Creativity and the subliminal manipulation of projected self‐images

Abstract:

This is a report of two experiments on the relationship between creativity and the effects of manipulations of self‐image. Creativity was estimated with the Creative Functioning Test (CFT), an assessment of the tendency to bar the use of subjective interpretations when the support for a “correct” interpretation is being gradually eroded. Self‐image was manipulated in the Identification Test (IT). This involves a backwards masking design in which an ambiguous picture of a face is presented briefly on a viewing screen, preceded by either of two subliminal verbal messages. These were I SUPERIOR and I INFERIOR in a pilot study (n = 25) and I GOOD and I BAD in the main study (n = 33). In the latter, there was also an interview which served to further cross‐validate the CFT. In both studies, creative subjects alternated between reporting young faces and adult ones significantly more often than uncreative subjects. Their identity was not, then, fixedly adult. Creative and uncreative subjects also defended their projected self‐image in different ways against the subliminal manipulations. High and stable self‐confidence was typical of both highly creative and uncreative subjects, but not of subjects in the middle range. Still, the self‐confidence in the two extreme groups was only superficially similar.     

Creativity in old age

Sixty elderly subjects (M = 72 years) were tested and interviewed to find out how they experience and come to terms with the advent of illness, aging, and death. The choice of test instruments was steered by the necessity to learn how our subjects handled their anxiety (the Meta‐Contrast Technique [MCT]); to operationally define the concept of self‐image (the Identification Test [IT]); and to illuminate the findings from the perspective of creativity (the Creative Functioning Test [CFT]). The results revealed creativity to be a key factor in aging. The attitude of creative individuals towards aging was less negative and their attitude to illness less defensive. On the whole, their self‐projections were not only more flexible but also more emotional. However, creativity is not uninfluenced by context, particularly when it is of medium strength. The results also revealed that the subliminal messages used in the IT to manipulate the projected self‐image were effective.     

Crossing the invisible line: De-differentiation of wake,sleep and dreaming may engender both creative insight and psychopathology

Writing about dreaming, the poet Raymond Carver said “I feel as if I’ve crossed some kind of invisible line”. In creative people, the “line” between wake, dreaming and psychopathology may be porous, engendering a de-differentiated, super-critical, hybrid state. Evidence exists for a relationship between creativity and psychopathology but its nature has been elusive. De-differentiation between wake, sleep and dreaming may be the common substrate, as dream-like cognition pervades wake and wake-like neurophysiology suffuses sleep. Chaos theory posits brain states as inherently labile, transient and dynamically unstable. Over and above transient dissociations, an enduring and, sometimes, progressive, de-differentiation may be possible. Evidence indicates that sleep and dreaming facilitate creative insight. In consequence, a mild to moderate form of de-differentiation may enhance creativity but if wake-like neurobiology permeates sleep this may disrupt sleep-dependent memory processing and emotional regulation. If de-differentiation is progressive and enduring, various forms of psychopathology may result.     

高低创造性思维水平者定向遗忘效应的差异研究

采用单字法定向遗忘范式,考察远距离联想任务得分高低者在中性和负性词语定向遗忘效应上的差异,来探讨创造性思维水平高低与主动抑制的关系。实验采用2(高/低创造性思维水平)×2(中性/负性词汇)×2(记住/忘记指令)×2(2s/5s时间间隔)混合设计,发现高低创造力组,在材料不同呈现时间下,对不同情绪材料的定向遗忘效应分别不同。低创者在2s和5s以及高创者在5s时间间隔时,均对中性词语表现出定向遗忘效应,而对负性词汇没有表现出明显的定性遗忘效应。高创者在2s时间间隔下,对中性和负性词语均表现出定向遗忘效应。结果表明较短时间内高创者对负性情绪的主动抑制能力优于低创者。     

