Inside the Creative Sifter: Recognizing Metacognition in Creativity Development

The parallels between cognitive development and creativity are neglected in the literature. Piaget's information transformations are personalized, meaning individual constructions can involve creativity. Vygotsky's work considers the implications and interactions of social influences, conventions, and personal implications for creative development. The Cognitive‐Creative Sifting Model is proposed to focus attention on these and other connections between cognitive development and creativity. Other common methods of assessing creativity are compared to the proposed model. It is argued that the model provides a foundation to evaluate individual creative potentials more holistically. Specifically, the conceptual elements of metacognition are described and their role in the development of creativity is suggested. It is argued that future researchers should pay particular attention to the interaction effects metacognition has with traditional measures of creativity focused on ideation and product evaluation.     

The Impact of Affective States and Affective Shifts on Creative Ideation and Evaluation

This study aims to examine the impact of affective states and affective shifts on ideation and evaluation of creativity. Affects were induced by a two‐stage imagination procedure of recalling autobiographical experiences. Three periods of divergent thinking were measured to represent the participants’ creative ideation at different times. Creative evaluation was measured by estimating the originality of each response provided by the participants. The results indicate that (a) during the initial period of ideation, groups with positive affect obtain better creative ideation than the groups with neutral or negative affect. (b) The ideation in positive affect groups gradually decreases over time, while the ideation in negative affect groups gradually increases over time. (c) During the evaluation of originality, groups with negative affect have a higher proportion of over‐estimates and a lower proportion of under‐estimates than groups with positive affect. The viewpoints of cognitive tuning theory, which posit that the affective state influences creativity, are supported.     

Educational Intervention and the Development of Young Art Students' Talent and Creativity

This study focuses on behavior associated with young art students' developing artistic talent (skills and art‐making behavior) and creativity (personal expressions of visual information). The study examines the role of personal expertise in a student's development of problem finding, domain‐specific technical skill, perseverance, evaluation, and creative ideation. The study compares 30 experienced art students' artistic processing and products with those of 29 novice art students. Both groups are 7‐ through 11‐year‐olds. The author recorded participants' behavior as they created drawings in two contexts — from imagination and from life — and three adult artists then assessed the technical skill and creativity revealed in the drawings. Multivariate analyses of the variables associated with the drawing products and processes offer evidence of the changes related to the students' developing expertise in both novice and experienced groups. This study finds that the drawing situation (life or imagination) interacts clearly with the relationships among hypothesized components of creativity, gender, and predictors of expertise. Technical skill, perseverance, modifications, and creativity in drawings from life were significant predictors of expertise. Modifications, efficient problem finding, and creativity in drawings from imagination were additional significant predictors of expertise. Gender was found to be a measurable factor in both the artistic process and the assessments of drawings from imagination. The findings are discussed within the context of three conceptions: artistic talent, developing creativity, and art education.     

Can Creativity Beat Death? A Review and Evidence on the Existential Anxiety Buffering Functions of Creative Achievement

The relationship between creativity and symbolic immortality had been long acknowledged by scholars. In a review of the literature, we found 12 papers that empirically examined the relationship between creativity and mortality awareness using a Terror Management Theory paradigm, overall supporting the notion that creativity plays an important role in the management of existential concerns. Also, a mini meta‐analysis of the impact of death awareness on creativity resulted in a small‐medium weighted mean effect. We examined the existential anxiety buffering functions of creative achievement as assessed by the Creative Achievement Questionnaire in a sample of 108 students. It was found that at high, but not low, levels of creative goals, creative achievement was associated with lower death‐thought accessibility under mortality salience in comparison to controls. To our knowledge, this is the first empirical report of the anxiety buffering functions of creative achievement among people for whom creativity constitutes a central part of their cultural worldview. The current findings support the notion that creative achievement may be an avenue for symbolic immortality, particularly among individuals who value creativity. Implications for understanding death‐related creativity motivations and their impact on individuals and society and for the promotion of creative achievement and creative motivation are discussed.     

The Mediating Role of Creative Process Engagement in the Relationship between Shyness and Self‐Rated Creativity

Shyness has been found to have a negative impact on creativity. However, little attention has been given to the underlying process of the relationship between shyness and creativity. On the basis of literature, we hypothesize that shyness has an indirect impact on creativity through creative process engagement. Two studies were conducted on undergraduate students (Study 1) and working adults (Study 2) to test the hypothetical relationship. Analysis on participants self‐report showed that shyness was negatively associated with self‐reported creativity as well as creative process engagement. There was a positive relationship between creative process engagement and creativity. More importantly, mediation analysis supported that shyness was indirectly linked to creativity via creative process engagement. Specifically, shy people are found to be less involved in creativity‐relevant processes such as information searching and idea generation. The low level of creative process engagement, in turn, hinders their creativity. The findings not only lend support to the detrimental effect of shyness on creativity but also shed light on the underlying mechanism of the relationship.     

