Cultural influences on artistic creativity and its evaluation

Two studies were designed to compare (a) the rated creativity of artworks created by American and Chinese college students, and (b) the criteria used by American and Chinese judges to evaluate these artworks. The study demonstrated that the two groups of students differed in their artistic creativity. American participants produced more creative and aesthetically pleasing artworks than did their Chinese counterparts, and this difference in performance was recognized by both American and Chinese judges. The difference between the use of criteria by American and Chinese judges was small, and consisted mainly of the American judges' use of stricter standards in evaluating overall creativity. Moreover, in general, there was a greater consensus among Chinese judges regarding what constitutes creativity than among American judges. The study also revealed, but preliminarily, that the artistic creativity of Chinese students was more likely to be reduced as a function of restrictive task constraints or of the absence of explicit instructions to be creative. The results of this study seem to support the hypothesis that an independent self‐oriented culture is more encouraging of the development of artistic creativity than is an interdependent self‐oriented culture. Other possible explanations, such as differences in people's attitudes toward and motivation for engaging in art activities, or socioeconomic factors might also account for differences in people's artistic creativity.     

留学经验与艺术创造力

采用两个艺术创造力测量任务比较了中国留学生、德国大学生和中国国内学生的艺术创造力水平。使用共感评价技术作为评判艺术作品创造程度、技术水平等维度的方法。研究发现:(1)在艺术创造力任务中,中国留学生没有表现出比中国国内学生的优势,说明可能多元文化经验对创造力表达的影响是有条件的;(2)德国学生的艺术创造力水平高于中国学生,本结果支持前人研究中有关个人主义文化相对于集体主义文化更有助于创造力表达的相关假设;(3)共感评价技术是艺术创造力研究的有效工具。     

记忆训练的中德跨文化研究

这项工作旨在比较中德不同历史、文化背景条件下,记忆成绩的年龄差异和跨文化差异,认知训练对改善两国被试的记忆的作用,训练迁移作业中的年龄差异和跨文化差异。中德被试各70例,分为三个年龄组,分别在北京和柏林进行“位置法”记忆训练。结果表明:中、德老年被试在训练前、后,记忆成绩均明显低于青少年,证实了认知功能及其储备能量均有减退。训练前,中、德被试各项成绩均无显著性差异;训练后,中国被试各项成绩的提高均比德国被试明显,训练揭示了跨文化差异。     

Effects of Explicit Instruction to “Be Creative” Across Domains and Cultures

To explore whether the facilitation effects of an explicit instruction to “be creative” vary across cultures and types of tasks, 248 U.S. and 278 Chinese college students were administered a battery of tests of verbal, artistic, and mathematical creativity. Half of the participants were tested under the standard condition, and the other half under the explicit instruction condition. Results showed that the facilitation effects of the explicit instruction varied by domains of the creativity tasks (greater for artistic and mathematical creativity than for verbal creativity), but not across cultural and ethnic groups. The explicit instruction had a small “detrimental” effect on the clarity and grammar of story writing, but not on any other aspects of the technical quality of creative products. Methodological and theoretical implications of these findings are discussed.     

In the World or in the Head: External and Internal Implicit Theories of Creativity

This research is an initial step to bringing existing research on cultural differences in attribution and holism to the study of implicit theories of creativity. Two studies examined the tendency to consider creativity to be prototypically expressed internally via reflection and internal states versus expressed externally via interaction and products. Study 1 had Caucasian American, Asian American, and Japanese undergraduates list activities and traits they associated with creative groups and individuals. In Study 2, Japanese, Chinese, Caucasian Americans, and Asian Americans chose specific professions as more creative using a paired forced-choice method. In both studies, East Asians had a greater propensity to choose external traits, activities, and professions as creative, whereas Caucasian Americans and to a lesser degree, Asian Americans showed a preference for internal items. The implications of cross-cultural differences in implicit theories of creativity are discussed.     

Who are the Best‐Known National and Foreign Creators — a Comparative Study Among Undergraduates in China and Germany

Separate studies of Chinese and Western individuals have suggested that there are cultural differences in perceptions of creativity, particularly in an emphasis on meritorious salience versus aesthetic salience as bases for creativity, but cross‐cultural studies are needed to substantiate that difference. In this study, undergraduates from Giessen in Germany and Hong Kong and Nanjing in China provided data on the recognition of famous creative persons. Chinese undergraduates in Hong Kong and Nanjing mostly nominated politicians, scientists or inventors, but rarely nominated artists, musicians. German undergraduates mostly nominated philosophers, artists, and writers but rarely nominated politicians. This supports our assumption that the Chinese evaluation of creators emphasizes the meritorious salience of creativity whereas the German evaluation of creators emphasizes the aesthetic salience of creativity. Implications and limitations of this study are discussed at the end of the paper.     

