The selection of creative ideas after individual idea generation: Choosing between creativity and impact

It is commonly assumed that successful innovation depends on creative idea generation: the more ideas are generated, the higher the probability of selecting a very good idea should be. However, research has shown that people do not perform optimally at idea selection and that ideational output may not contribute much to creative idea selection. The present studies aim to explain this phenomenon. We identified the strong tendency of our participants to select feasible and desirable ideas, at the cost of originality, as the main reason for their poor selection performance. Two manipulations of participants' processing of the available ideas (exclusion instructions and quality ratings) had no effect on selection effectiveness. In contrast, explicitly instructing participants to select creative or original ideas did improve selection effectiveness with regard to idea originality, but at the same time decreased participants' satisfaction and the rated effectiveness of chosen ideas. Results are discussed in relation to an effectiveness‐originality trade off.     

The Role of Vividness of Visual Mental Imagery on Different Dimensions of Creativity

Although research demonstrated that people can mentally manipulate and synthesize visual elements into a creative object, the role that vividness of visual imagery plays on creative imagery is still unclear. This study explored the relationships between vividness of visual imagery and 3 dimensions of creative imagery: originality, practicality, and mental spatial transformations of visual elements. Fifty-three participants performed the creative mental synthesis task and completed the Vividness of Visual Imagery Questionnaire (VVIQ). Results revealed a positive relationship between vividness and the practicality dimension of objects. No relationship was found either between vividness and originality or between vividness and transformational complexity. The association vividness–practicality seems to reflect the ability to use pictorial information of imagery when people generate functional objects that belong to specific categories. Future research directions are discussed.     

Visual Creativity Across Cultures: A Comparison Between Italians and Japanese

Culture-related differences in visual creativity were investigated, comparing Italian and Japanese participants in terms of divergent (figural completion task) and product-oriented thinking (figural combination task). Visual restructuring ability was measured as the ability to reinterpret ambiguous figures and was included as a covariate. Results showed that in divergent thinking, Italians only outperformed Japanese participants in elaboration and in product-oriented thinking in terms of originality of products. Visual restructuring ability was found to play a key role both in originality and practicality of products. Both groups scored the same in terms of fluency, originality, and flexibility of visual divergent thinking, as well as in term of practicality of creative products. These findings are consistent with the idea that Italians and Japanese have the same creative potential, although from the early stages of the design Japanese seem to show a greater tendency to take practicality constraints into account when creating in the visual domain.     

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.     

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.     

Conceptual expansion and creative imagery as a function of psychoticism

The ability to be creative is often considered a unique characteristic of conscious beings and many efforts have been directed at demonstrating a relationship between creativity and the personality construct of psychoticism. The present study sought to investigate this link explicitly by focusing on discrete facets of creative cognition, namely the originality/novelty dimension and the practicality/usefulness dimension. Based on Eysenck's conceptualisation of psychoticism as being characterised by an overinclusive cognitive style, it was expected that higher levels of psychoticism would accompany a greater degree of conceptual expansion and elevated levels of originality in creative imagery, but would be unrelated to the practicality/usefulness of an idea. These hypotheses were confirmed in 80 healthy participants who were contrasted based on their EPQ psychoticism scale scores. Our findings suggest that the link between psychoticism and creativity is based on associative thinking and broader but weak top-down activation patterns rather than on goal-related thinking.     

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 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.     

Facilitating Creative Idea Selection: The Combined Effects of Self-Affirmation,Promotion Focus and Positive Affect

Generating creative ideas in a brainstorm session `is a crucial part of innovation. However, for actual implementation, the most creative ideas must be selected from a pool of ideas. To date, idea selection has remained relatively unexplored and validated instruments to measure idea selection performance are not systematically employed. This study aimed to improve creative idea selection performance in a field study. In this study, an idea pool of 18 ideas was used, and participants had to select the 5 most creative ideas from the idea pool. Right before participants performed the idea selection task, in the experimental condition, a promotion focus and positive affect was induced in combination with a self-affirmation task. Participants in the control condition performed corresponding filler tasks. The selection of the 5 most creative ideas from the idea pool of 18 ideas was performed individually. Participants in the experimental condition selected ideas that were more creative than did participants in the control condition. These findings provide first evidence that the selection of creative ideas can be enhanced through a combined induction of promotion-focus, positive mood and self-affirmation.     

