The 1.5 Criterion Model of Creativity: Where Less Is More,More or Less

We argue that the future of creativity research should focus on the dual goals of the development of individuals with great creative genius as well as the enhancement of creative activity in society in general. To achieve these goals, we need basic research that will help us better understand the fundamental nature of creativity. We describe an approach to creativity that emphasizes novelty over utility.     

I want to be creative,but … preference for creativity,perceived clear outcome goals,work enjoyment,and creative performance

In today’s quickly changing work environment, many individuals want to be creative at their workplace, but only some of them succeed at manifesting these tendencies. In three studies, using both field and experimental data, we focused on transforming individuals’ preference for creativity, defined as an inclination for liking and wanting to be creative, into actual creativity. We first conducted a pilot Study 1 to establish discriminant validity to related constructs and provided initial evidence on predictive and incremental validity of the preference-for-creativity scale. Next, we performed a field Study 2, where we found that transforming preferences for creativity into supervisor-rated creativity is contingent upon employees’ perceptions of clear outcome goals. Clear outcome goals fostered individuals’ preference for creativity to result in higher levels of supervisor-rated creative behaviour—a finding that was replicated in an experimental Study 3. Furthermore, we explored whether work enjoyment mediated the moderated relationship between preference for creativity and creative outcomes. The results supported our mediated moderation model, whereby the manipulation of clear goals led to higher work enjoyment, influencing individuals’ preference for creativity to result in higher ratings of their creative outcomes.     

Creative Self-Efficacy: An Exploration of Its Antecedents,Consequences, and Applied Implications

Creativity and innovation are at the core of important outcomes such as economic and sales growth, production of articles and students' learning. Thus, it is not surprising to find research articles on creativity and innovation across different disciplines such as business, psychology, and education. Given the importance of understanding creativity and innovation, we reviewed the empirical literature examining the antecedents and consequences of creative self-efficacy in the work domain. Our review used the theory of individual creative action and social cognitive theory as guiding frameworks to place creative self-efficacy in the creativity and innovation process, define creativity and innovation, explore how creative self-efficacy has been measured, examine the antecedents and consequences of creative self-efficacy, point out gaps in knowledge and offer suggestions for future research and provide some applied implications. One important finding was that creative self-efficacy has made a significant contribution as a process variable explaining how several organizational and personal factors influence creative outcomes via their influence on creative self-efficacy.     

Emotional Intelligence and Creativity: The Mediating Role of Generosity and Vigor

This study examines whether and why emotional intelligence may result in enhanced creativity in the workplace. Using a time‐lagged data set collected from employees in three firms, we examined a mediation model where emotional intelligence is indirectly related to creativity serially, through generosity and vigor. The results of structural equation modeling (SEM) indicate a sequential mediation model where emotionally intelligent employees display a high level of generosity; these acts of generosity nurture a sense of vigor, which in turn fosters creative behaviors. We discuss the implications for research on emotional intelligence, generosity, vigor, and creativity.     

Triangulating Creativity: Examining Discrepancies Across Self-Rated,Quasi-Expert-Rated and Verbalized Creativity in Arts-based Learning

This convergent mixed methods study examined the triangulation of self-rated, quasi-expert-rated and verbalized creativity in students enrolled in a year-long photography program. The quantitative data included self-report scales in creativity, and ratings of creativity in students’ photography. The qualitative data included student interviews reflecting on their photographs and verbalizing their beliefs about creativity. The data were first analyzed separately and then merged for analysis to determine possible relationships between these three data sources. Merging quantitative and qualitative data highlighted two key discrepancies between students’ actual creative performance and their perceptions as creative individuals. Possible explanations of these disceprancies are discussed in light of research on creative self-efficacy and creative mindsets.     

Narrowing the Creativity Gap: The Moderating Effects of Perceived Support for Creativity

This article examines the role of 3 types of perceived support for creativity in moderating the relation between creative self-efficacy and self-perceived creativity. The findings suggest significant interaction effects for perceived work-group support and supervisor support, but not for perceived organizational support. This study is among the first to (a) examine the importance of perceived support for creativity in unlocking creative potential and increasing creativity in organizations and (b) use interaction terms in structural equation modeling (SEM) to investigate moderator effects in an applied research setting. These results imply that organizational interventions focused on training supervisors and work-group members to support creativity in the workplace may be more effective than broader and less focused interventions at the organizational level.     

The Effects of a Verbal and a Figural Creativity Training on Different Facets of Creative Potential

This study investigated the effects of different types of creativity interventions on different facets of creative potential, also including more school-related creativity demands. In a sample of 77 fourth-graders in the age between 9 and 12 years, we administered a verbal and a figural creativity training, realized in two school lessons over two consecutive days each. As outcome measures, creative potential in both the verbal and the figural domain by means of two well-established divergent thinking tasks was assessed. As additional measures of creative potential, a story completion task and a picture painting task were administered to examine training effects on more school-related types of creative behavior. The verbal training was found to increase both verbal and figural divergent thinking ability, but not creative potential in the story completion and the picture painting task. The figural training yielded significant training effects only regarding the picture painting task. Findings suggest a specific training effect of the figural creativity training, and moreover indicate that the verbal creativity training, rather than stimulating “verbal” creative abilities per se, was more strongly concerned with domain-general creativity processes including ideational fluency, flexibility, and originality that are characteristics of divergent thinking tasks across different domains.     

