Mild Affective Shifts and Creativity: Effects on Idea Generation,Evaluation, and Implementation Planning

This study investigated the impact of mild shifts in affective tone (i.e., pleasant vs. unpleasant) and arousal (i.e., high vs. low) on three creative processes. Undergraduates read short stories designed to induce affective shifts and then were asked to generate solutions to a complex business problem. Shifts in affective tone and arousal interacted to influence idea generation and implementation planning, but not idea evaluation. The strongest creative performance was exhibited by participants who experienced a stable and pleasantly toned, low-arousal (i.e., relaxed) state and by those who shifted to an unpleasantly toned, high-arousal (i.e., angry) state. In contrast, those who shifted to an unpleasantly toned, low-arousal (i.e., sad) state or a pleasantly toned, high-arousal (i.e., happy) state tended to exhibit poorer creative performance. These results demonstrate the need to revisit the popular conception that organizations should promote intense levels of pleasant affect to enhance employee creativity.     

Mood and Creativity over Time in a Bipolar Participant

When depression alternates with mania, as in a bipolar affective disorder, creativity might be enhanced. To investigate this, we employed a single‐subject design, looking at both affective space and the spectral covariation of mood and creativity in a participant presenting with bipolar affective disorder. The study was conducted over a period of 54 days, and employed a standard measure of mood (the Brief Mood Introspection Scale) and a standard task of creativity (Alternative Uses Task). Both positive affect and negative affect appear to be somewhat undifferentiated for this participant, and her mood space does not conform to that described by the accepted major dimensions of Arousal and Pleasure. Conceivably, this is because of her rapid mood fluctuations. A 2.7‐day periodicity was found for Tired, Peppy, Nervous, and Calm, on the one hand, and ideational fluency, ideational flexibility, and originality, on the other. In addition, a 9‐day periodicity was common to Happy, Sad, and Gloomy—all three affects clustering in the same affective space—together with both ideational flexibility and originality. This finding brings into question the relationship between creativity and both positive and negative mood.     

Creative at Each Age: Age‐Related Differences in Drivers of Workplace Creativity from an Experience Sampling Study

Creativity and innovation are essential agents for change processes and accelerating technical development. Having to face challenges, such as demographic change, organizations require individuals who are creative and innovative at each age. Previous research identified affect as a crucial determinant of creativity, even though empirical findings showed inconsistencies. Drawing on literature on age‐related changes in affective experiences, we investigated the moderating effect of employees’ age on the association between daily positive and negative affect and creativity using a daily diary study. A total of 116 employees responded to daily questionnaires twice a day over five consecutive working days. As expected, hierarchical linear modeling analyses revealed differential effects regarding the affect‐creativity association, dependent on employees’ age. Although older employees were most creative on days when they experienced a high level of positive affect (compared to their mean level of positive affect), younger employees were particularly creative when experiencing negative affect (compared to their mean level of negative affect). We discuss practical implications on how organizations could provide creativity‐enhancing work environments for employees at each age.     

Creative self‐efficacy as mediator between creative mindsets and creative problem‐solving

An emerging area of research is how one's mindset regarding the fixedness and malleability of creative ability relates to creative performance. Malleable creative mindsets tend to be positively related to creativity while fixed mindsets often show a negative association. Similarly, creative self‐efficacy, or one's beliefs that they have the capacity to be creative, is also related to creative performance and creative mindsets. While previous studies tested the direct relationship between mindsets and creativity, this study tested creative self‐efficacy in this relationship. A total of 152 students from a Midwestern university participated in the study. They were provided with measures of creative self‐efficacy, creative mindsets, and creative problem‐solving. Solutions were assessed in terms of quality and originality. Results indicated that both malleable creative mindsets and creative self‐efficacy were positively related to solution quality and originality while fixed creative mindsets were negatively related. Mediation analysis using Preacher and Hayes' (2004) bootstrapping macro showed that creative self‐efficacy mediated the relationship between malleable mindsets and quality and originality as well as the relationship between fixed mindsets and quality and originality. This research advances the study of creativity by demonstrating that creative self‐efficacy is an important mechanism through which creative mindsets relate to creative performance.     

