表现出定向遗忘效应。结果表明较短时间内高创者对负性情绪的主动抑制能力优于低创者。     

Comparing the Attributes,Activities, and Performance of Divergent,Convergent, and Combination Thinkers

Studies about the nature of the creative problem solving (CPS) process and about the cognitive and personality attributes and performance of persons who do CPS have focused primarily on the divergent thinking aspects of CPS and the attributes of persons who are inclined to divergent thinking. However, a matching theory proposes that tasks vary widely in the degree to which they require differing kinds of thought and prior knowledge, and problem solvers vary widely in their inclinations and resources; hence, different persons, groups, and organizations can most effectively and efficiently solve different kinds of problems. To begin identifying good matches of tasks and workers, this study measured several cognitive and personality attributes and the CPS activities and performance of persons inclined to divergent or convergent thought. Most predicted differences in the attributes, activities, and performance of the 3 types of thinkers were found. A content analysis of group attempts to creatively solve a multifaceted problem demonstrated the need for frequent convergent thought as well as divergent thought by persons so engaged. Implications and needed extensions of this research are discussed with the aim of using the matching theory to enhance real-world CPS efforts.     

Lateralization of defence mechanisms related to creative functioning

Eighty-four undergraduate students were randomly divided into left and right visual half-field groups. They were tested in either visual half-field with a percept-genetic test of anxiety and defense mechanisms (the MCT). The subjects also took a test of creative functioning (the CFT) and degree of lateralization in the MCT was related to level of creativity in the CFT. Subjects low in creativity were significantly lateralized on measures typical for the right visual half-field group (isolation and repression) and tended to differ on a left visual half-field measure (regressive strategies). For high creative subjects no differences were found between the visual half-field groups. Also, high creative persons more often responded with non-hemisphere-specific defenses than low creative ones. The results were interpreted as due to differing levels of transmission of information between the two hemispheres of the brain.     

The Adaptable Mind in Design: Relating Personality,Cognitive Style,and Creative Performance

This study examined domain-specific relationships between creative personality traits, cognitive styles, and creative performance in design. Design students (n = 39) completed the Adjective Check List (ACL) and the Herrmann Brain Dominance Instrument (HBDI) to gauge personality and cognitive style, respectively. The ACL was scored using Domino's Creativity Scale (ACL-Cr) to identify creative personality traits. The sample also completed a design task that was evaluated for creativity using the Consensual Assessment Technique (CAT). Findings indicated that participants showing flexibility between cerebral, limbic, right, and left modes of thinking had significantly higher mean scores on creative personality than did those who exhibited a more entrenched cognitive style. Creative personality traits (ACL-Cr) significantly predicted creative performance on the design task. While cognitive style (HBDI) did not predict creative performance, flexibility between styles was significantly correlated to the creative personality. In sum, individuals exhibiting adaptable thinking appear to possess the flexibility necessary to design creatively and potentially transform the domain with original and imaginative solutions.     

Creativity as a Matter of Choice: Prior Experience and Task Instruction as Boundary Conditions for the Positive Effect of Choice on Creativity

This study investigates the effects of prior experience, task instruction, and choice on creative performance. Although extant research suggests that giving people choice in how they approach a task could enhance creative performance, we propose that this view needs to be circumscribed. Specifically, we argue that when choice is administered during problem solving by varying the number of available resources, the high combinatorial flexibility conferred by a large choice set of resources can be overwhelming. Through two experiments, we found that only individuals with high prior experience in the task domain and given explicit instruction to be creative produced more creative outcomes when given more choice. When either of these two conditions is not met (i.e., low prior experience or given non‐creativity instruction), more choice did not lead to more creative performance. Theoretical and practical implications of these findings are discussed.     

