When paying attention pays off: the mindfulness skill act with awareness promotes creative idea generation in groups

ABSTRACT

Past work has linked mindfulness to improved individual-level creativity, but remained silent about group-level creativity. Of all mindfulness skills, the ability to observe and attend to various stimuli (Observation) is the most powerful predictor of individual-level creativity. Studies examining effects of specific mindfulness skills on factors pertinent to group creativity suggest that for group-level creativity, the ability to focus attention with full awareness (Act with awareness), may be equally, or even more, important. We tested the relation between mindfulness and group-level creative idea generation using two brainstorming studies: one exploratory and one confirmatory. Mindfulness skills were either measured (Study 1; N = 88 groups) or the Act with awareness skill was targeted with a short, incidental guided meditation session (Study 2; N = 68 groups). Results from both studies showed differential relations between mindfulness and group creative idea generation: Only Act with awareness positively predicted the originality of ideas (Study 1 and 2) and the number of creative ideas in groups (Study 2). How mindfulness skills relate to creativity thus depends on the particular mindfulness skill involved and whether creativity happens at the individual or group level.     

Are Teachers' Implicit Theories of Creativity Related to the Recognition of Their Students' Creativity?

We examine the structure of implicit theories of creativity among Polish high schools teachers and the role those theories play for the accuracy of teachers' assessment of their students' creativity. Latent class analysis revealed the existence of four classes of teachers, whose perception of a creative student differed: two of these classes defined a creative student incoherently with the existing theories of creativity, and the other two classes did that in accordance with Kirton's (1976) theory of creativity styles, that is, as adaptors or innovators. Teachers who perceived a creative student as an adaptor tended to more accurately assess the creativity of females, whereas teachers perceiving a creative student as an innovator more accurately assessed the creativity of males. We discuss the theoretical and practical consequences of these findings.     

Supporting Creativity Or Conformity? Influence of Home Environment and Parental Factors on the Value of Children's Creativity Characteristics

Although creativity is a desirable skill, parenting for creativity may be quite a challenge and may be less favored than parenting for conformity. The present study aims to investigate parent-related factors that may support creativity versus conformity at home. To this end, this study examined how parents’ attitudes and values toward creativity, creative home environment, and mindful parenting style are related to parents’ perceptions of creative versus socially acceptable characteristics. Analyses of the data collected from 1324 parents (predominantly mothers) indicated that parents were more supportive of creativity traits than socially acceptable characteristics. Most importantly, parents’ attitudes and values toward creativity and creative home environment were significantly and positively related to support for creativity characteristics, whereas mindful parenting was significantly and negatively related to support for socially acceptable characteristics in children. Those findings show that parents who value creativity and set up a creative environment are more likely to support children's creativity. Mindful parenting style seems to indirectly support creativity because it is associated with lower respect for socially acceptable characteristics, some of which are at odds with creativity. Findings are discussed in terms of the implications for training programs that enhance awareness of creativity.     

Grammars of creativity

Wonder can be found in human creativity as well as in nature. While one version of belief in inspiration precludes human creativity, another presupposes it. Margaret Boden, however, suggests that creativity is continuous with generic human powers, and arises through breaking recognised rules. Problems are raised for this latter view. It needs to be added that creativity commonly involves participation in a tradition of skill or craftsmanship, and in a creative community. Further, the continuity approach is argued to be consistent with a version of the inspiration approach, according to which the Creator can communicate through minds reflective of his/her creative imagination, as suggested by Austin Farrer.     

两岸四地大学生对创造力特征及创造力 人才的认知调查

该研究表明,北京、广州、香港和台北的大学生在对创造力和创造力人才的内隐认知甚为一致。其中北京和广州大学生的内隐认知更为接近,而香港和台湾大学生的内隐认知更为接近。在对高创造力特征的内隐认知上,四地大学生一致看重的条目有：有创造力、有创见、创新、有观察力、有思考力、愿做尝试、灵活性、有自信、有想象力、有好奇心、有个性和有独立性等。而在对低创造力表现的内隐认知上,四地大学生的一致认同的条目有：呆钝、保守、跟随传统和愿做让步。在对创造力人才的认知上,四地的大学皆首推政治名人,次推科技界名人。四地大学生最不看重的创造力人才是艺术界和音乐界名人。这说明,两岸三地的中国人虽然分离长久,但其对创造力的认知上仍相当一致,都甚看重政治与科技人物的影响。     

From the Dawn of Humanity to the 21st Century: Creativity as an Enduring Survival Skill

While the scientific investigation into creativity is a recent phenomenon, creative thinking has always been a crucial feature of humanity. The ability to creatively solve problems enabled early humans to survive and laid the foundation for the creative imagination that has resulted in our modern society. While most humans no longer face physical threats, life and work in the 21st century demands heightened creativity skills. To meet these demands, educational practices must leverage the insights and strategies gained through research into the trainability of creative thinking.     