动机的激发与小学生创造思维的关系：自主性动机的中介作用

基于自我决定论的理论框架, 采用动机激发类型问卷、学业自主调节问卷和托兰斯创造性思维测验(图画)对305名小学五、六年级学生进行问卷调查, 考察小学高年级学生的动机激发类型、动机调节方式与创造思维的关系。研究发现：(1)中度控制/中度自主/高度自主的动机激发类型均能显著正向预测创造思维; 而高度控制的动机激发类型对创造思维的预测作用不显著。(2)自主性动机显著正向预测创造思维; 控制性动机对创造思维的预测作用不显著。(3)自主性动机在中度控制和创造思维间起完全中介作用、在中度自主/高度自主和创造思维之间起部分中介作用。在创造思维各个维度上, 自主性动机在中度控制和流畅性间、在中度自主/高度自主和独创性间起完全中介作用; 在中度自主/高度自主和流畅性之间起部分中介作用。研究结果基本支持自我决定论的有关理论预期, 但在中度控制的动机激发类型上得出了与理论预期不一致的结论, 作者对此从文化的角度进行了讨论。     

Sex differences in instructions to "be creative" on divergent and nondivergent test scores

Harrington (1975) found that both the magnitude and meaning of male subject scores on the Alternate Uses Test were altered by explicit instructions to “be creative,” and argued for the necessity of such instructions, plus qualitative scoring criteria, in the employment of tests of creativity. The present study elaborated upon this study by including female subjects, more than one test of divergent thinking and a test of nondivergent thinking. Instructions to be creative increased the proportion of creative responses output for both males and females, and sharpened correlations with Adjective Check List personality scales. Instructions did not alter performance on the nondivergent test. These results were interpreted to mean the instructions elicited strategies particularly relevant to divergent thinking and ruled out nonspecific effects such as those due to motivation. A reliable sex-difference in ideational fluency was also observed: instructions to be creative facilitated the total number of responses output for the male subjects. This supports a hypothesis that the instructions disambiguate I he test situation differently for men and women, suggesting the need to isolate individual conceptions of creativity in order to maximize test performance.     

Dissimilarity in Creative Categorization

Theories of categorization need to account for ways in which people use their creativity to categorize things, especially in the context of similarity. The current three‐phase study is a preliminary attempt to understand how people group concepts together as well as to explore the role of similarity between concepts in creative categorization. Participants were asked to categorize a list of 100 words and the resulting categories were rated for creativity by another set of participants. In the last phase, similarity between words from all the categories was computed using latent semantic analysis. There was a significant correlation between similarity values and creativity ratings for all the categories. In addition, a new set of participants were asked to rate the similarity among the words in the least and most creative categories and there was a significant difference between the mean ratings of the two types of categories. The results indicate that creative categorization is characterized by grouping of dissimilar words. People use creative imagination to construct novel categories by linking apparently dissimilar words.     

American and Chinese Similarities and Differences in Defining and Valuing Creative Products

This review of the literature explores how Americans and Chinese view creativity and what they expect from creative products. American and Chinese explicit beliefs about creativity (i.e., expert opinions) share many similarities. Implicit beliefs, however, show more divergence: Americans tend to value novelty and more “groundbreaking” types of creativity, whereas Chinese tend to appreciate creativity within constraints, such as reworking a traditional concept. The context of how people respond to creativity obviously varies by culture, although there are also some communal and universal creative ideals.     

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.     

Analyzing the aesthetic impressions of alexithymic Japanese students

We investigated the association between alexithymic tendencies as measured by the 20-item Toronto Alexithymia Scale and the characteristics of aesthetic impressions for words and drawings. Impressions were measured using the semantic differential technique in three groups of Japanese students (High scores n = 31, Moderate scores n = 40, and a Control group n = 182) who were presented only words (Word condition), only drawings (Drawing condition), or pairs comprising one word plus one drawing that represented the same emotional categories (Drawing/Word condition). In a factor analysis on the data from participants, three factors (Evaluation, Activity, and Potency) were extracted. Based on the factor scores, the distances among the three conditions were calculated for each of the groups. For Potency, significant group differences were found between the Drawing/Word and other conditions. In the High-scoring alexithymia group, in particular, the Potency impressions based on tactile sensation, e.g., soft-hard, blunt-sharp, were amplified regardless of stimulus condition. These results are discussed in the context of somatosensory amplification associated with alexithymia and the difficulty of distinguishing between emotion and somatic sensations.     

