Artistic creation as stimulated by superimposed versus combined-composite visual images

The creative role of homospatial thinking in visual art was assessed in an experiment with 39 highly talented young artists. In order to compare the creative effects of visual elements occupying the same space with identical elements arrayed in a combined foreground and background organization, superimposed slide images were presented to a randomly selected portion of the subject group, and the other portion of the subject group viewed the same slide images constructed into a figure-ground composite. Both groups produced three drawings stimulated by the slide stimuli, and these drawings were independently judged by three art experts. Results were that drawings produced by the group exposed to the superimposed images were rated higher in creative potential than those stimulated by the figure-ground controls. These results extend previous experimental findings of a tendency toward homospatial thinking in creative individuals in literature and visual art.     

Creative Thinking Strategies for Life: A Course for Professional Adults Using Art

To thrive in today's economy and the workforce of the future, individuals need creativity and problem-solving skills. Emotion skills have been increasingly discussed as well, with companies listing emotional intelligence as one of the top skills needed for professional success. The present paper describes a course designed to teach professional adults two sets of creativity skills (problem finding and idea generation) and two sets of emotional intelligence skills (using emotions to facilitate thinking and understanding emotions) using visual art as a medium. The course consisted of eight, 60-min sessions in which professional adults participated in art observation and art engagement activities. Fifty-six professional adults completed measures of creative abilities and emotional intelligence skills in a pretest, posttest, and 2-month follow-up design. Participants who engaged in the course showed significant gains in the originality of their ideas on divergent thinking and problem construction tasks, as well as their self-reported creative behavior compared with controls. No significant changes in emotion understanding were detected. We discuss the course's distinct value to creativity and emotion skills training research.     

Enhancing Creative Performance: Effects of Expected Developmental Assessment Strategies and Creative Personality

This study examined the independent and joint effects of expected developmental assessment strategies (self-administered, other-administered, and no assessment) and creative personality on individuals' creative performance. Data were collected from 68 participants who performed a role-playing task in a laboratory setting. Results showed that individuals exhibited the highest creative performance when they expected a self-administered assessment (i.e., an opportunity to assess their own work in order to develop their creativity-relevant skills) and had creative personalities.     

DOUGHNUTS AND DICKIE

In this paper, I assess Dickie's institutional theory of art. I compare the earlier and later forms of the theory, and I point to various problems of detail with these accounts. I then proceed by arguing that Dickie's definition excludes Krispy Kreme doughnut boxes from possessing the status of being works of art, and it excludes those who made them from possessing the status of being artists. The intention is not to offer a counter example to Dickie's account. Rather, the complaint is that there could be no philosophical point or interest in a concept of art which excludes these doughnut boxes. The best way to see this is by contrast with a concept of art that includes them. Thus I outline what I call a ‘creative’ account. What we want is a concept of art which helps us understand a certain phenomenon in the world – the phenomenon that we call ‘art’. In this light, I argue that Dickie's institutional theory tells us nothing about why people want to make art and nothing about why they want to experience it. By contrast, the creative theory, which embraces both doughnut boxes and things in galleries, is more explanatory.     

Completing Coyne's Cycle: Dysphorics' Ability to Detect Deception

We tested the prediction, derived from Coyne's (1976b) interpersonal model of depression, that dysphoric individuals would be more sensitive than nondysphoric individuals to false reassurances and phoniness. In Part 1 of a two-part study, dysphoric and nondysphoric individuals watched videotapes of discussants talking about paintings they liked and disliked with an art student who had created some of the paintings herself. As predicted, the dysphorics were more accurate than the nondysphorics at discerning when the discussants really did like the paintings only when the discussions were about disliked paintings that were the art student's own work. The Part 2 stimuli were audiotaped lies and truths conveyed by men and women to attractive same-sex and opposite-sex targets. The dysphorics tended to be more accurate than the nondysphorics at identifying the truths and lies told to opposite-sex targets, and they were significantly more accurate at identifying the opposite-sex communications than the same-sex ones.     

Creative Self-Efficacy: Correlates in Middle and Secondary Students

ABSTRACT: This study examined correlates of creative self-efficacy (i.e., self-judgments of creative ability) in middle and secondary students (N = 1,322). Results indicate that students' mastery- and performance-approach beliefs and teacher feedback on creative ability were positively related to students' creative self-efficacy. Creative self-efficacy was also linked to student reports of their teachers not listening to them and sometimes feeling that their teachers had given up on them. Students with higher levels of creative self-efficacy were significantly more likely to hold more positive beliefs about their academic abilities in all subject areas and were significantly more likely to indicate that they planned to attend college than students with lower levels of creative self-efficacy. Finally, students with higher levels of creative self-efficacy were significantly more likely to report higher levels of participation in after-school academics and after- school group activities. Implications for creativity research and practice are discussed.     

