Schizotypy and creativity in visual artists

‘Every work of art is an uncommitted crime ’ Adorno (1951) . Cited in Julius (2002) . Given the putative relationship between creativity and schizotypy/psychoticism, the current study set out to investigate differences in scores on a range of personality and creativity measures between visual artists and non‐artists. Results found that the visual artists group scored higher on measures of positive‐schizotypy, disorganized‐schizotypy, asocial‐schizotypy, neuroticism, openness and divergent thinking (uniqueness) than did the non‐artist group and lower on agreeableness. These findings lend support to other studies reporting higher schizotypy scores in artistic and creative cohorts, although provide some of the first evidence of higher unusual experiences and impulsive nonconformity scores on the Oxford‐Liverpool Inventory of Feelings and Experiences (O‐LIFE) in visual artists. The relationship between creativity and schizotypy is discussed in terms of unusual ideas and a propensity to endorse socially undesirable responses.     

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.     

Schizotypal and hypomanic traits,creativity, and psychological health

There are both theoretical and empirical linkages between the functioning of creative and eminent individuals and a variety of forms of psychopa‐thology, in particular schizophrenia and bipolar affective disorder. Thought disorder is conceptually and empirically related to creative Divergent Thinking; schizophrenics and their relatives sometimes show evidence of highly creative adaptations; and psychiatric symptoms, notably manic and impulsive behaviors, are observed in creative and eminent individuals. Recent work has studied both psychopathological and creative functioning as continua rather than as categories or classes. The present study is unique in its use of a population that is both nonclinical and noneminent and examines the relationship between pencil and paper measures of psychotic‐like experiences, creativity, and psychological health. Results indicate that unusual perceptual experiences and beliefs, Hypomanic traits, and Impulsive Nonconformity are associated with creative attitudes and activities. Deficits in experiencing pleasure are negatively correlated with creativity scores. These findings point to the importance of affective, motivational, and behavioral factors in creative functioning especially hypomania and impulsiv‐ity. Subclinical “positive”; symptoms are associated with higher levels of measured creativity; deficit symptoms are associated with lower levels. This research suggests that creativity tests should be included in the assessment of psychological health and personal resourcefulness.     

Estimating Creativity with a Multiple-Measurement Approach Within Scientific and Artistic Domains

This article presents the structure and the composition of a newly developed multifaceted test battery for the measurement of creativity within scientific and artistic domains. By integrating existing procedures for the evaluation of creativity, the new battery promises to become a comprehensive assessment of creativity, encompassing both domain-general and domain-specific components. In particular, the test battery was designed for the measurement of the 2 main stages of the creative thinking process: ideation and evaluation. The test battery also includes 2 measures of creative achievement and can be used to assess professional levels of creativity in artistic and scientific creativity, as well as everyday creativity. Because creative thinking is not an isolated phenomenon in human behavior, the battery includes the measurement of 2 constructs, intelligence and personality, both of which are highly relevant for creativity. Preliminary results from a vast administration campaign of this test battery are presented.     

Investigating the interaction between schizotypy, divergent thinking and cannabis use

Cannabis acutely increases schizotypy and chronic use is associated with elevated rates of psychosis. Creative individuals have higher levels of schizotypy, however links between cannabis use, schizotypy and creativity have not been investigated. We investigated the effects of cannabis smoked naturalistically on schizotypy and divergent thinking, a measure of creativity. One hundred and sixty cannabis users were tested on 1 day when sober and another day when intoxicated with cannabis. State and trait measures of both schizotypy and creativity were administered. Quartile splits compared those lowest (n=47) and highest (n=43) in trait creativity. Cannabis increased verbal fluency in low creatives to the same level as that of high creatives. Cannabis increased state psychosis-like symptoms in both groups and the high creativity group were significantly higher in trait schizotypy, but this does not appear to be linked to the verbal fluency change. Acute cannabis use increases divergent thinking as indexed by verbal fluency in low creatives.     

Creativity,Schizotypicality, and Mystical Experience: An Empirical Study

This study examined the commonalities and the differences between creativity and the schizophrenia spectrum. The variables measured were creativity, schizotypy, absorption, mystical experiences, spatial ability, balance, positive and negative presence, and neuroticism. Three community groups were recruited: 31 artists, 10 people with schizophrenia, and 31 comparisons matched for gender and age with the artists. A larger student group, consisting of 102 students, was also recruited to examine the correlations among the same variables within a larger, more normative, group. The largest commonality between the artist and the schizophrenic groups was the propensity to mystical experiences. The greatest differences between them were that the artists were higher in creativity, had better spatial ability, had better balance, had more positive states of presence, and were lower in neuroticism. In the student group, creativity was positively correlated with positive schizotypy, impulsive nonconformity, spatial ability, positive presence, absorption, and mystical experiences, although in the student group, the relation between creativity and mystical experiences was completely mediated by absorption.     

