Whence Creativity?

In this article, I explicate where my theoretical work on creativity has been and where it is going. I describe earlier three‐facet and investment theories, as well as a propulsion model. I then describe my new triangular theory of creativity.     

Are Teachers' Implicit Theories of Creativity Related to the Recognition of Their Students' Creativity?

We examine the structure of implicit theories of creativity among Polish high schools teachers and the role those theories play for the accuracy of teachers' assessment of their students' creativity. Latent class analysis revealed the existence of four classes of teachers, whose perception of a creative student differed: two of these classes defined a creative student incoherently with the existing theories of creativity, and the other two classes did that in accordance with Kirton's (1976) theory of creativity styles, that is, as adaptors or innovators. Teachers who perceived a creative student as an adaptor tended to more accurately assess the creativity of females, whereas teachers perceiving a creative student as an innovator more accurately assessed the creativity of males. We discuss the theoretical and practical consequences of these findings.     

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.     

Acute Aerobic Exercise Enhances Students’ Creativity

The purpose of this study was to evaluate the effectiveness of an aerobics games class on creativity in children during the school day. Participants were 96 students (age = 9.84 ± 1.12 years), 48 girls and 48 boys. The students were randomly assigned to the experimental group (EG, n = 48) or the control group (CG, n = 48). The Prueba de Imaginación Creativa-Niños (PIC-N) test was employed to assess narrative and graphic creativity. The EG took part in an aerobic games session lasting 45 min; the CG did not take part in a physical education class on that school day. As for group × time interaction, the EG experienced significant improvements in all creativity variables except in graphic originality, graphic titles, and graphic details. The CG did not improve any creativity variables. The findings suggest that acute aerobic exercise can enhance students’ creativity, which could be important for academic achievement.     

Development,Use and Implications of Diagnostic Creativity Assessment App,RDCA – Reisman Diagnostic Creativity Assessment

The Reisman Diagnostic Creativity Assessment (RDCA) is a free online self-report creativity assessment that provides immediate feedback to the user and is diagnostic, rather than predictive, with the focus on making the user aware of creative strengths and weaknesses. Several engineering and teacher education studies have included the RDCA over a period of 3 years to refine the document items as a result of factor and statistical analyses. We acknowledge the advantages and disadvantages of self-report instruments and question the traditional use of reliability as a psychometric measure for self-report assessments. Many tools and techniques for enhancing creative factors identified by the RDCA are included.     

How Can We Talk about Creativity?

The Psychological Record - In his work Philosophical Investigations, Ludwig Wittgenstein (1953/2009) argues that our language is only clearly communicated by agreement of definitions and judgments....     

Teachers’ Perceptions of Creativity in the Classroom

Teachers’ implicit understandings of creativity may not align with current research-based understanding of creativity and characteristics associated with creative students. Even teachers who say they value creativity may actually find creative characteristics undesirable. Participating teachers (n = 371) rated student characteristics on a scale of very undesirable to very desirable. Participants also completed a brief self-assessment of personal creativity and rank-ordered a set of educational objectives based on what they perceived as most important. Results indicated that teachers found student characteristics associated with creativity less desirable than those characteristics contraindicative to creativity (d = 2.70). No effects were found based on the grade level (d = 0.07) and small effects were found for subjects taught (η² = 0.023). Similarly, no effects were found for the teachers’ level of experience (η² = 0.004) or age (η² = 0.002). Teachers’ level of personal creativity was related (r = .248) to how desirable they rated student characteristics associated with creativity, but the importance with which teachers ranked creative thinking had small effects (η² = 0.04) on how desirable they found characteristics associated with creativity. These results generally confirm previous studies and suggest that teachers’ grade level, subject, experience, and age have no effect on their perception of creative characteristics. However, some evidence suggests that teachers who are more creative find student characteristics associated with creativity more desirable in class.     

