The Structure of Creativity in Primary Education: An Empirical Confirmation of the Amusement Park Theory

In this study, we explored the structure of pupils’ creativity in primary education following the Amusement Park Theory, by investigating undiscovered linkages between the domains of writing, mathematics, and drawing. More specifically, we examined: (a) whether some domains and general thematic areas are more closely related to each other than to others, (b) whether literacy and mathematical ability are specific underlying traits of creativity in writing and mathematics, respectively, and (c) whether intelligence and divergent thinking are related to creativity in all domains. The sample consisted of 331 Dutch 4th grade pupils. For each research question, a model was analyzed using structural equation modeling. We found creativity in mathematics and creativity in writing to be most similar, followed by creativity in mathematics and creativity in drawing, with creativity in writing and creativity in drawing being least similar. Additionally, we found evidence for several underlying traits (i.e., literacy ability and mathematical ability) and initial requirements of creativity (i.e., intelligence and divergent thinking), none of which were important for creativity in only one domain, and of which only intelligence was important for creativity in all domains. Herewith, our study provides insights regarding the complexity of the structure of creativity in primary education.     

Types of Creativity and Visualization in Teams of Different Educational Specialization

This research is the first to examine different types of creativity dimensions in relation to different types of visualization on a team level, by comparing adolescences’ teams of different specialization (visual artist, scientists, and humanities) during a complex creative task in an ecologically valid educational setting First, the difference between all teams’ creative outputs (drawings) was compared in terms of their visual characteristics and represented content based on parameters derived from the content analysis of visual media. Second, the teams’ creative performance was compared using evaluations of experts from different professional domains. Based on the evidence from examination of teams’ creative products (final drawings) and their evaluations by professionals, this research suggests that object visualization is related to artistic creativity and spatial visualization is related to scientific creativity on the team-level. Furthermore, the findings provide a clear indication that assessing general creativity independently of the domain, as it has been done so far in most team creativity literature, might be somewhat limited.     

Predicting domain‐specific risk taking with the HEXACO personality structure

Although risk taking traditionally has been viewed as a unitary, stable individual difference variable, emerging evidence in behavioral decision‐making research suggests that risk taking is a domain‐specific construct. Utilizing a psychological risk‐return framework that regresses risk taking on the perceived benefits and perceived riskiness of an activity (Weber & Milliman, 1997 ), this study examined the relations between risk attitude and broad personality dimensions using the new HEXACO personality framework (Lee & Ashton, 2004 ) across four risk domains. This personality framework, which has been replicated in lexical studies in over 12 natural languages, assess personality over six broad personality dimensions, as opposed to the traditional Five‐Factor Model, or “Big Five.” Through path analysis, we regressed risk taking in four separate domains on risk perceptions, perceived benefits, and the six HEXACO dimensions. Across all risk domains, we found that the emotionality dimension was associated with heightened risk perceptions and high conscientiousness was associated with less perceived benefits. We also report several unique patterns of domain‐specific relations between the HEXACO dimensions and risk attitude. Specifically, openness was associated with risk taking and perceived benefits for social and recreational risks, whereas lower honesty/humility was associated with greater health/safety and ethical risk taking. These findings extend our understanding of how individuals approach risk across a variety of contexts, and further highlight the utility of honesty/humility, a dimension not recovered in Big Five models, in individual differences research. Copyright © 2010 John Wiley & Sons, Ltd.     

Democratizing Creativity: How Arts/Philosophy Can Contribute to the Question of Arts Bias

This article critically deconstructs the 21st-century economization and massification of creativity. It extends the discussion of arts bias and the associated ideas that artistic creativity is institutionalized, elitist, and an obstruction to more profitable applications of creativity. A tension is thus highlighted between the historically prevalent domain of art, and newer domains which focus on everyday, functional, organizational and the dark sides of creativity. The aim is to open up a genuine debate about the place of art in modern creativity discourse, and to examine the problematic theme of democratization in creativity as it relates to cultural, economic and industrial issues. A new framework for conceiving creativity in hermeneutics is also suggested, with a view to cohesively and logically balancing the artistic with other domains, and eliminating some of the current problems that render creativity less than it has been regarded in generations past.     

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 Decline in Creativity? It Depends on the Domain

Earlier studies using psychometric tests have documented declines in creativity over the past several decades. Our study investigated whether and how this apparent trend would replicate through a qualitative investigation using an authentic nontest measure of creativity. Three-hundred and fifty-four visual artworks and 50 creative writing works produced by adolescents between 1990–1995 and 2006–2011 were assessed. Products were analyzed using a structured assessment method based on technical criteria and content elements. Criteria included in the current investigation (e.g., genre, medium, stylistic approach) are relevant both to the specific media domains and to previously established dimensions of creativity, such as originality and complexity. Results showed strong domain differences: performance in visual arts increased on a variety of indices of complexity and technical proficiency, and performance in writing decreased on indices related to originality and technical proficiency. Findings highlight the value of analysing creativity across domains. The importance of considering cultural and technological changes in characterizing and understanding apparent trends in amount and types of creativity is discussed.     

