Do Creative Thinking and Creative Problem-Solving Have a Place in Counseling Curricula?

As counseling curricula evolve in future years, the idea of including the topics of creative thinking and problem-solving in coursework is explored by the researcher. These domains, along with the broader topic of creativity in general, are embedded in the counseling process and many of its theories. Reasons for consideration are discussed, including the importance of creativity to the counseling profession, the relationship between wellness and creativity, and the spanning of creativity across cultures.     

Beyond Dichotomy—Towards Creative Synthesis

There are two ways for overcoming limitations of methods used in psychology, as Toomela (Integr. Physiol. Behav. Sci. doi:, 2007) points out. These are inventing new methods of research, and looking back into the history of methodological thought for new ideas. Though he limited the former as if it is a quantitative area and he declared to take the latter path, his paper actually advocates the need to create new methodology for understanding the human psyche through historical approach. We discuss problems of sampling and generalization in that context, and suggest a new way to creative synthesis through elaboration of qualitative methodologies. To us this direction constitutes an updated version of the German–Austrian methodology exactly as Toomela suggests.

Teachers’ Beliefs of Creative Children

Teachers’ beliefs about characteristics of creative children do not always align with how creative children actually behave. Understanding these misaligned beliefs—defined as misconceptions—is important because teachers’ misconceptions can undermine efforts to foster children's creative development. This study aimed to identify teachers’ beliefs about the characteristics of creative children with an emphasis on their misconceptions about characteristics as either indicative or contraindicative of creative children. We analyzed responses of 136 teachers to 29 characteristics, indicating or contraindicating creative children, on Gough's (1979). Creative Personality Scale using the Rating Scale Model. Results revealed that teachers tended to have more misconceptions about characteristics contraindicative of creative children than characteristics indicative of creative children while teachers were able to accurately recognize certain characteristics when compared with explicit theories of creativity. In both the indicative and contraindicative characteristics, misconceptions appeared to increase if characteristics were desirable in the classroom. Teachers’ misconceptions may conceal creative potential in children who do not manage their undesirable characteristics in constructive ways. Findings provide practical implications to aid teachers and teacher educators in correcting misconceptions about the characteristics of creative children.     

Can People Creative in Imagery Interpret Ambiguous Figures Faster than People Less Creative in Imagery?

The purpose of the research study was to investigate whether people creative in imagery are better than people non‐creative in imagery at interpreting ambiguous figures. Creativity, in the imagery paradigm, is said to involve two processes: combinational play and discovery. Discovery plays a major role in creativity as it is the process of discerning, judging or interpreting the value of a mental construction. Furthermore, creative people have been said to be insightful thus supporting the proposition advanced here that people creative in imagery are faster at interpreting and finding alternative interpretations for ambiguous figures than people less creative in imagery. This study reports both latencies and discoveries in perception and mental imagery as measured on a figure combination task. The data support the conclusion that people creative in imagery are more capable in reinterpreting ambiguous figures and that they are quicker in their discoveries than people less creative in imagery. The analysis to the questions of how the subjects arrived at their discoveries may also illustrate the Gestalt literature on insight as a rapid pattern recognition.     

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.     

Creative Prisoners: Do They Exist?

One frequently suggested motive for creative work is awareness of mortality. This article reviews some suggestions about ways in which death might serve as such a motive, and also proposes other motives. It is hypothesized that death might provide both a drive that initiatives creative activity, and also incentives that finished products try to achieve, As well, its specific role and importance probably changes with age.     

Performance Assessment: Is Creative Thinking Necessary?

The study examined the relationship between creative thinking ability of 13 to 14‐year old female students and their ability in tackling problem solving situations in the science laboratory. The latter has been variously labeled as hands‐on problem‐solving tasks, scientific investigations, and performance assessment. No tutoring or guidance concerning how to solve the problem was provided. The scientific concepts embedded in the tasks are within the scope of the 13 to 14‐year old students, but the setting for the tasks are novel and not likely to be dealt with by their class teacher during the course of instruction. The solution process for these tasks is likely to involve the following components: preliminary trialing, planning, performing, communicating, interpreting and reflecting on the task to provide feedback for further refinement of the task (Department of Education & Science, U.K., 1987; Toh, 1990). The paper looks into the correlation of creative thinking ability and each of the six performance components, as well as the overall performance.     

Which Competencies Are Most Important for Creative Expression?

