Measuring the Creative Process: A Psychometric Examination of Creative Ideation and Grit

Within the investment theory of creativity (Sternberg & Lubart, 1996), creativity is defined as a 2-part process of buying low by investing in unusual ideas and then selling high by convincing others of the value or usefulness of these new ideas. This process requires both creative ideation and perseverance. The purpose of this research was to examine the psychometric properties of instrumentation proposed to assess the 2 underlying constructs in this definition: the creative ideational behavior required to buy low and the persevering behavior required to sell high. In particular, psychometric properties of a creativity ideation measure, the Runco Ideational Behavior Scale (RIBS Scale: Runco, Plucker, & Lim, 2001) and a perseverance measure, the Grit Scale (Duckworth, Peterson, Matthews, & Kelly, 2007) were examined in this study. Two samples of undergraduate students (N = 187; N = 817) completed a survey including these two scales and demographic information. Factor analyses were performed on the RIBS and Grit Scales. The RIBS Scale was found to have a 2-factor structure and 2 proposed new subscales. The Grit Scale’s previously reported 2-factor structure was confirmed.     

Creativity in the Age of Technology: Measuring the Digital Creativity of Millennials

Digital technology and its many uses form an emerging domain of creative expression for adolescents and young adults. To date, measures of self-reported creative behavior cover more traditional forms of creativity, including visual art, music, or writing, but do not include creativity in the digital domain. This article introduces a new measure, the Creative Behavior Questionnaire: Digital (CBQD), which assesses self-reported creative behavior in the digital domain. High school students (N = 230) completed the CBQD, as well as several other measures of creativity and personality. Factor analysis revealed 3 factors: digital creativity achievement, school-based everyday creativity, and self-expressive digital creativity. Factor-based scales showed expected correlations with other creativity measures, as well as Big-Five personality traits and Unconventionality, supporting construct validity. Results indicate that the CBQD can be used as an independent or a supplemental measure of creative behavior.     

A Meta-Analysis of the Relation between Creative Self-Efficacy and Different Creativity Measurements

This meta-analysis investigated the relations between creative self-efficacy (CSE) and creativity measures and hypothesized that self-assessed questionnaires would have a different relation to self-efficacy beliefs compared to other creativity tests. The meta-analysis synthesized 60 effect sizes from 41 papers (overall N = 17226). Taken as a whole, the relation between CSE and creativity measures was of medium size (r = .39). Subgroup analyses revealed that self-rated creativity correlated higher with self-efficacy (r = .53). The relation with divergent thinking (DT) tests was weak (r = .23). Creativity scales had a medium size relation (r = .43), and was stronger than the relation to verbal performance tasks (r = .27) and figural performance tasks (r = .19). In a comparison between measures focusing on the creative person (r = .47), the creative product (r = .32), and the creative process (r = .27), the person aspect was most strongly linked to CSE. Thus, the relation between self-efficacy and creativity measures is dependent on the type of measurement used, emphasizing the need for researchers to distinguish between different instruments—not the least between self-report scales and more objective test procedures. Conceptual implications are discussed and critique concerning the creativity concept is brought up.     

The Effects of a Verbal and a Figural Creativity Training on Different Facets of Creative Potential

This study investigated the effects of different types of creativity interventions on different facets of creative potential, also including more school-related creativity demands. In a sample of 77 fourth-graders in the age between 9 and 12 years, we administered a verbal and a figural creativity training, realized in two school lessons over two consecutive days each. As outcome measures, creative potential in both the verbal and the figural domain by means of two well-established divergent thinking tasks was assessed. As additional measures of creative potential, a story completion task and a picture painting task were administered to examine training effects on more school-related types of creative behavior. The verbal training was found to increase both verbal and figural divergent thinking ability, but not creative potential in the story completion and the picture painting task. The figural training yielded significant training effects only regarding the picture painting task. Findings suggest a specific training effect of the figural creativity training, and moreover indicate that the verbal creativity training, rather than stimulating “verbal” creative abilities per se, was more strongly concerned with domain-general creativity processes including ideational fluency, flexibility, and originality that are characteristics of divergent thinking tasks across different domains.     

