Identity and Creativity

Emerging adulthood is a period for exploration of identity aspects including occupational identity, and creative activity may contribute to or result from this exploration. Grounded in several conceptions of identity, particularly that of Erik Erikson, this research tested the prediction that identity processes predict creativity. In 2 studies (N = 250), university students completed measures of identity (Berzonsky's Identity Styles Inventory; Cheek's Aspects of Identity Questionnaire), plus creative potential (Creative Personality Scale), accomplishments (behavior checklist and open-ended listing), and products (drawings, stories). In keeping with prediction, these findings demonstrated that those who are information-seeking in style and emphasize their personal identity have the greatest potential creativity and evidence the greatest number of creative accomplishments in their young lives, whereas those emphasizing normative or collective identities evidenced fewer accomplishments. These identity variables contributed over and above the effects of gender and verbal ability. Results fit well with past findings in the creativity literature but represent a new direction for identity research and theory.     

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.     

Sex vs. status in sex-associated stereotypes

The trait content of sex stereotypes can be created by social role status alone, without reference to sex. In contemporary culture sex and role status are confounded: Authority roles are played by men; women occupy subordinate positions. TV commercials encode the unequal status as tacit assumptions in brief scenarios. Videotaped reenactments of three such commercials served as stimuli. One reenactment of each duplicated the original network versions. In a second reenactment of the same commercials, the male and female actors switched roles. Subjects (n=128 men and women) viewed the commercials and made personality attributions to each character on five sex-stereotypic dimensions, e.g., “dominant—submissive.” Stereotypic trait patterns commonly attributed to sex were determined more by the actor's implicit role status in the portrayed relationship than by the actor's sex. Showing women in high-status roles with the social support of coparticipants may be a means of breaking the stereotypes.     

Toward a Theory of Creativity in Diverse Creative Women

ABSTRACT: Little is known and limited research has been completed about creative women, their creative processes, and the decisions they face about their own creative productivity. Few books or even articles suggest how creativity can be better developed, enhanced, or increased in a diverse population of girls and women. The social and political movement focusing on women during the past five decades has provided some understanding of women's creative processes as well as the creative roles that women have played in our society and the forces that shape those roles. In this article, current research is analyzed, focusing on the development of women's creativity and the classification of this research into major themes. Internal and external blocks to creativity in women are discussed, as is current research on these blocks, and an explanation is suggested for different types of creative productivity exhibited by women. A theory is proposed regarding the diversion of women's creativity into multiple areas in their lives, including relationships, work related to both family and home, personal interests, and aesthetic sensitivities. This diversion of creative efforts may result in different levels of creativity applied to work, as well as the existence of very different patterns of creative productivity in creative women.     

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.     

Beliefs about the social orientations of others: A parametric test of the triangle,false consensus,and cone hypotheses

This study tests a number of hypotheses proposed in the literature concerning the relationship between an actor's social orientation and her beliefs about the social orientations of others. In contrast to the existing literature, this study employs a parametric approach with an innovative methodology. First, the social orientation parameters of actors are estimated: the weights respondents add to (1) the outcomes of Alter and to (2) the absolute difference between the outcomes for Ego and Alter. Then, the mean and the variance of the distribution of beliefs about the social orientation parameters of others are estimated, conditional on the actor's social orientation parameters. The results show that (1) there is a positive association between an actor's social orientation and her belief about the mean of the social orientations of others and (2) those who have approximately zero social orientation parameter values (individualists) expect the variation of others' social orientations to be lower than those with smaller (competitors) or larger (cooperators/egalitarians) social orientation parameter values. These results support the cone model, which models the “false” consensus effect where the “false” consensus is highest for individualists.     

Creative Self-Efficacy: An Exploration of Its Antecedents,Consequences, and Applied Implications

Creativity and innovation are at the core of important outcomes such as economic and sales growth, production of articles and students' learning. Thus, it is not surprising to find research articles on creativity and innovation across different disciplines such as business, psychology, and education. Given the importance of understanding creativity and innovation, we reviewed the empirical literature examining the antecedents and consequences of creative self-efficacy in the work domain. Our review used the theory of individual creative action and social cognitive theory as guiding frameworks to place creative self-efficacy in the creativity and innovation process, define creativity and innovation, explore how creative self-efficacy has been measured, examine the antecedents and consequences of creative self-efficacy, point out gaps in knowledge and offer suggestions for future research and provide some applied implications. One important finding was that creative self-efficacy has made a significant contribution as a process variable explaining how several organizational and personal factors influence creative outcomes via their influence on creative self-efficacy.     