Working memory benefits creative insight, musical improvisation, and original ideation through maintained task-focused attention

Anecdotes from creative eminences suggest that executive control plays an important role in creativity, but scientific evidence is sparse. Invoking the Dual Pathway to Creativity Model, the authors hypothesize that working memory capacity (WMC) relates to creative performance because it enables persistent, focused, and systematic combining of elements and possibilities (persistence). Study 1 indeed showed that under cognitive load, participants performed worse on a creative insight task. Study 2 revealed positive associations between time-on-task and creativity among individuals high but not low in WMC, even after controlling for general intelligence. Study 3 revealed that across trials, semiprofessional cellists performed increasingly more creative improvisations when they had high rather than low WMC. Study 4 showed that WMC predicts original ideation because it allows persistent (rather than flexible) processing. The authors conclude that WMC benefits creativity because it enables the individual to maintain attention focused on the task and prevents undesirable mind wandering.     

Linkographic Evidence for Concurrent Divergent and Convergent Thinking in Creative Design

For a long time, the creativity literature has stressed the role of divergent thinking in creative endeavor. More recently, it has been recognized that convergent thinking also has a role in creativity, and the design literature, which sees design as a creative activity a priori, has largely adopted this view: Divergent and convergent thinking are seen as occurring in cyclic phases within the design process. Neurological evidence suggests that frequent shifts between defocused and focused attention to stimuli in memory activation, which equate divergent and convergent thinking, are a hallmark of creative thinking. In this article, we use linkography to show that the shifts between divergent thinking—forelinking of design moves, and convergent thinking—backlinking of moves, are so frequent that at the cognitive scale they can be seen as occurring concurrently in the ideation phase of creative designing. It is proposed that in assessments of creative potential, shifts between divergent and convergent thinking should be the yardstick instead of, or alongside measurements of divergent thinking.     

Development and Psychometric Integrity of a Measure of Ideational Behavior

Although creativity is an important part of cognitive, social, and emotional activity, high-quality creativity assessments are lacking. This article describes the rationale for and development of a measure of creative ideation. The scale is based on the belief that ideas can be treated as the products of original, divergent, and creative thinking-a claim J. P. Guilford (1967) made years ago. Guilford himself assessed ideation with tests of divergent thinking, although through the years scores from these tests have only moderate predictive validity. This may be because previous research has relied on inappropriate criteria. For this reason, the Runco Ideational Behavior Scale (RIBS) was developed. It can be used as a criterion of creative ideation. Most items describe actual behaviors (i.e., overt actions and activities) that clearly reflect an individual's use of, appreciation of, and skill with ideas. Results obtained using both exploratory and confirmatory factor analysis are reported in this article. These suggest the presence of 1 or 2 latent factors within the scale. Based on the theoretical underpinnings of the scale, a 1-factor solution was judged to be more interpretable than a 2-factor solution. Analyses also supported the discriminant validity of the RIBS.     

Creative ways to well-being: Reappraisal inventiveness in the context of anger-evoking situations

Neuroscientific studies in the field of creativity mainly focused on tasks drawing on basic verbal divergent thinking demands. This study took a step further by investigating brain mechanisms in response to other types of creative behavior, involving more “real-life” creativity demands in the context of emotion regulation and well-being. Specifically, functional patterns of EEG alpha activity were investigated while participants were required to generate as many and as different ways as possible to reappraise presented anger-eliciting situations in a manner that reduces their anger. Cognitive reappraisal involves some of the same cognitive processes as in conventional verbal creativity tasks, inasmuch as it requires an individual to inhibit or disengage from an emotional event, to shift attention between different perspectives, and to flexibly adopt new solutions. To examine whether alpha oscillations during cognitive reappraisal are different from those during conventional creative ideation, the EEG was also assessed during performance of the Alternative Uses task, requiring individuals to generate as many and as original uses of an object as possible. While cognitive reappraisal was associated with a similar pattern of alpha power as observed in conventional verbal creative ideation, the former yielded significantly stronger alpha power increases at prefrontal sites, along with lower alpha increases at more posterior cortical sites, indicating higher cognitive control and less spontaneous imaginative thought processes in the generation of effective strategies to regulate an ongoing negative emotional state.     