In a follow-up to a previously published study (Epstein, Schmidt, & Warfel, 2008 Epstein , R. , Schmidt , S. M. , & Warfel , R. ( 2008 ). Measuring and training creativity competencies: Validation of a new test . Creativity Research Journal , 20 , 7 – 12 .[Taylor & Francis Online], [Web of Science ®] , [Google Scholar]), an ethnically-diverse sample of 13,578 people in 47 countries (mainly the United States and Canada) took an online test that measures 4 trainable competencies that have been shown to enhance creative expression in individuals. The new study confirmed that the test has high internal-consistency reliability and reasonably strong predictive validity. Competency scores were good predictors of self-reported frequency of creative expression and moderately good predictors of life satisfaction and professional success. Scores were also substantially higher for people who had had creativity training, and more training was associated with higher scores. Small but statistically significant differences in scores were found for gender (women outscoring men) and race/ethnicity. Of the 4 competencies examined, capturing (preserves new ideas as they occur) proved to be the best predictor of self-reported creative expression, followed by challenging (takes on difficult tasks), broadening (expands one's skills and knowledge), and surrounding (arranges stimulating physical and social environments).     

Research Trails and the Creative Spirit: Can Historical Case Studies Integrate the Short and Long Timescales of Creative Activity?

In the study of scientific creativity, the purposes of cognitive scientists and of historians of science overlap but are far from congruent. Historical cases are only one of many forms of evidence that cognitive scientists bring together to arrive at general conclusions about the creative processes. Historians seek to reconstruct the investigative enterprises of particular scientists. Generalizations about creativity are useful to historians mainly as one of various means to interpret the work of those particular scientists. This article presents the argument that the extent to which these two goals can be complementary depends largely (a) on how large the gap is between the duration of the thought processes that cognitive scientists examine and the limits of resolution to which historians can penetrate in following the temporal progression of a subject's thought and work and (b) on the level of temporal organization of these thoughts and actions most revealing of their creative nature.     

Who Finds Bill Gates Sexy? Creative Mate Preferences as a Function of Cognitive Ability,Personality, and Creative Achievement

Creativity is sexy, but are all creative behaviors equally sexy? We attempted to clarify the role of creativity in mate selection among an ethnically diverse sample of 815 undergraduates. First we assessed the sexual attractiveness of different forms of creativity: ornamental/aesthetic, applied/technological, and everyday/domestic creativity. Both males and females preferred ornamental/aesthetic forms of creativity in a prospective sexual partner than applied/technological and everyday/domestic forms of creativity. Secondly, we assessed the simultaneous prediction of general cognitive ability, personality, divergent thinking, self‐perceptions of creativity, and creative achievement on preferences for different forms of creativity in a prospective sexual partner. The results were generally consistent with assortative mating. The most robust predictors of a preference for applied/technological forms of creativity in a potential sexual partner were intellectual interests and creative achievement in applied/technological domains. In contrast, the most robust predictor of a preference for ornamental/aesthetic forms of creativity was openness to experience. The results suggest that openness to experience and its associated aesthetic, perceptual, and affective aspects are the primary characteristics influencing the sexual attractiveness of a creative display. Further, the results demonstrate the importance of also taking into account individual differences in personality, interests, and creative achievement when considering the sexual attractiveness of different manifestations of creativity.     

Underachievement and Creativity: Are Gifted Underachievers Highly Creative?

This literature review synthesizes the available literature that suggests that the underachievement of gifted students may be tied to their inherent and unrecognized creativity. Apparently, many gifted students are underachievers and up to 30% of high school dropouts may be highly gifted. Beginning with the belief that these gifted underachievers may be highly creative, this article first reviews the view that creativity can be a gift, much like intelligence. It then reviews the typical characteristics of gifted underachievers and the similar characteristics of creative underachievers. Finally, it reviews the studies and theories that have shown that once underachievers are placed in an environment that fosters their needs, with motivation, mentors, understanding, freedom, and responsibility, they can become highly productive. Classrooms across the nation are facing ever-increasing pressure to educate every child, especially with the No Child Left Behind (2007) Act. There is a demand for those children who might normally “fall through the cracks” to receive closer attention and potentially greater accommodations than were previously required.     

The Creative Imagination of the Sufi Mystic, Ibn ‘Arabi

The 12^th–13^thcentury mystic, Ibn 'Arabi, was known as the Greatest Master among the Sufis. His insights into dreams, visions and prophetic processes may prove enlightening to our own more secular age. The findings of Carl Jung parallel some of the revelations of the mystic, but Ibn 'Arabi goes farther than Jung into the Active Imagination as both conscious—willed—and spontaneous, autonomous process. Through surrender and annihilation in the Divine, the mystic opens himself to receive theophanies, resulting in a life lived perpetually in awareness of Divine Presence. Union with the Divine is the aim of the mystic and Ibn 'Arabi shows us a detailed account of how that life is experienced.     

