An Investigation of the Psychometric Properties of the MMPI–2 Restructured Clinical (RC) Scales With Mental Health Inpatients

The major hypothesis that quantity, quality, and control of primary process contents would be different in two groups of artists as a function of age and experience were tested by means of the Rorschach test. The Holt system of scoring was employed. A group of art students, mean age 21.7, and a group of renowned, mature artists, mean age 41.7, were compared. It was found that while quantity of primary process did not differ, the quality, density, defense demand, efficiency of defenses and controls, form level and REGO significantly differentiated experienced from inexperienced artists.     

Aging Artists on the Creativity of Their Old Age

Eighty-eight graphic artists in their 60s, 70s, and 80s, nominated as creative by 154 prominent artists, completed an open-ended questionnaire about aging and its effect on their work. Four questions referred to changes in creativity in terms of the quality and quantity of work, sources of new ideas (originality), and approaches to art (style). The artists also were asked about the impact of physical and sensory losses on their work, and on their differences from younger artists. The artists also rated the quality and quantity of their past, present, and anticipated work. A content analysis of the artists' written comments to the 6 questions, and the ratings, gave a highly positive picture of aging's influence on art. Quality and quantity were reported as improving with age, as were the artists' ideas about, and approaches to, art. The presumed handicaps of aging largely were irrelevant or overcome. Few differences were reported with younger artists. Positive views of aging held equally for both men and women, and across the 3 age groups. The optimistic portrait of aging reflected by this sample of visual artists is discussed in terms of its relevance to other kinds of artists and nonartists; the consequences of early retirement; and the place of active older persons, especially artists, in studies of cognitive development.     

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.     

The span of creativity among long‐lived historical artists

Three studies examined the relationship between age and creativity in terms of when the masterpieces of major historical artists were produced and when their total creative efforts declined. In Study 1, the lifelong output of 21 long‐lived painters (age = 79+) was tallied; in Study 2, the productivity of a new set of 24 long‐lived male and female artists was compared; and in Study 3, the ages at which masterpieces were produced by several sets of up to 100 relatively short‐ and long‐lived artists were examined. Masterpieces were done in the artists’ 40s and 50s, which is later than the often‐cited 30s. Productivity did not decline until the 50s or 60s, which is later than the 40s reported for musicians and writers. The results were discussed in terms of gender differences, group and individual analyses, interdisciplinary research relating psychology to the humanities, the importance of including old and very old subjects in studies of creative development, and an optimistic view of aging and cognition. The findings suggest that creativity in other kinds of artists, and nonartists in general, may be maximized later and longer than previously believed.     

Suicide among eminent artists

To evaluate suicide risk by profession among eminent artists data from Garzanti's Encyclopedia, a broad biographical repertory, were used. Six categories in the visual and literary arts were compared: architects, painters, sculptors, writers, poets, and playwrights. Only people whose deaths occurred in the 1800s or 1900s were included since it is likely that underestimation of suicide has been lower in the more recent centuries. A total of 59 suicides were observed in a sample of 3,093 people: this corresponds to a ratio of 1.90%. Suicides were 51 among men (ratio 1.75%) and 8 among women (ratio 4.30%). The comparison by profession indicates that poets and writers exceed the mean suicide ratio of the sample. Painters and architects, conversely, have a clearly lower risk than the mean. Mean age of suicides was 44 yr. (SD = 12), with writers being slightly older (48 yr., SD = 12) than other artists. Artists who died of causes other than suicide reach a mean of 65 yr. (SD = 10). Suicide among artists seems to have a peculiar pattern, clearly different from the pattern of the general population, wherein suicide risk is higher among men and older people. Adverse financial circumstances and the stress attributed to rejection of personal products may contribute to the specific risk of suicide among artists. The link between mental disorders, such as manic-depression, which imply a higher risk of suicide, and creativeness is discussed as a contributing factor.     