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.     

Effects of Explicit Instructions,Metacognition, and Motivation on Creative Performance

Effects of explicit instructions, metacognition, and intrinsic motivation on creative homework performance were examined in 303 Chinese 10th-grade students. Models that represent hypothesized relations among these constructs and trait covariates were tested using structural equation modelling. Explicit instructions geared to originality were positively related to originality of homework, but not to fluency/flexibility of homework. Participants with high intrinsic motivation for creative work scored higher on originality as well as fluency/flexibility of homework, whereas intrinsic motivation for challenging work had an inverse effect on creative homework. Theoretical claims on the relation between explicit instructions and metacognitive activities and between the latter and creative performance were not supported by this study. The degree of explicitness of instructions and the nature of the tasks were discussed in relation to the findings on the effect of explicit instructions. Further, the difference of creative process involved in the production of original versus fluent/flexible creative performance and the difference in the two types of intrinsic motivation and their effects on creative performance were discussed based on various studies including brain activities. Implications of the findings for the Chinese education system were 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.     

Creativity in Men and Women: Threat,Other-Interest,and Self-Assessment

Previous research into gender and creativity has provided little evidence for consistent differences between men and women in creative performance. This research revisits this topic by proposing a person × situation approach, arguing that gender differences in creative performance only occur in certain contexts, but not others. Based on the assumption that men and women tend to differ in self versus other orientation, experimental instructions varied whether our participants’ (n = 169) creative efforts benefit the self or others, and whether creativity occurred under conditions of threat or not. In the absence of threat, women outperformed men in the originality of their creative efforts when the task was beneficial to others. This effect was eliminated in the presence of competitive threat. In contrast to some previous work, threat also increased creative performance under some circumstances. Results also revealed gender differences in self-assessment of creativity such that women seemed to be somewhat more attuned to the objective level of the originality of their creative performance than men. The discussion focuses on implications for research on gender differences in creativity, arguing that researchers must appreciate that gender differences in creativity, so far as they exist, are likely embedded in specific situational contexts.     

Thinking About Applications: Effects on Mental Models and Creative Problem-Solving

Many techniques have been used to train creative problem-solving skills. Although the available techniques have often proven to be effective, creative training often discounts the value of thinking about applications. In this study, 248 undergraduates were asked to develop advertising campaigns for a new high-energy soft drink. Solutions to this problem were evaluated for quality, originality, and elegance. Prior to preparing these advertising campaigns, participants were provided with training in strategies for thinking about the potential applications of creative problem-solutions. It was found that training people to think about the uses of ideas and preparation for idea implementation contributed to the acquisition of stronger mental models and production of advertising campaigns evidencing greater quality, originality, and elegance. The implications of these findings for creative though and creative education are discussed.     

Identifying Creativity During Problem Solving Using Linguistic Features

Creativity is commonly assessed using divergent thinking tasks, which measure the fluency, flexibility, originality, and elaboration of participant output on a variety of different tasks. This study assesses the degree to which creativity can be identified based on linguistic features of participants’ language while completing collaborative divergent thinking tasks. To this end, 78 participants’ conversational dialogs (i.e., 39 dyads) within a chat environment were collected while completing three open-ended problem-solving tasks. Expert raters scored the dialogs in terms of fluency, flexibility, elaboration, and originality, as well as three types of creative language (metaphor and simile, humor, and word play). Factor analyses indicated that these scores captured two main constructs (creativity and elaboration). The linguistic features of the participants’ language (captured computationally using natural language processing tools) accounted for significant amounts of variation in both the creativity (R² = .640) and elaboration (R² = .550) scores within linear mixed effect (LME) models. These results highlight specific linguistic features that can be used to explain large amounts of variance in constructs related to creativity.     

