Creativity through Connectedness: The Role of Closeness and Perspective Taking in Group Creativity

Achievements in various fields of creativity are resulting more and more from collaborative teams. This research investigated the role of interpersonal process variables, namely closeness and perspective taking in group creativity, with a 2 by 2 experimental design. Sixty-one 3-person groups assigned to 4 conditions (a: closeness and perspective taking, b: perspective taking, c: no closeness and no perspective taking, d: closeness). Group members collaboratively wrote stories that were rated by 3 independent expert judges. There was a positive main effect of closeness and negative main effect of perspective taking on group creativity scores. Moreover, the significant interaction between perspective taking and closeness displayed that combination of closeness with perspective taking negatively affect group creativity. These results indicate that closeness might be beneficial for group creativity only when it is not accompanied with perspective taking.     

Off‐Task Social Breaks and Group Creativity

This study investigates the effect of off‐task breaks, where individuals engage in a collective off‐task activity, on group creativity. Using an experimental method comprising 36 groups of 5 individuals, the relationships between different types of off‐task group break and performance in creative tasks post‐break are explored. When compared to the no‐break case, it is seen that off‐task breaks, in which all individuals participate in the group activity, lead to more original ideas being generated post‐break. On the other hand, individual incubation breaks and self‐organizing group breaks, lead to lower levels of post‐break idea originality when compared with the no‐break case. This research thus highlights the positive benefits of off‐task breaks involving full member participation, on the creative process in groups.     

Divergent and Convergent Group Creativity in an Asynchronous Online Environment

This study examined the influence of various group diversity dimensions on collaborative creativity related to the healthcare system. Research findings on the association between diversity and brainstorming performance has been mixed. Diversity that increases cognitive stimulation or promotes elaboration has been shown to increase group performance. Participants exchanged ideas, replied, and elaborated using an electronic discussion board in an asynchronous fashion in groups of five over a period of 4 weeks. The groups varied in diversity of ethnicity, gender, age, and political orientation, but participants were not made aware of this diversity. Age and gender diversity were related to lower levels of replying to ideas and lower idea novelty but political diversity was related to increased replies and novelty. If a topic engages people with different perspectives to actively respond to others’ ideas, this can increase the creative potential of idea sharing in groups. Political or value-based diversity has the potential for creative solutions if the other participants’ political or value-based identities are not made salient.     

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.     

高创造力个体的群体差异性研究

高创造力群体的界定是创造力研究的重要前提,但迄今极少有研究关注以往研究中高创造力群体间的同质性问题。本研究以创造力问题提出能力测验调查了两所高校（一所地方高校和一所教育部直属高校）的975名大学生的创造力,通过极端组方法（extreme groups approach, EGA）为大学生创造力水平分组,考察不同创造力分组之间的差别。研究发现：地方高校和部属高校的高创造力大学生被试,在创造力的流畅性、变通性和独特性三个维度上,均存在显著差异。本研究结果提示,大学生高创造力组间可能存在质的差别,因此相关研究在外推结果时需要采取谨慎态度;研究者在实验过程中和讨论文献结果的可比性时一定要关注样本的同质性问题。     

Group Creativity: The Effects of Extrinsic,Intrinsic, and Obligation Motivations

ABSTRACT: Creativity-reducing extrinsic motivation generally has been associated with rewards tied to task performance. However, there is also evidence that creativity-affecting motivation may also result from extrinsic rewards that are not tied to task performance. This type of motivation may be due to feelings of obligation. A research model is developed that examined how such obligation motivation differs from extrinsic and intrinsic motivations in terms of influencing creativity. Given the importance of groups in organizations, the focus is on motivation and creativity within interacting groups. A laboratory experiment is performed that involved groups determining requirements for an academic information system. The results support a conceptual differentiation between the three types of motivation.     