Educational Science Students’ Implicit Theories of Creativity

This article presents the results of research into the implicit theories of creativity of Educational Science students preparing for the role of educational counsellors. Educational Science students will soon be working in educational institutions where they are expected to support creativity. Prospective (pre)school counsellors were asked about how they perceive and how they experience creativity in their own schooling by means of a questionnaire and focus group interview. Participants’ answers were analyzed using quantitative and qualitative content analyses. The data obtained from the questionnaire showed that the students mainly defined creativity as the characteristic of a person or process. They saw the major possibility for developing creativity during university studies in stimulating teaching activities and a supportive educational climate. The data from the focus group expanded the students’ definition of creativity through the domain of the expression and the valuation of creativity. In the discussion about the development of creativity during university studies, the role of the study program and the students’ individual characteristics were highlighted. The aspects of Educational Science education that need to be changed to increase the quality of the preparation of future educational counsellors are also considered.     

Do Traditional Admissions Criteria Reflect Applicant Creativity?

College admissions decisions have traditionally focused on high school academic performance and standardized test scores. An ongoing debate is the validity of these measures for predicting success in college; part of this debate includes how success is defined. One potential way of defining college success is a student's creative accomplishments. We tested the hypothesis that traditional admissions criteria fail to capture adequately the creativity of applicants by asking 610 college applicants to complete several creativity tasks. These included divergent thinking, caption‐writing, an essay, and self‐report measures of creativity in numerous domains. Creativity scores were compared to data from the college application, including high school rank, standardized test scores, and admissions interview scores. Results showed that traditional admissions criteria were only weakly related to creativity. Indeed, students who report the highest creative self‐efficacy can be perceived as weaker applicants according to traditional criteria. Findings are discussed in light of the goals of higher education to increase diversity of the student body and the abilities of its students.     

Supporting Creativity Or Conformity? Influence of Home Environment and Parental Factors on the Value of Children's Creativity Characteristics

Although creativity is a desirable skill, parenting for creativity may be quite a challenge and may be less favored than parenting for conformity. The present study aims to investigate parent-related factors that may support creativity versus conformity at home. To this end, this study examined how parents’ attitudes and values toward creativity, creative home environment, and mindful parenting style are related to parents’ perceptions of creative versus socially acceptable characteristics. Analyses of the data collected from 1324 parents (predominantly mothers) indicated that parents were more supportive of creativity traits than socially acceptable characteristics. Most importantly, parents’ attitudes and values toward creativity and creative home environment were significantly and positively related to support for creativity characteristics, whereas mindful parenting was significantly and negatively related to support for socially acceptable characteristics in children. Those findings show that parents who value creativity and set up a creative environment are more likely to support children's creativity. Mindful parenting style seems to indirectly support creativity because it is associated with lower respect for socially acceptable characteristics, some of which are at odds with creativity. Findings are discussed in terms of the implications for training programs that enhance awareness of creativity.     

Stretching–Developing Therapeutic Creativity in Work with Couples

ABSTRACT

The biggest issue for therapists is how to maintain their vitality and creativity throughout their careers. I believe that therapeutic creativity lies in the interface of these skills: making up new stories in the moment, translating them into a client's actual experience, and helping the client use them to be different. Developing and maintaining these creative skills involves two issues of therapeutic style. Contrast means that you know the parts of your personality and can use them to demonstrate being different. Range means that you can take a specific part of your personality and play with it.     

Teaching for Creativity Scales: An Instrument to Examine Teachers’ Perceptions of Factors That Allow for the Teaching of Creativity

Creativity is valuable for individuals and society; it is thus important to understand how creativity can be fostered and encouraged. Teachers have a unique opportunity to promote creativity among their students. Teaching for Creativity Scales analyze constructs that influence teachers’ perceptions of teaching for creativity. Approximately 650 teachers completed the survey. In the exploratory factor analysis, the items fit a 4-factor structure, producing 4 subscales: teacher self-efficacy, environmental encouragement, societal value, and student potential. The instrument was revised and distributed to additional teachers for a confirmatory factor analysis. With a few item deletions, the proposed model was a good fit for the data (CMIN/df = 1.819, CFI = .923, TLI rho2 = .917, RMSEA = .053). With continued testing and revisions, this instrument could be useful for measuring perceptional changes due to designed interventions, comparing different populations of teachers, and describing creativity perceptions at a given school.     

Intelligence and Creativity: Over the Threshold Together?