Gender‐Role Orientation,Creative Accomplishments and Cognitive Styles

The present study examined the association of gender‐role orientation to creative accomplishments and cognitive styles. One hundred and twenty‐seven college students completed the Artistic and Scientific Activities Survey (Guastello, 1991), the Personal Attributes Questionnaire (Spence, Helmreich, & Stapp, 1974), and the Bem Sex Role Inventory (Bem, 1974). Three different gender‐role orientations were examined: instrumentality (agenic, stereotypically masculine), expressiveness (communal, stereotypically feminine), and androgynous (high levels of instrumental and expressive characteristics). Results indicated that instrumentality was positively associated with creative accomplishments in the business venture domain and that androgynous, versus nonandrogynous, individuals were more creatively productive in the domains of literature, theater, and video‐photography. Instrumentality was also positively associated with the six hats cognitive style, which is a measure of cognitive flexibility, and the six hats style was marginally significantly associated with androgyny. Possible explanations for these findings are discussed and recommendations for future research are considered.     

Examining Gender with General Creativity and Preferences for Creative Persons in College Students within the Sciences and the Arts

The purpose of the research was to investigate gender similarities and differences in general creativity constructs with their preferences for creative persons. Data were collected from 247 participants (87 engineering, 24 psychology students with a psychology major, 51 psychology students with a major other than psychology, 30 English, and 55 music students) from a large Mideastern Big 10 university. All participants completed measures of general creativity (creative personality, creative temperament and cognitive risk tolerance) and a demographic questionnaire with the request to list 10 creative persons and their given field. Results indicated that males and females tended to have similar levels of general creativity, yet the most frequently listed creative eminent persons tended to be male. The most frequently listed creative person selections were in science and art, with the three most frequently selected eminent persons being in the science domains. The most frequent creative person selections, consistently selected by at least 10 participants, were Caucasian males.     

Method and Madness in the Arts and Sciences

This article offers a new way to interpret the relation between mental illness and creative achievement. With some license for imagination, the author adopts the fractal metaphor to explain the "self-similarity" of results found at every level of analysis in a prior study of more than 1,000 eminent persons and a new exploratory study on 137 well-known visual artists. These results show that regardless of scale, the same pattern exists between mental disturbances and creative expression. Persons in professions that require more logical, objective, and formal forms of expression tend be more emotionally stable than those in professions that require more intuitive, subjective, and emotive forms. This same pattern even applies, for example, when we focus on the visual arts and compare persons using different artistic styles. These results, in their entirety, suggest that a powerful relation exists between the presence or absence of mental illness and particular forms of creative expression both between and within the sciences and the arts.     

Openness to experience, plasticity, and creativity: Exploring lower-order, high-order, and interactive effects

What are creative people like? Openness to experience is important to creativity, but little is known about plasticity, the higher-order factor that subsumes openness. College students (n = 189) completed measures of the Big Five and measures of creative cognition (fluency and quality of divergent thinking), everyday creative behaviors, creative achievement, and self-rated creativity. Latent variable models found broad effects of openness to experience and few effects of the other four domains. At the higher-order level, plasticity predicted higher scores on nearly all of the facets of creativity, and stability had several significant effects. For some creativity measures, plasticity and stability had opposing effects. Tests of latent interactions found no significant effects: plasticity and stability predict creatively independently, not jointly.     

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.     

Relationship of scores on two personality measures: creativity and self-image.

This study investigated the relationship between self-image and creativity in late adolescence. The multidimensional Offer Self-image Questionnaire was used to assess self-image while the How Do You Think Inventory was used to measure creativity. The results were similar to investigations indicating superior socioemotional functioning among gifted adolescents. More creatively scoring subjects (n = 65) exhibited better psychosocial functioning on six of the eleven self-image dimensions measured than the less creatively scoring subjects (n = 69). Concomitant with their more heightened self-assurance was subjects' expressed greater confidence in social competence. The findings are contrary to the profile that depicts creative individuals as socially and emotionally deficient.     

Imaginary companions in childhood and adult creativity.