Association of Dopamine D2 Receptor Gene with Creative Ideation

Although several studies suggest that dopamine D2 receptor (DRD2) gene may contribute to creativity, the relationship between DRD2 and creativity still needs to be further validated. To further test the relevance of DRD2 and creativity, this study explored the association between DRD2 and creative ideation in 483 unrelated healthy Chinese undergraduate students. A total of 15 single nucleotide polymorphisms (SNPs) covering the DRD2 were genotyped, and creative ideation was assessed by the Runco Ideational Behavior Scale (RIBS). Single SNP analysis showed that 2 SNPs (rs4648317 and rs4938019) were nominally associated with fluency, 4 SNPs (rs4648317, rs4938019, rs4648319, and rs1800497) were nominally associated with flexibility, and 1 SNP (rs4648317) was nominally associated with originality. Haplotype analysis showed several haplotypes were nominally associated with various creative ideation indexes. However, none of these nominal associations survived correction for multiple testing. Overall, this study provides suggestive evidence for the genetic impact of DRD2 on creative ideation and supports the assumption that the genotype variations in DRD2 contribute to creativity.     

Suggested reading

The problem of mystical/meditational experience is discussed from the point of view of the neural network theory, considering also the approach to (sub) quantum physics by Bohm and Hiley. It has been argued that the appearance of global uniform neural patterns, i.e. those with coherent activities of constitutive neurons, function as the basis of mystical unity. Various processes occurring as the result of the collective dynamics of a complex neural system are compared and correlated with mystical phenomenology on the one hand, and with quantum processes or neurophysiological effects on the other. Awareness may be a quantum phenomenon, so some speculations about neural‐quantum interactions and analogies are presented. The contact with the symmetric subquantum “sea”, in which the brain is embedded, may provide the background for the most radical experiences. Special attention is devoted to implicit versus explicit mental and transcendental processes, and to their multi‐level parallelism. Evolution towards transcendental consciousness brings an alternative lifestyle for the future.     

Does Scope of Attention Affect Creativity? Testing the Attentional Priming Hypothesis

Creativity is linked to broad scope of attention, a state or trait that allocates attentional resources over a wide range of perceptual stimuli. According to the attentional priming hypothesis, a mechanism underlying the creativity–attention link is that broad perceptual attention scope primes broad conceptual attention scope—the activation of a wide range of memory contents—which therefore facilitates creative ideation. This study aimed to test the hypothesis in three experiments using three manipulations and two creativity tasks. Experiment 1 used the Navon letter task to prime attention to global patterns or local details of composite stimuli and measured creativity via the task to generate alternative uses of daily objects. Experiment 2 modified a cue-size procedure in which participants repeatedly attended to large or small visual cues before a target stimulus appeared. Experiment 3 devised a manipulation that required participants to view and visualize images associated with broad or narrow attention and adopted the alternative uses task and the task to invent alien creatures. Across the experiments, although the results were in the predicted direction, they were non-significant. This study found no evidence that broadness of perceptual attention affects creativity.     

The Personality Composition of Teams and Creativity: The Moderating Role of Team Creative Confidence

We examined the possibility that teams composed primarily of individuals with personality characteristics conducive to team creativity (e.g., high extraversion, high openness to experience, low conscientiousness, high neuroticism, low agree‐ableness) would show synergistic increases in creativity when they experienced high levels of “team creative confidence”, a shared understanding that the team is more creative than each team member individually. We tested these hypotheses using a sample of 145 three‐student teams that worked on a set of idea generation tasks at Time 1 (T1) and a second set two weeks later at Time 2 (T2). As expected, results of cross‐lagged regression analysis indicated that when team creative confidence at T1 was high, team creativity at T2 increased quadratically as the number of team members who scored high on extraversion, high on openness, or low on conscientiousness increased. However, the number of individuals composing a team who scored high on neuroticism or low on agree‐ableness had no relation to team creativity under conditions of high or low team creative confidence. Implications of these results for the design of creative teams are discussed.     