Creativity,mental health,and alcoholism

Abstract

Findings from a research project on the creative process spanning a 25‐year period are applied to considerations regarding mental health and creativity. Two specific creative functions are described: (a) homospatial process‐actively conceiving two or more discrete entities occupying the same space, a conception leading to the articulation of new identities; and (b) janusian process‐actively conceiving multiple opposites or antitheses simultaneously. Both of these processes are healthy, adaptive ones, indicating that mental illness does not facilitate creativity but interferes with it. Verbatim data from intensive interviews with the author, fohn Cheever, are presented to illustrate the relationship of that author's alcoholism to the writing of his outstanding creative achievement, the novel Falconer.     

Task structure,need for structure,and creativity

Although creativity is often seen as requiring spontaneity and flexibility, recent work suggests that there is creative potential in a structured and systematic approach as well. In a series of four experiments, we show that when Personal Need for Structure (PNS) is high, either chronic (Study 1) or situationally induced (Study 2), creative performance benefits from high task structure. Further, in line with earlier work on cognitive fixation effects, we show that when high task structure contains an example of noncreative task execution, creative performance is impaired, regardless of individuals' PNS. Nevertheless, participants high in PNS react relatively favorably to high task structure (Study 3) and are more likely to adopt a structured task approach when given the choice (Study 4). In sum, our results show that task structure can both stimulate and inhibit creative performance, particularly for people high in need for structure. Copyright © 2014 John Wiley & Sons, Ltd.     

Genius begins at home: Shared social identity enhances the recognition of creative performance

The present research examines the extent to which the recognition of creative performance is structured by social group membership. It does this by analysing the award of merit prizes for Best Actor and Actress in a Leading Role for the international award of US‐based Oscars and British‐based BAFTAs since BAFTA's inception of this category in 1968. For both awards, the exclusive assessment criterion is the quality of artists’ performance in the international arena. Results show that US artists won a greater proportion of Oscars than BAFTAs (odds ratio: 2.10), whereas British artists won a greater proportion of BAFTAs than Oscars (OR: 2.26). Furthermore, results support the hypothesis that these patterns are more pronounced as the diagnostic value of a quality indicator increases – that is, in the conferring of actual awards rather than nominations. Specifically, US artists won a greater proportion of Oscar awards than nominations (OR: 1.77), while British artists won a greater proportion of BAFTA awards than nominations (OR: 1.62). Additional analyses show that the performances of in‐group actors in movies portraying in‐group culture (US culture in the case of Oscars, British culture in the case of BAFTAs) are more likely to be recognized than the performances of in‐group actors in movies portraying the culture of other (out‐)groups. These are the first data to provide clear evidence from the field that the recognition of exceptional creative performance is enhanced by shared social identity between perceivers and performers.     

Creativity,Spontaneity, Impasse,and Leaps of Faith: Reply to Commentaries

In my reply to the commentaries, I address several points of convergence with and divergence from Drs. Danielle Knafo and Philip A. Ringstrom. I clarify my view that while shame can drive the creative process, the thrust of my paper is about ways in which shame can close down access to one's creative potential, as well as creating obstacles to vitality and intimacy in relationships. I expand on how it was indeed a visceral, embodied sense of my own shame which served as an “informant,” as Ringstrom suggests, of Julia's chronic experience of shame, opening a door to our exploration of the repetitive enactments between us. Grounding my understanding of therapeutic action and enactments in a relational perspective, I describe how I view enactments as inevitable and co-created, and reflecting on them collaboratively as a potentially useful opportunity in analytic work. I resonate with Ringstrom and Knafo's belief in the creativity inherent in the psychoanalytic process, and the importance of spontaneity and risk taking, particularly in negotiating impasses in treatment. Finally, I describe Julia's poetic reflections upon reading the paper.     

Creative Knowledge Environments

The extent to which an individual's (or a group's) creative potential is expressed depends considerably on the environment in which that individual (or group) works. To understand scientific and technological creativity, one needs to analyze the interactions between individuals or groups and their environment. We put forward the concept of a creative knowledge environment (CKE) to examine the environmental influences on individual and group creativity. After reviewing the research literature relevant to creativity using the CKE framework, we identify the main influences promoting creativity at different levels of organization. The framework provides suggestions as to how best to stimulate CKEs to be more creative. The article concludes by identifying issues where further research is needed.     