Personal Characteristics that Distinguish Creative Scientists from Less Creative Scientists

What are the personal characteristics that distinguish the creative scientist from the less creative scientist? This study used the concept of implicit theory in a four‐part study of scientists and graduate students in science. In the first part, we collected 1382 adjective words that describe the personal characteristics of the creative scientist from 354 scientists. In the second part of the study, 542 additional scientists assessed these adjectives. We determined that the personal characteristics of the creative scientist fit into four factors: personality, thinking ability, research ability, and uniqueness. In the third part of the study, we found that the concepts of thinking ability and uniqueness would positively predict 221 graduate students' self‐perceived creativity, and research ability would positively predict their creative motivation. The last part of the study involved having 283 creative scientists and 264 less creative scientists from 30 research institutions rated by three colleagues on the above four factors. A logistic regression found that thinking ability was best able to identify creative scientists while personality best predicted less creative scientists.     

预期交流与创造力的关系:解释水平的调节作用

该研究探讨了预期交流对创造力的影响, 以及解释水平在其中的调节作用。实验1采用结构性想象任务探讨预期交流是否影响创造力。结果表明, 相较于没有预期交流, 预期交流条件下的个体表现出更高的创造力。实验2采取了创意产生任务, 并探讨了解释水平在其中的调节作用。结果表明, 当完成抽象的、高解释水平任务时, 相较于无预期交流, 预期交流条件下个体在新奇性和变通性两个维度上表现出了更高的创造力; 当完成具体的、低解释水平任务时, 预期交流的效应不复存在。也就是说, 只有当创造力任务要求高解释水平的抽象思维时, 预期交流才能促进创造力的发挥。总结而言, 本研究在过往对于交流与创造力以及解释水平与创造力的研究基础上进一步发现, 对于抽象创造力任务, 虽然真正的信息交流尚未发生, 但仅仅对于交流的预期就会提高创造力水平。     

Are Teachers' Implicit Theories of Creativity Related to the Recognition of Their Students' Creativity?

We examine the structure of implicit theories of creativity among Polish high schools teachers and the role those theories play for the accuracy of teachers' assessment of their students' creativity. Latent class analysis revealed the existence of four classes of teachers, whose perception of a creative student differed: two of these classes defined a creative student incoherently with the existing theories of creativity, and the other two classes did that in accordance with Kirton's (1976) theory of creativity styles, that is, as adaptors or innovators. Teachers who perceived a creative student as an adaptor tended to more accurately assess the creativity of females, whereas teachers perceiving a creative student as an innovator more accurately assessed the creativity of males. We discuss the theoretical and practical consequences of these findings.     

Positive Psychological States and Employee Creativity: The role of Ethical Leadership

This study explores a new theoretical model of employee creativity by investigating the impact of ethical leadership on creativity mediated by creative self-efficacy and psychological safety. Data collected from 200 supervisor–subordinate dyads in Pakistan reveal that ethical leadership is positively related to creativity. Further, psychological safety partially mediates the relationship between ethical leadership and creativity. However, creative self-efficacy is found insignificant in the relationship between ethical leadership and creativity. The study discusses research and practical implications of the proposed new theoretical framework with regard to employee creativity.     

Using Daily Creativity Planning to Promote Creative Behavior

Research has demonstrated that on the path from a creative idea to a creative outcome, high creativity motivation and self-efficacy do not necessarily lead to creative behavior. The present study proposed and examined the notion that daily creativity planning could promote creative behavior and contribute to the cultivation of creativity. A total of 77 middle school students (39 students in the experimental group and 38 in the control group) participated in this study, for which a quasi-experimental design was administered. The experimental group conducted a two-week daily planning for creative activities, while the control group did not conduct any intervention. The results showed that students' creativity motivation and creative self-efficacy were at relatively high levels overall and were positively and moderately correlated with creative behavior. Daily planning could effectively facilitate students' creative behavior. These findings point to a promising and simple creativity enhancement strategy for cultivating students to develop the habit of making creative plans in their daily lives.     

Motives for Creativity: Exploring the What and Why of Everyday Creativity

People spend a lot of time on creative activities in their leisure time, but we still know little about what these activities are and what drives them. The literature suggests that several specific motives may be relevant for everyday creative behavior, including enjoyment, expression, challenge, coping, prosocial, social, material, recognition, and duty motives. Across two online studies totaling 750 participants, enjoyment was the strongest motive for everyday creativity, consistent with previous research linking creativity to intrinsic motivation and positive affect. Importantly, however, the relevance of motives differed across creative domains: visual arts, literature, and music were more strongly motivated by expression and coping motives, whereas handicrafts and creative cooking were more strongly motivated by prosocial and recognition motives. Intrinsic motives for creative activities were substantially related to high openness to experience, but explained incremental variance in the prediction of self-reported creativity as well as rated creative achievements. Together, these findings provide new insights into the motivational basis and function of everyday creativity.     

