Creativity Through a Lens of Social Responsibility: Implicit Theories of Creativity with Korean Samples

Implicit theories of creativity have been the subject of increased research interest in recent years. These investigations are motivated by the observation that an individual's creative activities are guided by personal definitions rather than professional theories, which may be very different. Cross-cultural studies of implicit creativity theories are rare, yet they can add significantly to our knowledge of how creativity is viewed across cultures. The nature of 428 Koreans' implicit creativity theories were identified in a prestudy, and the structure of 478 Koreans' ratings of the indicated behaviors was analyzed in Experiment 1. In Experiment 2, 211 participants evaluated the creativity of 44 hypothetical profiles based on the results of the first experiment. Results provide evidence that Korean conceptions of creativity are similar to Western conceptions, although Koreans may emphasize negative behaviors and personality characteristics (e.g., deviance) to a greater degree. When asked to use their implicit theories to evaluate the creativity of hypothetical profiles, Korean adults strongly emphasized specific cognitive, personality, and motivational aspects of creativity over noncognitive aspects (e.g., perseverance, independence).     

The State,Not the Trait,of Nostalgia Increases Creativity

Nostalgic experience evokes emotions and activates the cognitive process of recalling and reconstructing information in memory. This study investigated the effects of nostalgia on creativity using experiments and questionnaires. Two-hundred-and-eighty university students were randomly assigned to experimental and control groups, in which participants received and completed different writing tasks (nostalgic experience vs. common life experience). They also responded to questionnaires measuring personality, nostalgia proneness, and creativity. Results showed that participants who were primed with nostalgic experience demonstrated higher creativity than the control group. In both groups, women demonstrated higher creativity than men. When specific aspects of the nostalgic experience were used to predict creativity, results showed that: (a) nostalgia triggered by social interaction and negative affect was positively related to creativity; (b) nostalgic experience containing tangibles positively predicted creativity; (c) the total number of triggers and the amount of, but not the positivity or salience of self in, nostalgia narrative contributed positively to creativity; and (d) higher agreeableness and openness, but not nostalgia proneness or other personality traits, were associated with higher creativity. Implications for both research and practice are discussed.     

Feeling Better But Doing Worse: Effects of Facebook Self-Presentation on Implicit Self-Esteem and Cognitive Task Performance

This study uses self-affirmation theory to draw predictions about the effect of Facebook profile self-presentation on two psychological outcomes: users' state self-esteem and their performance in a cognitive task. In an experimental procedure, participants were randomly assigned to examine either their own profiles, which tend to highlight social connectedness and treasured aspects of the self, or a stranger's profile. Afterward, participants reported their self-esteem using an implicit measure that is immune to reporting biases, and completed a serial subtraction task. Results show that a brief exposure to one's own profile raised state self-esteem, but that it hampered performance in a subsequent cognitive task by decreasing the motivation to perform well. The results advance the emerging literature on the effects of online self-presentation and also provide a theoretical contribution to self-affirmation theory.     

Influence of divergent and convergent thinking on visuomotor adaptation in young and older adults

Visuomotor adaptation declines in older age. This has been attributed to cognitive impairments. One relevant cognitive function could be creativity, since creativity is implicated as mediator of early learning. The present study therefore evaluates whether two aspects of creativity, divergent and convergent thinking, are differentially involved in the age-dependent decline of visuomotor adaptation.In 25 young and 24 older volunteers, divergent thinking was assessed by the alternative-uses-task (AUT), convergent thinking by the Intelligenz-Struktur-Test-2000 (IST), and sensorimotor-adaptation by a pointing task with 60° rotated visual feedback.Young participants outperformed older participants in all three tasks. AUT scores were positively associated with young but not older participants’ adaptive performance, whereas IST scores were negatively associated with older but not young participants’ adaptive performance. This pattern of findings could be attributed to a consistent relationship between AUT, IST and adaptation; taking this into account, adaptation deficits of older participants were no longer significant.We conclude that divergent thinking supports workaround-strategies during adaptation, but doesn’t influence visuomotor recalibration. Furthermore, the decay of divergent thinking in older adults may explain most of age-related decline of adaptive strategies. When the age-related decay of divergent thinking coincides with well-preserved convergent thinking, adaptation suffers most.     

The Interaction of Emotional Valence and Arousal on Attentional Breadth and Creative Task Performance

Within the literature, there are two opposing views regarding the influencing role of emotions on the creative process. The most commonly held view contends that positive emotions enhance creativity and negative emotions stifle it; yet, some studies show an opposite trend. These contradictory findings can be explained by examining two aspects of the emotions: attention and creativity relationship. First, emotional valence and arousal levels interact to affect attention. Second, creativity is not a unitary cognitive process and some stages rely more on focused attention but others are aided by diffused or broad attention. To test this proposition, two experiments were conducted. In Experiment 1, valence (positive vs. negative) and arousal (high vs. low) were manipulated and participants completed a series of attention and creativity tasks. Experiment 2 employed similar emotion induction procedure, but a different set of creative problems was used. The results of both experiments were consistent with the proposed explanation of the effects of emotions on creativity.     