Metaphors and creativity: Direct,moderating, and mediating effects

Through five experiments, this research advances knowledge about the influence of metaphors on creative cognition by showing that perceiving images that carry metaphoric meaning can alter consumers' creativity. While the results of Experiment 1 reveal that positive metaphors representing ideas like “Thinking outside the box” increase creative output, Experiment 2 uncovers that a negative metaphor conveying “I am burnt out” decreases it. Experiment 3 shows that the metaphor–creativity link is moderated by analogical reasoning skills, and Experiments 4a and 4b reveal the mediating role of creative intent. In addition to implying that marketers can use metaphors to enhance consumers' creative feedback in areas like new product development, this research also makes important theoretical contributions by showing (1) that metaphors that are visually conveyed (in addition to tangible objects or physical exercises) can not only raise but also lower creative output, (2) that a unique cognitive skill alters the metaphor–creativity link, and (3) that consumers' creative intent contributes to that relationship.     

Systematically identifying implicit theories in male and female intimate partner violence perpetrators

This review systematically examines the empirical literature to determine the support available for seven proposed Implicit Theories (ITs) held by heterosexual male and female perpetrators of intimate partner violence. Based on previous literature that has hypothesized and identified ITs in intimate partner violence (IPV) and other types of offenders, we suggest six potential ITs likely to be held by men and women: “Opposite sex is dangerous”, “Relationship entitlement”, “General entitlement”, “Normalization of relationship violence”, “Normalization of violence”, and “It's not my fault”. We suggest one extra IT held by male perpetrators: “I am the man”. Electronic databases were searched from 1980 onwards, using predetermined relevant key words, to identify IPV research that has examined factors associated with each of the proposed seven ITs. Support was found for the existence of all seven ITs, but it differed in terms of strength, mainly due to the dearth or poor quality of empirical research on specific areas, especially in female perpetrated IPV. Implications for treatment and future directions are discussed.     

Creativity,Mood Disorders,and Emotional Intelligence

The study addressed two findings in the creativity literature that show, on the one hand, that bipolar disorder and other clinical dysfunctions are overrepresented among eminently creative people, and that positive affect is positively associated with creativity. The central hypothesis of the study was that emotional intelligence could be an intervening variable between clinical conditions and creative production. A sample of 412 undergraduates completed a wide range of divergent thinking and creative production measures, and the Emotional Intelligence Scale; 11 percent of the sample reported that they had completed treatment for mood disorder and 5 percent report that they were currently in treatment. A combination of regression and ANOVA analyses revealed: The link between mood disorders and creative production persisted after emotional intelligence was statistically removed; the same was true for ideational fluency and flexibility of cognitive style. The link between emotional intelligence and creative production persisted after the effect of clinical disorders was removed. Ideational fluency and emotional intelligence were higher among people who completed treatment compared to people in treatment. The tentative interpretation is that emotional intelligence serves as a counterweight against mood disorders in enhancing creative production.     

Individual differences in emotional creativity: structure and correlates

The structure and correlates of emotional creativity were explored in a series of six studies, using a specially constructed measure of individual differences--the Emotional Creativity Inventory (ECI). Analyses of the ECI suggest that three facets of emotional creativity can be distinguished empirically as well as theoretically, namely, preparedness (understanding and learning from one's own and others' emotions), novelty (the ability to experience unusual emotions), and effectiveness/authenticity (the skill to express emotions adroitly and honestly). Women score higher than men on emotional preparedness and effectiveness/authenticity, but not on the novelty of their responses. People who score high on the ECI are considered by their peers to be more emotionally creative, presumably on the basis of everyday behavior. Associations between emotional creativity as measured by the ECI and a variety of other personality variables (including the Big Five personality traits, mysticism, self-esteem, authoritarianism, locus of control, alexithymia, and ways of coping) are examined, as is the relation between emotional creativity and prior traumatic experiences.     