Threshold theory predicts a positive correlation between IQ and creativity scores up to an IQ level of 120 and no correlation above this threshold. Primary school children were tested at beginning (N = 98) and ending (N = 70) of the school year. Participants performed the standard progressive matrices (SPM) and the Test of Creative Thinking—Drawing Production (TCT-DP). Each child with IQ ≥ 120 was grade-and-gender matched to a child with IQ < 120. Results in accordance with the threshold theory were found only for female children in the highest grade level (Grade 4). Longitudinal analysis implies that a subgroup of children goes down in IQ and creativity simultaneously, possibly due to motivational issues. Their correlated scores may be a source of evidence for the threshold theory. The relationship between intelligence and creativity is not straightforward and depends on a combination of factors including grade level and gender.     

Is There a Developmental Slump in Creativity in China? The Relationship Between Organizational Climate and Creativity Development in Chinese Adolescents

The major objectives of this study were to determine the characteristics of creativity development of Chinese children, the creative organizational climate of Chinese schools, and the relations among them. The results provided evidence that the creativity scores of children in elementary school were significantly higher than those of children in middle school. The teachers' evaluation of the creative organizational climate of the elementary school was significantly higher than that of the middle school. When the two variables were analyzed together, both the creative organizational climate of schools and the creative thinking development of children decreased during the children's development. Moreover, the creativity and climate scores were highly correlated, and the results from a path analysis suggested that a school's creative organizational climate has a significant impact on all seven dimensions of creativity measured in this study.     

Gender Differences in the Creativity of Hong Kong School Children: Comparison by Using the New Electronic Wallach–Kogan Creativity Tests

Gender differences in creativity scores of the Wallach–Kogan Creativity Tests were found for a sample of 2476 4th- to 9th-graders from 8 primary schools and 4 secondary schools in Hong Kong. Specifically, girls in the junior high grades excelled boys in verbal flexibility, figural fluency, figural flexibility, figural uniqueness, and figural unusualness. These findings contrasted with previous findings of no gender differences in a norming study of the same instrument carried out eight years before this study. The gender differences were explained in terms of environmental effect and cultural effect.     

Malevolent Creativity: Does Personality Influence Malicious Divergent Thinking?

The purpose of this research was to examine the relationship between malevolent creativity and personality, with a specific focus on the traits of antagonism, aggression, and sympathy. Participants (N = 265) completed a series of personality measures and two divergent thinking tasks (uses for a brick and a pencil). Responses were coded for fluency and malevolent creativity. Hierarchical multiple regression analyses revealed that gender, conscientiousness, and trait physical aggression accounted for unique variability in malevolent creativity scores. These results confirm the link between personality and malevolent creativity, corroborating the General Model of Aggression and extending understanding of malevolent creativity, a new subfield of creativity research.     

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.     

Child’s Play: The Creativity of Older Adults

In this article, I discuss Paul W. Pruyser's view presented in his article "An Essay on Creativity" (Pruyser in Bull Menninger Clin 43:294-353, 1979) that creative persons manifest early childhood qualities of playfulness, curiosity, and pleasure seeking and that adaptation is itself a form of creativity. I then discuss his article "Creativity in Aging Persons" (Pruyser in Bull Menninger Clin 51:425-435, 1987) in which he presents his view that aging itself is a potentially creative process, that creativity among older adults is not limited to the talented few, and that older adulthood has several specific features that are conducive to creativity. Significant among these features are object loss (especially involving human relationships) and functional loss (due to the vicissitudes of aging). Noting his particular emphasis on object loss and its role in late-life creativity, I focus on functional loss, and I emphasize the importance of adaptation in sustaining the creativity of older adults who experience such loss. I illustrate this adaptation by considering well-known painters who in late life suffered visual problems common to older adults. I suggest that in adapting to their visual problems these artists drew on the early childhood qualities (playfulness, curiosity and pleasure seeking) that all creative persons possess and that they are therefore illustrative for other older adults who are experiencing functional losses. I conclude with Erik H. Erikson's (Toys and reasons: stages in the ritualization of experience, W. W. Norton, New York, 1977) and Paul W. Pruyser's (Pastor Psychol 35:120-131, 1986) reflections on the relationship between seeing and hoping.