Khandwalla's protocol analysis

E. H. Gombrich (1909–2001) was almost certainly the most broadly known art historian of the 20th century, and his scholarly work has influenced researchers in many domains. Among psychologists, Gombrich's impact has been greatest in the area of visual perception, largely through the ideas articulated in his book Art and Illusion (1960). His influence on creativity research has been far less profound, although his writings include numerous (although often indirect) discussions of fundamental aspects of creative processes. This cognitive–historical case study investigation aimed to understand how Gombrich achieved a rich, and sometimes prescient, understanding of creativity without emphasizing it as an explicit focus of his scholarship. I argue that Gombrich's cognitive style and multidisciplinary forays led him to emphasize and integrate a particular set of principles that are often underemphasized in contemporary creativity research. Gombrich's foci, on understanding individual creators, continuity with tradition, expert knowledge, feedback, evaluation, and learning, are highly relevant to the study of creativity and represent a stimulating challenge to investigators.     

What Is The Most Creative Thing You Have Ever Seen? “Useful” is the New “Valuable” and Dynamic Systems are the Key!

Creativity has been described by many as something which we all can recognize, yet few can completely and sufficiently define. In a discussion of Glăveanu’s (2011) Creating Creativity, further topics and questions, such as pragmatism and neopragmatism as well as the nature of creativity studies are explored. Using the medium of Glăveanu’s research on creativity and Romanian Easter Egg decorating, this article expands the discussion of pragmatism, neopragmatism and the future of research surrounding creativity. This future can be addressed by exploring the nature of the interconnectedness of creativity and cognition via dynamic systems approaches. To enhance this viewpoint, a brief discussion of dynamic systems theory is brought in to supplement the enhanced discussion of pragmatism and the nature of the usefulness of creativity.     

The Creative Imperative Model: A Four‐Quadrant Approach to the Categorization of Industries and Firms by Types of Creativity Demanded

Organizational creativity, in the model that follows, is subcategorized according to the type of creativity demanded by the industry in which a firm competes. Industries that demand the constant creation of new products are referred to as creativity‐centered while others, which benefit from creative refinements to current services, are referred to as creativity‐enhanced. Creativity is further subcategorized according to whether a given industry or market demands aesthetic or technological creativity. The two dimensions are combined in a four‐quadrant model yielding four types of firms described as Technical Artists, Artists, Inventors, and, more broadly, Distributors and Adaptors. Implications for organizational structure and inter‐organizational relationships are then discussed.     

Redefining Creativity — Analyzing Definitions,Collocations, and Consequences

How holistically is human creativity defined, investigated, and understood? Until recently, most scientific research on creativity has focused on its positive side. However, creativity might not only be a desirable resource but also be a potential threat. In order to redefine creativity we need to analyze and understand definitions, collocations, and consequences of creativity. In this paper, we reviewed 42 explicit definitions and 120 collocations. The thematic analysis of our data reveals that the vast majority of creativity definitions do not emphasize the positive/negative aspects of the concept. Neither are the negative aspects of creativity emphasized in its numerous collocations. Thus, we propose a comprehensive definition of creativity and a three‐dimensional analytical framework for investigating its consequences, positive and/or negative. Finally, we highlight the need to move to a new era of conscientious creativity, in which all humans are considered able and wise enough to create something ethical and constructive for everyone in society.     

A Confucian Interpretation of Creativity

This article explores a Confucian interpretation of creativity with reference to two classics—Analects and Mencius. A Confucian understanding of creativity centers on yi (appropriateness) and is motivated by shu (empathy) for the purpose of broadening dao (Way). Confucian creativity is manifested in two main ways: novelty through original interpretations of the objective world; and appropriateness through flexible responses to concrete circumstances synchronically and diachronically. Two major implications for research on creativity are highlighted. The first is that a Confucian approach to creativity extends the existing research on personal creativity by foregrounding the moral and interpersonal elements. Secondly, Confucian creativity synthesizes novelty and appropriateness, thereby challenging the essentialization of creativity and creative abilities of East Asians. A Confucian conception of creativity transcends a narrow focus on specific creative acts to a broader consideration of the agents, relationships, socio-cultural contexts and related moral issues.     

The Optimal Age to Start a Revolution

Previous research on the relationship between age and creativity has shown that career age, rather than chronological age, correlates best with longitudinal changes in creative productivity. Recently, Dietrich (2004) proposed a new theoretical framework that integrates cognitive neuroscience with the findings of creativity research. By identifying distinct neural mechanisms that might underlie different types of creative mentation, this framework makes empirically testable predictions about the relationship between age and creativity. In this paper, we report the results of such a test and question the concept that creativity is a function of career age for a special, but crucial instance. In the case of revolutionary science or significant innovative discoveries, as opposed to paradigmatic science, discoveries are almost exclusively made by individuals who are young, both in terms of career and chronological age. These results remain robust even when taking into account the proportion of young scientists in the population of scientists. Neuroscientific data shows that a decline in prefrontal cortex function due to aging causes perseveration, the antithesis of creativity. Consequently, we interpret our findings that paradigm‐busting ideas occur overwhelmingly to people in their 20's and early 30's, as indication that a nimble prefrontal cortex, and thus chronological age, is a critical factor.     