Affective Induction and Creative Thinking

Three studies explored the relation between affect and production of creative divergent thinking, assessed with the Torrance Tests of Creative Thinking (Figural TTCT). In the first study, general, positive, and negative affect, assessed with the Positive and Negative Affect Scale (PANAS) were compared with creative production. In the second study, 2 affective states—happiness and sadness—were induced by means of 2 film sets, and creative production under these 2 conditions was compared. In the third study, using masked facial feedback, 2 affective states were induced: happiness—by requesting participants to hold a pencil in their teeth—and anger—by holding it with their lips—and creative production under both induced affects, as well as with a previous noninduced affect, was compared. In general terms, the results of all 3 studies show that positive affect, both general positive affect and the happy affect induced in the two experimental manipulations, increased the production of creative divergent thinking. Negative affect had no impact on the production of creative divergent thinking, neither general negative affect nor the experimentally induced affects of sadness and anger. In masked induction, the induced positive affect improved creative production, compared to the noninduced control situation; in contrast, the induced negative affect presented no differences in creative production, compared to its previous noninduced condition.     

The dual pathway to creativity model: Creative ideation as a function of flexibility and persistence

The dual pathway to creativity model argues that creativity—the generation of original and appropriate ideas—is a function of cognitive flexibility and cognitive persistence, and that dispositional or situational variables may influence creativity either through their effects on flexibility, on persistence, or both. This model is tested in a number of studies in which participants performed creative ideation tasks. We review work showing that cognitive flexibility, operationalised as the number of content categories surveyed, directly relates to idea originality, but that originality can also be achieved by exploring a few content categories in great depth (i.e., persistence). We also show that a global processing mode is associated with cognitive flexibility, but only leads to high originality in tasks that capitalise on cognitive flexibility. We finally show that activating positive mood states enhance creativity because they stimulate flexibility, while activating negative mood states can enhance creativity because they stimulate persistence. Implications for theory and practice are discussed.     

Does Cognitive Style Moderate Expected Evaluation and Adolescents' Creative Performance: An Empirical Study

Two studies investigated the effects of cognitive and school environmental factors on adolescents' creative performance. The first study tested the effects of expected evaluation and cognitive style on creativity among 89 high school students. The second study tested the effects of evaluation type and cognitive style on creativity among 92 high school students. Study 1 found main effects of expected evaluation and cognitive style on creativity. The interaction between expected evaluation and cognitive style was statistically significant. Under an experimental condition of expected evaluation, field‐dependent adolescents performed more creatively (i.e., higher originality) than those without expected evaluation. Study 2 uncovered main effects of expected evaluation type and cognitive style on creativity but no interactions between expected evaluation type and cognitive style. Adolescents performed better on the dimension of flexibility in a controlling evaluation condition, compared with adolescents in informational evaluation condition, and field‐independent adolescents showed more fluency and originality than field‐dependent adolescents. Together, this research provides a better understanding of the effects of expected evaluation and cognitive style on adolescents' creative performance. Implications for further research are discussed.     

The Interactive Effects of Affective Demeanor,Cognitive Processes,and Perspective-Taking Focus on Helping Behavior

Abstract

The author manipulated affective demeanor (positive or negative) and cognitive processes (positive or negative) displayed by a target person, along with the perspective-taking focus (affect or cognitions) of participants, to assess the unique and interactive effects of those variables on the participants' helping behavior, operationalized as time volunteered to help other students. An ethnically diverse sample (N = 109) of U.S. working adults (mean age = 31.56 years, SD = 8.21) viewed a videotape of a female target talking about returning to college. Participants adopting an affective perspective-taking focus volunteered more time than did those who adopted a cognitive perspective-taking focus. Also, a significant interaction between participants' perspective-taking focus and target's affective demeanor revealed that participants who focused on the target's feelings and who viewed a warm, cheerful target volunteered more time than did the other groups. Moreover, a significant interaction between participants' perspective-taking focus and target's cognitive processes revealed that the participants who focused on the target's feelings and who viewed a confused and unfocused target volunteered more time than did the other groups. The author also discusses the relationship between empathy, personal distress, and helping.     

