Innovation Motivation and Artistic Creativity

Innovation motivation is a social learning model of originality comprising two variables: the need to be different and innovation expectancy. This study examined their contribution to artistic creativity in a sample of undergraduates. Participants completed measures of both innovation motivation variables as well as intelligence, adjustment, and artistic training. Participants completed three drawings using colored pencils: a human artifact, a non‐human life form, and a person. Choice of main subject and details were tabulated for each drawing and originality scores were derived based on the infrequency of each thematic element. The drawings were also evaluated for technical proficiency and creativity by two master's level art therapists. The need to be different and innovation expectancy each predicted the originality of each drawing; together, they predicted 42% of the variance in the composite originality score. The need to be different and innovation expectancy also predicted proficiency and creativity ratings, especially the latter. The other variables yielded weaker, less consistent predictions. In general, both innovation motivation variables still predicted significant proportions of the variance in originality scores and creativity ratings even after controlling for other variables.     

On the development of creativity in South America

This study examined relations between creative thinking and performance on routine, everyday tasks. Results were considered in light of past research on the putative relation between creativity and schizophrenia/psychotic thinking. Thirty healthy undergraduates completed the Alternative Uses Task, a measure of divergent thinking, and the 2 × 3 Multi-Level Action Test, a performance-based measure of everyday action. The Alternative Uses Task was scored for fluency (total plausible uses), originality (uniqueness of responses), and errors (inappropriate uses). The 2 × 3 Multi-Level Action Test was scored for omissions (step not performed), commissions (step performed incorrectly), and additions (performing off-task step). Correlations between Alternative Uses Task and 2 × 3 Multi-Level Action Test variables showed originality was highly associated with both omissions and commissions, such that the more unique responses one generated, the fewer everyday action errors were made. Alternative Uses Task errors were positively correlated with action additions, indicating that overinclusive thinking on a measure of divergent thinking was associated with off-task/overinclusive everyday action. These results demonstrated meaningful associations between specific dimensions of creativity and specific everyday task errors. When considered in light of past research on schizophrenia, the results suggest creativity in psychosis may reflect inappropriate, overinclusive thinking rather than original, effective thought.     

Identifying Creativity During Problem Solving Using Linguistic Features

Creativity is commonly assessed using divergent thinking tasks, which measure the fluency, flexibility, originality, and elaboration of participant output on a variety of different tasks. This study assesses the degree to which creativity can be identified based on linguistic features of participants’ language while completing collaborative divergent thinking tasks. To this end, 78 participants’ conversational dialogs (i.e., 39 dyads) within a chat environment were collected while completing three open-ended problem-solving tasks. Expert raters scored the dialogs in terms of fluency, flexibility, elaboration, and originality, as well as three types of creative language (metaphor and simile, humor, and word play). Factor analyses indicated that these scores captured two main constructs (creativity and elaboration). The linguistic features of the participants’ language (captured computationally using natural language processing tools) accounted for significant amounts of variation in both the creativity (R² = .640) and elaboration (R² = .550) scores within linear mixed effect (LME) models. These results highlight specific linguistic features that can be used to explain large amounts of variance in constructs related to creativity.     

The Interplay of Creative Behavior,Divergent Thinking,and Knowledge Base in Students' Creative Expression During Learning Activity

The purpose of this study was to research the relations between knowledge, students’ self-assessed creative performance, and divergent thinking (DT), objectively and subjectively scored. Fourth-grade students (N = 115) participated in an instructional project integrated to actual curriculum and then completed 2 DT tasks, a test of knowledge base, and a self-assessment. Teachers’ ratings of student achievement were also collected. DT tasks were scored (a) for fluency, flexibility, and originality, and (b) using the consensual assessment technique (CAT). Results indicated that different DT tasks scoring methods, having moderate intercorrelations, predicted different aspects of creative behavior, and that knowledge has its own predictive role.     

