Creative potential: assessment issues and the EPoC Battery / Potencial creativo: temas de evaluación y batería EPoC

Abstract

Creative potential can be conceptualized as an ability to produce original ideas that have value in their context. This ability can be measured in three different ways, namely by examining (a) accomplishments or (b) ingredients (abilities and traits) underlying creativity or (c) through contextualized tasks that simulate real-world creative work. The Evaluation of Creative Potential (EPoC) Battery offers a contextualized measure of divergent-exploratory and convergent-integrative thinking processes applied in several content domains (visual art, verbal-literary, social, scientific, maths, music and body movement). The domain specificity of creative ability is represented by a profile of scores. Creative giftedness can be detected using this type of battery. The assessment of creative potential provides an opportunity for identification, orientation, individualized educational programmes and analyses of the effects of creativity training programmes.     

Musicians processing music: Measurement of brain potentials with EEG

Abstract

In the present study, the EEG was recorded from the scalp of musicians while mentally active in their field. Analytic, creative and memory processes of the brain were observable using a special electrophysiological method called DC-potential recording. Music students listened to a sequence of four notes and subsequently were either to reverse the sequence (task 1 = analytic) or to compose a new continuation (task 2 = creative). In task 3, the initial segment of a well-known melody was presented and had to be continued (memory task). All tasks had to be solved mentally (imagery). In tasks 1 and 2, either tonal or atonal sequences were presented.

While processing, the results show that the analytic task elicited the highest brain activity. The analytic task involved mainly parieto-temporal areas of both hemispheres, the left hemisphere showing a tendency for domination. The memory task produced predominant activity over the right hemisphere. The creative task caused the lowest brain activation and elicited an unexpected lateralisation to the left, though we expected creativity to be a right hemispheric holistic-synthetic phenomenon.

Comparing listening with processing of the perceived music, we found a significant shift from an insignificant right hemispheric to an insignificant left hemispheric predominance (except with the memory task). This indicates that musicians do not lateralise to the left hemisphere per se when listening to music. Whether one finds a left hemispheric lateralisation in listening tasks or a right hemispheric one probably depends on the amount of simultaneous analytic-sequential processing the musician undertakes.     

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.     

The Creation Process of Brazilian Musicians

This study investigated the creative process of well‐known musicians in Brasília, Brazil and the conditions that facilitated the development of their creative abilities. A sample of 14 professional musicians (11 composers and 3 performers) participated in semi‐structured interviews to discuss the following topics: musical formation, dedicating time to music, working conditions, creativity in music, the creative process, and the importance of music in their lives. The results indicated that the majority of the musicians view creativity as a complex process supported by many factors, especially the environment. Four stages of the creative process were described by these musicians: process triggering, preparation, product elaboration, and product validation.     

Examining Gender with General Creativity and Preferences for Creative Persons in College Students within the Sciences and the Arts

The purpose of the research was to investigate gender similarities and differences in general creativity constructs with their preferences for creative persons. Data were collected from 247 participants (87 engineering, 24 psychology students with a psychology major, 51 psychology students with a major other than psychology, 30 English, and 55 music students) from a large Mideastern Big 10 university. All participants completed measures of general creativity (creative personality, creative temperament and cognitive risk tolerance) and a demographic questionnaire with the request to list 10 creative persons and their given field. Results indicated that males and females tended to have similar levels of general creativity, yet the most frequently listed creative eminent persons tended to be male. The most frequently listed creative person selections were in science and art, with the three most frequently selected eminent persons being in the science domains. The most frequent creative person selections, consistently selected by at least 10 participants, were Caucasian males.     

Creativity and Cooperation in the Elementary Music Classroom*

The author examines attitudes towards, and the effects of focus on, creativity and cooperation in the elementary music classroom. First, elementary music teachers were interviewed regarding their values towards creativity and cooperation. Then, a curriculum was field tested that utilized cooperative learning and emphasized activities designed to encourage creative thinking and problem solving. A pretreatment-posttreatment study, with experimental and control group, was conducted to measure actual changes in student levels of creativity and attitudes towards cooperation. A follow-up of creativity measures was conducted four years later. Results indicate that elementary music teachers can adapt cooperative learning models to their teaching and can, short-term, influence students' levels of creativity and attitudes towards cooperation. Implications and opportunities for social-psychological creativity research and classroom educators are discussed. In 1983, Goodlad observed that, in general, there was a “gap between the rhetoric of individual flexibility, originality, and creativity … and the cultivation of these [things] in our schools” (p. 241) and that schools provided students with little opportunity to develop “satisfying relations with others based on respect, trust, cooperation, and caring” (p. 240). Goodlad encouraged teachers in the arts to provide opportunities for creative problem solving and to “boldly demonstrate the potentiality for doing through the arts what cannot be done readily through the other fields” (p. 238). His appeal to arts teachers is reminiscent of Maslow (1968):     

The Relationship Between Creativity and Intelligence: A Combined Yogic-Scientific Approach

