Creative Thinking: Processes,Strategies, and Knowledge

Creative achievements are the basis for progress in our world. Although creative achievement is influenced by many variables, the basis for creativity is held to lie in the generation of high‐quality, original, and elegant solutions to complex, novel, ill‐defined problems. In the present effort, we examine the cognitive capacities that make creative problem‐solving possible. We argue that creative problem‐solving depends on the effective execution of a set of complex cognitive processes. Effective execution of these processes is, in turn, held to depend on the strategies employed in process execution and the knowledge being used in problem‐solving. The implications of these observations for improving creative thinking are discussed.     

Creative Problem Solving in Small Groups: The Effects of Creativity Training on Idea Generation,Solution Creativity,and Leadership Effectiveness

This investigation evaluated the degree to which creativity training, idea generation instruction, and creative process impacted idea production, creativeness of solutions, and leadership effectiveness. Three sets of hypotheses were tested with a 114 groups of adults. First, groups whose members had some (i.e., one CPS course) or advanced training (i.e., graduate-level study in creativity or creativity professionals) were significantly more effective at idea generation than groups without training. Furthermore, leaders with some and advanced training were perceived to be significantly more effective than those with no creativity training. With respect to creativeness of solutions, the advanced training groups outperformed all others. The second set of hypotheses focused on the effectiveness of idea generation instruction (i.e., instructions without brainstorming, brainstorming, and brainstorming with criticism). Analysis revealed no significant difference for idea generation instruction relative to idea production or creativeness of solutions. The final set of hypotheses examined the use of a simple process structure for groups without prior creativity training (i.e., distinct phases for idea generation and solution development). Analysis revealed that those meetings that followed a simple process structure out performed groups that did not follow a process for both idea generation and creativeness of solutions. Further results are presented and implications discussed.     

An Examination of the Personality Constructs Underlying Dimensions of Creative Problem‐Solving Style

This study investigated the personality facets that underpin the construct of problem‐solving style, particularly when approaching more creative kinds of problem‐solving. Cattell's Sixteen Personality Factors Questionnaire and VIEW—An Assessment of Problem Solving Style were administered to 165 students from the Norwegian Business School. We explored relationships through correlational and regression analysis. Personality profiles were derived for each of VIEW's three dimensions and were in generally expected directions. Those with an Explorer preference were more imaginative and idea oriented, open to change, unconventional, freethinking, and flexible than Developers. Those with a Developer preference were more practical and solution oriented, more traditional, rule conscious, conservative, and respecting of traditional ideas. Those with an External preference were more group oriented, affiliative, socially bold, warm, and attentive to others than those with an Internal preference. Those with a more Task‐oriented preference were more impersonal, detached, utilitarian, and tough minded than those with Person‐oriented preference. We outlined implications and suggestions for further research.     

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.     

Creative self‐efficacy as mediator between creative mindsets and creative problem‐solving

An emerging area of research is how one's mindset regarding the fixedness and malleability of creative ability relates to creative performance. Malleable creative mindsets tend to be positively related to creativity while fixed mindsets often show a negative association. Similarly, creative self‐efficacy, or one's beliefs that they have the capacity to be creative, is also related to creative performance and creative mindsets. While previous studies tested the direct relationship between mindsets and creativity, this study tested creative self‐efficacy in this relationship. A total of 152 students from a Midwestern university participated in the study. They were provided with measures of creative self‐efficacy, creative mindsets, and creative problem‐solving. Solutions were assessed in terms of quality and originality. Results indicated that both malleable creative mindsets and creative self‐efficacy were positively related to solution quality and originality while fixed creative mindsets were negatively related. Mediation analysis using Preacher and Hayes' (2004) bootstrapping macro showed that creative self‐efficacy mediated the relationship between malleable mindsets and quality and originality as well as the relationship between fixed mindsets and quality and originality. This research advances the study of creativity by demonstrating that creative self‐efficacy is an important mechanism through which creative mindsets relate to creative performance.     

Domain Specificity and the Limits of Creativity Theory

A growing body of research evidence suggests that creativity is very domain‐specific and that domain‐general skills or traits contribute little to creative performance. The term “creativity” is a convenient term for collecting many interesting artifacts, processes, and people into a single category, and the term “creative thinking skills” may be a useful way to connect a diverse set of unrelated cognitive processes that operate on different content and in different domains. These concepts are misleading, however, because although they connect things that may seem similar to observers, they lack any underlying cognitive psychological validity. This has implications for the ways we understand and assess creativity, and also for how we should direct our efforts to develop creative‐thinking skills in diverse domains. Creativity training needs either to target the domains in which creativity enhancement is desired or to use a wide range of activities in diverse domains if the goal is more general improvement in many domains. Creativity assessment needs to focus on domain‐by‐domain assessment and to review findings based on allegedly domain‐general tests of creativity that may have misled researchers to unsupportable interpretations. Creativity theory needs to set more modest goals of domain‐by‐domain theory development and to recognize that theories that may seem domain‐general might better be understood as meta‐theoretical heuristics that do not actually describe domain‐general processes. These meta‐theories might in some cases help guide the search for domain‐based theories.     