Scientific Creativity: Divergent and Convergent Thinking and the Impact of Culture

This paper examines the contrast and distinction between divergent and convergent scientific creativity, and the paradoxical relationship of scientific creativity with cultural factors in elementary students. With a newly developed measure of potential for scientific creativity, EPoC Science (Lubart et al., in press), students produce ideas in response to scientific problems, and both divergent‐exploratory as well as convergent‐integrative processes involved in scientific creativity are analyzed. An empirical study (n = 118) was conducted in France with elementary school children (ages 7–10). The divergent‐exploratory task was scored for fluency and statistical uniqueness. For the convergent‐integrative task, the number of concepts that a student integrated and synthesized, and the originality of the synthesis were scored. Results showed that divergent and convergent task performances were weakly related to each other. This suggests that divergence and convergence are two relatively distinct processes for scientific creativity, and that the relation is more complex than commonly assumed. In terms of culture‐related variables, immigrant cultural background (number of family members born outside of France) was significantly and negatively correlated with the originality of divergent and convergent scientific creativity. Findings are discussed and educational implications are proposed.     

The Need to Be Different: Primary Trait Structure and Impact on Projective Drawings

The value set on behavioral variation for its own sake (or the need to be different) is a personality variable nested within social learning theory; a strong need to be different should, in theory, predispose the individual toward originality (including creativity). A self-report inventory measuring this need value (the vDiffer scale; Joy, 1998) motive was administered to undergraduates who also completed the 16 Personality Factor inventory (16PF; Cattell, Cattell, & Cattell, 1993) and House-Tree-Person (H-T-P; Buck, 1948) drawings. Three advanced art therapy graduate students rated the H-T-P protocols for technical proficiency, creativity, and personal adjustment. The need to be different correlated strongly with four primary traits: positively with Q1 (Openness to Change) and M (Abstractedness) and negatively with G (Rule-Consciousness) and Q3 (Perfectionism). Several other moderate correlations also emerged. Judgments of the technical proficiency and creativity of H-T-P drawings correlated significantly with the vDiffer score. The need to be different significantly predicted the quality of these projective drawings even when the influence of intelligence (16PF Scale B) was controlled for. The need to be different is associated with a distinctive pattern of traits and higher quality artistic expression.     

Verbal fluency and creativity: General and specific contributions of broad retrieval ability (Gr) factors to divergent thinking

The Cattell–Horn–Carroll (CHC) model of intelligence views creativity as a first-level factor within the second-level factor of broad retrieval ability (Gr), alongside other first-level abilities such as ideational fluency and word fluency. Traditional methods of measuring creativity, however, confound idea quality with idea quantity, which might exaggerate the relationship between creativity scores and verbal fluency factors. Participants (n = 131 adults) completed two divergent thinking tasks (unusual uses for a rope and a box), which were scored using newer methods that effectively separate creativity (scored via subjective ratings) and fluency (scored as number of responses). They then completed 16 verbal fluency tasks that assessed six lower-order Gr factors: word fluency, associational fluency, associative flexibility, ideational fluency, letter fluency, and dissociative ability. Viewed singly, many of the lower-order factors significantly predicted creative quality and fluency. General Gr had substantial effects on creative quality (standardized β = .443) and fluency (β = .339) in a higher-order model as well as in a bifactor model (quality β = .380, fluency β = .327). Moreover, general Gr was the only significant predictor in the bifactor model, suggesting that it, not the specific factors, was most important. All effects were essentially the same after controlling for typing speed and vocabulary knowledge. The findings thus support the CHC view of creativity/originality as a lower-order component of Gr, illuminate the relationships between creativity and first-level Gr factors, extend the study of creativity and intelligence beyond fluid intelligence, and further indicate that creativity is more closely tied to cognitive abilities than creativity research has yet recognized.     

Unconventionality and Originality: Does Self-Assessed Unconventionality Increase Original Achievement?

