Creative Style and Divergent Production

In a sample of British working men and women, scores on the Kirton Adaption-Innovation Inventory (MI) were compared with divergent production scores on Guilford's Consequences and Alternate Uses tests. On the Consequences test, adaptors and innovators produced approximately equal numbers of common responses, but the innovators produced a higher number of uncommon (remote) responses, and a higher number of responses in total. Innovators also produced more responses than adaptors on the Alternate Uses test. The results are discussed with reference to the distinction between creative style and creative level. Creative style appears to be more strongly, related to some measures of creative level than to others, and the results are consistent with Kirton's view that when solving problems, innovators access a larger cognitive domain than adaptors.     

Creative style,personality, and artistic endeavor

Research has shown that creative style, as measured by the Kirton Adaption-Innovation Inventory (KAI; M. J. Kirton, 1976), is correlated with more than 30 different personality traits. In this article, the author demonstrates that many of these correlations can be understood within the framework of the Five-Factor Model of personality and shows that the predominant correlates of creative style are personality indicators in the domains of the factors Conscientiousness, Openness to Experience, and, to a lesser extent, Extraversion. These findings provide a basis for comparing the personality traits associated with creative style and occupational creativity. High scorers on the KAI (innovators) differ from both average and creative scientists but have personality characteristics similar to those of artists. This finding suggests that the artistic personality may be more common than is generally supposed and that common factors might underlie both artistic endeavor and creative style.     

Problem Finding,Creativity Style and the Musical Compositions of High School Students

This study sought to understand the effect of problem finding and creativity style on the creative musical product. Participants (N = 32) were categorized by creativity style (adaptor or innovator) using the Kirton Adaption-Innovation Inventory. The participants completed two musical composition problems involving two different degrees of problem finding behaviors: an open (ill defined) and a closed (more defined) problem. The resulting products were scored for creativity by three judges using a modified version of Amabile's “consensual assessment technique.” A repeated measures analysis of variance (ANOVA) was used to analyze the data. The independent variables were composition problem type and creativity style, and the dependent variable was the creativity score on the open and closed problems. No significant differences due to problem type, creativity style, or the interaction of the two factors was found. This research supports the assertion of Kirton that adaption-innovation theory is a measure of creativity style rather than creativity level, but calls into question its use in individual creativity style.     

创造性认知风格、创造性人格与创造性思维的关系

对315名初中生施测Kirton适应–创新认知风格问卷、Williams创造性倾向量表和Torrance创造性思维测验任务,以考察创造性认知风格、创造性人格与创造性思维之间的关系。相关分析表明,在创造性认知风格中,效率性、规则性均与创造性思维呈显著负相关;在创造性人格中,冒险性、好奇心及挑战性均与创造性思维显著正相关。回归分析进一步表明,在创造性认知风格中,创新性、效率性分别正向、负向预测创造性思维,在创造性人格中,好奇心正向预测创造性思维;对回归系数的逐步检验发现,创新性维度通过创造性人格而对创造性思维具有间接的积极影响。结构方程模型结果则显示,创新性维度、规则性维度以创造性人格为中介分别对创造性思维发生间接的积极、消极影响。可见,创新认知风格有利于创造性思维,而适应认知风格不利于创造性思维;创造性人格有利于创造性思维;创造性人格在创造性认知风格与创造性思维之间具有一定的中介作用,创新性认知风格通过创造性人格而促进创造性思维,规则性认知风格通过创造性人格而抑制创造性思维。     

Examining Creative Performance in the Workplace through a Person‐Environment Fit Model

Puccio, Treffinger, and Talbot's 1995 paper examined relationships between creativity style and characteristics of employees' products. Using the same data, the present investigation tested a quite different question. Specifically, this investigation explicitly tested a person‐environment fit model for predicting employees' level of creative productivity. A modified version of Kirton's Adaptor‐Innovator Inventory was used to operationalize the personenvironment fit model and a self‐report measure, based on Bese‐mer's work, was used to assess creative productivity. Multiple regression analysis yielded main effects across all three subtraits associated with Kirton's creativity style measure. Significant interaction effects were found for the efficiency subtrait and two of the subscales from the product measure. The interaction effects indicated that style match between the individual and the environment was associated with higher levels of product novelty and resolution. Greater negative effects of a style mismatch were found for those with an innovative preference. The implications of these results and suggestions for future research are discussed.     