Group Artistic Creativity: Creative Clusters and Cinematic Success in Feature Films1

Filmmaking represents a distinctive form of group creativity in which many individuals contribute to a single creative product. This exploratory investigation examines these contributions in 1,327 English‐language, narrative feature films. Besides control variables, the measures included 2 criteria of impact (Best Picture honors, movie guide ratings) and 16 assessments of outstanding cinematic contributions (direction, male and female lead, male and female supporting, screenplay, art direction, costume design, makeup, cinematography, film editing, score, song, visual effects, sound effects editing, sound). A factor analysis showed that the contributions formed 4 creative clusters: dramatic, visual, technical, and musical. Hierarchical regression analyses indicate that a film's impact was a positive additive function of the dramatic and visual clusters, with the dramatic having the primary role.     

子团队的结构与情感对团队创造力的影响

为细化现有团队研究,着眼于子团队并结合团队同质情感,挖掘了团队中的子团队平衡性、团队情感与团队创造力关系。通过对某高校333名学生的团队实验研究,得出主要结论认为：团队中子团队的平衡性与团队情感对影响团队创造存在交互作用,具有积极情感且子团队平衡的团队创造力更高。当子团队不平衡时,情感积极团队会比中性情感下的团队有更大的创造力波动性。     

Understanding the Relationship Between Information Technology and Creativity in Organizations

Creativity is vital to organizational success. Information technologies (IT) have increasingly become a major influence on organizational efficiency and effectiveness. However, there has been a paucity of research aimed at specifying the relationship between these two areas of scholarship. This article will begin to fill this gap by exploring the ways that IT might influence creativity in organizations. This is important for organizational studies, given that knowledge and information are among the most important ingredients for creativity and are the very things that IT exist to manage. In this article, the creativity literature and much of the management oriented IT literature will be explored to suggest that IT plays an integral role in the creative process within organizations. Specifically, the main benefits that IT affords organizations will be considered and then applied to the requirements for creative production, the stages of the individual creative process, the process of organizational learning as related to creativity, and the creative process within large-scale project-based work. In addition, the conclusion will address the potential limitations of IT in relation to creativity as well as several thoughts concerning future research.     

Transliminality and Creativity

Using 50 psychology undergraduates, an attempt was made to find positive correlations between, on the one hand, transliminality (psychological material crossing thresholds into or out of consciousness), and on the other hand, (item‐corrected) creative personality, and figure‐complexity preference (as given by the Revised Barron‐Welsh Art Scale: a measure of creativity). Only the correlation between transliminality and creative personality was significant. There was also a significant and high test‐retest reliability coefficient for the Transliminality Scale, as well as a significant positive correlation between creative personality and paranormal belief.     

Creativity and Lawbreaking

Lawbreaking and creativity are often conceptualized as alternative, almost competing, expressions of the general psychological disposition of deviance. Where the 2 occur together, they are mainly discussed in terms of lawbreaking by acknowledged creative people that is irrelevant to their creativity or is a byproduct of outspoken, reckless, or unbridled creativity. The deliberate application of creativity in the direct service of intentional lawbreaking is rarely discussed, possibly because of the positive connotations associated with creativity. In fact, although psychological studies mainly conceptualize it in terms of deficits, some lawbreaking involves generation of highly effective—even admirable—novelty, and some lawbreakers display psychological characteristics typically associated with creative individuals, so that a deficit model is inappropriate. Creative lawbreakers and law enforcers can be conceptualized as competitors in much the same way as businesses are competitors, and this suggests a fresh way of looking at law enforcement.     

Education and Creativity

ABSTRACT: The hypothesis that the effects of positive and negative mood on creative problem solving may differ as a consequence of the degree of constraint on the solution space of the task was tested. Sixty-eight participants were divided into positive mood, negative mood, and control conditions. Mood was experimentally induced by showing selected film clips, and performance on four different idea production tasks was recorded across a time interval of 4 min for each task. Results showed a significant mood-production time interaction. Positive mood led to the highest number of scores in early idea production and the lowest number in late production, whereas both control and negative mood led to relatively superior task performance in late production. Alternative interpretations of the results are discussed, and suggestions for further studies are offered.