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.     

Tosh Demands and Generative Thinking: What Changes and What Remains the Same?

Generative thinking can be characterized as the development of novel instantiations of existing concepts. Using this framework, the present study examined the impact of three conditions on the way subjects generated ideas about imaginary extraterrestrials. Control subjects developed alien animals but were given no special instructions. Those in the Wildly Different Condition were asked to generate creatures that were as wildly different from Earth animals as they could be. Both groups were highly and equally likely to imagine creatures that were symmetric and possessed standard senses and appendages, but the latter introduced significantly more novel variations, particularly on the number of sense organs and appendages. A third group was asked to imagine and describe things that might live on another planet, but were not initially instructed to provide drawings or limit themselves to considering living things that would be considered to be animals. This last group also preserved symmetry, but was significantly more likely to develop creatures without standard senses and appendages. Even so, 75% of this group developed creatures with standard senses and appendages. The results are discussed in terms of constraints on innovation, ways of overcoming those constraints, and the general tendency for new ideas to preserve many of the central properties of existing concepts.     

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.     

Personality and Creativity in Art and Writing: Innovation Motivation,Psychoticism, and (Mal)Adjustment

Undergraduates (N = 68) completed inventories measuring innovation motivation (need to be different and innovation expectancy), psychoticism, extraversion, neuroticism, and symptomatic distress, as well as a sentence completion measure of adjustment. They also wrote lyric poems using an associative procedure and completed house–tree–person drawings. Poems were scored for originality and arousal potential and independently judged for quality by two college writing instructors. Drawings were scored for original features and independently judged for quality by two art therapists. The need to be different and current adjustment problems correlated significantly with both originality scores and judged creativity on both tasks, often interacting to explain much of the variance in creativity. Innovation expectancy and psychoticism displayed significant correlations with some creativity measures. Originality scoring and expert judgment correlated well on both tasks. Originality and judged creativity correlated significantly across creative domains, supporting a domain-general view of creativity.     

The Multidimensional Scaling Of A Set Of Artistic Drawings : Perceived Structure And Scale Correlates

Product-centered research on creativity approaches the criterion problem of what is to be the referent for creativity through the analysis of tangible products such as a r t objects, writing, or scientific achievements. The present research is concerned with the evaluation and study of artist drawings contributed by sophomore students a t the Rhode Island School of Design. Multi-dimensional scaling methods were applied to similarity judgments obtained from art experts on two separate sets of 26 drawings. Three similarity dimensions accounted for the interstimulus distances for each set of drawings. Although no statistical test was available, the dimensions from the two seta appeared to correspond. Scale values of 4 drawings common to the two sets were consistent, and the dimensions appeared to define very similar stimulus characteristics. It was concluded that multidimensional scaling procedures provided a means for differentiating among a set of complex, esthetic products. Scale values of drawings on the three dimensions also correlated differentially with cognitive and achievement measures available on the students, suggesting that product dimensions identified via similarity judgments were related to characteristics of individuals producing the products. Hypotheses were developed as to the psychological meaning of the three product dimensions.     

Hierarchical Linear Modeling of Creative Artists' Problem Solving Behaviors*

College art students were videotaped creating original drawings from an array of objects. Judges reliably assessed the creativity of the drawings. Videos of the creation of ten high‐ and ten low‐rated drawings were coded frame‐by‐frame to quantify the extent to which artists engaged in several categories of activities (selecting objects, selecting media, pausing, drawing objects, drawing other visible elements, and drawing imaginary elements) plus reworking the drawing (erasing and revising). Video coding was used to model how the frequency of each measure varied throughout the sessions. Behaviors were analyzed by hierarchical linear modeling, a regression technique that permits individual‐ and group‐level analyses simultaneously. Analyses revealed substantial individual and group differences in the behavioral trajectories, especially in the drawing measures and in reworking the drawing. The results support a positive association between creativity and opportunistic problem solving strategies, and a negative association between creativity and the pre‐planned application of default problem representations.     

Is the picture bizarreness effect a generation effect?