When constraints interact: a caution about reference variables,identification constraints,and scale dependencies in structural equation modeling

In traditional approaches to structural equations modeling, variances of latent endogenous variables cannot be specified or constrained directly and, consequently, are not identified, unless certain precautions are taken. The usual method for achieving identification has been to fix one factor loading for each endogenous latent variable at unity. An alternative approach is to fix variances using newer constrained estimation algorithms. This article examines the philosophy behind such constraints and shows how their appropriate use is neither as straightforward nor as noncontroversial as portrayed in textbooks and computer manuals. The constraints on latent variable variances can interact with other model constraints to interfere with the testing of certain kinds of hypotheses and can yield incorrect standardized solutions with some popular software.     

Self‐reported differences in creativity by ethnicity and gender

Creativity assessment has been proposed as a supplement to intellectual testing, in part because of reduced differences by ethnicity; creativity testing might also specifically help reduce stereotype threat. Recent trends in creativity research point to a domain‐specific view challenging the more traditional generalist view. With these trends in mind, the current study assessed creative self‐perceptions of 3553 students and community members in 56 different possible domains distributed across five factors (as determined by principal components analysis). African Americans were less likely to fall prone to gender stereotypes in creativity. In addition, African Americans and Native Americans tended to rate themselves as more creative than other ethnicities. Specific trends in the factors and implications for future research are discussed. Copyright © 2006 John Wiley & Sons, Ltd.     

Creativity and Self-esteem in Adolescence: A Study of Their Domain-Specific,Multivariate Relationships

Although empirical investigations on the Creative Self have historically started with a focus on self-esteem, the literature on its relationship with creative performance remains thin and inconsistent, with estimated relationships ranging from moderate and negative, to strongly positive. Discrepancies may be explained by the domain-specificity of both creativity and self-esteem that have been widely overlooked in this line of work. Therefore, this study explores the multivariate relationships between creativity in three domains (Music, Literary-Verbal, Graphic) and self-esteem in seven domains (e.g., Academic, Emotional) among 170 adolescents. Creative productions were scored by four raters, and latent consensus in each domain captured using a multi-informant latent-consensus model in SEM. This model was further extended in a structural model reveling that (a) creativity is mainly domain-specific, and (b) the contribution of domain-specific self-esteem on domain-specific creativity greatly varies according to both the domains of creativity and self-esteem. Up to 30% of the variance in creative performance was explained by “domain-relevant” self-esteem facets, and a moderate contribution of creative self-esteem across creativity domains. Results are discussed in light of several important methodological directions for this line of work, as well as its implications for creativity-based interventions designed to support positive self-esteem development in adolescence.     

Measuring Tactical Innovation in Terrorist Attacks

Terrorism provides a unique context for examining innovation, as the generation of novel, effective, and complex ideas are essential for survival in destructive and malevolent groups. Despite this, innovation remains an underdeveloped concept in terrorism research, at least from the creativity scholars. One reason for this is the limited empirical data about this phenomenon, making it unclear which tenets of creativity research hold versus which do not translate in the domain of terrorism. This two-part study explores this rich domain by examining the dimensions of innovation in a robust sample of terrorist attacks. Findings indicated that three dimensions of innovation (i.e., novelty, relevance, and elegance) emerged from the attack data and that these dimensions were related to different attack characteristics. This article expands our understanding of terrorist innovation by drawing from established theory and methods from creativity research and highlights their manifestations in this understudied domain.     

Making Numbers Come to Life: Two Scoring Methods for Creativity in Aurora's Cartoon Numbers

Although creativity has long been recognized as an important aspect of mathematical thinking, both for the advancement of the field and in students' developing expertise in mathematics, assessments of student creativity in that domain have been limited in number and focus. This article presents an assessment developed for creativity that provides a score for mathematical creativity (MaC) in addition to a score for general creativity in the numeric domain, or what we might call numerical creativity (NuC). We developed different rating scales for each and then explored how each scoring method accounts for the students' mathematical/numerical and creative skills. The psychometric properties for both scoring approaches were examined. Each method was shown to reflect different relationships with other performance tests. In addition, it is proposed that MaC may provide useful insight into students' levels of adaptive expertise in mathematics, as reflected by their ability to apply mathematical knowledge (i.e., language, operations, concepts) to novel situations, representing an informative supplement to performance indicators of math achievement.     

Creativity in the Age of Technology: Measuring the Digital Creativity of Millennials

Digital technology and its many uses form an emerging domain of creative expression for adolescents and young adults. To date, measures of self-reported creative behavior cover more traditional forms of creativity, including visual art, music, or writing, but do not include creativity in the digital domain. This article introduces a new measure, the Creative Behavior Questionnaire: Digital (CBQD), which assesses self-reported creative behavior in the digital domain. High school students (N = 230) completed the CBQD, as well as several other measures of creativity and personality. Factor analysis revealed 3 factors: digital creativity achievement, school-based everyday creativity, and self-expressive digital creativity. Factor-based scales showed expected correlations with other creativity measures, as well as Big-Five personality traits and Unconventionality, supporting construct validity. Results indicate that the CBQD can be used as an independent or a supplemental measure of creative behavior.     