Cultural Difference in Stereotype Perceptions and Performances in Nonverbal Deductive Reasoning and Creativity

A total of 182 undergraduate students from China and the United States participated in a study examining the presence of stereotypical perceptions regarding creativity and deductive reasoning abilities, as well as the influence of stereotype on participants' performance on deductive reasoning and creativity in nonverbal form. The results showed that participants from both China and the United States believed that Americans have better creativity abilities than Chinese and that Chinese have better deductive reasoning skills than Americans. Significant cultural difference in the performances on the measures of creativity was found. The cultural difference in deductive reasoning was found between Chinese participants in China and the Caucasian (not the Asian) participants in the United States, which were somewhat congruent to the stereotypical perceptions. However, the study did not find that stereotypic perceptions directly influenced participants' performance on deductive reasoning and creativity.     

The evolving systems approach to creative work

This study investigated the connection between drawing skill and artistic creativity in relation to age groups and levels of artistic involvement among 223 Chinese primary, secondary, and university students in Hong Kong. Based on the fantasy drawing task, visual-artist judges made expert judgments on students' drawing skill and artistic creativity. There was substantial correlation between drawing skill and artistic creativity among children, adolescents, and young adults, even when artistic involvement was controlled in the partial correlation analyses. The results of correlational and regression analyses suggested that drawing skill contributed most significantly to the prediction of artistic creativity throughout the years at different stages of development, but artistic involvement became more important, especially in young adulthood. Implications of the findings on the skill–creativity relationship for arts education and the directions for future research are discussed.     

General,Artistic and Scientific Creativity Attributes of Engineering and Music Students

ABSTRACT

The purpose of this research was to investigate similarities and differences in general, artistic, and scientific creativity between engineering versus music students, as 2 groups respectively representing scientific and artistic domains. One hundred music and 105 engineering students from a large, Northeastern university completed measures of general creativity, music creativity, engineering creativity, and a demographic questionnaire. Results indicated that musicians scored higher in general and artistic creativity, with no significant differences in scientific creativity. Participants had higher levels of creativity, compared with normative data from previous studies. Gender, age, and specialization within major yielded no significant differences. Implications for creativity measures are discussed, including cognitive risk tolerance.     

Differentiation of self and trait anxiety: A cross‐cultural perspective

Cultural differences are likely to affect the ability to deal with anxiety. We investigated this issue among four cultural groups—Germans and Italians (Europeans living in South Tyrol, Italy), Jews and Arabs (Israelis)—in terms of their levels of differentiation of self, trait anxiety and somatic symptoms. We also examined the relationship of differentiation of self to trait anxiety and somatic symptoms. The sample consisted of 824 students: 387 Israelis (mean age 23.6) and 437 Europeans (mean age 22.3). Israeli participants reported lower levels of trait anxiety than European students. Jewish students reported lower trait anxiety than Arab students (mean difference = ?.14, p < .009), while there was no difference between German and Italian students (mean difference = .03, p > .99). Jews reported a significantly lower level of emotional cutoff than Arabs (mean difference = ?.45, p < .001), and Germans reported a significantly lower level of emotional reactivity than Italians (mean difference = .29, p < .001). Emotional reactivity and I‐position predicted all participants' trait anxiety. On the whole, results point to the importance of examining differentiation of self when trying to reduce trait anxiety, as well as some important cultural differences.     

中德中学教师创造力内隐观跨文化研究

采用形容词核查表对465位中德两国中学教师关于创造性学生核心特征的内隐观特点进行考察,探讨其是否具有领域特殊性。得到以下结论:中德教师创造力内隐观既存在所有社会人共享的普遍核心特征,也存在自身领域的独特性。中国教师更倾向于将集体主义、幽默感、符合道德成分的“合作性”看作是创造性学生的特征,而德国教师更倾向于将艺术性、个人主义看作是创造性学生的特征。     

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.     

Acculturation,self‐construal,mental and physical health: An explorative study of East Asian students in Germany

The present study explores acculturation and its associated aspects of two East Asian student groups with different levels of exposure to German culture (100 international students from East Asian countries [IS]; 61 second generation students of East Asian descent [SGS]). First, we investigated the relationships between acculturation, self‐construal, depressive and somatic symptoms, and differences between the student groups in these variables. Second, the four acculturation types (integration, assimilation, separation and marginalization) were examined regarding their relationship to self‐construal and health outcomes. The results showed that the acculturation dimensions (mainstream, heritage) were relevant to the level of depressive symptoms for IS which was not the case for SGS. Furthermore, IS reported more somatic symptoms whereas there was no difference between the two groups in the level of depressive symptoms. In the analysis of acculturation types, assimilated and integrated students were characterized by high independent self‐construal, while separated and integrated students showed high interdependent self‐construal. Assimilated students displayed the least depressive symptoms of all acculturation groups. This study highlights different characteristics of East Asian students in acculturation, self‐construal and health outcomes, and discusses the complexity of the relationships between acculturation types and health.     