Creativity is negatively associated with certain personality traits (e.g., conformity) and social influences (e.g., group pressure). In this study, creativity was examined in relation to unconventionality, which was expected to correlate positively with creativity, especially originality. This hypothesis was based on the theory that unconventional people hold uncommon views and attitudes and develop more diverging concepts and associations, which build the foundation for creative thinking. To examine the hypothesis, an online study with N = 90 participants was conducted. Unconventionality was measured with a new self-rating questionnaire, and creativity was measured with unusual uses, consequences, and explanations measures, which assessed both originality (rarity and uniqueness) and flexibility (diversity). The association of unconventionality with originality, after controlling for flexibility, was compared to other constructs (openness, conservatism, education). Path analysis revealed strong effects of unconventionality on originality (latent β = .58, r = .64). Unconventionality continued to predict originality after controlling for openness, which was weakly related to originality (β = .08, r = .49). Unconventionality weakly predicted flexibility (β = .09, r = .26). Supplemental analyses indicated that the effects of unconventionality on originality were not attributable to confounds (e.g., conservatism or education). The results indicate that the effects of unconventionality are positive, specific, substantial, and independent of related constructs (e.g., openness).     

Schizotypy and affective temperament: Relationships with divergent thinking and creativity styles

Schizotypy and affective temperament have both been linked to creativity using measures such as divergent thinking (DT) but not in terms of creativity styles. The relationship between schizotypy and affective temperament has also not been examined directly in a creativity paradigm. Seventy-eight (44 female, 34 male) university students completed two DT tasks and measures of schizotypy, affective temperament, and creativity styles. Positive schizotypy was correlated with creativity styles, and affective temperament was correlated with both creativity styles and DT scores. Furthermore, schizotypy and affective temperament differentially predicted DT scores and creativity styles. Finally, the relationship between schizotypy and affective temperament gave evidence towards a unitary psychosis theory. Results are discussed in terms of current theories about psychosis and psychoticism and their association to creativity.     

A Meta-Analysis of the Relation between Creative Self-Efficacy and Different Creativity Measurements

This meta-analysis investigated the relations between creative self-efficacy (CSE) and creativity measures and hypothesized that self-assessed questionnaires would have a different relation to self-efficacy beliefs compared to other creativity tests. The meta-analysis synthesized 60 effect sizes from 41 papers (overall N = 17226). Taken as a whole, the relation between CSE and creativity measures was of medium size (r = .39). Subgroup analyses revealed that self-rated creativity correlated higher with self-efficacy (r = .53). The relation with divergent thinking (DT) tests was weak (r = .23). Creativity scales had a medium size relation (r = .43), and was stronger than the relation to verbal performance tasks (r = .27) and figural performance tasks (r = .19). In a comparison between measures focusing on the creative person (r = .47), the creative product (r = .32), and the creative process (r = .27), the person aspect was most strongly linked to CSE. Thus, the relation between self-efficacy and creativity measures is dependent on the type of measurement used, emphasizing the need for researchers to distinguish between different instruments—not the least between self-report scales and more objective test procedures. Conceptual implications are discussed and critique concerning the creativity concept is brought up.     

The Relationship Between Creativity and Attention in Adults

Creativity is a valuable attribute that involves the generation of original ideas; attention is a vital function that facilitates information selection. There is some evidence that creative people may have poorer attention and are generally more distracted than others, and this distractibility is thought to enable the production of novel ideas. Previous research has largely supported this relationship between creativity and attention, yet they are both multifaceted constructs that can be measured in numerous ways. Using multiple measures of each construct, the aim of this study was to examine which features of creativity and attention might be related in a group of 100 adults (18–80 years, M = 26.9, SD = 11.5). Figural divergent-thinking (DT) originality was positively related to self-reported concentration; yet no other relationships were found. Results suggest that there is no consistent relationship between creativity and attention, and past studies that linked creativity to attention, having used just one or two measures, may be premature in their conclusions.     

Creativity in Men and Women: Threat,Other-Interest,and Self-Assessment

Previous research into gender and creativity has provided little evidence for consistent differences between men and women in creative performance. This research revisits this topic by proposing a person × situation approach, arguing that gender differences in creative performance only occur in certain contexts, but not others. Based on the assumption that men and women tend to differ in self versus other orientation, experimental instructions varied whether our participants’ (n = 169) creative efforts benefit the self or others, and whether creativity occurred under conditions of threat or not. In the absence of threat, women outperformed men in the originality of their creative efforts when the task was beneficial to others. This effect was eliminated in the presence of competitive threat. In contrast to some previous work, threat also increased creative performance under some circumstances. Results also revealed gender differences in self-assessment of creativity such that women seemed to be somewhat more attuned to the objective level of the originality of their creative performance than men. The discussion focuses on implications for research on gender differences in creativity, arguing that researchers must appreciate that gender differences in creativity, so far as they exist, are likely embedded in specific situational contexts.     