Domain‐Specificity of Creativity in Young Children: How Quantitative and Qualitative Data Support It

One of the most controversial issues in contemporary research of creativity, whether a person's creativity is domain‐specific or domain‐general, was investigated in the present study. This study is composed of two parts, Study 1 and Study 2. In study 1, the relationships among 109 children's creative performances in three domains, and the relationships between those children's general creative thinking skills and their creative performances in three domains have been examined. Study 2 examines how the domain‐specificity and ‐generality issue is addressed in individual children via case studies of three highly creative children, hoping to provide enriching and qualitative specification to the quantitative data of the present study. In both studies, children's performances in language, art, and math domains were respectively judged by three experts who rated children's creativity on story‐telling, collage making, and math word‐problem creating tasks. Children's general creative thinking skills were assessed by a battery of two divergent thinking tests, including the Wallach‐Kogan Creativity Test (Wallach & Kogan, 1965) and the Real World Divergent Thinking Test adapted from Okuda, Runco, and Berger (1991). The findings of this study support the position that creative ability in young children is rather (but not absolutely) domain‐specific.     

The Interactive Effects of Self‐Perceptions and Job Requirements on Creative Problem Solving

Over the years, researchers have focused on ways to facilitate creativity in the workplace by looking at individual factors and organizational factors that affect employee creativity (Woodman, Sawyer, & Griffin, 1993 ). In many cases, the factors that affect creativity are examined independently. In other words, it is uncommon for researchers to look at the interaction among individual and organizational factors. In this study, it is argued that to get a true understanding of how to maximize creativity in the workplace, organizational researchers must look at the interaction between organizational factors and individual factors that affect employee creativity. More specifically, the current study looked at an individual's perceptions about his or her ability to be creative (i.e., individual factor) and perceptions of requirements for creativity in the workplace (i.e., an organizational factor). The results indicated that individuals who have a high belief about their ability to be creative (an individual factor) were most creative when they also perceived requirements for creativity in the workplace (an organizational factor). Furthermore, individuals who had low perceptions of creative ability were still able to perform creatively when they had high perceptions of requirements for creativity. This suggests that, to maximize creativity, organizations should focus on both individual and organizational factors that affect employee creativity.     

Otto Rank's art

Abstract

Otto Rank's work has had an indirect influence on much of existential‐humanistic psychology, yet his contribution has been unevenly acknowledged. Seeing Rank as a developing artist helps to put his creative contributions to psychoanalysis, post‐psychoanalytic critique, and existential‐humanistic psychotherapy, in perspective. After his separation from Freud, Rank's innovative thought blossomed; his later works have deep and lingering humanistic import. A look at convergences and divergences between Freud and Rank shows that Rank's art (of living, of theorizing, and of practicing therapy) is an uncannily familiar and inspiring model of humanistic practice in the world. The continuing relevance of Rank's ideas about art and artists is explored, and Rank is re‐introduced to humanistic psychologists who may recognize aspects of his work as consonant with their own.     

Creative Collaboration in Young Children’s Playful Group Drawing

Collaborations that lead to creative outputs occur within different group contexts and with diverse populations, including young children. Two cases of collaborative drawing are presented in this article to consider how young children engage in creative collaboration by negotiating meaning with others through open-ended group drawing. We conceptualize group drawing as a form of social play where children can advance personal creative abilities through interactions and shared understandings with others. The two cases derive from a study that examined young children's group play through drawing. A preschool class of 16 children (aged 4–5) was observed during free play over eight 1-hour sessions. Children were free to come and go as they pleased from an art station consisting of large drawing surfaces and a variety of drawing materials. Findings from the two selected cases suggest the development of shared meaning supports creative collaboration in group drawing situations, as children use a variety of verbal and non-verbal strategies to communicate their ideas. Implications are offered for early childhood educators and environments seeking to promote creative collaboration.     

Art Speaks in Healing Survivors of War

Abstract

Mental health clinics can use creative art therapies as a means of reaching out to war refugees in their communities who may not respond to traditional talk therapy. In this case, the use of quilting and other artwork was utilized by the staff at Chicago Health Outreach to assist displaced Bosnians to cope with their war-related trauma and integration into their new environment in the United States. It can be difficult to reach refugee populations within a community whose culture and language are different from the majority, but finding other means of communicating can make a real difference for these individuals as they find safety and understanding by working on and sharing special creative projects.     