ABSTRACT

Three ancient yogic philosophies, describing the evolution of cognitive–affective phenomena toward the nondual state of yoga, or union, (e.g., dissolution of the subject–object dichotomy) couple with empirical studies to redefine, and expand, existing constructs for, and relationship between, creativity and intelligence. The Ocean Model addresses the integration of novelty, appropriateness, and authenticity in creative endeavor with intelligence: the intrinsic factors being recognition, informational limitation, choice, and selective adaptation to the environment. Creativity and intelligence are described in three increasingly subtle states, crystallized, fluid, and vacuous, which are influenced by the psychological interplay of dispassion (vairāgya) and discrimination (viveka) at variegated levels. It is argued that the key difference between intelligence and creativity lies in the nature of intention: whether limited or, transcendent. A 9-module matrix is developed to map variations in the expanded creativity–intelligence relationship. Suggestions for empirically testing the Ocean Model are further supported by studies of empathy and wisdom. A unique method to test dispassion, involving ambivalent character traits and their relationship to psychological integration, is presented.     

Musical Training,Bilingualism, and Executive Function: A Closer Look at Task Switching and Dual‐Task Performance

This study investigated whether musical training and bilingualism are associated with enhancements in specific components of executive function, namely, task switching and dual‐task performance. Participants (n = 153) belonging to one of four groups (monolingual musician, bilingual musician, bilingual non‐musician, or monolingual non‐musician) were matched on age and socioeconomic status and administered task switching and dual‐task paradigms. Results demonstrated reduced global and local switch costs in musicians compared with non‐musicians, suggesting that musical training can contribute to increased efficiency in the ability to shift flexibly between mental sets. On dual‐task performance, musicians also outperformed non‐musicians. There was neither a cognitive advantage for bilinguals relative to monolinguals, nor an interaction between music and language to suggest additive effects of both types of experience. These findings demonstrate that long‐term musical training is associated with improvements in task switching and dual‐task performance.     

The relationship between measures of creativity and schizotypy

The aim of this study was to determine the extent to which a measure of multidimensional schizotypy and intelligence predicted measures of creativity, as assessed by self-rated creativity, a measure of the creative personality (CPS: Gough, 1979) and an inventory of creative behaviours. Additionally an aggregation of the three different measures; total creativity was examined. 140 participants completed the creativity measures, a general intelligence test (Wonderlic Personnel Test: Wonderlic, 1992) in addition to a multidimensional schizotypy inventory (O-LIFE: Mason, Claridge, & Jackson, 1995). The Unusual Experiences and Impulsive Nonconformity dimensions of the O-LIFE were positively and significantly related to creativity. The Cognitive Disorganisation dimension was found to be negatively and significantly related to creativity. The implications of the findings were discussed.     

A factor analysis of new and standardized instruments to measure the creative potential and high-energy action preference of performing arts students. A preliminary investigation

Two standardized creativity instruments and three original instruments to measure a preference for high-energy activity and to provide a creative product were given to 86 dance, music and drama students. A factor analysis of eight scales of the five instruments showed correlation between the new and standardized instruments, produced three groupings—visual, verbal and action—and an ANOVA demonstrated that some of these scales could differentiate among the specialist groups. The new instruments were devised to clarify if performing arts students, whose major activity is often interpretive, are creative and if their choice to be performers is related to a preference for high-energy physical activities.     

The Creative Medical Student: A Descriptive Study

Biographical study distinguished high from low creative medical students by broken homelife, greater preference for movies, modern music, serious books, bridge playing and creative hobbies. High creatives seek challenge, academic or research careers, verbal and imaginative expression. Low creatives have higher motivation, better academic grades, more economic and family interests, are often oldest children and head for general practice. Independent, original explorations characterize high creativity while traditional, authoritative explanations satisfy the less creative. Fricke's Opinion, Attitude and Interest Survey made the creativity identification. Factor analysis related OAIS Scores, Omnibus Personality Inventory and Medical College Admission Test scores to cross check with biography data. A motivational Index is suggested as a predictor of supportive value to the creativity score.     

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.     

Synaesthesia,creativity and art: What is the link?

It has been suggested that individuals with synaesthesia may show heightened creativity as a result of being able to form meaningful associations between disparate stimuli (e.g. colour, sound). In this study, a large sample (N=82) of people with various kinds of synaesthesia were given two psychometric tests of creativity (Remote Associates Test, Alternate Uses Test) and were also asked about the amount of time engaged in creative arts (visual art, music). There was a significant tendency for synaesthetes to spend more time engaged in creative arts and this was, at least in part, dependent upon the type of synaesthesia experienced. For example, synaesthetes experiencing vision from music were far more likely to play an instrument than their other synaesthetic counterparts. There was no relationship between this tendency and the psychometric measures of creativity, but synaesthetes did outperform controls on one of the two psychometric measures (Remote Associates). We conclude that the tendency for synaesthetes to be more engaged in art is likely to have a different mechanism to psychometric measures of creativity, and that there is no direct link between them. Although synaesthetes may well perform better on some measures of creativity, we suggest that synaesthetes have better bottom‐up access to certain associations, but are not necessarily better able to use them flexibly (in divergent thinking).     