The Mediating Role of Creative Process Engagement in the Relationship between Shyness and Self‐Rated Creativity

Shyness has been found to have a negative impact on creativity. However, little attention has been given to the underlying process of the relationship between shyness and creativity. On the basis of literature, we hypothesize that shyness has an indirect impact on creativity through creative process engagement. Two studies were conducted on undergraduate students (Study 1) and working adults (Study 2) to test the hypothetical relationship. Analysis on participants self‐report showed that shyness was negatively associated with self‐reported creativity as well as creative process engagement. There was a positive relationship between creative process engagement and creativity. More importantly, mediation analysis supported that shyness was indirectly linked to creativity via creative process engagement. Specifically, shy people are found to be less involved in creativity‐relevant processes such as information searching and idea generation. The low level of creative process engagement, in turn, hinders their creativity. The findings not only lend support to the detrimental effect of shyness on creativity but also shed light on the underlying mechanism of the relationship.     

Suicidal ideation,affective lability,and religion in depressed adults

Suicidal ideation is a strong precursor to suicidal acts and like depression is complex with many risk and protective factors. The purpose of this study is to determine if affect lability, positive and negative religion/spirituality (RS) are related to suicidal ideation and if RS mediates the relationship between affect lability and suicidal ideation. RS are used synonymously to reflect a multidimensional construct. In this cross-sectional study of 183 depressed psychiatric patients, we confirm that depression and affective lability both contribute to suicidal ideation. Positive RS is associated with lower suicidal ideation. Negative RS is associated with higher suicidal ideation; however, this occurs through its association with affective lability. Affective lability and negative aspects of RS are two factors related to suicide ideation that could be addressed in the treatment of depressed patients.     

Positive Group Affective Tone and Team Creative Performance and Change‐Oriented Organizational Citizenship Behavior: A Moderated Mediation Model

Despite the vast amount of research on creativity and organizational citizenship behavior (OCB), little knowledge has been accumulated with respect to underlying mechanisms and boundary conditions affecting team creative performance and change OCB. To fill this research gap, this study aims at proposing and testing a moderated mediation model that delineates the relationships among positive group affective tone (PGAT), team reflexivity, team leader transformational leadership, team creative performance, and team change OCB. As hypothesized, PGAT was positively associated with team reflexivity, which in turn significantly predicted team creative performance and change OCB. In addition, the relationship between PGAT and team reflexivity and the indirect effects of PGAT on team creative performance and change OCB through team reflexivity were more pronounced when team leader transformational leadership was high than when it was low. These findings were validated in a post hoc analysis that compared the proposed moderated mediation model with alternative models.     

The dark side of creativity: biological vulnerability and negative emotions lead to greater artistic creativity

Historical and empirical data have linked artistic creativity to depression and other affective disorders. This study examined how vulnerability to experiencing negative affect, measured with biological products, and intense negative emotions influenced artistic creativity. The authors assessed participants' baseline levels of an adrenal steroid (dehydroepiandrosterone-sulfate, or DHEAS), previously linked to depression, as a measure of affective vulnerability. They then manipulated emotional responses by randomly assigning participants to receive social rejection or social approval or to a nonsocial situation. Participants then completed artistic collages, which were later evaluated by artists. Results confirmed a person-by-situation interaction. Social rejection was associated with greater artistic creativity; however, the interaction between affective vulnerability (lower baseline DHEAS) and condition was significant, suggesting that situational triggers of negative affect were especially influential among those lower in DHEAS, which resulted in the most creative products. These data provide evidence of possible biological and social pathways to artistic creativity.     

Creativity and Affective Temperament in Artistic and Non-artistic Students: Different Temperaments are Related to Different Aspects of Creativity

The relationship between creativity and temperament has been well documented in studies with professional artists. This also pertains to affective temperaments which constitute the vulnerability to affective disorders. However, less is known about the contribution of particular temperaments to specific components of creativity, for example, ideational fluency, or originality of thinking. The aim of the present study was to assess affective temperaments and creativity in artistic and non-artistic students. Ninety (39 artistic and 51 non-artistic) students were enrolled in the study. Affective temperaments were evaluated by means of TEMPS-A questionnaire. Creativity was measured with BWAS test assessing the originality of thinking and a sample of tasks derived from BIS battery, assessing ideational fluency. Artistic students showed higher rates of cyclothymic temperament. They also outperformed non-artistic students in both domains of creativity. The originality of thinking correlated positively with the level of cyclothymic temperament, whereas ideational fluency was positively related to hyperthymic temperament. Ideational fluency also correlated with the level of parental education. Results indicate that creativity is related to temperaments underlying predisposition to bipolar affective disorder; however, different temperaments are related to different aspects of creativity.     