Goal Structures in Creative Motivation

Our culture, as reflected in the creativity literature, has focused on products and productivity. We know relatively little about motives related to other creativity goals or to multiple-goal structures. We studied differences in goal structures between high and low creative individuals, across creative and routine situations, in four categories: person, process, situation, product. Creativity potential was assessed with a composite of four scales. Goal structures in creative and routine situations were assessed with a self-report measure. Nearly all subjects used all four goal categories to describe their motivation in both situations. Only about 34% of subjects' motivation was product-related. There were several differences between high and low creatives: (a) high creatives made more use of the full range of goal categories; (b) in creative situations, high creatives put more emphasis on person and less on product; (c) they also put less emphasis on product than low creatives did in either situation; (d) high creatives reported significantly higher motivation than low creatives in both situations.     

Dissociative Experiences and Creativity in Fine Arts Students

Studies on creative personality have revealed that the relationship between personality and creativity remains unclear, and various types of creative thinking have been have been associated with various personality traits. To assess the influence of dissociative experiences on creativity in the context of fine arts education, in which the creative process plays a key role, a sample of fine arts students received a test of creative potential and the dissociative experiences test. The results revealed significant differences in creativity (creative imagination and creative experiences) between students scoring high or low in the number of dissociative experiences. High dissociative experiences scores were associated to high scores in creative imagination and creative experiences, and low scores in dissociative experiences were inversely related to creative imagination and creative experiences. Further studies are required to corroborate these findings.     

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 Profiles of Creative Potential and Personality Characteristics of Adult Professionals

Using 5 divergent thinking indices of the Torrance Tests of Creative Thinking and the Myers-Briggs Type Indicator, this study examined the creative profiles of 236 adult professionals and relationships between their creative characteristics and personality types. All these adults were in their middle or late stage of professional development in business, public service, journalism, or a similar profession. Distinctive profiles of creative and personality characteristics were found as a function of the domain. For example, the adults in business, journalism, and law had strength in fluency and a weakness in resistance to premature closure; those in medicine, and research and education showed strength in originality and a weakness in abstractness of titles. Those in business were mostly either an ESTJ or ISTJ type had lower levels of creativity than other professionals. Across the domains, the adults preferring intuition in perceiving information had higher creative potential than those preferring sensing. Domains were significant predictors of most of the tested creativity, even over and above the personality types. Overall, this study supported that creative potential, personality types, and domains are intertwined although further explorations are needed to identify causality among them.     

Creativity and dementia: a review

In these last years, creativity was found to play an important role for dementia patients in terms of diagnosis and rehabilitation strategies. This led us to explore the relationships between dementia and creativity. At the aim, artistic creativity and divergent thinking are considered both in non-artists and artists affected by different types of dementia. In general, artistic creativity can be expressed in exceptional cases both in Alzheimer's disease and Frontotemporal dementia, whereas divergent thinking decreases in dementia. The creation of paintings or music is anyway important for expressing emotions and well-being. Yet, creativity seems to emerge when the right prefrontal cortex, posterior temporal, and parietal areas are relatively intact, whereas it declines when these areas are damaged. However, enhanced creativity in dementia is not confirmed by controlled studies conducted in non-artists, and whether artists with dementia can show creativity has to be fully addressed. Future research directions are suggested.     

The Creative Medical Student: A Descriptive Study

Biographical study distinguished high from low creative medical students by broken homelife, greater preference for movies, modern music, serious books, bridge playing and creative hobbies. High creatives seek challenge, academic or research careers, verbal and imaginative expression. Low creatives have higher motivation, better academic grades, more economic and family interests, are often oldest children and head for general practice. Independent, original explorations characterize high creativity while traditional, authoritative explanations satisfy the less creative. Fricke's Opinion, Attitude and Interest Survey made the creativity identification. Factor analysis related OAIS Scores, Omnibus Personality Inventory and Medical College Admission Test scores to cross check with biography data. A motivational Index is suggested as a predictor of supportive value to the creativity score.     

Creativity and involvement in art in different types of synaesthesia

The aim of the present study was to test the relationship between different types of synaesthesia and their involvement in art, creative, and visual abilities. We tested 20 grapheme‐colour, 18 sound‐colour, 19 grapheme‐colour‐and‐sound‐colour, 20 sequence‐space synaesthetes, and the same number of controls matched by age, gender, and education. We assessed the number of artistic professions, involvement in art, and the performance in psychometric tests of divergent and convergent creativity, as well as visual and visuo‐spatial abilities. Results show a higher prevalence of artists among synaesthetes, especially sound‐colour synaesthetes. Sound‐colour synaesthetes also showed a higher involvement in artistic activities overall while sequence‐space synaesthetes showed higher involvement in visual art. Only grapheme‐colour‐and‐sound‐colour synaesthetes showed significantly higher divergent creativity compared to matched controls. Additionally, overall, synaesthetes scored higher in visuo‐spatial abilities (i.e., mental rotation). For synaesthetes and controls, visuo‐spatial abilities correlated with divergent creativity. We discuss that synaesthetes’ higher involvement in art is not necessarily reflected in their basic creative abilities.     