Can Creativity Predict Cognitive Reserve?

Cognitive reserve relies on the ability to effectively cope with aging and brain damage by using alternate processes to approach tasks when standard approaches are no longer available. In this study, the issue if creativity can predict cognitive reserve has been explored. Forty participants (mean age: 61 years) filled out: the Cognitive Reserve Index questionnaire, the Torrance Test of Creative Thinking in visual and verbal form, Raven's Progressive Matrices (PM38), and the Verbal Judgments Test. The analysis revealed that all indices of verbal creativity were positively correlated with indices of cognitive reserve, except with cognitive reserve related to working activity. However, using the composite score of verbal creativity, all indices of cognitive reserve were predicted, including the index related to working activity. These results show that verbal creativity could be considered as another proxy indicator of cognitive reserve, and open to the hypothesis that verbal creativity enhances cognitive reserve and sustains active aging.     

Khandwalla's protocol analysis

E. H. Gombrich (1909–2001) was almost certainly the most broadly known art historian of the 20th century, and his scholarly work has influenced researchers in many domains. Among psychologists, Gombrich's impact has been greatest in the area of visual perception, largely through the ideas articulated in his book Art and Illusion (1960). His influence on creativity research has been far less profound, although his writings include numerous (although often indirect) discussions of fundamental aspects of creative processes. This cognitive–historical case study investigation aimed to understand how Gombrich achieved a rich, and sometimes prescient, understanding of creativity without emphasizing it as an explicit focus of his scholarship. I argue that Gombrich's cognitive style and multidisciplinary forays led him to emphasize and integrate a particular set of principles that are often underemphasized in contemporary creativity research. Gombrich's foci, on understanding individual creators, continuity with tradition, expert knowledge, feedback, evaluation, and learning, are highly relevant to the study of creativity and represent a stimulating challenge to investigators.     

Through Multiple Lenses: Implicit Theories of Creativity Among Indian Children and Adults*

This constructivist qualitative enquiry reveals a multiplicity of implicit theories of creativity extant in Indian culture with generic and domain specific usage of indigenous terms. Creativity was dominantly construed as a faculty of the nature of ‘pratibha’, in keeping with Indian philosophical thought, and with reference to the self, with participants invoking the holistic self, cognitive self, experiential/emotional self and physical self to describe creativity. The sense of creativity in these seemingly disparate, self‐based construals, the uncovering of which is the unique contribution of this study, derived from the person's experience of a sense of agency, rather than merely the production of novelty per se. This emphasis on process; novelty being central for some but epiphenomenal for others; the varied meanings of ‘newness’; experiencing creativity as self‐expression, self‐extension, self‐fulfillment and self‐actualization; and equating creativity with the act of learning reflect distinctive elements of implicit theories that have emerged in this study.     

Different Effects of Cognitive Shifting and Intelligence on Creativity

The relationship between creativity and executive control has long been controversial. Some researchers view creative thinking as a defocused process with little executive control involvement, whereas others claim that executive control plays a vital role in creative thinking. In this study, we focused on one subcomponent of executive control, cognitive shifting, and examined its relationship with creativity by using latent variable analysis and structural equation modeling. We also analyzed whether this relation was mediated by intelligence. The results showed that: (a) cognitive shifting ability had a positive relationship with creativity, but only on the quantitative aspects (fluency and flexibility); (b) Intelligence had a positive relationship with both quantitative and qualitative aspects (originality) of creativity, and its effect on qualitative aspect was stronger than that on the quantitative aspect; (c) There was a mediating effect of intelligence on the relationship between creativity cognitive and shifting.     

Imitation,Inspiration, and Creation: Cognitive Process of Creative Drawing by Copying Others' Artworks

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: (a) copying an artist's drawing, then producing an original drawing; (b) producing an original drawing without having seen another's work; and (c) copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from the model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks—whether through copying or prolonged observation—change people's cognitive representations of the act of drawing to produce novel artwork.     

Creative Imagination is Stable Across Technological Media: The Spore Creature Creator Versus Pencil and Paper

T. B. Ward (1994) investigated creativity by asking participants to draw alien creatures that they imagined to be from a planet very different from Earth. He found that participant drawings reliably contained features typical of common Earth animals. As a consequence, Ward concluded that creativity is structured. The present investigation predicts that this limitation on creativity is not restricted to drawings: the use of different technology will not change creative output. To investigate this question, participants performed Ward's task twice: once using pencil and paper and once using software made to design creatures (the Spore Creature Creator). Only minor significant differences were found. This preliminarily suggests that changing tools does not affect the overall rigidity of the creative process. This lends further support to Ward's thesis on the structural rigidity of creativity. We conclude by suggesting an elaboration to Ward's thesis that will be explored in future work. We suggest that aesthetics might be one of the factors that contribute to creative constraint, in that creatures that are too unusual would be less interesting.     