The Creative Personality: A Synthesis and Development of the Creative Person Profile

Several constructs from the research literature on the creative personality were reoperationalized to gain further understanding of the structure of the creative personality and to develop a broad measure of relevant traits (CPP—the Creative Person Profile). From an initial pool of 38 creativity relevant personality constructs, 7 factors were identified and labeled (emotional instability, ambition, associative orientation, motivation, need for originality, agreeableness, and flexibility) in a sample of 481 participants with a mean age of 31.6 years. In a subsample, there were theoretically meaningful correlations between the 5-factor model of personality and 5 of the CPP factors. Moreover, most of the 7 components correlated with at least 1 ability test or self-report criterion of creativity (creative problem solving, remote associates test, ideational fluency, items from a creative activities checklist). Finally, in a discriminant validity study, scores on the 7 factors clearly differentiated between a group of professional artists (n = 69) and the remainder of the sample, and between a group of marketing students (n = 40) and the remainder of the sample.     

Effects of Association Instruction on Fourth Graders' Poetic Creativity in Taiwan

In this study, we used a quasi-experimental pretest–posttest mixed design to assess the effect of association instruction on students' poetic creativity. Creativity was judged using the consensual assessment technique. A total of 64 fourth-grade students from two intact classes participated in the study. One class was assigned to the experimental group (n = 34) and the other to the control group (n = 30). Weekly for 5 weeks, the experimental group received 30 minutes of instruction in forming associations, and then each student composed a Chinese free verse based on a given association theme. The control group received traditional writing lectures prior to composing Chinese free verses. Three groups of judges assessed the completed poems (a total of 320 poems), evaluating their creativity on 14 dimensions. The judges included three expert teachers with at least 10 years of teaching experience in Chinese, three teachers who had won awards in nationwide Chinese writing contests, and three professors of children's literature; the overall inter-rater reliability was .85. The experimental group showed greater creativity compared to the control group in number association (d = 1.09), picture association (d = 0.62), and free association (d = 1.07). This article also discusses how to select judges, assessment criteria for children's poetic creativity, and techniques for association instruction to enhance children's poetic creativity.     

Regulated Divergence: Textual Patterns,Creativity and Cognitive Emotion Regulation

According to literature, several forms of creativity relate to primary process and adaptive regression. The major aim of this study was to examine whether a specific pattern of creativity and primary- and secondary-process thinking could be identified among stories while investigating some personal variables. 78 undergraduate students (41 women, 37 men), with the average age of 21.44 years (SD = 2.15) participated. After story writing, divergent thinking skills and cognitive emotion regulation abilities were measured. Storytelling creativity and the level of primary and secondary thinking were analysed through the written texts. The hypothesized textual patterns significantly emerged by cluster analysis. The distinguished 2 types of stories were labelled extraordinary texts (higher level of creativity and primary process with an average level of secondary process) and ordinary texts (lower level of creativity and primary process with an average level of secondary process). The authors of extraordinary texts had higher originality scores (on Circle Task of the Torrance Tests of Creative Thinking) and lower maladaptive cognitive emotion regulation strategies, compared to the authors of ordinary texts. Results extend the knowledge of cognitive- and personality psychological aspects of creativity.     