The Moderating Role of Agreeableness in the Relationship between Experiencing Anger and Creative Performance

Previous studies regarding the effect of experiencing anger on creative performance have shown controversial findings. Some studies have reported that anger hampers creative performance, whereas others have shown that anger promotes cognitive motivation and improves creative performance. Anger is associated with hostility, threats, and conflict, states that are congruent with low agreeableness. In contrast, anger is incompatible with an agreeable individual's preference for harmony and peace. Experiencing this negative activating emotion should be demanding and stressful to them and thereby hamper creative task engagement. Accordingly, we conducted an experimental study to examine whether agreeableness moderated the association between anger and creative performance. A total of 128 undergraduates were randomly assigned to receive either induced anger or a neutral emotion and then completed a creativity task. We found that participants with lower levels of agreeableness showed better fluency, flexibility, and originality in creativity in the anger relative to the neutral-emotion condition, whereas participants with higher levels of agreeableness showed better creative performance in the neutral emotion relative to the anger condition. The present findings not only provide a viable account for integrating inconsistent findings regarding the facilitating effect of anger on creativity but also contribute to contingent strategies for promoting creative performance.     

Integration of Positive and Negative Affective Stimuli

The research reported in this article examines how multiple affective stimuli of differing valence (i.e., both positive and negative) are integrated into an overall affective response. Prior research on the integration of positive and negative information has not focused on affect, and previous affect integration research has not considered both positive and negative feelings. Two experiments investigate how positive and negative affective stimuli combine to influence overall affective responses to an advertisement, content‐specific beliefs, and overall ad evaluations. Both recency and contrast effects were observed on positive affective response and positive beliefs, but comparable effects on negative affective response and negative beliefs were not evident. The results support a motivational influence of affect on judgments.     

Motives for Creativity: Exploring the What and Why of Everyday Creativity

People spend a lot of time on creative activities in their leisure time, but we still know little about what these activities are and what drives them. The literature suggests that several specific motives may be relevant for everyday creative behavior, including enjoyment, expression, challenge, coping, prosocial, social, material, recognition, and duty motives. Across two online studies totaling 750 participants, enjoyment was the strongest motive for everyday creativity, consistent with previous research linking creativity to intrinsic motivation and positive affect. Importantly, however, the relevance of motives differed across creative domains: visual arts, literature, and music were more strongly motivated by expression and coping motives, whereas handicrafts and creative cooking were more strongly motivated by prosocial and recognition motives. Intrinsic motives for creative activities were substantially related to high openness to experience, but explained incremental variance in the prediction of self-reported creativity as well as rated creative achievements. Together, these findings provide new insights into the motivational basis and function of everyday creativity.     

Affective bias in visual working memory is associated with capacity

How does the affective nature of task stimuli modulate working memory (WM)? This study investigates whether WM maintains emotional information in a biased manner to meet the motivational principle of approaching positivity and avoiding negativity by retaining more approach-related positive content over avoidance-related negative content. This bias may exist regardless of individual differences in WM functionality, as indexed by WM capacity (overall bias hypothesis). Alternatively, this bias may be contingent on WM capacity (capacity-based hypothesis), in which a better WM system may be more likely to reveal an adaptive bias. In two experiments, participants performed change localisation tasks with emotional and non-emotional stimuli to estimate the number of items that they could retain for each of those stimuli. Although participants did not seem to remember one type of emotional content (e.g. happy faces) better than the other type of emotional content (e.g. sad faces), there was a significant correlation between WM capacity and affective bias. Specifically, participants with higher WM capacity for non-emotional stimuli (colours or line-drawing symbols) tended to maintain more happy faces over sad faces. These findings demonstrated the presence of a “built-in” affective bias in WM as a function of its systematic limitations, favouring the capacity-based hypothesis.     

不同愉悦度面孔阈下情绪启动效应:来自ERP的证据

采用事件相关电位技术,研究阈下情绪启动效应。实验中的因素是阈下呈现的情绪启动面孔的愉悦度,分为高、低两个水平。被试的任务是对中性靶刺激面孔进行情绪判断。结果发现:被试在对靶刺激进行情绪判断时出现与启动刺激愉悦度趋于一致的启动效应;低愉悦度面孔作启动刺激条件下N1和P2的波幅显著大于高愉悦度面孔作为启动刺激的条件;不同愉悦度情绪面孔的阈下启动效应是由于启动刺激影响了对靶刺激的知觉加工所致。