FEMALE VOICES IN GURBĀNĪ SANGĪT AND THE ROLE OF THE MEDIA IN PROMOTING FEMALE KĪRTANĪE

This paper discusses the performance of Gurbānī kīrtan rendered by female singers, an activity that is an integral part of the Sikh spiritual practice, yet at a professional level has always been considered a male domain.

The study is framed within the wider context of Indian traditional culture, analyzing the social norms that for centuries prevented women from public exposure in the fields of religious and classical music. In relation to the Sikh tradition, the author explores the variety of musical forms (classical and folk) adopted by female kīrtanīe for performing Gurbānī hymns, raising important issues about music education.

Based on ethnographic research among the community of contemporary kīrtanīe, the article explores the key role of media in promoting female performers during the last three decades, through dedicated TV and radio shows, social networks and web sites. In the author's analysis, each decade has brought about radical shifts in the strategies of production and perception of Gurbānī kīrtan, opening up new opportunities for performance by female kīrtanīe.     

Minimally Creative Thought

Creativity has received, and continues to receive, comparatively little analysis in philosophy and the brain and behavioural sciences. This is in spite of the importance of creative thought and action, and the many and varied resources of theories of mind. Here an alternative approach to analyzing creativity is suggested: start from the bottom up with minimally creative thought. Minimally creative thought depends non‐accidentally upon agency, is novel relative to the acting agent, and could not have been tokened before the time it is in fact tokened, relative to the agent in question. Thoughts that meet these three conditions—agency, psychological novelty, and modal—are what may be called cognitive breakthroughs. Even if such breakthroughs are not necessary to or definitive of richer creativity, they are indeed central to much of creativity. The minimal analysis provides a more workable explanandum for theories of creativity of varied motivation and method.     

Creativity and the Dark Triad: A meta-analysis

This paper presents a meta-analysis of the relationships between creativity (creative potential, activities, and achievement) and the Dark Triad of personality: narcissism, Machiavellianism, and psychopathy. Multilevel meta-analytic models demonstrated a small but significant positive association between creativity and narcissism (r = 0.15 [0.10, 0.29]) and Machiavellianism (r = 0.06 [0.02, 0.09]), but not with psychopathy (r = 0.03 [-0.02, 0.07]). Creativity measures (self-report-vs.-performance), aspects (self-perception, creative activity, creative abilities, creative achievements), and domains (general, art, science, and everyday creativity) moderated the links with the Dark Triad. We discuss the possible mechanism of associations between Dark Triad traits and creativity and highlight future research directions.     

Creativity in the Age of Technology: Measuring the Digital Creativity of Millennials

Digital technology and its many uses form an emerging domain of creative expression for adolescents and young adults. To date, measures of self-reported creative behavior cover more traditional forms of creativity, including visual art, music, or writing, but do not include creativity in the digital domain. This article introduces a new measure, the Creative Behavior Questionnaire: Digital (CBQD), which assesses self-reported creative behavior in the digital domain. High school students (N = 230) completed the CBQD, as well as several other measures of creativity and personality. Factor analysis revealed 3 factors: digital creativity achievement, school-based everyday creativity, and self-expressive digital creativity. Factor-based scales showed expected correlations with other creativity measures, as well as Big-Five personality traits and Unconventionality, supporting construct validity. Results indicate that the CBQD can be used as an independent or a supplemental measure of creative behavior.     

Emergent representations, interaction theory and the cognitive force of metaphor

We focus here on the problem of how new representations emerge through a cognitive agent's interaction with the environment. We address this problem within a framework where representation-building mechanisms operate to create new representations against a backdrop of existing representations, and argue that novel and creative metaphors in any language provide a prime example of this phenomenon. Our approach to modeling the emergence of representation integrates ideas from three different streams of research: (1) the interaction theory of metaphor proposed by Black and others to account for the creativity of metaphors; (2) gestalt theories of perception; and (3) contemporary research supporting a constructivist and action-oriented view of perception and cognition. Combining these insights together, we outline our Gestalt projection model, and discuss three different ways in which new representations might emerge through metaphors. Finally, we propose that metaphor may be viewed as a cognitive force through which a cognitive agent asserts its creative spirit onto the environment.     

Exploring the Effects of Creativity Training on Creative Performance and Creative Self‐Efficacy: Evidence from a Longitudinal Study

In organizations and educational institutions, creativity trainings are the preferred approach to enhancing individual creative abilities. However, three issues regarding these trainings still remain largely unsolved. First, the question of how long‐lasting creativity training effects are has not been sufficiently answered so far. Second, the question arises whether all participants benefit from such trainings equally in terms of their creative performance (CP). Third, an increasing number of studies have shown that creativity trainings may also be able to increase participants' creative self‐efficacy (CSE), that is, the confidence in one's own creativity. Other studies, however, did not find evidence for this effect. Therefore, this article aims to address these issues by analyzing data from three measurement waves. Results reveal that participants' CP increased during the training and decreased only slightly 4 weeks after the training. Additionally, we found an effect of diminishing training returns in that the higher a participant's CP before the training the lower the training effect was. In contrast to most prior literature, we found no support for an effect of creativity training on participants' CSE. We discuss these findings and offer implications for both theory and practice. Finally, we state this study's limitations and derive avenues for further research.