Creativity and Psychopathology: Categories,Dimensions, and Dynamics

The scientific method may be of limited value when investigating topics such as religion, spirituality, or aesthetic matters. A novel, hybrid approach is described that uses a supported philosophical-deductive methodology. This involves seeking scientific evidence to corroborate or refute the "alternative" premise in each of a series of deductive arguments. To test this, the notion that musical appreciation is an innate gift was pitted first against the alternative that it is a learned phenomenon and, second, that music has survival value and could therefore be explained purely in terms of evolution theory. So far, research to date failed to fully confirm either of the alternative propositions, thus leaving open the possibility that the ability to appreciate music is an innate gift for our aesthetic pleasure. The proposed approach could encourage investigations that otherwise might falter at an early stage, due to the constraints of conventional scientific methodology.     

Mapping Dimensions of Creativity in the Life-Space

Three studies examined content dimensions of creativity. A life-report questionnaire was developed to measure everyday, artistic, and intellectual creativity. Multiple life areas were assessed, including self-presentation, education and work, arts and crafts, culture and media consumption, everyday relations and activities, and memberships in groups that encourage creativity. Study 1 indicated that everyday creativity could be empirically distinguished from artistic creativity. Factor analyses in Studies 2 and 3 identified three broad dimensions of creativity in college students and professional adults: creative life-style, arts, and intellectual achievement. Both similarities and differences among these dimensions were observed in relation to gender and personality traits.     

Hidden Dimensions of Creativity Elements in Design Process

The aim of the study was to determine the items that can be evaluated as the components of creativity in design process. Factor analysis was applied to determine how well the items corresponded with the explored creativity characteristics. An overall component analysis was conducted to achieve a holistic approach to creative design process. It is found that the primary dimension responsible of 46% of the total variance is only composed of product components. The second dimension responsible of 19.54%, and the third dimension responsible of 14.46% of the total variance are both composed of the interaction of person and process components. Therefore, it can be concluded that the product is the strongest factor in determining creativity in design process.     

The Role of Vividness of Visual Mental Imagery on Different Dimensions of Creativity

Although research demonstrated that people can mentally manipulate and synthesize visual elements into a creative object, the role that vividness of visual imagery plays on creative imagery is still unclear. This study explored the relationships between vividness of visual imagery and 3 dimensions of creative imagery: originality, practicality, and mental spatial transformations of visual elements. Fifty-three participants performed the creative mental synthesis task and completed the Vividness of Visual Imagery Questionnaire (VVIQ). Results revealed a positive relationship between vividness and the practicality dimension of objects. No relationship was found either between vividness and originality or between vividness and transformational complexity. The association vividness–practicality seems to reflect the ability to use pictorial information of imagery when people generate functional objects that belong to specific categories. Future research directions are discussed.     

Creativity and Brain-Functioning in Product Development Engineers: A Canonical Correlation Analysis

This study used canonical correlation analysis to explore the relation among scores on the Torrance test of figural and verbal creativity and demographic, psychological and physiological measures in Swedish product-development engineers. The first canonical variate included figural and verbal flexibility and originality as dependent measures and (a) higher scores on the brain integration scale, (b) faster speed of processing in an event-related potential task, (c) faster conflict-resolution during the Stroop task, (d) higher moral reasoning, and (e) higher manageability and lower comprehensibility as independent measures. Flexibility and originality reflect the ability to see old situations in new ways leading to unique responses. Greater mental adaptability was associated with greater brain integration and speed of processing along with higher moral reasoning and feeling of being in control. Future research could investigate effects of interventions that optimize brain integration on creative output across professions.     

A Comparison of Assessment Methods and Raters in Product Creativity

Although previous studies have attempted to use different experiences of raters to rate product creativity by adopting the Consensus Assessment Method (CAT) approach, the validity of replacing CAT with another measurement tool has not been adequately tested. This study aimed to compare raters with different levels of experience (expert ves. nonexpert raters) using both CAT and the product creativity measurement instrument (PCMI) to assess the product creativity of 56 design works based on a design competition. The results showed that nonexpert raters who used either CAT or PCMI had higher interreliability than expert raters. Using PCMI was found to result in higher correlation than using CAT for the expert and nonexpert raters, although the correlation between the CAT and PCMI methods was statistically insignificantly different. After regression analysis, the results showed that all PCMI items had higher explanatory power for the creativity scores using CAT and, moreover, the nonexpert raters were found to have higher explanatory power than the expert raters. Based on these results, it is recommended that the use of both nonexpert raters and PCMI is an alternative way of enhancing the flexibility of product creativity assessment.     

Proactive Personality and Employee Creativity: The Effects of Job Creativity Requirement and Supervisor Support for Creativity

This study examined the relationships between proactive personality and employee creativity and the moderating roles of job creativity requirement and supervisor support for creativity in activating proactive personality associated with employee creativity. To provide a rigorous test of the hypotheses, we conducted a field study from a sample of 157 employee–supervisor pairs in South Korea. The results revealed that a proactive personality was positively associated with employee creativity. In addition, job creativity requirement and supervisor support for creativity jointly influenced the relationship between proactive personality and employee creativity. Specifically, proactive employees exhibited the highest employee creativity when job creativity requirement and supervisor support for creativity were both high.     