Optimism predicting employees' creativity: The mediating role of positive affect and the positivity ratio

We examine how optimism predicts creativity both directly and through the mediating role of positive affect and the positivity ratio (the ratio between the frequency of positive and negative affective states). Five hundred and ninety five employees reported their positive and negative affect, as well as their optimism. Their creativity was reported by supervisors. The main findings are the following: (1) optimism predicts creativity both directly and through the mediating role of positive affect and the positivity ratio; (2) the relationship between the positivity ratio and creativity is curvilinear, in such a way that an “excessive” ratio is detrimental to creativity. The findings stress the relevance of optimism both for individuals and organizations, and suggest that examining positivity ratios is fruitful in the creativity domain, as it has been in other domains, and that negative affect should not be viewed simply as an obstacle when studying employees' creativity.     

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.     

Time and Timelessness: Creativity in (and out of) the Temporal Dimension

ABSRACT: Although time has been frequently used as a variable or as an implied dimension in creativity research, very few systematic attempts to date have been undertaken to integrate diverse findings and knowledge about the relation of time with creativity. This article proposes a theoretical framework for understanding the various associations between time and creativity in terms of 3 temporal modes: cyclicity, linearity, and timelessness. Cyclical time underlies the periodic and recurring dimensions of creativity, linear time underlies its evolutionary and contextual aspects, and timelessness is related to the deep immersion states of the creative process. This article illustrates the links between creativity and each of the temporal modes with selected findings from the multidisciplinary literature on creativity and discusses implications and further directions for the study of time and creativity.     

Creativity and Aesthetic Sense

Aesthetic sense in creativity is much studied in the domain of art. This article focuses on the role of aesthetics in problem finding, problem solving, and verification of creative products in domains outside the arts. The development of aesthetic sense and its implications for creativity education in schools are also discussed.     

Boundless Creativity: Evidence for the Domain Generality of Individual Differences in Creativity

This study investigated correlates of domain‐general and domain‐specific components of creativity. 158 college students completed a questionnaire that assessed their motivational and personality traits (i.e., intrinsic and extrinsic motivation, creative personality, and originality in word association) as well as intellectual abilities (SAT verbal and quantitative scores). Under two different instruction conditions (standard instruction or explicit “be creative” instruction), students also took a battery of multi‐item, product‐based tests of creativity in three domains (artistic, verbal, and mathematical creativity). Factor analyses showed evidence of domain‐generality of creativity. Furthermore, results from structural equation models showed that motivational and personality traits and intellectual abilities were associated with the domain‐general component of creativity. Only one variable (SAT quantitative score) was found to be associated with the domain‐specific component of mathematical creativity under the explicit “be creative” instruction condition. These results affirm the domain‐generality of creativity and challenge researchers to identify correlates of domain‐specific components of creativity.     

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.     

Creative Activity,Personality, Mental Illness,and Short‐Term Mating Success

It has been argued that creativity evolved, at least in part, through sexual selection to attract mates. Recent research lends support to this view and has also demonstrated a link between certain dimensions of schizotypy, creativity, and short‐term mating. The current study delves deeper into these relationships by focusing on engagement in creative activity and employing an expansive set of personality and mental health measures (Five Factor Model, schizotypy, anxiety, and depression). A general tendency to engage in everyday forms of creative activity was related to number of sexual partners within the past year in males only. Furthermore, schizotypy, anxiety, and Neuroticism were all indirectly related to short‐term mating success, again for males only. The study provides additional support for predictions made by sexual selection theory that men have a higher drive for creative display, and that creativity is linked with higher short‐term mating success. The study also provides support for the contention that certain forms of mental illness may still exist in the gene pool because particular personality traits associated with milder forms of mental illness (i.e., Neuroticism & schizotypy) are also associated directly with creativity and indirectly with short‐term mating success.     

A Cross‐Cultural Study of Task Specificity in Creativity

This study provides new evidence concerning task specificity in creativity—examining through a cross‐cultural perspective the extent to which performance in graphic versus verbal creativity tasks (domain specificity) and in divergent versus convergent creativity tasks (process specificity) are correlated. The relations between different creativity tasks in monocultural and multicultural samples of Chinese and French children were compared. Electronic versions of the Wallach and Kogan Creativity Test (WKCT , W allach & K ogan, 1965; L au & C heung, 2010) and the Evaluation of Potential Creativity (EP oC; L ubart, B esançon, & B arbot, 2011; B arbot, B esançon, & L ubart, 2011) were used. Both measures showed satisfactory psychometric properties and cross‐cultural structural validity. The results showed that culture has an impact on the structure of creative ability: It appeared that correlation patterns were different across Chinese and French groups and across monocultural and multicultural groups. Such results show that it is crucial to take task specificity into account when investigating the effect of culture on creativity. Indeed, our study implies that cultural differences that are found using one specific creativity task might not be automatically generalizable to all sorts of creativity tasks. Limitations are discussed and perspectives for future research on culture and task specificity in creativity are proposed.