预期交流与创造力的关系:解释水平的调节作用

该研究探讨了预期交流对创造力的影响, 以及解释水平在其中的调节作用。实验1采用结构性想象任务探讨预期交流是否影响创造力。结果表明, 相较于没有预期交流, 预期交流条件下的个体表现出更高的创造力。实验2采取了创意产生任务, 并探讨了解释水平在其中的调节作用。结果表明, 当完成抽象的、高解释水平任务时, 相较于无预期交流, 预期交流条件下个体在新奇性和变通性两个维度上表现出了更高的创造力; 当完成具体的、低解释水平任务时, 预期交流的效应不复存在。也就是说, 只有当创造力任务要求高解释水平的抽象思维时, 预期交流才能促进创造力的发挥。总结而言, 本研究在过往对于交流与创造力以及解释水平与创造力的研究基础上进一步发现, 对于抽象创造力任务, 虽然真正的信息交流尚未发生, 但仅仅对于交流的预期就会提高创造力水平。     

Collaborative Theater/Collective Artist: An Evolving Systems Case Study in Social Creativity

Theater production is a collaborative creative activity. Social creativity recognizes the relationships between creative groups and the contexts in which creativity emerges. It also suggests that the interactive processes between the collaborators and their work form a center, which in turn becomes a kind of creative entity itself. An evolving systems case study of production practices at the Oregon Shakespeare Festival illuminates this process and illustrates the differences between seeing an aggregate creative activity and the more holistic view, in which the artwork functions like another person, a creature in dialogue with the personality of the creative system.     

让智慧插上创造的翅膀：创造动力系统的激活及其条件

创造力是一个集个人、团体、社会、文化相互交织的系统, 因此创造力的培养也需要综合考虑。本文在融合以往创造力研究的基础上, 建构了一套系统创造力培养的“蝴蝶理论”, 创造力培养需要抓住核心来统领全局, 同时兼顾创造力培养所需要统筹兼顾的各个部分。动力系统的激活是创造力培养的核心。新颖、适用的创造性成果的产出, 需要社会文化中的个体或团体在创造性心理动力的基础上来完成。创造性心理动力有效的激活则需要一些基本条件, 如在认知层面, 需要具备一定的能力, 如一般认知能力、思维方法的掌握、元认知以及高效的资源整合能力等; 在非智力因素方面, 基本心理需要的满足, 个性心理的健康发展等是创造力得以发挥的必要条件, 推而广之还包括：合理的社会支持、互动以及文化的包容等等。除了理论方面的整合, 本文还从实践的角度分析如何激活学生的动力系统, 重点分析了什么是兴趣以及如何激发个体的兴趣, 因为以兴趣爱好为核心的内部动机是自主性最高的动力来源。本文从理论(创造力培养的蝴蝶理论)与实践(创造力培养的兴趣激发)两个角度为创造力培养提供了支持。     

Dynamic Creative Interaction Networks and Team Creativity Evolution: A Longitudinal Study

To assess the dynamical effects of creative interaction networks on team creativity evolution, this paper elaborates a theoretical framework that links the key elements of creative interaction networks, including node, edge and network structure, to creativity in teams. The process of team creativity evolution is divided into four phases, including formation, growth, maturity and decline/restart. The importance of domain‐relevant knowledge, creativity‐relevant skill, interaction frequency, interaction length, network density and closeness centrality are emphasized in specific phases of team creativity evolution in a complex creative context. To test our assumptions, a longitudinal study of creative teams in a “Challenge Cup” Creative Business Plan Competition for university students is performed and the full networks of 17 creative entrepreneur teams are mapped. Both static comparison and dynamic analysis are conducted to analyze the relationship between creative interaction networks and team creativity evolution. For specific phases of team creativity evolution, we find confirmation of our predictions. The implications of dynamic creative interaction networks for all the phases of creative teams from formation to decline/restart are discussed.     