Never Ending Stories? Hebrew Writers' Creative Journey in the Second Half of Life

This qualitative study explored the relationship between creativity, time, age, and the literary world among 16 award-winning Israeli writers in the second half of their lives. Based on data collected through in-depth interviews with the participants, the findings indicate that the writers' creativity in the second half of life was linked to Preservation, Growth, and Decline, leading to four interrelated dimensions: (a) preserving youth through creativity, (b) enhancing creativity over time, (c) navigating creativity, acclaim, and ageism, and (d) managing creativity amidst a changing world. The study found that the writers' creativity was enhanced over time, as they gained experience and developed their skills. However, some writers experienced a decline in stamina or their ability to write long novels. The study also found that the writers' experiences of acceptance from the literary world and the audience changed over time. Some writers continued to receive acclaim and attention, while others experienced ageism and a decline in the audience's interest in their work.     

Winning the Future: An Investigation into the Creativity Capacity Across the Levels of Education in Ireland

This research investigated the creativity capacity across the levels of education in Ireland, involving 702 participants. Creative capacity was investigated through a comparative analysis of creativity quotient (CQ). A divergent thinking task comprising the how many uses activity was assessed using the criteria for determining CQ; fluency, flexibility, and product. Convergent thinking tasks comprised of graphic problems. A comparative analysis occurred between the divergent and convergent thinking activities. It is necessary that creativity is promoted throughout education systems to ensure that students maintain and develop their creative capacities into adulthood. Education systems need to foster independent thinking, creativity, and innovation. This article investigates students’ creative capacity spanning 3 levels of education. The interdisciplinary and progressive graduate attributes from the levels of education were identified and synthesized toward developing collaborative progressive creativity across the levels of education for future success. Finally, this articles outlines, in the Irish context, the uniqueness with regard to the ability to sustain creative capacity (divergent and convergent thinking) at each level of education, and the degree to which this effort is supported by administration, teachers, and a common cultural interpretation of the nature of education.     

Teachers’ Perceptions of Creativity in the Classroom

Teachers’ implicit understandings of creativity may not align with current research-based understanding of creativity and characteristics associated with creative students. Even teachers who say they value creativity may actually find creative characteristics undesirable. Participating teachers (n = 371) rated student characteristics on a scale of very undesirable to very desirable. Participants also completed a brief self-assessment of personal creativity and rank-ordered a set of educational objectives based on what they perceived as most important. Results indicated that teachers found student characteristics associated with creativity less desirable than those characteristics contraindicative to creativity (d = 2.70). No effects were found based on the grade level (d = 0.07) and small effects were found for subjects taught (η² = 0.023). Similarly, no effects were found for the teachers’ level of experience (η² = 0.004) or age (η² = 0.002). Teachers’ level of personal creativity was related (r = .248) to how desirable they rated student characteristics associated with creativity, but the importance with which teachers ranked creative thinking had small effects (η² = 0.04) on how desirable they found characteristics associated with creativity. These results generally confirm previous studies and suggest that teachers’ grade level, subject, experience, and age have no effect on their perception of creative characteristics. However, some evidence suggests that teachers who are more creative find student characteristics associated with creativity more desirable in class.     

Personality and biological markers of creativity

The aim of the present study was to test (i) Eysenck's theory that psychoticism (P) should be related to creativity, (ii) whether testosterone (T), due to its association with P claimed in the literature, can be identified as a biological marker of creativity, and (iii) whether the SEEK dimension of the Affective Neuroscience Personality Scales (ANPS) was also related to creativity and to testosterone due to its relationship to Sensation Seeking. In a sample of N = 48 male and female subjects, test scores on figural, verbal, and numeric creativity were compared between high and low P‐scorers as well as between high and low SEEK‐scorers. Effects were controlled for fluid intelligence as measured by Cattell's CFT‐3 and crystallized intelligence as assessed by the Structure‐of‐Intelligence‐Test (Intelligenz‐Struktur‐Test, I‐S‐T 2000 R). Neither a main effect of P or T nor an interaction effect P×T on creativity could be obtained. Instead, SEEK was related to all components of creativity and explained more than 15% of the variance of total creativity. Moreover, significant differences in SEEK could be explained by differences in T, independently of gender. Furthermore, 39% of the variance of SEEK could be explained by the two uncorrelated indicators testosterone and creativity. Copyright © 2004 John Wiley & Sons, Ltd.     