Punishing Media Criminals and Moral Judgment: The Impact on Enjoyment

Two experiments tested the hypothesis that visual encoding of television messages is a relatively automatic process, whereas verbal encoding is a relatively controlled process. Subjects viewed 30 messages crossed on Production Pacing (slow, medium, fast) and Arousing Content (calming, arousing). It was argued that as pacing and arousal increased, the resources required to process the messages would increase, which would interfere with the controlled process of verbal encoding but not with the automatic process of visual encoding. As expected, visual recognition was not affected by the increased resource requirements, but verbal recognition declined.     

Creativity through Connectedness: The Role of Closeness and Perspective Taking in Group Creativity

Achievements in various fields of creativity are resulting more and more from collaborative teams. This research investigated the role of interpersonal process variables, namely closeness and perspective taking in group creativity, with a 2 by 2 experimental design. Sixty-one 3-person groups assigned to 4 conditions (a: closeness and perspective taking, b: perspective taking, c: no closeness and no perspective taking, d: closeness). Group members collaboratively wrote stories that were rated by 3 independent expert judges. There was a positive main effect of closeness and negative main effect of perspective taking on group creativity scores. Moreover, the significant interaction between perspective taking and closeness displayed that combination of closeness with perspective taking negatively affect group creativity. These results indicate that closeness might be beneficial for group creativity only when it is not accompanied with perspective taking.     

The Notion of Creativity Revisited: A Philosophical Perspective on Creativity Research

This article is a critical, yet constructive, review of some recent attempts to define and understand creativity, informed by the methods and debates of contemporary philosophy. I argue that the definitional project is not essential to creativity research, but important nevertheless. The standard definition of creativity as the production of something that is both novel and appropriate is on the right track, but needs further qualification and tends to be elaborated in ways that make it either too narrow or too broad. I argue that the product, and not the person or process, should be viewed as the primary bearer of creativity and criticize some influential theorists for making creativity too strongly dependent on social acceptance, while also recognizing that the realist alternative tends to widen, and thus threatens to trivialize, the central notion of an appropriate product. The notion of response‐dependence might be of some help to find the proper balance between the two extremes, and some comparisons with evolutionary theory also help to shed further light on the problem. Finally, I try to spell out the practical consequences of my investigation for creativity research.     

Personality and Creativity: The Dual Pathway to Creativity Model and a Research Agenda

To better understand the relation between personality traits and creativity, we invoke the Dual‐Pathway to Creativity model (DPCM) that identifies two pathways to creative outcomes: (1) flexible processing of information (cognitive flexibility) and (2) persistent probing, and systematically and incrementally combining elements and possibilities (cognitive persistence). DPCM further proposes that dispositional or situational variables may influence creativity through either their effects on flexibility or persistence. Here, we propose the idea that approach‐related traits (e.g., openness to experience, extraversion, positive affectivity, and power‐motivation) may lead to greater creativity because they link to enhanced cognitive flexibility, whereas avoidance‐related traits (e.g., negative affectivity and neuroticism) under the right circumstances may lead to greater creativity because they link to enhanced cognitive persistence. Empirical support for this proposition is discussed, and a research agenda for future work on personality and creativity is set.     

Creativity in Context: The Ecology of Creativity Evaluations and Practices in an Artistic Craft

The present article reports a study on the use of a multiple feedback methodology for creativity evaluation in the case of Romanian Easter eggs. Four groups of evaluators —i.e. ethnographers, priests, art teachers and folk artists—all members of professional communities relevant for this particular folk art participated in the study. They almost unanimously appreciated ‘traditional’ wax decorated eggs as highly creative for their designs, aesthetics and the hard work and talent they require but opinions diverged when commenting on the creativity of other types of Easter eggs. At a more general level, two broad evaluation patters were found, corresponding to whether respondents participate or not in decoration practices. Identifying these patterns comes to reinforce the idea that creativity evaluations, as well as creative activity, are rooted in the social and cultural contexts of the participants and these contexts share important similarities but also marked differences.     

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 Measurement of Negative Creativity: Metrics and Relationships

Although the dark side of creativity and negative creativity are shaping into legitimate subconstructs, measures to assess the same remain to be validated. To meet this goal, two studies assessed the convergent, predictive, and criterion-related validities of two valence-inclusive creativity measures. One measure assessed the self-report endorsement of social creativity, and the other was an Alternate Uses Test (AUT) assessing generation of nonsocial creativity. Participants (N = 129, 88 women, M_age = 25.09 years, SD = 10.03) completed the two creativity measures and three Dark Triad personality scales (narcissism, psychopathy, Machiavellianism) through an online form. Correlations and multiple regressions were employed in the studies. Study 1 assessed the convergent and predictive validities between the two measures. Results indicated a strong convergence on the measurement of positive creativity, but not on negative creativity. Study 2 used the Dark Triad of personality as an external criterion to evaluate the criterion-related validity of the measurement of negative creativity. Although the Dark Triad predicted the self-reported endorsement of negative creativity, there was no discernable relationship with the generation of negative-creative responses on the AUT. Implications of current results, and suggestions for future metrics of valence-inclusive creativity are discussed.