Perception of the most creative Chinese by undergraduates in Beijing,Guangzhou, Hong Kong,and Taipei

This study surveys 489 undergraduates in Beijing, Guangzhou, Hong Kong and Taipei about their nomination of most creative Chinese people in history and in modern times. Politicians were nominated by all four samples as being the most creative individuals in the past and at present. Scientists and inventors ranked second in position. Taken together, they occupy over 90 percent of the total number of nominations. Artists, musicians and businessmen are rarely nominated. More than half of the reasons given for nominating these people are not directly related to creativity. This finding is attributed to a strong utilitarian view of creativity that lies in Chinese young people's perception of creativity. They are much more concerned with a creator's social influence or contribution in society than with his or her innovativeness in thinking. The paper concludes by addressing some methodological implications for further studies on the issue.     

Mother‐child relationships and creativity

The present study focused on the relationship between young children's level of differentiation and creative potential as assessed by the Torrance Tests of Creative Thinking (TTCT). The mothers of high and low creative children were interviewed in order to establish the degree to which they encouraged differentiation in their children. Their level of involvement with their children was also evaluated using the Family Relations Test (FRT). Mothers of high creative children were less emotionally involved with their children than other mothers, less likely to be perceived as overprotective, and less likely to deny their feelings of hostility towards them. They were more self‐confident and self‐realized in their homes and had higher occupational levels than other mothers. The present study also assessed the level of differentiation in both creative and uncreative children with the Draw‐a‐Person and Kinetic Family Drawing Tests. Results indicated that highly creative children were more differentiated than uncreative children.     

Do Preschoolers Recognize The Emotional Expressiveness of Colors in Realistic and Abstract Art Paintings?

The present study was designed to examine preschoolers' ability to recognize the emotional expressiveness of an art painting, through its colors. To attain this aim 78 children, 3–5 years old were presented with realistic and abstract paintings conveying either happiness or sadness and were asked to choose those which matched the appropriate emotion. In total 16 paintings were used, which varied in color, while their subject matter was held as constant as possible after they had been previously rated by a group of adults to ensure that they conveyed the two emotions under investigation. Results showed that children's ability to recognize the emotional expressiveness of a painting through its colors appears at 3 years old and increases significantly at 4 and 5 years old. It was also found that the mood of happiness was more easily recognized than that of sadness, while the style of art paintings (realistic vs. abstract) did not affect children's ability to recognize emotions.     

Creative Thinking From An Information Processing Perspective: A New Approach To Mednick's Theory Of Associative Hierarchies

Mednick (1962) proposed a theory of the creative thinking process which asserts that in generating associative responses to a stimulus, creative individuals are characterized by a flatter associative hierarchy than are less creative individuals. In order to assess this idea, an associative priming paradigm was used to measure latencies to lexical decisions primed by associations of low, medium, or high strength. Mednick's theory was not supported. However, it was found that the responses of creative subjects were uniformly less facilitated at all levels of associative strength. The set of associative strengths employed in the experiment may not have ranged low enough to provide a realistic test of creative processes. If so, then the obtained findings may be consistent with Mednick's theory as it applies to the upper end of the associative continuum.     

Aging Artists on the Creativity of Their Old Age

Eighty-eight graphic artists in their 60s, 70s, and 80s, nominated as creative by 154 prominent artists, completed an open-ended questionnaire about aging and its effect on their work. Four questions referred to changes in creativity in terms of the quality and quantity of work, sources of new ideas (originality), and approaches to art (style). The artists also were asked about the impact of physical and sensory losses on their work, and on their differences from younger artists. The artists also rated the quality and quantity of their past, present, and anticipated work. A content analysis of the artists' written comments to the 6 questions, and the ratings, gave a highly positive picture of aging's influence on art. Quality and quantity were reported as improving with age, as were the artists' ideas about, and approaches to, art. The presumed handicaps of aging largely were irrelevant or overcome. Few differences were reported with younger artists. Positive views of aging held equally for both men and women, and across the 3 age groups. The optimistic portrait of aging reflected by this sample of visual artists is discussed in terms of its relevance to other kinds of artists and nonartists; the consequences of early retirement; and the place of active older persons, especially artists, in studies of cognitive development.     

Women Creating Public Art and Community, 2000–2014

This narrative describes a series of 15 short‐term public art projects that were part of a program for women and girls in Lowell, Massachusetts, a mid‐size city in the United States. The projects were designed to give public space to women’s stories and perspectives by exhibiting their creative art in response to suggested themes. A few thousand women and girls representing diverse age and cultural groups created art based on their lived experiences. The organizers of the program met people in comfortable settings, tailored their art‐making approaches to particular groups, and used inclusive processes in developing and executing the program. Program successes and challenges were related to the organizational structure of the art projects, the annual themes and art media, the extent of outreach and support, the process of creation, and the impact of art exhibits. Using community psychology and feminist frameworks, authors reflect on the projects and their relevance across contexts, highlight key organizing strategies, and identify ways the project represents community psychology in action.