Age,Emotion Regulation Strategies,Temperament, Creative Drama,and Preschoolers' Creativity

Based on Yeh's (2004) Ecological Systems Model of Creativity Development, this study investigated the effects that age, the use of emotion regulation strategies, temperament, and exposure to creative drama instruction have on the development of creativity among preschool children. Participants were 1164‐ to 6‐year‐old preschool children. This study categorized the emotion regulation strategies used by preschool children and developed a creativity test which includes the measurement of usefulness, an indicator of creativity that has, until now, been ignored. The main findings are that (a) 6‐year‐olds outperform 4‐ and 5‐year‐olds in terms of creativity; (b) emotion regulation strategies as well as a positive temperament have positive effects on children's creativity; (c) creative drama instruction contributes to children's creativity; and (d) age group, emotion regulation strategies, temperament, and creative drama instruction can collectively predict children's creativity.     

Advanced Understanding of Imagination as the Mediator between Five-Factor Model and Creativity

This study examined the mediating role of capability-oriented imagination between personality traits and creativity, by combining two sub-studies. A total of 612 student participants were recruited from universities in Taiwan. Study 1 calibrated the factors of the three variables and validated three instruments of the variables, and the results were consistent with previous studies. The results also indicated that the relationships among the variables of the full five-factor personality traits, capability-oriented imagination, and two-feature creativity were valuable, which prompted further examination. Study 2 adopted structural equation modeling, which not only validated the mediating role of imagination between five-factor personality traits and two-feature creativity but also revealed that various personality traits can improve original or useful creativity through imagination as a mediator. The originality aspect of creativity can be jointly predicted by the variables of initiating and conceiving imagination, with influence (in order, high to low) from openness, conscientiousness, and agreeableness. The creativity aspects of usefulness can be jointly predicted by the variables of transforming and conceiving imagination, with influence (in order, high to low) from conscientiousness, openness, and agreeableness. The study also proposes directions for future research.     

Minding the Dreamer Within: An Experimental Study on the Effects of Enhanced Dream Recall on Creative Thinking

Several studies have found an association between frequency of dream recall and creativity. We tested the hypothesis that training individuals to increase dream recall by means of a daily dream log would increase scores on the Torrance Test of Creative Thinking (TTCT). One hundred twenty‐five participants completed a baseline measure of creativity (TTCT, figural version) as well as of dream recall, dissociation, thinness of psychological boundaries, mindful‐attention awareness, and well‐being. Participants were randomly allocated to two groups: the experimental group (n = 55) received a daily dream log; while the control group (n = 32) received a similarly phrased log registering memories of a vivid episode from the previous day. After 27 days, all participants completed follow‐up measurements identical to those at baseline. A non‐randomized non‐intervention group (n = 35) was used to test for practice effects on the TTCT. There was significant selective increase for the “creative strengths” component, which was only observed in the experimental group. There were significant correlations between creativity and dissociation as well as between creativity and thinness of psychological boundaries. Enhanced dream recall through daily dream logging fosters aspects of creativity. Associations between creativity, dissociation, and thinness of boundaries, suggest that increased awareness to dreams increases creativity through a “loosening” of stereotyped thinking pattern.     

Through Multiple Lenses: Implicit Theories of Creativity Among Indian Children and Adults*

This constructivist qualitative enquiry reveals a multiplicity of implicit theories of creativity extant in Indian culture with generic and domain specific usage of indigenous terms. Creativity was dominantly construed as a faculty of the nature of ‘pratibha’, in keeping with Indian philosophical thought, and with reference to the self, with participants invoking the holistic self, cognitive self, experiential/emotional self and physical self to describe creativity. The sense of creativity in these seemingly disparate, self‐based construals, the uncovering of which is the unique contribution of this study, derived from the person's experience of a sense of agency, rather than merely the production of novelty per se. This emphasis on process; novelty being central for some but epiphenomenal for others; the varied meanings of ‘newness’; experiencing creativity as self‐expression, self‐extension, self‐fulfillment and self‐actualization; and equating creativity with the act of learning reflect distinctive elements of implicit theories that have emerged in this study.     