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.     

Unity and diversity of executive functions in creativity

Increasing evidence suggests that executive functions (EFs) – a set of general-purpose control processes that regulate thoughts and behaviors – are relevant for creativity. However, EF is not a unitary process, and it remains unclear which specific EFs are involved. The present study examined the association between the three EFs, both uniquely (EF-Specific) and together (Common EF), and three measures of creativity. Participants (N = 47) completed a divergent thinking test, and self-reported their real-life creative accomplishments. A subset of participants indicated their involvement in the artistic or information technology (IT) professions. Results indicated that fluency (but not originality) of divergent thinking was uniquely predicted by working memory Updating. Better response Inhibition predicted higher number of real-world artistic creative achievements. Involvement in the artistic (versus IT) professions was associated with better Common EF, and with enhanced mental set Shifting abilities. Results demonstrate that different EFs predict creativity depending on its operational definition.     

Effects of Explicit Instruction to “Be Creative” Across Domains and Cultures

To explore whether the facilitation effects of an explicit instruction to “be creative” vary across cultures and types of tasks, 248 U.S. and 278 Chinese college students were administered a battery of tests of verbal, artistic, and mathematical creativity. Half of the participants were tested under the standard condition, and the other half under the explicit instruction condition. Results showed that the facilitation effects of the explicit instruction varied by domains of the creativity tasks (greater for artistic and mathematical creativity than for verbal creativity), but not across cultural and ethnic groups. The explicit instruction had a small “detrimental” effect on the clarity and grammar of story writing, but not on any other aspects of the technical quality of creative products. Methodological and theoretical implications of these findings are discussed.     

Types of Creativity and Visualization in Teams of Different Educational Specialization

This research is the first to examine different types of creativity dimensions in relation to different types of visualization on a team level, by comparing adolescences’ teams of different specialization (visual artist, scientists, and humanities) during a complex creative task in an ecologically valid educational setting First, the difference between all teams’ creative outputs (drawings) was compared in terms of their visual characteristics and represented content based on parameters derived from the content analysis of visual media. Second, the teams’ creative performance was compared using evaluations of experts from different professional domains. Based on the evidence from examination of teams’ creative products (final drawings) and their evaluations by professionals, this research suggests that object visualization is related to artistic creativity and spatial visualization is related to scientific creativity on the team-level. Furthermore, the findings provide a clear indication that assessing general creativity independently of the domain, as it has been done so far in most team creativity literature, might be somewhat limited.     

Are Individuals with Schizophrenia or Schizotypy More Creative? Evidence from Multiple Tests of Creative Potential

Schizophrenia and schizotypy have been often associated with above average creativity; however, empirical studies on the relationship between schizophrenia spectrum disorders and enhanced creativity generated inconsistent results. This research investigates if the association between schizophrenia spectrum disorders and creative potential levels is dependent upon which cognitive processes are examined during administered tests of creative potential. Our study examined 117 participants stratified into the following three subgroups: (a) 39 psychometrically determined low-schizotypal individuals, (b) 35 psychometrically determined high-schizotypal individuals, and (c) 43 patients with schizophrenia. Each participant completed 2 divergent thinking (DT) tasks, 2 convergent thinking (CT) tasks, and 2 creative tasks that combine both DT and CT processes. The data suggest that Group C had typical abilities in the DT, CT, and the combined creative thinking tasks; however, the group as a whole had intact originality during the Figural Completion (DT task) and the Tangram Construction (combined task). Notably, Group B showed significant advantages in both verbal and figural DT tasks. Group A and Group B demonstrated no significant differences in the creative thinking processes of CT; however, both groups outperformed Group C in these tasks.     

Openness to experience, plasticity, and creativity: Exploring lower-order, high-order, and interactive effects

What are creative people like? Openness to experience is important to creativity, but little is known about plasticity, the higher-order factor that subsumes openness. College students (n = 189) completed measures of the Big Five and measures of creative cognition (fluency and quality of divergent thinking), everyday creative behaviors, creative achievement, and self-rated creativity. Latent variable models found broad effects of openness to experience and few effects of the other four domains. At the higher-order level, plasticity predicted higher scores on nearly all of the facets of creativity, and stability had several significant effects. For some creativity measures, plasticity and stability had opposing effects. Tests of latent interactions found no significant effects: plasticity and stability predict creatively independently, not jointly.