Experimental study of group creativity: Task representation,group structure,and performance

This article attempts to introduce and investigate a new variable in the experimental study of groups: the representation system. This study deals more specifically with the riile played by the representation of the task. This representation of the task constitutes the theory, the system of hypotheses individuals work out with respect to the nature of the task and the means to use in order to carry it out. The key results of this study are that group performance depends on the representation of the task, with optimum effectiveness achieved when the representation of the task and its objective nature coincide. Another finding is that the structure of communications within the group is determined by the representation of the task rather than by its objective character. It was also established that the representation of the task determines the cognitive process adopted by the group. Thus the entire group activity is tied to the representations in its midst. The group organizes itself, regulates itself interactions, and determines its priorities in terms of these representations.     

易之"生"意与理学的生生之学

"生生之谓易"既是哲学家对宇宙相状的揭示,也是"易"本身的性质。从"天地之大德日生"到"易简"之善和"复其见天地之心",贯穿的都是同一个"生"意。理学继承前人又广加扩展,天地生物之心既是静与动的综合集成,又是天地生物与仁德流行的统一。从静体到动用,从"动之端"到"动之机",现象存在虽有生死显微,"生"之理却通贯不息。     

Factors for radical creativity, incremental creativity, and routine, noncreative performance

This study extends theory and research by differentiating between routine, noncreative performance and 2 distinct types of creativity: radical and incremental. We also use a sensemaking perspective to examine the interplay of social and personal factors that may influence a person's engagement in a certain level of creative action versus routine, noncreative work. Results demonstrate that willingness to take risks, resources for creativity, and career commitment are associated primarily with radical creativity; that the presence of creative coworkers and organizational identification are associated with incremental creativity; and that conformity and organizational identification are linked with routine performance. Theoretical and managerial implications are discussed.     

The fantasy-prone person: hypnosis, imagination, and creativity

The present study evaluated the so-called fantasy prone personality by selecting subjects who ranged along the continuum of fantasy proneness and then administering measures designed to assess hypnotic susceptibility (Harvard Group Scale, HGSHS:A; Shor & Orne, 1962), absorption (Tellegen Absorption Scale; Tellegen, 1976), vividness of mental imagery (QMI; Sheehan, 1967), response to waking suggestion (Creative Imagination Scale; Wilson & Barber, 1978), creativity (Barron Welsh Art Scale; Barron & Welsh, 1952), and social desirability (Crowne & Marlowe, 1960). Fantasy-prone (N = 23; upper 4% of college population), medium range (N = 22), and nonfantasy-prone persons (N = 17; lower 4% of population), were selected using the Inventory of Childhood Memories and Imaginings (Wilson & Barber, 1981). Strong support was secured for J. R. Hilgard's construct of imaginative involvement and Wilson and Barber's contention that fantasy prone persons can be distinguished from others in terms of fantasy and related cognitive processes. Fantasizers were found to outscore subjects in both comparison groups on all of the measures of fantasy, imagination, and creativity, with social desirability used as a covariate. Low fantasy-prone subjects were no less creative or less responsive to hypnosis than their medium fantasy-prone counterparts.     

Self-awareness, self-evaluation, and creativity

The present research examined when self-evaluation influences creativity. Based on objective self-awareness theory, the authors predicted that feeling able to improve would buffer against the detrimental effects of self-evaluation on creativity. Two experiments manipulated self-evaluation (varying self-awareness, Study 1; providing objective performance standards, Study 2) and perceived ability to improve potential failure on the creativity task. Self-evaluation reduced creativity (generating remote associates, finding unusual uses for a knife) in both experiments, but only when people did not expect to improve. When people felt able to improve, self-evaluation did not affect creativity. Connections between self-motives, creativity, and defensiveness are discussed.     

The neurology of ambiguity

One of the primordial functions of the brain is the acquisition of knowledge. The apparatus that it has evolved to do so is flexible enough to allow it to acquire knowledge about unambiguous conditions on the one hand (colour vision being a good example), and about situations that are capable of two or more interpretations, each one of which has equal validity with the others. However, in the latter instance, we can only be conscious of one interpretation at any given moment. The study of ambiguity thus gives us some insights into how activity at different stations of the brain can result in a micro-consciousness for an attribute, and also tell us something about interactions between different cerebral areas that result in several potential micro-conscious correlates, though only one predominates at any given time. Finally, the study of ambiguity also gives us insights into the neurological machinery that artists have tapped to create the ambiguity that is commonly a hallmark of great works of art.     

The roots of creativity

The various factors which seem to be important in the creative child with extraordinary potential include: A good biologic endowment, often with high intelligence and a correlation between special sensory sensitivities and other physical requirements to implement the special interest. There is also sometimes the capacity to utilize or else compensate for deficit. The fostering of interests by a parent or interested adult. Specific kinds of ongoing encouragement. Sometimes there is self-selection of interest by the child. The child must feel valued and loved. The family background and relationship of parents centers on the child. The time, place, and institutions foster the development of interest and value of the work and the child's belief in its value. The child is allowed freedom of development, without undue inhibition or restriction. Creative people have shown uneven development--the child is not "age-specific" generally. Gifted children have been observed to tolerate isolation and even loneliness well--these are often necessary conditions for developing skills. For some creative people, early object losses seem to be frequent. The creative child is curious and a keen observer. The creative child has an uncanny ability to make connections--to perceive similarities in the apparently dissimilar. The creative child is not hampered by conventional thought. The creative child has a capacity for love and devotion--or at least a positive orientation; a spiritness or passion; and a spirituality or unworldliness. It has been said that the poetic truths in a work of art are only half understood by its creator. Generally conveyed subliminally, these truths are revealed in different ways to different audiences at different times. Such is the view of William Livingstone (1987), and considering the childhood antecedents of creative work helps to understand why this is so.     

Epistemic representation, informativeness and the aim of faithful representation

In this paper, I take scientific models to be epistemic representations of their target systems. I define an epistemic representation to be a tool for gaining information about its target system and argue that a vehicle’s capacity to provide specific information about its target system—its informativeness—is an essential feature of this kind of representation. I draw an analogy to our ordinary notion of interpretation to show that a user’s aim of faithfully representing the target system is necessary for securing this feature.