Artistic Creativity and Rorschach Whole Responses

The present experiment investigated artistic creativity as it functions in the production of whole responses to Rorschach ink blots. The number, percentage, and quality of whole responses produced by a group of artists were compared to that of a group of nonartists under two instructional sets (regular instructions versus whole response set). Artists and nonartists did not differ significantly in whole response quality. Artists and nonartists gave significantly more whole responses under the whole response set, but artists produced a significantly greater number of whole responses, regardless of instructions. Artists gave a significantly greater proportion of whole responses only under regular instructions. These results give statistical verification to the discriminatory power of Rorschach whole responses in the identification of artistic creativity.     

Genius begins at home: Shared social identity enhances the recognition of creative performance

The present research examines the extent to which the recognition of creative performance is structured by social group membership. It does this by analysing the award of merit prizes for Best Actor and Actress in a Leading Role for the international award of US‐based Oscars and British‐based BAFTAs since BAFTA's inception of this category in 1968. For both awards, the exclusive assessment criterion is the quality of artists’ performance in the international arena. Results show that US artists won a greater proportion of Oscars than BAFTAs (odds ratio: 2.10), whereas British artists won a greater proportion of BAFTAs than Oscars (OR: 2.26). Furthermore, results support the hypothesis that these patterns are more pronounced as the diagnostic value of a quality indicator increases – that is, in the conferring of actual awards rather than nominations. Specifically, US artists won a greater proportion of Oscar awards than nominations (OR: 1.77), while British artists won a greater proportion of BAFTA awards than nominations (OR: 1.62). Additional analyses show that the performances of in‐group actors in movies portraying in‐group culture (US culture in the case of Oscars, British culture in the case of BAFTAs) are more likely to be recognized than the performances of in‐group actors in movies portraying the culture of other (out‐)groups. These are the first data to provide clear evidence from the field that the recognition of exceptional creative performance is enhanced by shared social identity between perceivers and performers.     

Interpretive Artists: A Qualitative Exploration of the Creative Process of Actors

Actors, dancers, and musicians generally are referred to as artists, but many do not originate the work they perform; rather, they interpret the work of originating artists. Past models of the creative process were based on originating artists. The purpose of this study was to explore the creative process of interpretive artists, specifically actors. To further characterize the creative process of actors, this study additionally investigated (a) the social influences that undermined or enhanced an actor's creativity, (b) the tension that occurs between an actor's personal and character identities, and (c) the need for spontaneity in the creative process of actors. Semistructured interviews were conducted with 3 actors. Content analysis revealed three stages of the creative process for actors: a general preparation period, rehearsal, and performance. This model was compared with a previous model of the creative process based on originating artists. Social influences seen as enhancing creativity were clear direction, trust, freedom, respect, challenge, collaboration, and unity with the audience. Undermining social influences included reward, poor direction, evaluation, distrust, peers who stopped listening, and feeling interchangeable. The tension between an actor's personal and character identities was characterized by catharsis and difficulty in delineating boundaries. The need for spontaneity was seen as crucial in the actor's creative process. It is suggested that the actor's creative process is more improvisational, characterized by process and product co-occurring, real-time social influences, tension between personal and performing identities, and the need for spontaneity.     

The creative thinking and ego functioning of children

Abstract:

One hundred highly creative children and 100 uncreative children were selected from a sample of 1,450 fifth‐ and sixth‐grade children. They were identified with the the Torrance Tests of Creative Thinking (TTCT). Comparisons revealed significant differences in terms of quantity and quality of primary process content. The creative children gave not only more primary process ideation, but the quality was (a) significantly more libidinal than aggressive, (b) more regressive (greater DD), and (c) showed more effective use of regression in the service of the ego (calculated by using the popular response to score defense effectiveness). There were no sex differences in the TTCT scores or the primary process content, but girls gave more libidinal content and boys gave more aggressive content.     

Processes that mediate the relationship between a group goal and improved group performance

The relationships between the level of a group performance goal for quantity, group process, and group performance were assessed. Forty groups of 3 people performed 3 trials of a production task. One half of the groups were assigned a low goal for Sessions 2 and 3, and one half were assigned a high goal. To measure group process, videotapes of each group were analyzed and self-reports of behavior were collected. A significant difference in performance across the high and low goal conditions was found for Session 3, and measures of group process showed that effort, group planning, changes in individual and group performance plans, and reduced concern for quality mediated the group goal effect. These results are discussed in relation to Weldon and Weingart's (1988) model of group goals and group performance.     