On Being Found: How Habitual Patterns of Thought Influence Creative Interest,Behavior, and Ability

This study on 138 undergraduate students used path analysis to investigate the relationship between creativity (interest, measured by a creative activities survey; and ability: fluency, originality, and elaboration) and different aspects of thought patterns presumed to influence the preparation and illumination phase of the creative process: habitual patterns of thought (ruminative brooding, ruminative self-reflection), thought suppression, thought intrusion, mind wandering, and associative ability. Such relationship was hinted at in Wallas’s classical model of the creative sequence, but is rarely investigated. We found that creative behavior/interest was driven by self-reflection, thought intrusion, and the lack of a need for thought suppression; creative ability was fueled mainly by associative ability. The only variable that influenced both aspects of creativity was the lack of resistance to thought suppression; this distinguished the creativity variables from dysphoria, which was associated with a desire for thought suppression. The results suggest that what drives the need to create is not creative ability per se, but rather self-focused attention, as well as the feeling or experience of being found by thought, rather than finding it. That is, the need to create is associated with having thoughts that interrupt one’s ordinary stream of consciousness and that are seen as welcome rather than interfering.     

The Importance of the Default Mode Network in Creativity—A Structural MRI Study

Anecdotal reports as well as behavioral studies have suggested that creative performance benefits from unconscious processes. So far, however, little is known about how creative ideas arise from the brain. In the current study, we aimed to investigate the neural correlates of creativity by means of structural MRI research. Given that unconscious and less controlled processes are important in creative thinking, structural brain research may find a positive correlation between well‐established creativity measures and cortical thickness in brain structures of the default mode network (i.e., the counterpart of the cognitive control network). Individuals performed the Alternative Uses task by which an individual's cognitive flexibility and the average uniqueness and average creativity of a participant's ideas were assessed. We computed optimized voxel‐based‐morphometry (VBM) to explore the correlation between inter‐individual differences in creativity and inter‐individual differences in gray matter volume. For all creativity measures, a positive correlation was found between creative performance and gray matter volume of the default mode network. These findings support the idea that the default mode network is important in creativity, and provide neurostructural support for the idea that unconscious forms of information processing are important in creativity. Theoretical and practical implications are discussed.     

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.     

Creative at Each Age: Age‐Related Differences in Drivers of Workplace Creativity from an Experience Sampling Study

Creativity and innovation are essential agents for change processes and accelerating technical development. Having to face challenges, such as demographic change, organizations require individuals who are creative and innovative at each age. Previous research identified affect as a crucial determinant of creativity, even though empirical findings showed inconsistencies. Drawing on literature on age‐related changes in affective experiences, we investigated the moderating effect of employees’ age on the association between daily positive and negative affect and creativity using a daily diary study. A total of 116 employees responded to daily questionnaires twice a day over five consecutive working days. As expected, hierarchical linear modeling analyses revealed differential effects regarding the affect‐creativity association, dependent on employees’ age. Although older employees were most creative on days when they experienced a high level of positive affect (compared to their mean level of positive affect), younger employees were particularly creative when experiencing negative affect (compared to their mean level of negative affect). We discuss practical implications on how organizations could provide creativity‐enhancing work environments for employees at each age.     

Consensual Assessment of Creativity in Teaching Design by Supportive Peers—Its Validity,Practicality, and Benefit

Creativity in teaching is a significant and complex construct. However, in the local educational context, creativity in teaching has received little attention. This study aimed to investigate the validity, practicality, and benefits of applying a modified consensual assessment technique (CAT) to assess creativity in teaching design. Four hundred and eighty‐five written teaching designs were collected from 167 in‐service and pre‐service primary school teachers in Hong Kong. Instead of expert teachers, “supportive” peers, who had shown support, interest, and initiative in creative teaching were recruited as judges. A warm‐up exercise, with no definition of creativity, was given to the judges before beginning their assessments. The results indicated overall consistency in the judges' assessments of creativity, and that creativity factor could be distinguished from pedagogical skills and other technical factors. Most of the peer judges reported personal gains in creative teaching by engaging in the assessment process. On average, each judge spent approximately only 2 minutes rating each written teaching design. The findings confirm that the modified CAT is a valid and economical assessment method with learning benefits for the judges. The special values and implications of using supportive peer judges in consensual assessment are further discussed.     

Creative production by angry people peaks early on, decreases over time, and is relatively unstructured

Anecdotes and introspective reports from eminent scientists and artists aside, a systematic test of the putative creativity-enhancing effect of anger is missing. This article fills this void with three experiments examining creativity as a function of anger (vs. sad or a mood-neutral control state). Combining insights from the literatures on creativity and on mood and information processing the authors predicted that anger (vs. sadness and a mood-neutral control state) triggers a less systematic and structured approach to the creativity task, and leads to initially higher levels of creativity (as manifested in original ideation and creative insights). Following work on resource depletion, the authors further predicted that anger more than sadness depletes resources and that, therefore, creative performance should decline over time more for angry than for sad people. Results supported predictions. Implications for creativity, information processing, and resource depletion are discussed.     

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.