Bizarre stimuli usually facilitate recall compared to common stimuli. This investigation explored the so-called bizarreness effect in free recall by using 80 simple line drawings of common objects (common vs bizarre). 64 subjects participated with 16 subjects in each group. Half of the subjects received learning instructions and the other half rated the bizarreness of each drawing. Moreover, drawings were presented either alone or with the name of the object under mixed-list encoding conditions. After the free recall task, subjects had to make metamemory judgments about how many items of each format they had seen and recalled. The key result was that a superiority of bizarre pictures over common ones was found in all conditions although performance was better when the pictures were presented alone than with their corresponding label. Subsequent metamemory judgments, however, showed that subjects underestimated the number of bizarre items actually recalled.     

Imitation,Inspiration, and Creation: Cognitive Process of Creative Drawing by Copying Others' Artworks

To investigate the cognitive processes underlying creative inspiration, we tested the extent to which viewing or copying prior examples impacted creative output in art. In Experiment 1, undergraduates made drawings under three conditions: (a) copying an artist's drawing, then producing an original drawing; (b) producing an original drawing without having seen another's work; and (c) copying another artist's work, then reproducing that artist's style independently. We discovered that through copying unfamiliar abstract drawings, participants were able to produce creative drawings qualitatively different from the model drawings. Process analyses suggested that participants' cognitive constraints became relaxed, and new perspectives were formed from copying another's artwork. Experiment 2 showed that exposure to styles of artwork considered unfamiliar facilitated creativity in drawing, while styles considered familiar did not do so. Experiment 3 showed that both copying and thoroughly viewing artwork executed using an unfamiliar style facilitated creativity in drawing, whereas merely thinking about alternative styles of artistic representation did not do so. These experiments revealed that deep encounters with unfamiliar artworks—whether through copying or prolonged observation—change people's cognitive representations of the act of drawing to produce novel artwork.     

Polite Girls and Creative Boys? Students' Gender Moderates Accuracy of Teachers' Ratings of Creativity

The aim of this study was to examine whether, and to what extent, teachers are able to recognize the creativity of their students. The study measured the creative abilities, creative attitude, creative activity, as well as intrinsic motivation, intelligence, and school functioning of 589 Polish high school students, while their teachers (N = 178) rated students' creativity. The structural equation model (SEM) demonstrated that the accuracy of teachers' ratings of students' creativity is generally low—the latent factor of students' creativity reliably, however weakly, predicted teachers' ratings. The accuracy of teachers' ratings was moderated by gender: Only in the case of male students did the latent creativity factor reliably predict teachers' ratings. Students' school functioning emerged as a key factor positively associated with the perception of students as creative.     

The House-Tree-Person Test as a measure of intelligence and creativity.

The House-Tree-Person test and a verbal test of mental ability, the Basic Word Vocabulary Test, were administered to 23 male and 27 female, university undergraduates and to 27 boys and 38 girls in Grades 3 to 8. The drawings were given three separate and independent scorings by judges who computed intelligence scores according to the House-Person manual; rated them impressionistically on intelligence, using a forced-distribution method; or rated them impressionistically on creativity, using the same forced-distribution method. The three House-Tree-Person measures were highly intercorrelated for all groups of subjects. All three House-Tree-Person scores also correlated positively and significantly with vocabulary test scores for female university students, as did both Impressionistically derived House-Tree-Person scores for grade-school girls. Male students' and boys' vocabulary scores were unrelated to any of the House-Tree-Person scores. Results suggest that competence in graphic expression operates independently of verbal intelligence in males but validity as a nonverbal test of mental ability and that it can be scored efficiently and reliably by using a global, impressionistic method.     

The effects on speeded classification of implicit and explicit instructions regarding redundant dimensions

Two experiments were run in which speed of sorting decks of stimulus cards was measured. Stimuli were constructed from two dichotomous dimensions, used either alone or perfectly correlated. The lack of evidence for a selective serial processing (SSP) strategy (in which S sorts by his most preferred dimension whenever the dimensions are correlated) in a similar study by Garner and Felfoldy (1970) was thought to be due to Ss’ failure to notice that the dimensions were correlated, and thus that SSP would be effective. Ss in the present experiment therefore received either implicit instructions concerning the existence of the correlated deck (by seeing only decks in which there were just two different stimuli), or explicit instructions that on some trials the two dimensions would be correlated and S could sort by any means he preferred. When dimensions of size of circle and angle of diameter were of unequal discriminability, implicit instructions produced partial use of the SSP strategy, while explicit instructions produced nearly total use of SSP by all Ss. When the Munsell dimensions of value and chroma were varied in two separate color chips and were equally discriminable on the average, evidence for a small amount of SSP was found in both the implicit and explicit conditions. With neither pair of dimensions did implicit or explicit instructions regarding the correlated task produce integration of information.     