An Empirical Comparison of Entrepreneurs and Employees: Implications for Innovation

Much has been written regarding the organizational changes needed to achieve entrepreneurship in established companies. Many corporate strategists conclude that above all others, a firm's "rank and file" have the intimate knowledge of business operations necessary to discover innovations within a corporation. However, little attention has been devoted to discovering a measure to identify the employees within a corporation who possess entrepreneurial characteristics and are thus likely to produce innovations. This exploratory study used external entrepreneurs as proxies for corporate internal entrepreneurs. The purpose of this study was to examine the effectiveness of two measures: Kirton's Adaption-Innovation Inventory (Kirton, 1976) and an adapted version of Roner' s Locus of Control Scale (Rotter, 1966) in distinguishing entrepreneurs from a population of employees. Participants (54 entrepreneurs and 79 employees) completed the 2 measures. Results indicated some significant differences between entrepreneurs and employees. Implications of the findings for research and practice are discussed.     

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.     

The Professional Context as a Predictor for Response Distortion in the Adaption-Innovation Inventory—An Investigation Using Mixture Distribution Item Response Theory Models

The Adaption-Innovation Inventory (AII), originally developed by Kirton (1976), is a widely used self-report instrument for measuring problem-solving styles at work. The present study investigates how scores on the AII are affected by different response styles. Data are collected from a combined sample (N = 738) of students, employees, and entrepreneurs. Using mixture distribution item response theory, we identify individuals with normal and distorted response styles. Additionally, we investigate antecedents and consequences of distorted responses. For antecedents, results indicate influences of cognitive schemata resulting from an individual's professional work context. For consequences, distorted responses show different relationships with occupational outcomes in comparison to normal responses.     

Adaption-innovation typology and right-left hemispheric preferences

The authors of this article illustrate the results of an Italian research in which the correlation between the Kirton Adaption-Innovation Inventory (KAI) and Torrance's Solat C Test has been tested. Previous studies in this domain of cognitive style and individual preferences showed encouraging findings, although data were obtained with a small sample (Torrance and Horng, 1980). In this research the two measures were applied to a sample (N = 216) of high school students, heterogeneous for sex and subject of study. The Italian findings support the existence of a correlation between KAI and Solat form C, and this is valid also for KAI subtraits O, E and R. Although the correlation exists and shows that the two measures are related, it is not large enough to demonstrate that they are measuring the same thing. Nevertheless, some issues are questioned about the correlations and a new variable (δ = right-left scores) is described in order to obtain a stronger and more reliable correlation with KAI total score. The KAI subtrait's correlations with left-right preferences are available for the Italina sample.     

Creative Thinking From An Information Processing Perspective: A New Approach To Mednick's Theory Of Associative Hierarchies

Mednick (1962) proposed a theory of the creative thinking process which asserts that in generating associative responses to a stimulus, creative individuals are characterized by a flatter associative hierarchy than are less creative individuals. In order to assess this idea, an associative priming paradigm was used to measure latencies to lexical decisions primed by associations of low, medium, or high strength. Mednick's theory was not supported. However, it was found that the responses of creative subjects were uniformly less facilitated at all levels of associative strength. The set of associative strengths employed in the experiment may not have ranged low enough to provide a realistic test of creative processes. If so, then the obtained findings may be consistent with Mednick's theory as it applies to the upper end of the associative continuum.     