If These Walls Could Talk: Places as Stages for Human Drama

I advance the argument that the construction of identity is dependent on the actor's participation in interpersonal dramas. The narratives that flow from participation in personal or social drama become the anchors that affirm one's claims to identity. Historically, psychologists have given little attention to the places that provide the stages for such action. A dramatic engagement involves not only the act, the actors and their motives, but also the scenes (the places) that provide the backdrop for social life. Observations of the variability in performances attributable to scenes suggests place identity as a significant component of social identity. Accounts of emotional attachments to places support place identity as a useful construction in describing the components of a self. An implication of this analysis is that architects and planners, in their efforts to redesign cities, should take into account the construction that urban places are stages for the enactment of human dramas.     

CREATIVITY NATURALIZED

I argue that creativity is compatible with determinism and therefore with naturalistic explanation. I explore different kinds of novelty, corresponding with four distinct concepts of creativity – anthropological, historical, psychological and metaphysical. Psychological creativity incorporates originality and spontaneity. Taken together, these point to the independence of the creative mind from social learning, experience and previously acquired knowledge. This independence is nevertheless compatible with determinism. Creativity is opposed to specific causal factors, but it does not exclude causal determination as such. So creativity can be naturalized.     

SOME CORRELATIONS BETWEEN METHODS OF KNOWING AND THEOLOGICAL CONCEPTS IN ARTHUR PEACOCKE'S PERSONALISTIC PANENTHEISM AND NONPERSONAL NATURALISTIC THEISM

Differences in methods of knowing correlate with differences in concepts about what is known. This is an underlying issue in science and religion. It is seen, first, in Arthur Peacocke's reasoning about God as transcendent and personal, is based on an assumption of correlative thinking that like causes like. This contrasts with a notion of causation in empirical science, which explains the emergence of new phenomena as originating from temporally prior phenomena quite unlike that which emerges. The scientific understanding of causation is compatible with a naturalistic theism that holds a nonpersonal model of God as the creative process. However, focusing on the immanence of God, there is a second correlation between methods of knowing and concepts of God. Classical empiricism, used by science, correlates with God understood nonpersonally as the creative process. Radical empiricism, in which feelings and not only sense perceptions have cognitive import, opens up the possibility that one can experience Peacocke's personal, panentheistic God as pattern‐forming influence. I illustrate this second method‐concept correlation with a personal experience.     

Teacher's Encouragement on Creativity,Intrinsic Motivation,and Creativity: The Mediating Role of Creative Process Engagement

Drawing on Dewey's pragmatic perspective on talent cultivation and previous research on promoting employee creativity in industry, this study investigates student creativity performance in relation to teacher's encouragement, intrinsic motivation, and creative process engagement. Based on survey data collected from 140 vocational high school students who participated in a nation‐wide contest in Taiwan, path analyses were performed using structure equation modeling techniques. The results indicate that both teacher's encouragement and intrinsic motivation have a significant, although indirect, effect on student creativity, and that creative process engagement, as opposed to teacher encouragement or intrinsic motivation, has a direct and significant mediating effect on student creativity. This finding is in partial agreement with prior research which reports student creativity is positively associated with teacher encouragement and intrinsic motivation, highlighting the mediating role of creative process engagement in facilitating student creative performance.     

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.     

Aging Artists on the Creativity of Their Old Age

Eighty-eight graphic artists in their 60s, 70s, and 80s, nominated as creative by 154 prominent artists, completed an open-ended questionnaire about aging and its effect on their work. Four questions referred to changes in creativity in terms of the quality and quantity of work, sources of new ideas (originality), and approaches to art (style). The artists also were asked about the impact of physical and sensory losses on their work, and on their differences from younger artists. The artists also rated the quality and quantity of their past, present, and anticipated work. A content analysis of the artists' written comments to the 6 questions, and the ratings, gave a highly positive picture of aging's influence on art. Quality and quantity were reported as improving with age, as were the artists' ideas about, and approaches to, art. The presumed handicaps of aging largely were irrelevant or overcome. Few differences were reported with younger artists. Positive views of aging held equally for both men and women, and across the 3 age groups. The optimistic portrait of aging reflected by this sample of visual artists is discussed in terms of its relevance to other kinds of artists and nonartists; the consequences of early retirement; and the place of active older persons, especially artists, in studies of cognitive development.     

Exploring the Interactions between Asian Culture (Confucianism) and Creativity

According to Csikszentmihalyi (1988), creativity is a very complex interaction among a person, a field, and a culture. In keeping with this approach, a look at Asian culture in relation to its impact on creativity is in order. While people may vary in their native capacity for creativity, it is in the individual's interaction with the macrocosm where creative expression can be found. Therefore, this paper will explore the four principles of Confucianism, and how they compare to creativity research in order to discover how Asian culture influences creativity; and what we can do to enhance our students' creative capacity.