青少年创造性人格和创造性的关系：来自中美比较的证据

通过对中美400名13-15岁青少年问卷调查,比较了中美青少年创造性人格及其与创造性之间的关系.结果发现：（1）和单个创造性人格变量相比,创造性人格的内部因素、外部因素和自我因素和创造性之间的相关均达到中等程度,且均非常显著,中国青少年创造性人格三个因素能解释创造性变异的11％,美国青少年创造性人格三个因素能解释创造性变异的15％.（2）在创造性上,美国青少年在所有维度上的得分均显著高于中国青少年,但在创造性人格上,只有在自我因素上,中国青少年创造性人格得分高于美国青少年,其他因素不存在差异,这说明创造性人格不是造成中美青少年创造性差异的主要原因.     

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.     

Collaborative Theater/Collective Artist: An Evolving Systems Case Study in Social Creativity

Theater production is a collaborative creative activity. Social creativity recognizes the relationships between creative groups and the contexts in which creativity emerges. It also suggests that the interactive processes between the collaborators and their work form a center, which in turn becomes a kind of creative entity itself. An evolving systems case study of production practices at the Oregon Shakespeare Festival illuminates this process and illustrates the differences between seeing an aggregate creative activity and the more holistic view, in which the artwork functions like another person, a creature in dialogue with the personality of the creative system.     

Formulation of Policy and Strategy in Developing Creativity Education in Four Asian Chinese Societies: A Policy Analysis

The present study sought to compare and contrast educational policies on creativity education in four Asian Chinese societies, namely mainland China, Hong Kong, Singapore, and Taiwan. It establishes five criteria on creativity education policy, including policies regarding legislation on creativity education, definitions of creativity, standard implementation, explicit identification of special populations of creative students, and creativity education in the community. Among the four societies, Taiwan has an official document — the White Paper on Creative Education published in 2003 — whereas in Hong Kong and Singapore, creativity has been identified as an ability to be nurtured in students of all levels in their national curriculum reform. In mainland China, innovation is regarded as a synonym for creativity. Definitions of creativity have at times not been clearly defined, although multiple levels of creativity development (individual, school, societal, industrial, and cultural) have been discussed in Taiwan. In Hong Kong, creativity has been defined as a generic skill in various key learning areas (e.g., language education, mathematics education, science education, etc.) in the school curriculum. In Singapore, creativity is a learning outcome to be developed in students. None of these societies use standard creativity assessment tests as evidence of creative competence in students. When creativity has entered the central stage in the curriculum reform and creativity education is made available to every student, efforts have been made to identify highly creative students and provide them enrichment opportunities, mainly using performance assessments and performance in creativity competitions in these societies. But mainland China, Hong Kong, and Singapore do not sufficiently emphasize creativity education in the larger community.     

On the Cognitive Benefits of Cultural Experience: Exploring the Relationship between Studying Abroad and Creative Thinking

Drawing from research that shows a positive relationship between multicultural experiences and creative cognition, the present study investigates creative thinking as a possible cognitive benefit gained from studying abroad. The domain generality and specificity of creative thinking is also explored. Undergraduate students completed a general measure and a culture specific measure of creative thinking. Performance on the two creative thinking tasks were compared between students who have studied abroad, students who are planning to study abroad, and students who have not and do not plan to study abroad. Results showed that students who studied abroad outperformed the two groups of students who did not study abroad on both the general and culture specific measures of creative thinking. Findings from this study provide evidence that studying abroad supports complex cognitive processes that underlie creative thinking in culture specific and domain general settings. Copyright © 2012 John Wiley & Sons, Ltd.     

Createativity and Mood: Towards a Model of Cognitive Mediation

Empirical and biographical evidence reveals that the highly creative are more likely to experience mental health problems; most commonly depression and particularly within artistic fields. Cognitive theories of creative thinking suggest that artistic creativity may be associated with a divergent style of thinking, which is distinguished by specific differences with respect to logical appraisal skills. As similar patterns of appraisal are frequently found in those experiencing depression, it is suggested that appraisal may be a mediating feature between creativity and affect. This hypothesis is tested in the present study. Creativity, cognitive appraisal patterns and mood were measured in 104 undergraduate students (N = 36 art and 68 science) by standardised assessments. In keeping with predictions, art students were found to be more creative, experienced lower mood, and displayed greater degrees of distortion and bias in their appraisals.