Creators and Presses: The Person–Situation Interaction in Negative Creativity

Given the recent emphasis on exploring valence in creative behavior, this study examines negative creativity via a person–situation interactionist perspective. By manipulating goal valence (uses or misuses) and object valence (positive or negative), four conditions of an adapted Divergent Thinking task were used to predict positive and negative creativity. Participants (N = 178, 103 females, M_age = 23.82, SD = 4.03, range: 18–38) responded to a single condition along with the Big Five and Dark Triad personality scales in a between-groups design. Hierarchical multiple regressions revealed that goal and object valence significantly explained variance in valences of creative responses, beyond individual differences of personality. Furthermore, the congruence between goal and object valence predicted valenced creativity; that is, the positive objects and goals condition yielded more positive-original ideas, and the negative objects and goals condition yielded more negative-original ones. Object valence alone (material presses) did not contribute significantly to explaining valenced creativity. Negative-original responses were inversely related to conscientiousness, and directly to intellect/imagination and secondary psychopathy. Thus, negative creativity was attributed relatively more to person as compared to situation variables. Results are discussed from a valence-based and interactionist perspective.     

I want to be creative,but … preference for creativity,perceived clear outcome goals,work enjoyment,and creative performance

In today’s quickly changing work environment, many individuals want to be creative at their workplace, but only some of them succeed at manifesting these tendencies. In three studies, using both field and experimental data, we focused on transforming individuals’ preference for creativity, defined as an inclination for liking and wanting to be creative, into actual creativity. We first conducted a pilot Study 1 to establish discriminant validity to related constructs and provided initial evidence on predictive and incremental validity of the preference-for-creativity scale. Next, we performed a field Study 2, where we found that transforming preferences for creativity into supervisor-rated creativity is contingent upon employees’ perceptions of clear outcome goals. Clear outcome goals fostered individuals’ preference for creativity to result in higher levels of supervisor-rated creative behaviour—a finding that was replicated in an experimental Study 3. Furthermore, we explored whether work enjoyment mediated the moderated relationship between preference for creativity and creative outcomes. The results supported our mediated moderation model, whereby the manipulation of clear goals led to higher work enjoyment, influencing individuals’ preference for creativity to result in higher ratings of their creative outcomes.     

Educational Intervention and the Development of Young Art Students' Talent and Creativity

This study focuses on behavior associated with young art students' developing artistic talent (skills and art‐making behavior) and creativity (personal expressions of visual information). The study examines the role of personal expertise in a student's development of problem finding, domain‐specific technical skill, perseverance, evaluation, and creative ideation. The study compares 30 experienced art students' artistic processing and products with those of 29 novice art students. Both groups are 7‐ through 11‐year‐olds. The author recorded participants' behavior as they created drawings in two contexts — from imagination and from life — and three adult artists then assessed the technical skill and creativity revealed in the drawings. Multivariate analyses of the variables associated with the drawing products and processes offer evidence of the changes related to the students' developing expertise in both novice and experienced groups. This study finds that the drawing situation (life or imagination) interacts clearly with the relationships among hypothesized components of creativity, gender, and predictors of expertise. Technical skill, perseverance, modifications, and creativity in drawings from life were significant predictors of expertise. Modifications, efficient problem finding, and creativity in drawings from imagination were additional significant predictors of expertise. Gender was found to be a measurable factor in both the artistic process and the assessments of drawings from imagination. The findings are discussed within the context of three conceptions: artistic talent, developing creativity, and art education.     

创造性倾向对科学问题解决中原型位置效应的影响*

以科学发明创造题目为实验材料,采用“一对一”的实验范式,对创造性问题解决中的创造性倾向与原型位置效应的关系进行了探讨,实验考察了不同创造性倾向个体在创造性问题解决中的原型位置效应,创造性倾向包括想象力、冒险性、好奇性、挑战性四个因素,结果发现:创造性倾向总分、好奇性、挑战性对原型位置效应有影响,而且原型位置效应随着创造性倾向、好奇性、挑战性的降低而显著;想象力、冒险性对原型位置效应的影响不显著。     

Imagination links with schizotypal beliefs,not with creativity or learning

Imagination refers to creating mental representations of concepts, ideas, and sensations that are not contemporaneously perceived by the senses. Although it is key to human individuality, research on imagination is scarce. To address this gap, we developed here a new psychometric test to assess individual differences in imagination and explored the role of imagination for learning, creativity, and schizotypal beliefs. In a laboratory‐based (N = 180) and an online study (N = 128), we found that imagination is only weakly associated with learning achievement and creativity, accounting for 2–8% of the variance. By contrast, imagination accounted for 22.5% of the variance in schizotypal beliefs, suggesting overall that imagination may be more indicative of cognitive eccentricities rather than benefit the accumulation of knowledge or production of novel and useful ideas.     