Quality of Drawing as a Factor in the Interpretation of Figure Drawings

Examined the drawings of 32 poliomyelitis patients and their matched controls to see whether figure drawings primarily reflect the subject's projection of psychological state, ability to draw, or some combination of these two factors. An overview of the literature is also given. Drawings from disabled and nondisabled subjects were reliably rated for quality, with no significant quality difference found between groups. Analyses of variance were then used to compare the drawings on several different measures of drawing size, completion and movement that might be assumed on the basis of the literature, to reflect the subjects' projection of disability status. Results showed that quality of drawing was a significant factor in 13 of the 17 comparisons while disability status proved to be a significant factor in only one of the 17 comparisons. There were no significant interactions. Therefore, the overall findings are consistent with the hypothesis that quality of drawing—rather than projective mechanisms—may at times be the overwhelming determinant of clinical and research findings with figure drawings.     

A Statistical Analysis of Special Cases of Creativity

For some special cases of creativity, we find that its occurrence in each individual's career is random and Poisson‐distributed. That is, the rate of production of outputs is constant over each individual's career. The exceptions to this rule are no more than what would be expected by chance fluctuation alone. The distribution of individual productivity across each sample is exponential. That is, most individuals have low productivity and few have high productivity. Similarly, the distribution of career duration is also exponential. We show that these findings are in substantial agreement with the Campbell‐Simonton theory of creativity. We also show that these findings are consistent with the statistics of exceedances.     

The Need to Be Different: Primary Trait Structure and Impact on Projective Drawings

The value set on behavioral variation for its own sake (or the need to be different) is a personality variable nested within social learning theory; a strong need to be different should, in theory, predispose the individual toward originality (including creativity). A self-report inventory measuring this need value (the vDiffer scale; Joy, 1998) motive was administered to undergraduates who also completed the 16 Personality Factor inventory (16PF; Cattell, Cattell, & Cattell, 1993) and House-Tree-Person (H-T-P; Buck, 1948) drawings. Three advanced art therapy graduate students rated the H-T-P protocols for technical proficiency, creativity, and personal adjustment. The need to be different correlated strongly with four primary traits: positively with Q1 (Openness to Change) and M (Abstractedness) and negatively with G (Rule-Consciousness) and Q3 (Perfectionism). Several other moderate correlations also emerged. Judgments of the technical proficiency and creativity of H-T-P drawings correlated significantly with the vDiffer score. The need to be different significantly predicted the quality of these projective drawings even when the influence of intelligence (16PF Scale B) was controlled for. The need to be different is associated with a distinctive pattern of traits and higher quality artistic expression.     

The evolutionary psychology of small‐scale versus large‐scale politics: Ancestral conditions did not include large‐scale politics

The current research question sought to examine political psychology as it relates to evolutionary mismatch. The basic hypothesis is that people will be more cognitively prepared to think about political situations that are relatively small in scale compared with political situations that are large in scale. This research also examined the effects of whether the political situation is highly relevant to oneself. To test these questions, 49 young adults were presented with four sets of instructions. They were asked to write paragraphs describing (i) a large‐scale, self‐relevant political situation, (ii) a large‐scale non‐self‐relevant political situation, (iii) a small‐scale self‐relevant political situation, and (iv) a small‐scale non‐self‐relevant political situation. Paragraphs generated by the participants were analyzed using Tyler's ( 2013 ) Writing Sample Readability Analyzer. Results demonstrated that paragraphs designed for large‐scale political situations had more sentences and were less readable than paragraphs designed for small‐scale situations—while paragraphs designed for small‐scale political situations were relatively readable and included more words per sentence, suggesting that, consistent with the core hypothesis, participants had an easier time processing information related to small‐scale political situations than large‐scale political situations. Implications for the nature of modern politics are discussed.     