Probing Linear and Nonlinear Relations Among Schizotypy,Hypomania, Cognitive Inhibition,and Creativity

This study explored the relationship between schizotypy, hypomania, and indicators of creativity in 152 adult undergraduate students. We were interested in exploring a possible inverted U-shaped relationship between mental illness and creativity where moderate (vs. high or low) amounts of pathology are associated with facilitating creative responses. An indicator of cognitive inhibition derived from Stroop mismatch reaction times was also evaluated as a potential moderating factor between symptomatology and levels of creativity. College students (n = 152) were recruited from an introductory psychology class and completed a series of questionnaires (Schizotypal Personality Questionnaire-BR; Hypomania Checklist-32; Creative Achievement Questionnaire) and experimental tasks (color Stroop task; Wallach-Kogan Creativity Test) with a research assistant in a controlled environment. Polynomial regression results suggested that creative accomplishments were predicted by levels of disorganized schizotypy, but negatively associated with levels of interpersonal schizotypy. Scores on two divergent thinking indices were predicted by levels of disorganized schizotypy, yet surprisingly negatively associated with scores of hypomania. Although the relationship between disorganized symptoms and creative processes was not anticipated, these results may reflect certain nonconforming characteristics (e.g., tendency to wander off the topic in conversations) associated with this symptom domain. Although there was no definitive evidence supporting an inverted-U relationship between symptom severity and creativity within our sample, several linear relationships emerged suggesting that cognitive inhibition acted as a moderator variable for originality in those with higher levels of interpersonal schizotypy. Limitations and recommendations for future research are discussed.     

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.     

Measuring executive function skills in young children in Kenya

Interest in measuring executive function skills in young children in low- and middle-income country contexts has been stymied by the lack of assessments that are both easy to deploy and scalable. This study reports on an initial effort to develop a tablet-based battery of executive function tasks, which were designed and extensively studied in the United States, for use in Kenya. Participants were 193 children, aged 3–6 years old, who attended early childhood development and education centers. The rates of individual task completion were high (65–100%), and 85% of children completed three or more tasks. Assessors indicated that 90% of all task administrations were of acceptable quality. An executive function composite score was approximately normally distributed, despite higher-than-expected floor and ceiling effects on inhibitory control tasks. Children’s simple reaction time (β = –0.20, p = .004), attention-related behaviors during testing (β = 0.24, p = .0005), and age (β = –0.24, p = .0009) were all uniquely related to performance on the executive function composite. Results are discussed as they inform efforts to develop valid and reliable measures of executive function skills among young children in developing country contexts.     

Creativity,Originality, and Appropriateness: What do Explicit Instructions Tell Us About Their Relationships?

Originality is a necessary part of creativity, but creative things are more than just original. They also solve a problem, or more generally are somehow fitting or appropriate. Yet previous research found an inverse relationship between ratings of originality and ratings of appropriateness. The present investigation employed a different methodology — it focused on the generation of ideas instead of judgments about them — to reexamine the relationships between originality, appropriateness, and creativity. Undergraduate students (N = 170) from two large universities received either realistic or unrealistic divergent thinking tasks. These were given with one of four types of instructions. These asked them to give (a) as many ideas as possible (which is the standard type of instruction for these kinds of tests), (b) only original ideas, (c) only appropriate ideas, or (d) only creative ideas. Brief definitions of originality, appropriateness, or creativity were also provided. Comparisons of the four groups indicated that there were significant differences between the different kinds of tasks, with the realistic set eliciting more appropriate ideas than the unrealistic, but the unrealistic tasks eliciting more original and varied (flexible) ideas. There was an interaction indicating that the magnitude of the impact of the instructions varied across tasks. Correlational analyses indicated that the correlation between the originality and appropriateness scores was the lowest among all possible inter‐index relationships (only 7% shared variance). Future research and practical implications are explored.     

“Dear Employer,Let Me Introduce Myself” – Flow,Satisfaction with Work–Life Balance and Millennials’ Creativity

With creativity being recognised as a key driver of organizational success, organizations emphasize the need for their employees to be creative and to work long hours. This article takes a step toward understanding the factors contributing to the creativity of millennials, a generation pursuing meaningful work and cherishing a work–life balance. In Study 1 (n = 238), the relationships between creativity, flow, satisfaction with work–life balance and job crafting were explored; in Study 2 (n = 120) the focus was on examining flow as the mediator in the relationship between satisfaction with work–life balance and creativity. In experimental Study 3 (n = 90), the findings from Study 2 were replicated. Overall, the results of the three studies established flow as the mediating variable and demonstrated the beneficial role of satisfaction with the work–life balance and job crafting in the process leading to creativity.