Revisiting the factor structure of the Kirton Adaption-Innovation Inventory

The original Kirton Adaption-Innovation Inventory, used to measure innovative (as opposed to adaptive) individual cognitive styles, has been reported to have three factors: Sufficiency of Originality, Efficiency, and Rule/Group Conformity. In exploring the construct validity of the Kirton Adaption-Innovation Inventory, findings from a 2003 study by Im, Hu, and Toh showed the existence of two subdimensions of the Sufficiency of Originality factor-Idea Generation and Preference for Change. In this study, using a sample of 356 household participants, with an average age of 56.0 yr. (SD = 14.0), average income of dollar 39,700 (SD = dollar 19,200), and average of 15.0 yr. of education (SD = 2), from the Arkansas Household Research Panel, we conducted factor analyses. The results specific to our selected sample indicate that a four-factor model recognizing the two subdimensions of Sufficiency of Originality has a better fit than the original three-factor model.     

Comparison of two creativity style measures

The purpose of this study was to examine the relation between two measures of creativity style for a sample of beginning teachers. 116 student teachers enrolled in an undergraduate teacher-education program in a medium-sized, metropolitan university completed the Kirton Adaption-Innovation Inventory and Basadur Creative Problem Solving Profile measures. A preference for an Innovator style (higher scores on Kirton's inventory) was correlated with the Generator profile on the Basadur profile (r=.36, p<.01). The KAI Efficiency scores, suggesting a preference for broad, global ideas as opposed to narrow, specific ones, was correlated with the Basadur Conceptualizer scores (r=.26, p<.01). Implications are discussed for teachers who must adapt to newer instructional and assessment methods designed to foster students' higher-level thinking skills.     

Transcendence as a Subset of Evolutionary Thinking: A Darwinian View of the Creative Experience

The states of transcendence and affective discontinuities as features of the creative act are posited as analogous to Darwin's theory of evolution. The intellectual essence of Darwin's argument is that randomness processed through a selection system yields purpose. Some recent studies suggest this process holds true for profound acts of creativity. Darwin's two criteria for change, randomness and a system of recognition, are examined in application to the creative act. The argument is made that extraordinary creative people use a specific selection process coupled with the ability to de-structure or randomize their mental environment. Finally, techniques are proposed to structure a creative recognition system and to de-structure the input that is processed to enhance creative results. Considerable research into creativity has been concerned with transcendent thinking, the sudden discontinuous pattern shifts that lead to wonderful new insights. Three schools of thought have attempted to explain and resolve this discontinuity. Overton and Newman (1982) describe two of these. There is the reductionist view taking the position that all creative thinking can be explained by continuous processing. Discontinuity is treated merely as a behavioral or affective phenomenon since by nature pre-conscious algorithms are unavailable for systematic inquiry. The organismic view, on the other hand, takes the lofty position that transcendence is a function of indeterminacy: ideas actually operate in earthly terms but are post-Newtonian in nature. That is, transcendent states are delocalized concepts operating beyond the tangible limitations of space and time. Attempts to measure these phenomena are doomed to the same outcome as the proverbial killing of the goose that laid the golden egg. McCarthy (1993) has recently attempted to reconcile the above positions by arguing that the answer may well be found in the field of quantum physics and elementary particle research. She proposes that nature is a duality. Creative insight and transcendence come about through the superposition of two realities, one which is “boundary-free”; the other a more conscious process which is hierarchal and “boundary-laden.” Presented here is a reductionist point of view asserting that what we consider to be transcendence — the mystical nature of creativity — is not only sequential but a subset of the evolutionary process as set forth by Charles Darwin in The Origin of Species (1859). Further, the principles of Darwin's theory may be applied to speed and improve the creative process both for individuals and groups. Other researchers in the field (Campbell, 1960, Finke, Ward, & Smith, 1992, Gruber& Davis, 1988, Kantorovich, 1993; Simonton, 1988), have invoked evolutionary thinking to explain the creative process. However, this argument looks at the two properties of evolution necessary for its function and shows how in highly creative people they may operate differently.     

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.     