The Relationship Between Diverse Components of Intelligence and Creativity

Intelligence and creativity are accounted for in terms of two different mental operations referred to as ‘convergent thinking’ and ‘divergent thinking’, respectively. Nevertheless, psychometric evidence on the relationship between intelligence and creativity has been controversial. To clarify their relationship, we characterized the relationship between diverse components of intelligence and creativity through the administration of psychometric tests on a large sample (WAIS, RPM, and TTCT‐figural: n = 215; TTCT‐verbal: n = 137). The general intelligence factor (g) score showed significant correlations with both TTCT‐figural and TTCT‐verbal scores. However, sub‐dimensional analysis demonstrated that their association was attributable to the specific components of both TTCTs (TTCT‐figural: Abstractness of Titles, Elaboration, and Resistance to Premature Closure; TTCT‐verbal: Flexibility) rather than to their common components (Fluency and Originality). Among the intelligence sub‐dimensions, crystallized intelligence (gC) played a pivotal role in the association between g and the specific components of both TTCTs. When the total sample was divided into two IQ groups, these phenomena were more evident in the average IQ group than in the high IQ group. These results suggest that the mental operation of creativity may be different from that of intelligence, but gC may be used as a resource for the mental operation of creativity.     

A Meta-Analysis of the Relationship between Curiosity and Creativity

Curiosity, the desire to know, may be associated with creativity, which involves generating ideas that are novel and valuable. This meta-analytic investigation consolidated the results of studies of the association between curiosity and creativity. Across 10 studies, which included 2,692 individuals, there was a significant association between more curiosity and greater creativity (weighted effect size r = .41, 95% CI [.27, .54], p = .0001). For studies examining the association of the exploration dimension of curiosity with creativity, the weighted effect size was r = .48, 95% CI [.09, .74], while for studies examining the deprivation sensitivity dimension of curiosity with creativity the weighted effect size was r = .20, 95% CI [.10, .29]. The association of self-report measures of curiosity with self-reports of creativity was r = .52, 95% CI [.40, .62], while the association of self-report measures of curiosity with rated creativity was r = .16, 95% CI [.10, .22]. These meta-analytic results are congruent with some theoretical assumptions regarding curiosity and creativity and can be a foundation for efforts to facilitate creativity.     

The Minnesota Studies of Creative Behavior: National and International Extensions

ABSTRACT On the basis of over 300 reports by independent investigators and voluminous correspondence from all of the United States and over 36 foreign countries, the author summarizes some of the national and international extensions of the Minnesota (now Georgia) Studies of Creative Behavior. In these extensions, other investigators have used the research instruments and instructional materials developed by the author and his associates. Instruments have been translated into at least seventeen different languages, and one book, Gifted Children in the Classroom, has been published in both Spanish and Japanese. In the judgment of the author, there is little relationship between the kinds of effort that have an impact on research and the ones that influence educational practice. The most popular topic of the research studies collected was the validity of the Torrance Tests of Creative Thinking. Unfortunately, most of these studies have been preoccupied with the relationship between measures of creativity and measures of intelligence and school achievement. Nevertheless, these studies did yield a variety of evidence of construct, concurrent, and predictive validity, and test-retest reliability. The author makes a plea for future investigators to build upon rather than endlessly repeat these studies and make use of the theoretical rationales upon which the instruments and materials have been developed.     

Creativity in Learning Environments: The Case of Two Sixth Grade Art‐Rooms

The four elements of creativity — the person, process, product, and environment — that come together for the purpose of clearly and completely defining creativity, form the structure of the research. Two sixth grade art‐rooms have been chosen as the setting, as a likely place to observe creativity and sixth graders as the sample group. Observations of each child in an art‐room, her/his creative process, product, and the assessment of a 1/20 model of the art‐room made by each student, were analyzed to form a complete picture of creativity. Results showed that the three elements of creativity (person, process, and product) were significantly different from each other. In addition, process and product occurring within the same environment were highly correlated with each other.     

The Creativity of Lying: Divergent Thinking and Ideational Correlates of the Resolution of Social Dilemmas

The goal of this study was to develop a measure of creativity that builds on the strengths of youth with autism spectrum disorders (ASD). The assessment of creativity focused on the visual-spatial abilities of these youth using 3D modeling software. One of the objectives of the research was to develop a measure of creativity in an authentic learning environment that built on the interests and creative talents of youth with ASD. Traditional creativity tests may underestimate the creativity of youth with ASD because of the tests’ constrained nature, such as having a time limit, being limited to paper and pencil, testing in an over- or understimulating environment, and overlooking visual-spatial ability. A random selection of 27 student 3D design projects (out of approximately 100 projects) was assessed using dimensions of fluency, flexibility, originality, and elaboration. The validity of this assessment was examined by comparing the creativity scores of the 27 projects to the creativity scores given by a team of Google experts (3D designers and software engineers). Results indicated that the scores were significantly correlated for three of the four dimensions of the creativity assessment. There was high inter-rater reliability among coders (M = .82) using intra-class correlation (ICC). Results suggest that this assessment process could be used as a visual-spatial creativity measure for youth with ASD, as well as a creativity measure used by employers to determine real-world creative potential in their employees, particularly those with neurodiversity.