Cognitive Style,Creativity Framing and Effects

This study investigates how individuals with different cognitive styles respond to choices involving framing effects. The results suggest that cognitive style as defined by Kirton (1976) is far more complex than previous studies indicate. Kirton characterises “Innovators” as rule breakers and “Adaptors” as conformists. The most important finding of this study is that in some decision contexts, Innovators and Adaptors exhibit similar preferences for rule breaking. In other situations, Adaptors actually prefer non‐conformity in comparison to Innovators. The study analysed responses from 146 university students and professional managers to 25 binary choices involving investment decisions, job choices and travel routes. The questions were constructed to reveal significant reversals of preference related to risk and attribute based framing effects. Additionally, some questions were constructed to reveal preferences for certain operational aspects of creativity. Overall, the results suggest that framing effects may provide an important tool for unlocking individual creativity in organisations, as long as cognitive style and context are carefully taken into account.     

Creative style,personality, and artistic endeavor

Research has shown that creative style, as measured by the Kirton Adaption-Innovation Inventory (KAI; M. J. Kirton, 1976), is correlated with more than 30 different personality traits. In this article, the author demonstrates that many of these correlations can be understood within the framework of the Five-Factor Model of personality and shows that the predominant correlates of creative style are personality indicators in the domains of the factors Conscientiousness, Openness to Experience, and, to a lesser extent, Extraversion. These findings provide a basis for comparing the personality traits associated with creative style and occupational creativity. High scorers on the KAI (innovators) differ from both average and creative scientists but have personality characteristics similar to those of artists. This finding suggests that the artistic personality may be more common than is generally supposed and that common factors might underlie both artistic endeavor and creative style.     

Comparison of two creativity style measures

The purpose of this study was to examine the relation between two measures of creativity style for a sample of beginning teachers. 116 student teachers enrolled in an undergraduate teacher-education program in a medium-sized, metropolitan university completed the Kirton Adaption-Innovation Inventory and Basadur Creative Problem Solving Profile measures. A preference for an Innovator style (higher scores on Kirton's inventory) was correlated with the Generator profile on the Basadur profile (r=.36, p<.01). The KAI Efficiency scores, suggesting a preference for broad, global ideas as opposed to narrow, specific ones, was correlated with the Basadur Conceptualizer scores (r=.26, p<.01). Implications are discussed for teachers who must adapt to newer instructional and assessment methods designed to foster students' higher-level thinking skills.     

Suggestive Parallels between Kirton's A-I Theory of Creative Style and Koestler's Bisociative Theory of the Creative Act

ABSTRACT Kirton's Adaption-Innovation (A-I) theory of cognitive style was reviewed with particular regard to the three factors [Sufficiency of Originality, Efficiency, and Rule/Group Conformity] assumed to underlie the basic (AI) continuum. The basic additive model (AI = SO + E + R) set out by Kirton was then related to Koestler's bisociative theory of the creative act. The compatibility of the two theories offered mutual support for both. The intent of this paper is to explore connections between Kirton's Adaption-Innovation Theory and Koestler's theory of the creative act. In Koestler's distinctive term, the “bisociation” of the two theories offers interesting possibilities for reciprocal illumination. Kirton's work, initiated by the publication (Kirton, 1976) of his measure of creative style, the Kirton Adaption-Innovation Inventory (KAI), will be sketched first, followed by a brief overview of Koestler's 1963 monograph (Koestler, 1967). Parallels between the two theories will be suggested in a final section that casts the three Kirton factor/traits into the conceptual framework of the creative act set out by Koestler.     

领导行为对员工创造力的影响:基于变量中心和个体中心的视角*

以10家IT企业的305名员工为被试,采用变量中心和个体中心的分析策略,考察领导行为对员工创造力的影响。变量中心的分析发现,变革领导行为和交易领导行为均显著正向预测员工创造力。个体中心的分析发现,中变革/中交易与(中、低)被动结合的领导类型最为普遍,占全部领导的69.2%;无论被动放任行为高低,高变革与高交易行为组合领导下的员工创造力最高,说明高变革和高交易领导行为的结合最有利于员工创造力,领导类型对员工创造力的影响主要由使用变革和交易这两种领导行为的程度所决定。     

Creativity and personality in professional dancers

In this study three different groups of professional dancers (ballet, modern/contemporary and jazz/musical), which considerably vary with respect to the creativity-related demands involved in the respective dancing style, are compared with respect to psychometrically determined creativity, general mental ability and different facets of personality. Results indicate that modern/contemporary dancers, who are often required to freely improvise on stage, exhibited relatively high levels of verbal and figural creativity (as it was measured by means of psychometric creativity tests), followed by jazz/musical and finally by ballet dancers. With respect to personality, modern/contemporary dancers can be characterized as being less conscientious, higher on psychoticism and more open to experiences than the remaining experimental groups. In line with relevant research in this field, this study reveals some central personality characteristics of highly creative individuals which may be considered as important ingredients in the acquisition or actualization of exceptional creative potential.     