Strategic modification of the evaluative priming effect does not reduce its sensitivity to uncontrolled evaluations

In the evaluative priming procedure the processing of a target stimulus is facilitated when preceded by a prime of the same valence. This procedure is used to investigate and measure the unintentional and uncontrolled influence of attitudes. Consistent with previous findings, in this research, when participants knew that primes are more likely to precede targets of opposite valence the typical priming effect was reversed. This may suggest that non-evaluative processes can eliminate the effect of unintentional evaluation. However, in five studies, success in reversing the priming effect was still related to people's evaluation of the primes. This suggests that unintentional evaluation affects performance in the evaluative priming procedure even when people successfully counteract the priming effect. Although behaviors that are sensitive to evaluative processes may be altered by rival processes, the rival processes do not necessarily decrease the absolute influence of the evaluative processes on those behaviors.     

Creativity at the Crossroads: Pragmatic Versus Humanist Claims in Education Reform Speeches

Obama's, and other policymakers’, speeches claim that creativity—the ability to derive novel, excellent and relevant ideas and products—is a valuable student asset for the 21st century, but why? Two types of rhetorical appeals to long-held educational values in these speeches are examined: pragmatic claims about student creativity focus on economic recovery, which implies a need to teach and research the link between creativity, academic success and workforce preparation. In contrast, humanist claims about student creativity emphasize a teaching and research agenda of promoting self-realization, cultural identity formation, and aesthetic learning principles, which include empathy and emotional awareness in addition to cognitive aspects of creative thinking and problem solving. These rhetorical appeals are examined in light of education reform and directions in art education.     

Are Individuals with Schizophrenia or Schizotypy More Creative? Evidence from Multiple Tests of Creative Potential

Schizophrenia and schizotypy have been often associated with above average creativity; however, empirical studies on the relationship between schizophrenia spectrum disorders and enhanced creativity generated inconsistent results. This research investigates if the association between schizophrenia spectrum disorders and creative potential levels is dependent upon which cognitive processes are examined during administered tests of creative potential. Our study examined 117 participants stratified into the following three subgroups: (a) 39 psychometrically determined low-schizotypal individuals, (b) 35 psychometrically determined high-schizotypal individuals, and (c) 43 patients with schizophrenia. Each participant completed 2 divergent thinking (DT) tasks, 2 convergent thinking (CT) tasks, and 2 creative tasks that combine both DT and CT processes. The data suggest that Group C had typical abilities in the DT, CT, and the combined creative thinking tasks; however, the group as a whole had intact originality during the Figural Completion (DT task) and the Tangram Construction (combined task). Notably, Group B showed significant advantages in both verbal and figural DT tasks. Group A and Group B demonstrated no significant differences in the creative thinking processes of CT; however, both groups outperformed Group C in these tasks.     

Affect,Desire, and Judgement in Spinoza's Account of Motivation

Two priority problems frustrate our understanding of Spinoza on desire [cupiditas]. The first problem concerns the relationship between desire and the other two primary affects, joy [laetitia] and sadness [tristitia]. Desire seems to be the oddball of this troika, not only because, contrary to the very definition of an affect (3d3; 3 General Definition of the Affects), desires do not themselves consist in changes in one's power of acting, but also because desire seems at once more and less basic than joy and sadness. The second problem concerns the priority of desires and evaluative judgements. While 3p9s and 3p39s suggest that evaluative judgements are (necessarily) posterior to desires, Andrew Youpa has recently argued that passages in Ethics 4 indicate that rational evaluative judgements can give rise to, rather than arise out of, desires. I aim to offer solutions to these problems that reveal the elegance and coherence of Spinoza's account of motivation. Ultimately, I argue that whereas emotions and desires stand in a non-reductive, symmetrical relationship to one another, evaluative judgements must be understood as asymmetrically dependent on, and reducible to, emotions or desires. This interpretation sheds light on our understanding of Spinoza's cognitivist account of emotion. For Spinoza, while emotions are representational, they are not underpinned by evaluative judgements. Rather than inflating emotions to include evaluative judgements, he deflates evaluative judgements, treating them as emotions, or valenced representations, and nothing more.     