From the Dawn of Humanity to the 21st Century: Creativity as an Enduring Survival Skill

While the scientific investigation into creativity is a recent phenomenon, creative thinking has always been a crucial feature of humanity. The ability to creatively solve problems enabled early humans to survive and laid the foundation for the creative imagination that has resulted in our modern society. While most humans no longer face physical threats, life and work in the 21st century demands heightened creativity skills. To meet these demands, educational practices must leverage the insights and strategies gained through research into the trainability of creative thinking.     

Creativity between individual insight and group support. An explorative study in the Italian fashion industry / La creatividad entre la introspección individual y el apoyo grupal. Un estudio exploratorio de la industria de la moda italiana

Abstract

Creativity has been defined across time and fields highlighting different perspectives and variables, from the power of individual insight to creative intelligence, to the role played by mind wandering. After a brief literature review, the present paper presents an explorative study on the dialogue between individual and collective creativity in the fashion industry. The research design is inspired by mix-method research. The dataset is made up of in-depth interviews with 12 Italian stylists, focused on the creative processes. Data have been analysed both in qualitative terms (metaphors analysis) and in quantitative terms (automatic content analysis supported by T-Lab software). According to our results, the creativity processes involved in the fashion industry are mainly individual with a growing role played by teamwork. Stylists present themselves as psychologists in dialogue with their audience, so that the general public, in some sense, become an additional actor in the creative process.     

The Creativity of Korean Leaders and its Implications for Creativity Education*

This research explores the promoting elements of Korean leaders' creative achievements, and provides implications for creativity education which are suitable in the Korean sociocultural context. In‐depth interviews focusing on their school life and personal growth were held with twelve leaders, four each in the fields of science, humanities, and art. The results of these interviews revealed that a solid basis of basic knowledge, the ability to connect domains from experience in various fields, challenge, and social contribution were the promoting elements for creative achievement. In addition, permissive parents, psychological support from teachers, and horizontal relationships in organizations were affective. Thus, for promoting creativity in Korean education, the importance of knowledge‐base, shared values, teamwork, and teacher role are discussed.     

Teacher's Encouragement on Creativity,Intrinsic Motivation,and Creativity: The Mediating Role of Creative Process Engagement

Drawing on Dewey's pragmatic perspective on talent cultivation and previous research on promoting employee creativity in industry, this study investigates student creativity performance in relation to teacher's encouragement, intrinsic motivation, and creative process engagement. Based on survey data collected from 140 vocational high school students who participated in a nation‐wide contest in Taiwan, path analyses were performed using structure equation modeling techniques. The results indicate that both teacher's encouragement and intrinsic motivation have a significant, although indirect, effect on student creativity, and that creative process engagement, as opposed to teacher encouragement or intrinsic motivation, has a direct and significant mediating effect on student creativity. This finding is in partial agreement with prior research which reports student creativity is positively associated with teacher encouragement and intrinsic motivation, highlighting the mediating role of creative process engagement in facilitating student creative performance.     

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.     

Identifying the Creative Act in Advertising: A Study on Naïve People's Awareness of Restructuring

This study investigates whether laypersons can distinguish between creative and non-creative artifacts, identify when creativity emerges, and be aware of the merit to be attributed to those who conceive a creative idea. Study 1 analyzed a creative and a non-creative version of two advertisements. In the creative version, there was an ideational process of advertising drafts where the first meaning changed, whereas in the non-creative version the original meaning did not change. Forty undergraduates were asked to judge beauty and originality of each draft and the contribution that graphics managers gave to the outcome. Non-creative changes did not affect beauty and originality ratings, whereas creative modifications increased originality, but not beauty score. Merit was attributed to the graphics manager who transformed the original meaning. In Study 2, one hundred twenty-eight participants evaluated four combinations of textual (creative/noncreative) and iconic (creative/non-creative) elements which were added to the advertisements. Again, the creative, but not the non-creative, contribution to drafts was acknowledged regarding originality by participants. Findings suggest that people can recognize the presence of creativity when it develops and the restructuring mechanism that supports it.     

青少年创造性人格和创造性的关系：来自中美比较的证据

通过对中美400名13-15岁青少年问卷调查,比较了中美青少年创造性人格及其与创造性之间的关系.结果发现：（1）和单个创造性人格变量相比,创造性人格的内部因素、外部因素和自我因素和创造性之间的相关均达到中等程度,且均非常显著,中国青少年创造性人格三个因素能解释创造性变异的11％,美国青少年创造性人格三个因素能解释创造性变异的15％.（2）在创造性上,美国青少年在所有维度上的得分均显著高于中国青少年,但在创造性人格上,只有在自我因素上,中国青少年创造性人格得分高于美国青少年,其他因素不存在差异,这说明创造性人格不是造成中美青少年创造性差异的主要原因.