Toward a Theory of Creativity in Diverse Creative Women

ABSTRACT: Little is known and limited research has been completed about creative women, their creative processes, and the decisions they face about their own creative productivity. Few books or even articles suggest how creativity can be better developed, enhanced, or increased in a diverse population of girls and women. The social and political movement focusing on women during the past five decades has provided some understanding of women's creative processes as well as the creative roles that women have played in our society and the forces that shape those roles. In this article, current research is analyzed, focusing on the development of women's creativity and the classification of this research into major themes. Internal and external blocks to creativity in women are discussed, as is current research on these blocks, and an explanation is suggested for different types of creative productivity exhibited by women. A theory is proposed regarding the diversion of women's creativity into multiple areas in their lives, including relationships, work related to both family and home, personal interests, and aesthetic sensitivities. This diversion of creative efforts may result in different levels of creativity applied to work, as well as the existence of very different patterns of creative productivity in creative women.     

When Your Race Is Almost Run,but You Feel You're Not Yet Done: Application of the Propulsion Theory of Creative Contributions to Late‐career Challenges

The propulsion theory of creative contributions is a theory that focuses on how a creative act or product builds on and adds to knowledge in various fields. In this article, we apply the propulsion theory of creative contributions not to creative discoveries or inventions, but rather to late‐career decisions about future directions in which one can steer one's career. We consider eight different kinds of career decisions one can make—replication, redefinition, forward incrementation, advance forward incrementation, redirection, reconstruction/redirection, reinitiation, and synthesis. Each offers a viable option for closing out a creative career.     

Integration of Two Skeptical Emotion Theories: Dimensional Appraisal Theory and Russell's Psychological Construction Theory

This inquiry attempts to integrate two skeptical emotion theories: dimensional appraisal theory and Russell's (2003) psychological construction theory. To bring out the skeptical elements of these theories, I compare them first with two classic theories: affect program theory and discrete appraisal theory. The skeptical theories are similar to each other in that they replace the concept of emotion with the concept of emotional episode, and that they organize the variety within the set of emotional episodes according to dimensions instead of vernacular emotion subsets. Their differences concern the strength of the relations among the components in emotional episodes and the scientific status of the set of emotional episodes. To make an informed decision about the elements to keep and to revise from both theories, I engage in a separate analysis of the behavior-related components and the experience component, guided by insights from general behavior theories and general theories of consciousness. The analysis of the behavior-related components suggests the relatively uncharted idea that the so-called emotional aspect of behavior can be caused by a goal-directed mechanism. The analysis of the experience component reveals that different theories have emphasized different aspects of experience and hence different paths toward experience. The inquiry ends with an integrated theory that rejects the scientific status of emotions or emotional episodes, but accepts the scientific status of the components and sees strong causal relations among them.     

Creative Cognition in Social Innovation

The present article considers the debate between Darwinian and non-Darwinian accounts of creativity from the perspective of little-c (or everyday) creativity. Specifically, the basic arguments found in both positions are highlighted by juxtaposing Simonton's (this issue) empirical analysis of Picasso's Guernica sketches with Weisberg's and Hass's (this issue) analysis. Unresolved issues in this debate are identified and discussed. The body of the article is focused on developing an argument for how these lingering issues might be addressed by expanding empirical studies of Big C (eminent) creative processes to include little c (or everyday) levels of creative magnitude.     

Adaptors and Innovators: Preference for Educational Procedures

We tested the hypothesis that differences in attitudes toward conflicting procedures would depend on the context of the presentation and an individual's cognitive style. Data from 182 British school teachers who completed the Kirton (1976) Adaption–Innovation Inventory and two questionnaires concerned with aspects of educational procedures provided results broadly in line with expected adaption–innovation theory. Innovators were found to have a preference for procedures loose in structure, with aims not easily defined, and without easy methods of assessment. The adaptors showed a preference for procedures containing a tighter structure, more definable aims and more precise methods of assessment. The data also provide useful additional norms and information on teachers' cognitive style differences with regard to subject taught, gender, and length of service.