Interpersonal risk and the evaluation of transgressions in close relationships

An experiment examined individuals’willingness to excuse a romantic partner of blame for a transgression when perceptions that a relationship is risky are salient. Participants evaluated an actual transgression on measures tapping three levels of appraisal: (a) initial impressions of the act (i.e., severity of the transgression), (b) considerations of the context in which it occurred (i.e., judgments about excuses and extenuating context), and (c) judgments about its broader implications for the relationship (attributions of globality). Evaluator perspective was also varied. Half the participants (actors) evaluated their own partner's wrongdoing; half (observers) evaluated another participant's partner's wrongdoing. Compared to controls, risk participants rated the transgression as more severe and were more cautious and risk-averse in assessing the merits of potentially excusing information. Evaluator perspective did not influence these judgments, a finding consistent with a cognitive interpretation of the results. In contrast, the effects of risk on judgments of globality were more pronounced among observers than among actors, suggesting that motivational pressures come into play when the evaluative stakes are higher.     

Goal relevance moderates evaluative conditioning effects

An important process by which preferences emerge is evaluative conditioning, defined as a change in the evaluation of a stimulus by pairing it repeatedly and consistently with an affective stimulus. The current research focuses on the role of motivation in this learning process. Specifically, it was investigated whether a conditioning procedure that is relevant to an individual's current goals is more effective than an irrelevant procedure. To this end, beverages were conditioned with either disgusted faces (relevant) or fearful faces (irrelevant). The results showed that thirsty(rather than non-thirsty) participants’ choice and evaluation of beverages were influenced by pairing beverages with disgust but not with fear. As similar results were obtained under optimal and suboptimal presentation of the conditioned stimuli, it is suggested that goals can affect automatic, associative learning, adding to the emerging body of research demonstrating that goals unconsciously affect evaluative processes.     

The Adaptable Mind in Design: Relating Personality,Cognitive Style,and Creative Performance

This study examined domain-specific relationships between creative personality traits, cognitive styles, and creative performance in design. Design students (n = 39) completed the Adjective Check List (ACL) and the Herrmann Brain Dominance Instrument (HBDI) to gauge personality and cognitive style, respectively. The ACL was scored using Domino's Creativity Scale (ACL-Cr) to identify creative personality traits. The sample also completed a design task that was evaluated for creativity using the Consensual Assessment Technique (CAT). Findings indicated that participants showing flexibility between cerebral, limbic, right, and left modes of thinking had significantly higher mean scores on creative personality than did those who exhibited a more entrenched cognitive style. Creative personality traits (ACL-Cr) significantly predicted creative performance on the design task. While cognitive style (HBDI) did not predict creative performance, flexibility between styles was significantly correlated to the creative personality. In sum, individuals exhibiting adaptable thinking appear to possess the flexibility necessary to design creatively and potentially transform the domain with original and imaginative solutions.     

The Effect of Negotiator Creativity on Negotiation Outcomes in a Bilateral Negotiation

This study examined creative negotiators to determine if they are able to achieve more successful outcomes in a negotiation context with integrative potential. Creativity scores were obtained from 70 participants, who performed a 2-party, multi-issue negotiation in 35 dyads. This negotiation led to economic and relational negotiation outcomes. The use of creative skills by negotiators was hypothesized to positively affect both classes of negotiation outcomes. Results indicated no significant effect of negotiators' creativity on economic negotiation outcomes. A negative effect of negotiators' creativity on relational negotiation outcome for the buyer was observed. For the relational negotiation outcome of the seller, the same negative tendency was observed, though no significant effect of negotiators' creativity. These findings extend the understanding of the relationship between negotiators' creativity and negotiation outcomes, which is highly underemphasized in current research. Further research should identify which aspects of creativity are crucial to negotiators and determine how they can be adequately measured. The issue of interaction between negotiators' creativity and situational variables should also be addressed, as it likely determines the effect of creativity on negotiation outcomes.     

Productivity,counterproductivity and creativity: The ups and downs of job insecurity

Organizations frequently downsize in the hopes of creating a ‘lean and mean’ company able to be flexible and quick to adapt to changing environmental needs. The purpose of the current research was to assess the effects of job insecurity on productivity, counterproductivity, and creativity in a simulated organizational environment and a field setting. In the first study, 104 non‐traditional undergraduate students (M = 30.48 years) participated in a laboratory experiment that manipulated the threat of lay‐offs (job insecurity) and measured creativity and productivity over two time periods. Compared to control group participants, results indicate that participant productivity increased in the condition of higher levels of job insecurity, whereas creative problem solving decreased. In the second study, 144 employees in five organizations completed a survey measuring their job insecurity perceptions, enactment of counterproductive work behaviours, and creative problem‐solving ability. Regression analyses indicate that job insecurity predicted lower creativity scores, yet was also related to lower numbers of counterproductive work behaviours. Taken together, these studies suggest that job insecurity may have adverse effects on creativity, yet moderately beneficial effects on productivity. Results are interpreted in light of the increasing prevalence of job insecurity and organizational downsizing in today's workplace.