让智慧插上创造的翅膀：创造动力系统的激活及其条件

创造力是一个集个人、团体、社会、文化相互交织的系统, 因此创造力的培养也需要综合考虑。本文在融合以往创造力研究的基础上, 建构了一套系统创造力培养的“蝴蝶理论”, 创造力培养需要抓住核心来统领全局, 同时兼顾创造力培养所需要统筹兼顾的各个部分。动力系统的激活是创造力培养的核心。新颖、适用的创造性成果的产出, 需要社会文化中的个体或团体在创造性心理动力的基础上来完成。创造性心理动力有效的激活则需要一些基本条件, 如在认知层面, 需要具备一定的能力, 如一般认知能力、思维方法的掌握、元认知以及高效的资源整合能力等; 在非智力因素方面, 基本心理需要的满足, 个性心理的健康发展等是创造力得以发挥的必要条件, 推而广之还包括：合理的社会支持、互动以及文化的包容等等。除了理论方面的整合, 本文还从实践的角度分析如何激活学生的动力系统, 重点分析了什么是兴趣以及如何激发个体的兴趣, 因为以兴趣爱好为核心的内部动机是自主性最高的动力来源。本文从理论(创造力培养的蝴蝶理论)与实践(创造力培养的兴趣激发)两个角度为创造力培养提供了支持。     

情绪创造力对员工创新行为的影响:情绪社会建构理论的视角

基于情绪社会建构理论,运用问卷调查法,通过分析708组配对数据,探讨情绪创造力对员工创新行为的影响机制。结果表明:情绪创造力对员工创新行为有显著的正向影响,创造性角色认同在其中具有部分中介作用;员工情绪创造力与领导激励创造性的交互作用通过员工创造性角色认同为中介,影响员工的创新行为,从而表现出有中介的调节作用。     

Impact of assertive and accusatory communication of distress and anger: A verbal component analysis

Forty undergraduate women were asked to imagine discussing an important problem in their relationship with a personally close partner and to rate likely emotional and behavioral reactions to four kinds of statements: 1) assertive communication of distress, 2) assertive communication of anger, 3) accusatory communication of distress, and 4) accusatory communication of anger. Accusatory “you” statements were rated as more aversive and evoked more negative emotional and behavioral response inclinations than did assertive “I” messages. Statements including “anger” words evoked more negative emotional and behavioral response inclinations than statements including “distress” words. Findings were related to research on cue-controlled aggression and the work of Staats, which predicts ways that verbal labels (language) exert control over emotions and behavior.     

Relation of Creativity and Sex to Rorschach M Responses

In an attempt to relate the Rorschach M productivity with sex, creativity and test-identified psychosexual orientation of the respondent, the M responses of female and male normal, creative male and female, “non-masculine” male and “non-feminine” female Ss [N = 140] were analyzed. It was revealed that (a) high M productivity was associated with creativity, feminity in males, and with the female sex, (b) sex-differences in the creative Ss, as well as masculinity in females was not associated with statistically significant differences in M productivity. These findings were accounted for mainly in terms of differential sex-role demands and the female sex's effort to overcome indirectly the socio-cultural restrictions.     

Creative Reading in the Information Age: Paradoxes of Close and Distant Reading

This article reflects on transformations of modes of reading in an information age, asking what “creative reading” entails in information‐intensive, multimodal environments. We currently face the challenge of the development of reading strategies that oscillate between “close” and “distant” reading. For years, these reading strategies have been a topic of debate between practitioners of Digital Humanities on the one hand, and “traditional” humanists on the other. This ongoing polemics presents reading methods in an unnecessarily polarized manner. I argue that creativity research can be operationalized to come to a more productive model to characterize the ways we read in an information age. I show that the “schism” between close and distant reading is structured around a number of apparent paradoxes that I unravel such as hyper‐ and deep attention/attention and distraction, and convergence and divergence. The paradox of creativity resides in the fact that we find convergence in divergence and vice versa, that the two by definition intertwine. Building on these concepts, I propose a model that considers reading in terms of scale variance. I suggest the humanities turn to creativity research and the interrelations between divergent‐exploratory and convergent‐integrative thinking (Lubart), for a conceptual framework that will allow us to train students on all levels how to read (and how and when not to read), in an information age.