Mental models or methodological artefacts? Adults' naïve responses to a test of children's conceptions of the earth

Vosniadou and Brewer (1992) claim that children's drawings and answers to questions show that they have naïve, theory‐like ‘mental models’ of the earth; for example, they believe it to be flat, or hollow with people inside. However, recent studies that have used different methods have found little or no evidence of these misconceptions. The contrasting accounts, and possible reasons for the inconsistent findings, were tested by giving adults (N=484) either the original task (designed for 5‐year olds) or a new version in which the same drawing instructions and questions were rephrased and clarified. Many adults' responses to the original version were identical to children's ‘naïve’ drawings and answers. The new version elicited substantially fewer non‐scientific responses. These findings indicate that even adults find the original instructions and questions ambiguous and confusing, and that this is the principal reason for their non‐scientific drawings and answers. Since children must find the task even more confusing than adults, this explanation very probably applies to many of their non‐scientific responses, too, and therefore accounts for the discrepant findings of previous research. ‘Naïve’ responses result largely from misinterpretation of Vosniadou and Brewer's apparently simple task, rather than from mental models of the earth.     

Source monitoring in a generative task

Following exposure to experimenter-provided examples of space creatures, people tend to conform to the features contained in the examples when creating their own novel space creatures. In three experiments, we manipulated factors known to affect source-monitoring accuracy to determine how these manipulations would influence conformity to experimenter-provided examples. In Experiment 1 we altered people's cognitive agenda by means of the instructions given before the drawing task. In Experiment 2 we examined how time pressure would affect the level of conformity, and in Experiment 3 we manipulated the availability of the creatures during the drawing task by making them available to half the participants. Conformity decreased when extended source-monitoring processes were engaged and increased when these processes were disrupted. The results from the three experiments were consistent with the principles of the source-monitoring framework.     