Creative Imagination is Stable Across Technological Media: The Spore Creature Creator Versus Pencil and Paper

T. B. Ward (1994) investigated creativity by asking participants to draw alien creatures that they imagined to be from a planet very different from Earth. He found that participant drawings reliably contained features typical of common Earth animals. As a consequence, Ward concluded that creativity is structured. The present investigation predicts that this limitation on creativity is not restricted to drawings: the use of different technology will not change creative output. To investigate this question, participants performed Ward's task twice: once using pencil and paper and once using software made to design creatures (the Spore Creature Creator). Only minor significant differences were found. This preliminarily suggests that changing tools does not affect the overall rigidity of the creative process. This lends further support to Ward's thesis on the structural rigidity of creativity. We conclude by suggesting an elaboration to Ward's thesis that will be explored in future work. We suggest that aesthetics might be one of the factors that contribute to creative constraint, in that creatures that are too unusual would be less interesting.     

The Interactive Effects of Self‐Perceptions and Job Requirements on Creative Problem Solving

Over the years, researchers have focused on ways to facilitate creativity in the workplace by looking at individual factors and organizational factors that affect employee creativity (Woodman, Sawyer, & Griffin, 1993 ). In many cases, the factors that affect creativity are examined independently. In other words, it is uncommon for researchers to look at the interaction among individual and organizational factors. In this study, it is argued that to get a true understanding of how to maximize creativity in the workplace, organizational researchers must look at the interaction between organizational factors and individual factors that affect employee creativity. More specifically, the current study looked at an individual's perceptions about his or her ability to be creative (i.e., individual factor) and perceptions of requirements for creativity in the workplace (i.e., an organizational factor). The results indicated that individuals who have a high belief about their ability to be creative (an individual factor) were most creative when they also perceived requirements for creativity in the workplace (an organizational factor). Furthermore, individuals who had low perceptions of creative ability were still able to perform creatively when they had high perceptions of requirements for creativity. This suggests that, to maximize creativity, organizations should focus on both individual and organizational factors that affect employee creativity.     

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.     

认知抑制对艺术创造力的影响:认知风格的调节作用

以114名大学生为被试, 采用Mittenecker指向测验和粘贴画任务考察了认知抑制能力与艺术创造力的关系, 并采用镶嵌图形测验考察了认知风格在其中所起的调节作用。研究结果表明:(1)认知抑制能力与艺术创造力之间呈现负相关, 认知抑制对于个体的创造程度、沟通传播水平和艺术创造综合印象可以起到显著的负向预测作用, 对于个体艺术创造的可爱程度和想象水平可以起到边缘显著的负向预测作用;(2)认知风格在认知抑制能力与艺术创造力的关系中起着调节作用, 主要表现为认知抑制能力对于场依存个体的创造程度、想象水平和沟通传播水平具有显著的预测作用, 对于场独立个体的艺术创造力则不具有预测作用。     

Making Numbers Come to Life: Two Scoring Methods for Creativity in Aurora's Cartoon Numbers

Although creativity has long been recognized as an important aspect of mathematical thinking, both for the advancement of the field and in students' developing expertise in mathematics, assessments of student creativity in that domain have been limited in number and focus. This article presents an assessment developed for creativity that provides a score for mathematical creativity (MaC) in addition to a score for general creativity in the numeric domain, or what we might call numerical creativity (NuC). We developed different rating scales for each and then explored how each scoring method accounts for the students' mathematical/numerical and creative skills. The psychometric properties for both scoring approaches were examined. Each method was shown to reflect different relationships with other performance tests. In addition, it is proposed that MaC may provide useful insight into students' levels of adaptive expertise in mathematics, as reflected by their ability to apply mathematical knowledge (i.e., language, operations, concepts) to novel situations, representing an informative supplement to performance indicators of math achievement.