How Much Does Creative Teaching Enhance Elementary School Students' Achievement?

This study examined the relationship between creative teaching and elementary students' achievement gains. Forty‐eight upper elementary school teachers' classroom instruction was observed and evaluated over the course of 8 different lessons throughout the year. For each teacher, during each lesson, both a creative teaching frequency score and a quality score were derived. These scores were then used as predictor variables in a structural equation model to determine the magnitude of the relationship between creative teaching and classroom achievement gains in reading, language, and mathematics. Our results demonstrated that (a) the majority of teachers do not implement any teaching strategies that foster student creativity; (b) teachers who elicit student creativity turn out students that make substantial achievement gains; and (c) classrooms with high proportions of minority and low‐performing students receive significantly less creative teaching.     

Need Delimited: The Creative Otherness of Heidegger’s Demigods

This paper offers a close analysis of Heidegger’s interpretation of the demigod in his 1934/35 lecture course, Hölderlins Hymnen “Germanien}” und} “Der Rhein}” (Gesamtausgabe 39). Focusing on Hölderlin’s two different versions of Strophe VIII of “The Rhine” hymn, it traces through Heidegger’s inaugural insights into the structure of need (Brauch}) articulated in the “The Rhine” hymn as the gods’ need and use of the demigods to “feel something of themselves.” Contrasting this with Plato’s analysis of the demigod in the Symposium, the paper argues that for Heidegger the between is original in first founding the limit between gods and human beings through the creation of a new kind of otherness. It then goes on to follow out this insight through Heidegger’s interpretation of the counterturning course of the Rhine river in relationship to its origin, asserting that what is at stake in that analysis is Heidegger’s working out of a new conception of creativity realized through the river’s dwelling poetically.     

Fluency or Similarities? Cognitive Abilities that Contribute to Creative Metaphor Generation

This study focused on the cognitive abilities that contribute to creative metaphor generation. A concept explanation task was used to test conventional and novel (creative) metaphor generation. Conceptual fluency and similarities were measured using the Tel-Aviv Creativity Test (TACT). The main goal was to investigate how fluency of ideas and similarities contribute to creative metaphor generation. Fifty-four children (M = 12.59, SD = 2.05) participated in the study. The findings demonstrated that fluency of ideas contributed to the prediction of creative potential, but not conventional metaphor generation, beyond similarities, cognitive abilities, executive functions, verbal abilities, and age. The results thus show that novel metaphor generation is unique and separate estimate of creative potential, which is reciprocally related to conceptual fluency.     

How Do Creative Experts Practice New Skills? Exploratory Practice in Breakdancers

How do expert performers practice as they develop creatively? This study investigated the processes involved in the practice of new skills by expert breakdancers. A great deal of evidence supports the theory of “deliberate practice” (Ericsson, Krampe, & Tesch‐Römer, 1993, Psychological Review, 100, 363) in skill acquisition; however, expert creative performers may emphasize other forms of practice for skill development. Four case studies collected through fieldwork and laboratory observation were analyzed to evaluate expert dancers’ practice processes as they developed proficiency in new, specific skills. We focused on three aspects of learning: the degree of skill acquisition, the content of skills included in practice, and dancers’ stated purposes for practicing. The results showed that dancers’ practice improved skills (as suggested by deliberate practice) and engaged the exploration of new, original skills, along with coordinating skills within performance. In their practice, these dance experts went beyond deliberative practice to highly exploratory processes for skill development.     

Creative Cognition and Psychosis Vulnerability: What’s the Difference?

Evidence from experimental psychology provides unequivocal support for enhanced creativity among individuals who are prone to psychotic and mood disorders. At the same time, there is strong epidemiological evidence for greater incidence of creative achievement among those diagnosed with bipolar disorder (but not schizophrenia). This review examines the evidence for common factors predisposing an individual to creativity and psychosis, as well as factors that distinguish the capacity for creative achievement from the creative potential that may be inherent in psychosis vulnerability. Factors implicated as common to creative potential and psychosis vulnerability include enhanced divergent thinking, reduced latent inhibition and preattentive filtering mechanisms; on the other hand, greater cognitive flexibility, motivation, and openness to experience tend to be associated with creative achievement, but not psychosis. This evidence is considered with respect to the utility of tailored vocational interventions to effectively harness creative potential, which may be useful for young individuals in the early stages of illness or their unaffected family members.