人类创造力的本质是什么

就目前人类的知识所及,人类社会的发展是一个从原始到现代的逐渐演化过程。在这个过程中,社会的每一次进步都是与人类自身的创造力分不开的。从远古的茹毛饮血到现代的煎烤蒸焖;从原始的树穴洞居到当今的摩天大楼;从刀耕火种到机械化作业;从牛车到航天飞船……。这一切无不是人类创造力的体现。     

The Emergence of Creativity

Creativity is one of the central dimensions of human achievement and social development and has always fascinated scientists and non-scientists alike. But what is the essential nature of creativity? And what is the role of consciousness in the emergence of creativity? If it is true that it has been explored in many aspects in the cognitive and neurobiological field, it is also true that the lore chest—from which the conscious mind through unconscious mechanisms extracts the rough material that is then brought to the surface—has been less investigated. The purpose of this article is to give an account of how the multiplicity of levels of awareness is made possible by a spontaneous order that has nothing to do with a monolithic view of creativity.     

认知抑制对科学创造力和艺术创造力的影响

研究通过2个实验,考察不同高低抑制水平对科学创造力和艺术创造力的影响。通过安排不同难度的Simon任务（不一致试次占70%或10%）来消耗被试的认知资源,达到操纵被试的抑制水平,以侧抑制任务的前后测来评估被试抑制水平的变化情况,实验1和实验2分别以科学创造力测验和粘贴画任务测量被试的科学创造力和艺术创造力。结果发现,在科学创造力测验上,高抑制水平组被试的流畅性和灵活性得分显著高于低抑制水平组;在粘贴画任务中,低抑制水平组被试的创造性、可爱程度、综合印象得分以及总分均显著高于高抑制水平组。表明高认知抑制水平有利于科学创造力,低认知抑制水平有利于艺术创造力,认知抑制对科学创造力和艺术创造力的影响存在分离效应。     

The Enhancement of Creativity*

Upon submission of this article, Dr. Hughes wrote the following acknowledgement: “With gratitude, I wish to record my debt to the Director of the Creative Science Program at New York University and my longtime friend, Myron A. Coler, who first made me aware of the importance of creativity.”     

The 7 C's of Creativity

This paper presents a framework for conceptualizing work on creativity in terms of 7 C's. These are: Creators, Creating, Collaborations, Contexts, Creations, Consumption, and Curricula. The content of these thema are described and situated with respect to previous proposals.     

The Conditions for Creativity

ABSTRACT We must attempt to formulate those conditions which are both necessary and sufficient for creativity. These conditions, at a minimum, appear to be: (1) Motivation. This includes inherent needs, which provide the “push”, and acquired traits and attitudes, which provide the “pull”. (2) Self-limitation (or selectivity). This means proper use and the setting of proper curbs on our talents and energies; the adoption of an adequate valuing-system and the development of the kind of character that will help us meet the demands of the environment and our creative projects. (3) Receptivity (or openness). This makes it possible for us to take in new ideas, experience new feelings and attitudes, apprehend new aesthetic forms relevant to originality. (4) Competence. This involves mastery of those tools used in, and required for, the creative project. These conditions may be held to be minimal for creativity.     

The Two-Conditions View of Creativity

In-an attempt to overcome the difficulties people face in defining the complex concept “creativity,” the present paper will consider creativity as two basic conditions: (a) as an interaction condition, and (b) as a transformation-imagination-fantasy condition. Creativity is a process that is the combination of these conditions of interaction, transformation, imagination, and fantasy. These conditions operate simultaneously in the activities of individuals. Indeed, none of them can stand alone, since one implies the others if creativity is to occur.     

Proactive Personality and Employee Creativity: The Effects of Job Creativity Requirement and Supervisor Support for Creativity

This study examined the relationships between proactive personality and employee creativity and the moderating roles of job creativity requirement and supervisor support for creativity in activating proactive personality associated with employee creativity. To provide a rigorous test of the hypotheses, we conducted a field study from a sample of 157 employee–supervisor pairs in South Korea. The results revealed that a proactive personality was positively associated with employee creativity. In addition, job creativity requirement and supervisor support for creativity jointly influenced the relationship between proactive personality and employee creativity. Specifically, proactive employees exhibited the highest employee creativity when job creativity requirement and supervisor support for creativity were both high.     

The Creativity of Korean Leaders and its Implications for Creativity Education*

This research explores the promoting elements of Korean leaders' creative achievements, and provides implications for creativity education which are suitable in the Korean sociocultural context. In‐depth interviews focusing on their school life and personal growth were held with twelve leaders, four each in the fields of science, humanities, and art. The results of these interviews revealed that a solid basis of basic knowledge, the ability to connect domains from experience in various fields, challenge, and social contribution were the promoting elements for creative achievement. In addition, permissive parents, psychological support from teachers, and horizontal relationships in organizations were affective. Thus, for promoting creativity in Korean education, the importance of knowledge‐base, shared values, teamwork, and teacher role are discussed.     

The Notion of Creativity Revisited: A Philosophical Perspective on Creativity Research

This article is a critical, yet constructive, review of some recent attempts to define and understand creativity, informed by the methods and debates of contemporary philosophy. I argue that the definitional project is not essential to creativity research, but important nevertheless. The standard definition of creativity as the production of something that is both novel and appropriate is on the right track, but needs further qualification and tends to be elaborated in ways that make it either too narrow or too broad. I argue that the product, and not the person or process, should be viewed as the primary bearer of creativity and criticize some influential theorists for making creativity too strongly dependent on social acceptance, while also recognizing that the realist alternative tends to widen, and thus threatens to trivialize, the central notion of an appropriate product. The notion of response‐dependence might be of some help to find the proper balance between the two extremes, and some comparisons with evolutionary theory also help to shed further light on the problem. Finally, I try to spell out the practical consequences of my investigation for creativity research.     

绩效薪酬对员工突破性创造力和渐进性创造力的影响

研究分别从认知评价理论和习得性努力理论视角考察了绩效薪酬对员工突破性创造力和渐进性创造力的影响及其作用机制, 并检验了变革型领导和交易型领导对上述两条路径的调节效应。基于24家企业的364对上下级匹配数据的研究结果表明：绩效薪酬对内在动机和突破性创造力没有显著的影响, 对外在动机和渐进性创造力有显著的正向影响。变革型领导调节绩效薪酬与突破性创造力的关系：高变革领导情境下, 绩效薪酬通过正向影响内在动机间接对突破性创造力产生正向影响; 低变革领导情境下, 绩效薪酬通过负向影响内在动机间接对突破性创造力产生负向影响。交易型领导调节绩效薪酬与渐进性创造力的关系：交易型领导通过强化绩效薪酬对外在动机的影响进而放大了绩效薪酬对渐进性创造力的正向效应。针对上述结果, 讨论了本文的理论与实践意义。     

创造力游乐场理论及其实践涵义

创造力的领域特殊/一般性问题是创造力研究中最具争议的焦点之一。Baer和Kaufman基于大量实证研究, 提出创造力游乐场理论。该理论以游乐场做隐喻, 将创造力分为先决条件、一般主题层面、领域和微领域, 并将创造力的一般性成分和特殊性成分联系起来, 说明这两种成分在层级结构中是如何在不同程度上重叠的。这一理论是西方研究者提出来的, 我国研究者在创造教育实践中也摸索出了类似的培养模式, 两者互相印证, 说明该理论具有极强的科学性与实用性。