Productive and Re‐productive Thinking in Solving Insight Problems

Many innovations in organizations result when people discover insightful solutions to problems. Insightful problem‐solving was considered by Gestalt psychologists to be associated with productive, as opposed to re‐productive, thinking. Productive thinking is characterized by shifts in perspective which allow the problem solver to consider new, sometimes transformational, approaches. Re‐productive thinking, on the other hand, involves the application of familiar, routine, procedures. This article reports a study which investigated how self‐reported productive and re‐productive thinking are related to an individual's ability to solve insight problems. Our measures were tested against the Kirton Adaption‐Innovation Inventory (KAI), and a battery of spatial insight problems. The results indicated that productive and re‐productive thinking and the KAI were successful in predicting performance on spatial insight problems. Furthermore, the measures of productive and re‐productive thinking accounted for spatial insight performance independently of scores on the KAI. In addition, the results suggested that re‐productive thinking consists of two different components—one based on group conventions and the other on personal experience. Each contributed differently to solving insight problems.     

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.     

A Visual Representation to Quantitate,Diagnose, and Improve Creativity in Insight Problem Solving

A new visual representation for insight problems permits 22 new quantitative measures; which leads to a detailed diagnosis of a person's (or team's) creative weaknesses; which then leads to prescribing targeted, effective counter‐techniques for each weakness. Currently, only two measures are consistently used for insight problem solving: the number of problems solved and the time to solve the problems. These coarse measurements do not reveal the intricate dynamics of solving insight problems. Furthermore, four commonly used creativity measures (i.e., fluency, originality, flexibility, and elaboration) are often not applied to insight problems. This new visualization permits the easy application of all four creativity measures. I challenge creativity researchers to help determine which of the 22 proposed quantitative measures are the most diagnostic for insight problem solving in isolation and, in a weighted linear combination, which might yield an effective quotient (i.e., overall measure) of insight problem solving ability.     

A factor analysis of the Kirton Adaption-Innovation Inventory using an alcoholic population

The present study reports a factor analysis of the Kirton Adaption-Innovation Inventory using 103 alcoholic men. Kirton in 1976 and we in an unpublished work in 1986 noted identical factor structures when responses from nonalcoholic populations to the inventory were factor analyzed. Recent reviews regarding personality characteristics of alcoholics suggest characteristics similar to the adaption-innovation concepts of Kirton. This factor analysis for an alcoholic sample supports the validity of the inventory as a measure of problem-solving style of alcoholics.     

Adaptors and Innovators: Preference for Educational Procedures

We tested the hypothesis that differences in attitudes toward conflicting procedures would depend on the context of the presentation and an individual's cognitive style. Data from 182 British school teachers who completed the Kirton (1976) Adaption–Innovation Inventory and two questionnaires concerned with aspects of educational procedures provided results broadly in line with expected adaption–innovation theory. Innovators were found to have a preference for procedures loose in structure, with aims not easily defined, and without easy methods of assessment. The adaptors showed a preference for procedures containing a tighter structure, more definable aims and more precise methods of assessment. The data also provide useful additional norms and information on teachers' cognitive style differences with regard to subject taught, gender, and length of service.     

The Kirton Adaption Innovation Inventory Find Group Problem Solving Success Rates

The findings are the result of a four year study tracking the problem solving success rates of 952 managers comprising 119 different 8-person teams: each team consisting of a 4-member planning team and a 4-member implementing team. Unknown to the participants, each subteam was arranged according to their Kirton Adaption Innovation Inventory (KAI) into homogeneous subteams either similar to or dissimilar from the other subteam. It was found that coordination of subteam role (task) with KAI type significantly increased group success rates, and that placing KAI types outside of role preference resulted in significantly lower success rates. An exception to the subgroup role results occurred when the KAI types were performing tasks outside of their preferred style, and the KAI subgroup means were similar. In this case, significantly elevated success rates were found, probably due to enhanced interteam communication.     

Defining Creativity: Don't We Also Need to Define What Is Not Creative?

I argue that any attempt to define creative ideas cannot fully succeed without also defining uncreative ideas. This argument begins by defining three parameters that characterize a potentially creative thought: the idea's initial probability (p), the final utility (u), and the creator's prior knowledge of that utility (v). The three parameters then lead to a three‐criterion multiplicative definition of personal creativity, namely, c = (1 ? p)u(1 ? v), where the first factor indicates originality and the third factor surprise. Although creativity can only maximize as originality, utility, and surprise all approach unity, the same definition indicates that there are seven different ways that creativity can minimize. These alternatives were identified as (a) routine, reproductive, or habitual ideas, (b) fortuitous response bias, (c) irrational perseveration, (d) problem finding, (e) rational suppression, (f) irrational suppression, and (g) blissful ignorance. If the third parameter v is omitted, then the number of creative and noncreative outcomes reduces to just four, making creativity indistinguishable from irrational suppression. The alternative outcomes are then illustrated using the classic two‐string problem. Besides providing a more finely differentiated conception of creativity failures, the definition has critical implications regarding the processes and procedures required to generate highly creative ideas.     