Expressive drawing ability in children with autism

The autistic impairments in emotional and social competence, imagination and generating ideas predict qualitative differences in expressive drawings by children with autism beyond that accounted by any general learning difficulties. In a sample of 60 5–19‐year‐olds, happy and sad drawings were requested from 15 participants with non‐savant autism and compared with those drawn by three control groups matched on either degree of learning difficulty (MLD), mental age (MA) or chronological age (CA). All drawings were rated by two artists on a 7‐point quality of expression scale. Contrary to our predictions, the drawings from the autistic group were rated similar to those of the MA and MLD groups. Analysis of the people and social content of the drawings revealed that although children with autism did not draw fewer people, they did draw more immature forms than mental age controls. Furthermore, there was tentative evidence that fewer social scenes were produced by the autism sample. We conclude that the overall merit of expressive drawing in autism is commensurate with their general learning difficulties, but the social/emotional impairment in autism affects their drawings of people and social scenes.     

Quantity representation in children and rhesus monkeys: linear versus logarithmic scales

The performances of 4- and 5-year-olds and rhesus monkeys were compared using a computerized task for quantity assessment. Participants first learned two quantity anchor values and then responded to intermediate values by classifying them as similar to either the large anchor or the small anchor. Of primary interest was an assessment of where the point of subjective equality (PSE) occurred for each species across four different sets of anchors to determine whether the PSE occurred at the arithmetic mean or the geometric mean. Both species produced PSEs that were closer to the geometric mean for three of four anchor sets. This indicates that monkeys and children access either a logarithmic scale for quantity representation or a linear scale that is subject to scalar variability, both of which are consistent with Weber's law and representation of quantity that takes the form of analog magnitudes.     

Local and global processing in savant artists with autism

We explored the hypothesis that an enhanced local processing style is characteristic of both art and autism spectrum disorder (ASD) by examining local and global processing in savant artists with ASD. Specifically, savant artists were compared against non-talented individuals with ASD or mild/moderate learning difficulties (MLD), as well as artistically talented or nontalented students, on the block-design task and meaningful and abstract versions of the embedded figures test (EFT). Results demonstrated that there were no significant differences between the meaningful and abstract versions of the EFT, in any of the groups. This suggests that the primary process governing performance on this task was perceptual (local), rather than conceptual (global). More interestingly, the savant artists performed above the level of the ASD and MLD groups on the block-design test, but not the EFT. Despite both the block-design task and the EFT measuring local processing abilities, we suggest that this result is due to the block-design task being an active construction task (requiring the conversion of a visual input into a motor output), whereas the EFT is a passive recognition task. Therefore, although an enhanced local processing style is an important aspect of savant artistic talent, motor control also appears to be a necessary skill.     

Some Developmental Aspects of Primary Process Manifestations in the Rorschach

A group of 27 male subjects were administered the Rorschach at ages 14 and 24. The protocols were scored for the main categories of the Holt Primary Process scoring system. A comparison of the two age groups indicates that at age 24 there is a decrease in the percentage of primary process responses and an increase in “adaptive regression.” Individual differences for all the primary process scoring categories remained highly consistent for the 10-year period spanned by the data. Adaptive regression was found to be significantly correlated with IQ, field independence (RFT), and Rorschach ratings of intellectualization at both ages. The results were viewed as suggesting that primary process manifestations on the Rorschach seem to be mediated by stable aspects of an individual's cognitive abilities and cognitive style.     