A Visual Representation to Quantitate,Diagnose, and Improve Creativity in Insight Problem Solving

A new visual representation for insight problems permits 22 new quantitative measures; which leads to a detailed diagnosis of a person's (or team's) creative weaknesses; which then leads to prescribing targeted, effective counter‐techniques for each weakness. Currently, only two measures are consistently used for insight problem solving: the number of problems solved and the time to solve the problems. These coarse measurements do not reveal the intricate dynamics of solving insight problems. Furthermore, four commonly used creativity measures (i.e., fluency, originality, flexibility, and elaboration) are often not applied to insight problems. This new visualization permits the easy application of all four creativity measures. I challenge creativity researchers to help determine which of the 22 proposed quantitative measures are the most diagnostic for insight problem solving in isolation and, in a weighted linear combination, which might yield an effective quotient (i.e., overall measure) of insight problem solving ability.     

Thinking Inside the Tool Box: Creativity,Constraints, and the Colossal Portraits of Chuck Close

This article presents a problem‐solving model to examine the often problematic relationship between expertise and creativity. The model has two premises, each the opposite of a common cliché. The first cliché asserts that creativity requires thinking outside‐the‐box. The first premise argues that experts can only think and problem solve inside the tool boxes of their expertise. The second cliché, that creativity requires freedom from constraints, points to the problem with expertise. Free to do anything, experts repeat what has worked best in the past. A solution is suggested by the second premise: to circumvent the liabilities of expertise, creativity requires constraints of a particular paired kind. The model is introduced as an expansion of prior process models focused on problem identification and construction. Problem‐finding is reanalyzed as constraint‐finding. A case study shows how one recognized creator, painter Chuck Close, uses constraints as a tool to solve the expertise‐creativity problem.     

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 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.     

Creativity Booster: How Time versus Money Impacts Creative Performances

Past research shows that time and money, although both scarce resources indispensable in modern societies, tend to exert distinct impacts on interpersonal behaviors. Yet, little is known about the effects of these two resources on intrapersonal cognitive processes, including creative thinking. In the present research, we explored whether and how increasing the saliency of time versus money concept would affect creative thinking. Six experiments provide converging evidence that activating time concept leads to superior creative performance than money concept. Specifically, individuals treated to time priming (versus money priming) were more likely to solve insight problems (Experiments 1a and 1b), to expand boundaries of conceptual categories (Experiment 2), and to identify connections among seemingly unrelated stimuli (Experiments 3a, 3b and 4). Theoretical and practical implications of these findings are discussed.     

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.     

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.     

三种压力与创意自我效能感对创造力的影响

以216名初中二年级学生为被试,采用现场实验,探讨个体创意自我效能感在竞争、评价和时间三种压力情境下对创造力的影响。结果发现,三种压力对于总体创造力的影响不同;时间、评价压力分别提高了流畅性和新颖性,竞争压力既提高了流畅性又提高了新颖性,但三种压力情境都降低了变通性;创意自我效能感中间组的学生在压力情境下具有最好的变通表现,而效能感低分组表现最差。     

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.     

Creativity of Chinese and American Cultures: A Synthetic Analysis

The article integrates the seven papers of the two special issues with a special focus on discussing the differences in people's beliefs about creativity between the Chinese and American cultures: How it is conceived, evaluated, and nurtured. It uses three metaphors to capture major differences in these aspects, and highlights areas with profound cultural variations in conceptions and creative education for future research.     

Creativity: Celebrations and tensions

In 1950, the President of the American Psychological Association emphasised the economic and political importance of creativity for US society. His account of creativity exhibits a number of tensions that can be identified in other psychologists' theories and conceptualisations of creativity. This paper considers the tensions from the perspective of critical discursive psychology. In the terms of that approach, the tensions derive from multiple non-academic discourses around creativity, including popular discourses of creativity and art. The paper argues that conceptualisations of creativity from academic psychology have in turn entered wider discourses, invoked, for example, in recent celebrations of the global sector of the creative and cultural industries (CCI). The tensions within psychology's conceptualisations are significant, however, because they raise questions about the extent to which the psychology of creativity has a common reference and coheres around the study of a single phenomenon.     

工作不安全感、创造力自我效能对员工创造力的影响

采用问卷调查法, 以286对上级-下属配对数据为样本, 探讨了工作不安全感、创造力自我效能对员工创造力的影响及其内在作用机制。结果表明, 工作不安全感对员工创造力有倒U形的影响, 中等工作不安全感水平下员工的创造力最高; 创造力自我效能对员工创造力有显著的积极影响; 工作不安全感与创造力自我效能的交互效应显著, 创造力自我效能越高, 工作不安全感对员工创造力的影响越小; 工作不安全感、创造力自我效能及其交互效应通过内在动机的完全中介效应影响员工创造力。