Case material is presented to illustrate the thesis that the ability to create an imaginary companion during childhood is an early expression of the special ego aptitudes found in creative individuals in adult life. Such "companions" allow these children to attempt to master creatively a variety of narcissistic mortifications suffered in reality and to displace unacceptable affects. In creative adults who had imaginary companions in childhood, the early fantasies serve as an organizing schema in memory for the childhood traumata. Stimuli in adult life which evoke the earlier traumata may revive the original imaginary companion fantasies. These then serve as nodal bases for the creation of specific adult works of art.     

Group Composition,Creative Synergy,and Group Performance

Organizations use groups to improve performance on tasks that require problem solving. Is this belief in the problem solving benefits of groups misplaced given the process-losses often experienced by brainstorming groups? This study of 94 intact autonomous work groups performing multi-part tasks revealed that group creative performance increased multiplicatively (exponentially) with the number of highly creative group members composing the group. However, this occurred only when Team Creativity-Relevant Processes (TCRP) within the group were relatively high. When TCRP were relatively low, group creative performance decreased multiplicatively with the number of highly creative group members within it. When TCRP were about average for the sample, group performance increased only linearly with the number of highly creative members within a group.     

Personality and altruism in the dictator game: Relationship to giving to kin, collaborators, competitors, and neutrals

We investigate altruism in the context of the economic dictator game experiment where subjects are presented with different persons who can be classified as kin, collaborator, competitor and neutral based on their similarity/relationship to the subject. The classification is based on the role others play in facilitating or impeding an individual’s access to resources needed for reproductive success. The role of the Big Five personality traits in giving to the different target persons is examined. We find that kin are treated most generously, followed by collaborators, neutrals, and competitors. Personality has no effect on giving to kin, but a significant effect on giving to collaborator, neutral and competitor. We also find non-linear relationships between personality and giving.     

The Father's Body-Shadow and Creativity in the Female

There is in the female a relationship between a positive connection to the father's body and the development of a creative life. Conversely, if a woman has experienced only a negative connection to her father's body, then a life of creative fulfillment will often chide her. In this case, she must be willing to assert her own creative bright shadow in order to rescue her creative life from the dark cave of her father's shadow. Lastly, the inner union of heroic man and creative feminine bright shadow is necessary if a woman is to experience her life as creatively meaningful.     

Self-esteem, attitude similarity, and attraction

Subjects evaluated three stimulus persons on several rating scales who were either 10%, 50%, or 90% similar to themselves in attitudes Subjects were divided into low, moderate, and high self-esteem groups on the basis of an earlier Q sort The results showed a strong positive relation between perceived similarity and positive attribution for each of the dependent variables, including liking, sophisticated, intelligent, sincere, happy, and a social distance scale A negative relation was obtained for two undesirable traits, arrogant and cynical Self-esteem interacted with similarity on several of the measures The difference between self-esteem groups was largely restricted to highly dissimilar stimulus persons Moderate esteem subjects were more favorable toward dissimilar persons than either of the other two groups, and the high and low groups tended to resemble each other more than either group resembled the moderate esteem group These results were discussed in terms of the relation between self-esteem and adjustment, and in terms of McGuire's (1968) theory that predicts a nonmonotonic relation between self-esteem and attitudes.     

审美概念理解对于创造性思维作业成绩的影响

本研究以小学3、5年级、初2、高2、大2年级学生共300人为被试（实验组156人;对照组154人）,对审美概念实验教学前后测验结果分析表明：审美概念理解程度对于创造性思维作业成绩有显著影响,各年级都存在这种效果;总的看女生显著高于男生。审美概念理解的7个因子（概念理解流畅、释义正确、释义精确、事实迁移长度、事实迁移宽度、类词迁移长度、类词迁移宽度等）与创造性思维的两类作业（图形、语言）、6个因子（流畅、独创、精致、灵活、标题抽象、抗封闭）之间均存在显著相关;其中“类词迁移宽度”、“释义精确”、“类词迁移长度”等三个因素对创造性思维作业总成绩影响显著。