大学生问题发现过程的眼动研究

在潜藏式与矛盾式两类问题发现情境中, 以眼动仪为研究工具, 问题发现能力高与低的大学生各20名为被试, 探讨大学生在问题发现总体和4个兴趣区中的眼动特征及其与发现问题数量和质量之间的关系。研究表明：(1)不同能力大学生在不同情境及其兴趣区中的问题发现差异, 能够体现在眼动指标上。回视是反映问题发现能力的敏感指标。回视次数和发现问题数量与质量之间的正相关, 以及在高能力组学生上的优势, 体现了信息的联系和整合性加工在问题发现中具有积极意义。(2)潜藏式问题发现中, 个体平均注视时间更长, 反映其认知加工难度更大。在提供重要信息的区域, 被试会投入更多精力, 表现为在注视时间、注视次数和瞳孔直径大小等指标的上升。(3)眼睛注视区域与发现问题区域间存在对应关系, 显示出“眼随心动”现象。在问题发现的最初和最终阶段, 被试都会出现跨区信息搜寻行为, 分别代表了对问题线索的寻找和最后的检查评估。高能力被试在每个稳定注视阶段的注视时间更短, 这种信息转换的灵活性体现出其信息加工上的优势。动态眼动轨迹分析揭示了单个静态指标难以反映的新特点。     

Myers-Briggs personality types of art collectors

27 art collectors (13 men, 14 women) completed the Myers-Briggs Type Indicator. Their age range was 37 to 86 years and the mean 59.5 yr. Seventy percent were classified as Intuition types instead of Sensation types (versus its 25% incidence in the general population). This corresponds to personality profiles of artists and the disproportionately high incidence of high scores on the related Openness to Experience factor in studies of creative personalities, thereby supporting the contention that persons creating art and appreciating art have personality traits in common.     

Reference groups and professional self-image: The case of architects

The two objectives of this study are: (1) to investigate empirically the relationships between reference groups and the individual's self-image, as part of understanding the process of self-image development; and (2) to increase our understanding of architects' professional identity dilemma of whether to identify themselves as artists or as engineers. The study demonstrated that reference groups which were not membership groups, and even not dominant references, were significantly associated with self-image. Focusing on architectural students, it showed that although reference to artists was not dominant for most of the subjects (i.e., they did not select artists as one of the two most important groups of evaluators of one's professional work), a significant difference was found between the self-image of students who referred to artists and those who did not. The image of the former was closer to that of the artist, while the latter was closer to that of the engineer.     

在线评论数量和质量对网络购物意愿的影响:认知需要的调节作用

为探讨在线评论数量和质量以及认知需要对个体网络购物意愿的影响及其作用机制。以320名有网购经历的在校大学生为被试,采用2(在线评论质量:高vs.低)×2(在线评论数量:多vs.少)×2(认知需要水平:高vs.低)的实验设计。结果发现:(1)在线评论质量和数量对网络购物意愿都有着积极影响;(2)在线评论质量和数量对网络购物意愿的影响会受到认知需要的调节,即在线评论数量和质量对不同认知需要水平个体的影响不同:低认知需要个体会受到在线评论数量的影响,而高认知需要的个体则会受到在线评论质量的影响。研究结果深化了在线评论对网络购物购买决策影响的研究。     

数字工作记忆广度的毕生发展及其作用因素

以10~90岁的1993名自愿者为被试完成该实验研究。结果表明：（1）在最简单的心算加工负荷下,数字工作记忆广度约为6±2;（2）在10至90岁范围内,测验的最高成绩在16~19岁组（即高中生组）,回归分析表明数字工作记忆广度随年龄的对数呈抛物线变化;（3）教育因素对成年人数字工作记忆广度的随龄化过程有重要作用;（4）与我们过去的研究结果相比较,发现数字工作记忆广度受心算加工负荷的影响显著     

Quality,quantity, and impact in academic publication

Publication records of 85 social‐personality psychologists were tracked from the time of their doctoral studies until 10 years post‐PhD. Associations between publication quantity (number of articles), quality (mean journal impact factor and article influence score), and impact (citations, h‐index, g‐index, webpage visits) were examined. Publication quantity and quality were only modestly related, and there was evidence of a quality‐quantity trade‐off. Impact was more strongly associated with quantity than quality. Authors whose records weighed quality over quantity tended to be associated with more prestigious institutions, but had lesser impact. Quantity‐ and quality‐favoring publication strategies may have important implications for the shape and success of scientific careers. Copyright © 2009 John Wiley & Sons, Ltd.