Cognitive Abilities and Creative Behaviors: CAB-5 and Consequences

The validity of six indices of divergent production is examined with reference to creative output in eight content domains: visual arts, music, literature, theater, science and engineering, business ventures, apparel design, and video and photographic work. Undergraduates (n = 144) completed Consequences, four scales from the Comprehensive Ability Battery, and a specially developed self-report inventory that produced eight creative content scores and a total score. Correlational analysis determined that Semantic Fluency, Ideational Fluency, Originality and Remote Consequences were substantially correlated with most creative behaviors and were uncorrelated with grade point average. A factor analysis of criteria revealed two underlying patterns of creativity, suggesting that proficiency in one creative domain is predictive of proficiency in several others. The study of creativity has traditionally been propelled by aesthetic, scientific, and economic concerns. While revolutionary breakthroughs in science, technology, and design often command our attention and respect, it is the small, evolutionary innovations that typically have the greatest immediate economic impact (Haustein, 1981). From any vantage point there has always been an interest in the prediction and measurement of creative behavior and aptitude. The available measurement approaches for creativity include cognitive abilities, personality traits, self-reports of creative behavior and peer and teacher ratings of creative works (Hocevar, 1981). The purpose of this study is to assess the validity of an underresearched set of cognitive measures: four subtests of the Comprehensive Ability Battery (CAB-5; Hakstian & Cattell, 1976) and the Consequences test (Christensen, Merrifield, & Guilford, 1958). Our validity strategy was correlational; criteria were eight self-report indices of creative endeavor. The following paragraphs elaborate the underlying theory from which these measures originated and some unresolved issues. Perhaps the largest single breakthrough in the cognitive approach to understanding creativity came from Guilford's (1967) 120-factor structure of intellect model. While commonly used intelligence tests measure convergent forms of thinking, creativity involves divergent thought processes which, according to Guilford, account for 30 of the 120 factors of intelligence. Working through a factor analytic paradigm, Guilford was able to identify over 100 out of 120 factors. Guilford's structure of intellect may be criticized for having fractured intellectual functioning into too narrowly defined units relative to what human faculties are actually engaged in ordinary intellectual endeavors. Nonetheless, the theory did provide a provocative explanation for the nature of creative thought and some interesting measurements of same. Measurements of creative thought (divergent production) involve word fluency, category formation and reformation, ideational fluency original uses for common objects (opposite of functional fixedness). One test, Consequences (Christensen et al., 1958), is of particular concern to this research project and involves a certain amount of social awareness on the part of the examinee in conjunction with divergent production. In a typical test item, examinees are presented with a hypothetical situation, “What would be the consequences if people no longer needed to sleep?” along with a few common responses. Examinees are then given five minutes to write as many consequences of the hypothetical situation as they can think of. Responses are scored by, first, eliminating responses that are redundant with the samples or other responses or that are completely irrelevant Remaining responses are then categorized as obvious and remote. The numbers of obvious and remote responses are counted to produce two scores. Consequences continues to be listed as a research instrument by its publisher. Norms in the manual (Guilford & Guilford, 1980) are only available for 331 engineers who took two forms of the test, 665 ninth-graders, 80 twelfth graders, and a college sample of 87 cases. According to Guilford & Guilford, the consequences scores are closely related to other divergent production measures, remote more so than obvious. The CAB-5 developed by Hakstian & Cattell (1976, 1978) who also worked in the factor analytic mode, consists of 20 subscales that appear to capture the essentials of convergent and divergent thinking in a timed battery of manageable size. The four divergent thinking scales — semantic fluency, ideational fluency, word fluency, and originality — are of particular interest to this project While the usual types of validity and norm-building research have been done with the convergent scales (Hakstian & Cattell, 1976; Hakstian & Woolsey, 1985) little external validation work is available for the divergent scales. Hakstian & Woolsey (1985) found that semantic fluency and ideational fluency were significantly correlated with grades in an introductory psychology course (r = .33 and .30 respectively). The rationale for why divergent production would be related to grades in that course was vague. Norms for the divergent scales are currently available for 216 college and 1098 high school students. While the validation question is framed around a limited set of scales in this research project, it does represent an issue of more general concern. According to Storfer (1990), several researchers have questioned whether measures of divergent production have any external validity with actual creative works. He cited a study where teachers' ratings of their students' creativity were based on logical or convergent measures but had no relationship to divergent measures. In his review of creativity measures, Hocevar (1978) noted a generally low level of interrelationship among personality, cognitive, self-report, and rating measures of creativity; from this trend he opined that self-report measures of creative behavior were perhaps the most defensible indices of creativity. On the other hand, a study of approximately 500 college students showed that those that had won science prizes, or who published or exhibited their work scored higher than others on ideational fluency (Wallach & Wing, 1969). While the latter finding is reassuring, we are not convinced that prizes, publication, or exhibition represent the full range of creative behavior to be found at the college level. Prizes require a propensity to compete among the participants, and a proclivity toward subjectivity, among the judges. As academic researcher know, earth-shattering ideas are not quickly snapped up by scientific journals, and much of what is published is indicative of the evolutionary progress mentioned at the outset of this article. There is reason to assume that there is much valuable creative effort taking place that does not reach wide audiences or that is otherwise shoved into drawers. From a statistical point of view, it is preferable to conduct a criterion related validity study that encompasses a wide (if not complete) range of criterion values and to avoid an extreme groups methodology, such as a comparison of prizewinners and others. The latter has the impact of exaggerating the predictor-criterion effect size. Altogether, Hocevar (1981) identified 15 studies showing a positive relationship between divergent production and other measures of creativity, and 15 other studies that showed no such relationship. With the foregoing theoretical and methological points in mind, the following hypotheses were examined: 1. Consequences and CAB-5 divergent scale scores would be significantly related to several types of creative behavior. 2. Consequences and CAB-5 divergent scale scores would be significantly related to each other. 3. There would be a substantial interrelationship among the various types of creative behavior. Significant findings would dispel the notion among critics of divergent thinking theory (cf. Stolper, 1990) that the prediction of creativity is situationally specific. 4. Divergent measures and indices of creative behavior would not be related to college students' grade point average (GPA). While we recognize that no point is proven by failing to reject the null hypothesis, a null relationship with GPA is expected from the general theory, on the basis of findings concerning teachers' rates cited in Stolper (1990) and our own assumptions that much creative work goes unnoticed in favor of traditional academic demand. An expected null relationship thus adds an element of convergent-discriminant validity analysis to the research plan.