Old wine in a new bottle: Impact of membership change on group creativity

The purpose of this study was to investigate the impact of membership change on group creativity. Based on the literature suggesting stimulating effects of membership change in groups, we hypothesized that membership change would enhance the creativity of groups. Membership change involved randomly rotating a subset of group members among groups during a series of creative tasks. Using an idea generation paradigm, we compared the creativity of open groups (i.e., groups that experienced a change in their membership across tasks) with that of closed groups (i.e., groups whose membership was invariant across tasks) in two experiments. In both experiments, we found that open groups generated more ideas and more different kinds of ideas than did closed groups. Moreover, Experiment 2 revealed that it was the productivity of “newcomers” (measured in terms of their creative idea generation in a previous task) that exerted a positive impact on groups. We also found that the entry of more productive newcomers increased the creativity of “oldtimers” (i.e., people who remained in one group across tasks). Implications for the role of membership change in groups are discussed.     

Motivated or Demotivated to Be Creative: The Role of Self‐Regulatory Focus in Transformational and Transactional Leadership Processes

Numerous studies have recognised the importance of transformational leadership style for encouraging employees’ creativity. Self‐regulation studies have highlighted the influence of a promotion focus on employees’ creative behaviours. Yet both leadership and self‐regulation theories have paid less attention to the role transactional leadership style and situational prevention regulatory focus may play in affecting employees’ creativity. In this article we present a theoretical model which examines transformational and transactional leadership styles and both promotion and prevention situational self‐regulatory focus (SRF). The model suggests that while transformational leadership promotes creativity, at least partially by enhancing follower's situational promotion SRF, transactional leadership style (transactional active) is aligned with followers’ prevention situational SRF, which is associated with leaders’ hindering of followers’ creativity. Findings from two studies, an experimental study (N = 189) and a field study (N = 343 employees and 75 managers), support this model, showing that the relationship between different types of leadership and creativity are more complex than previously regarded. The theoretical and practical implications are discussed.     

Acquiescence and response skewness in scale construction: a paradox

Kirton's version of the Wilson C Scale is primarily a version wherein items of the C Scale that attract very skewed responses have been eliminated. Contrary to what seems obvious, it is shown that the Kirton scale shows more, rather than less, influence from acquiescent response bias. Although such influence was not a serious problem with this particular scale, the finding does give grounds for believing that some skewed items may make a valuable contribution to an additive (‘Likert’) scale.     

Creative Style and Divergent Production

In a sample of British working men and women, scores on the Kirton Adaption-Innovation Inventory (MI) were compared with divergent production scores on Guilford's Consequences and Alternate Uses tests. On the Consequences test, adaptors and innovators produced approximately equal numbers of common responses, but the innovators produced a higher number of uncommon (remote) responses, and a higher number of responses in total. Innovators also produced more responses than adaptors on the Alternate Uses test. The results are discussed with reference to the distinction between creative style and creative level. Creative style appears to be more strongly, related to some measures of creative level than to others, and the results are consistent with Kirton's view that when solving problems, innovators access a larger cognitive domain than adaptors.     

It's not what you play,it's how you play it: Timbre affects perception of emotion in music

Salient sensory experiences often have a strong emotional tone, but the neuropsychological relations between perceptual characteristics of sensory objects and the affective information they convey remain poorly defined. Here we addressed the relationship between sound identity and emotional information using music. In two experiments, we investigated whether perception of emotions is influenced by altering the musical instrument on which the music is played, independently of other musical features. In the first experiment, 40 novel melodies each representing one of four emotions (happiness, sadness, fear, or anger) were each recorded on four different instruments (an electronic synthesizer, a piano, a violin, and a trumpet), controlling for melody, tempo, and loudness between instruments. Healthy participants (23 young adults aged 18–30 years, 24 older adults aged 58–75 years) were asked to select which emotion they thought each musical stimulus represented in a four-alternative forced-choice task. Using a generalized linear mixed model we found a significant interaction between instrument and emotion judgement with a similar pattern in young and older adults (p < .0001 for each age group). The effect was not attributable to musical expertise. In the second experiment using the same melodies and experimental design, the interaction between timbre and perceived emotion was replicated (p < .05) in another group of young adults for novel synthetic timbres designed to incorporate timbral cues to particular emotions. Our findings show that timbre (instrument identity) independently affects the perception of emotions in music after controlling for other acoustic, cognitive, and performance factors.     

Affect in analogical transfer

Abstract:

The putative importance of analogy in creative insight and intelligence has been repeatedly supported in anecdotal reports of creative scientists and theoretical proposals on creativity. The aim of the present study was to investigate the influence of affect on analogical transfer. For that purpose, three experiments were conducted in which negative, neutral, or positive affect was induced by films. Persons were asked to solve ill‐defined, well‐defined, and insight problems. Analogical reasoning was evoked by base information presented prior to the film and target problem. The first two experiments indicated that positive affect facilitates transfer in ill‐defined problems, but impairs it in well‐defined problems. These findings are discussed in terms of the cognitive strategies used to solve well‐ and ill‐defined problems, and the theoretical assumptions about the impact of positive affect on cognitive organization. The results of the third experiment supported the hypothesis that the influence of positive affect on analogical transfer is related to the form (visual/verbal) of presenting the base analogy.