The Effects of Forecasting on Creative Problem-Solving: An Experimental Study

Prior research suggests that forecasting may play a critical role in both the evaluation of new ideas and planning for idea implementation. In the present study, 141 undergraduates were asked to formulate advertising campaigns for a new product. These campaign proposals were evaluated for quality, originality, and elegance. Prior to formulating these campaigns, participants were asked to forecast the implication of their ideas and forecast the effects of a plan for implementing their best idea. It was found that the extensiveness of forecasting the implication of ideas and the extensiveness of forecasting the implications of plans were related to the quality, originality, and elegance of the advertising campaigns proposed. The effectiveness of these forecasts was influenced by analysis of causes and goals and the use of case models. The implications of these findings for understanding the role of forecasting in creative thought are discussed.     

The Interplay of Creative Behavior,Divergent Thinking,and Knowledge Base in Students' Creative Expression During Learning Activity

The purpose of this study was to research the relations between knowledge, students’ self-assessed creative performance, and divergent thinking (DT), objectively and subjectively scored. Fourth-grade students (N = 115) participated in an instructional project integrated to actual curriculum and then completed 2 DT tasks, a test of knowledge base, and a self-assessment. Teachers’ ratings of student achievement were also collected. DT tasks were scored (a) for fluency, flexibility, and originality, and (b) using the consensual assessment technique (CAT). Results indicated that different DT tasks scoring methods, having moderate intercorrelations, predicted different aspects of creative behavior, and that knowledge has its own predictive role.     

Idea evaluation: Error in evaluating highly original ideas

Idea evaluation is a critical aspect of creative thought. However, a number of errors might occur in the evaluation of new ideas. One error commonly observed is the tendency to underestimate the originality of truly novel ideas. In the present study, an attempt was made to assess whether analysis of the process leading to the idea generation and analysis of product originality would act to offset underestimation error in the evaluation of highly original new ideas. Accordingly, 181 undergraduates were asked to evaluate the originality of marketing campaigns being developed by six different teams where the level of idea originality was varied. Manipulations were induced to encourage active analysis of interactional processes and the originality of team products. It was found that active analysis of product originality and appraisal of interactional processes reduced errors in evaluating the originality of highly novel ideas. The implications of these findings for the evaluation of new ideas are discussed.     

What Makes an Idea Risky? The Relations between Perceptions of Idea Novelty,Usefulness, and Risk

Individuals and organizations frequently tout creative ideas as a desirable goal, and yet, creative ideas are frequently rejected. Creativity researchers have often suggested that creative ideas are rejected because they are perceived as riskier due to their inherent novelty or originality. Although this assumption is prevalent, we are unaware of any empirical research directly examining the relations between perceptions of novelty and risk. We provide an empirical test of this assumption in two studies in which participants rate the novelty, usefulness, and riskiness of ideas. Across both studies, we find consistent support for the idea that usefulness, rather than novelty, has the strongest relation with risk perceptions. We also find some evidence that novelty and usefulness interact to predict perceptions of risk. Additionally, in Study 2, we find that usefulness has the strongest relation with willingness to invest and buy a product. The findings of this study suggest that the bias against creativity may be driven by the perceived usefulness of an idea, rather than its novelty, such that ideas with lower usefulness are perceived to be riskier.     

Strategy Induction Enhances Creativity in Figural Divergent Thinking

Instructional effects in creative‐thinking tasks are important to understand in order to promote creative performance of individuals. In divergent‐thinking tasks, for example, instructional and strategic enhancement effects have been extensively studied for verbal tasks. However, while studies on instructional enhancement effects on creative drawing tasks exist, it is surprising that strategy enhancement in figural divergent thinking is still underresearched. In this study, we used a strategy manipulation approach to reassess the role of executive strategy implementation and the moderating role of an indicator of fluid intelligence, figural analogical reasoning, in two types of figural divergent‐thinking tasks (abstract vs. concrete). The sample comprised N = 75 high‐school students. Importantly, we found strategic enhancement effects by combining strategy instructions with a prompt to “be creative.” This combined instruction was contrasted with a standard instruction, and main effects were found for overall, concrete, and abstract creativity. Moreover, we found in a regression analysis a main effect for figural analogical reasoning on overall creativity and creativity for only the concrete object tasks. An expected interaction effect of instruction and figural analogical reasoning was not found. As another addition, the role of current motivation in figural divergent thinking was explored.