Does the Eye of the Beholder Construct Beauty? Contributions of Self-Efficacy Factors to Divergent Thinking Traits

The study initiated a project exploring a contribution of creative perception to creative behavior. This study investigated the factors in creative self-perception contributing to creative potential. Creative potential was operationalized as divergent thinking and measured by the Abbreviated Torrance Test for Adults. Creative self-perception was operationalized as creative self-efficacy and assessed by Khatena-Torrance Creative Perception Inventory. Undergraduate college students’ creative self-efficacy was found to make a reliable and measurable contribution to their divergent thinking performance. Specifically, fluency was predicted by initiative and intellectuality, originality—by initiative, and flexibility—by environmental sensitivity and self-strength. These findings suggested that in addition to process, product, person, place, persuasion, and potential perspectives, creativity construct could be evaluated from a standpoint of creative perception.     

The ‘Right’ Side of Creativity: Creative Personality and Social Risk-Taking Predict Political Party Affiliation

Factors that predict political party affiliation are of particular importance in research due to the wider implications in politics and policy making. Extending this line of work, the idea that creativity predicts party affiliation was tested using 2 conceptualizations of creativity: creative personality and creative ideation. Participants (N = 406) based in the United States completed measures of creativity, socio-political attitudes, and domain specific risk-taking, and indicated their party affiliation. Results revealed a significant link between creative personality and political party affiliation. Furthermore, in addition to the socio-political attitudes, this link was explained, in part, by individuals’ social risk-taking. Specifically, individuals with higher scores on creative personality were more likely to affiliate to the Democratic party, whereas the reverse was true for affiliation to the Republican party. This article provides new insights into factors that predict political party affiliation and presents wider social implications of the findings.     

The relationship between emotional clarity and suicidal ideation among trauma-exposed adolescents in inpatient psychiatric care: does distress tolerance matter?

ABSTRACT

The present investigation examined associations between low emotional clarity (the extent to which individuals are confused about the specific emotions they are experiencing) and suicidal ideation in a diverse sample of trauma-exposed inpatient adolescents, as well as the moderating role of distress tolerance (DT) in this association. Participants (N = 50; 52.0% female; M = 15.1 years, SD = .51; 44% White) completed measures of emotion dysregulation, posttraumatic stress disorder (PTSD), and suicidal ideation/attempts, as well as a behavioral measure of DT. Controlling for age, gender, presence of mood disorder, and past history of attempts, results revealed a significant interaction between DT and low emotional clarity in relation to suicidal ideation. Specifically, lower emotional clarity was related to suicidal ideation at higher, but not lower, levels of DT. Findings suggest that presence of suicidal ideation among traumatized youth with low emotion clarity is most likely when these emotional deficits are coupled with a high tolerance for cognitive/psychological distress. Given that the ability to withstand distress is arguably a key factor in transitioning individuals from ideation to lethal suicidal behavior, attention to the presence of this construct in the context of clinical practice may be warranted.     

Convergent,Discriminant, and Incremental Validities of Person–Environment Fit Scale for Creativity in Predicting Innovative Behavior

This study examined the validity of a 14-item two-factor person–environment fit scale for creativity (PEFSC) to measure the personal and environmental components of creativity. A sample of 2,475 participants completed the PEFSC for evaluating the factor structure. For convergent, discriminant, and incremental validities, a subsample (N = 362) completed the creative self-efficacy scale, support for innovation subscale of the team climate inventory, and innovative behavior measure. Results indicated the two-factor correlated model showed a better goodness of fit than the one-factor model. Measurement invariance of PEFSC was observed across different genders and educational groups. Internal consistency reliabilities were satisfactory (α  ≥  .87). The personal dimension indicated stronger associations with creative self-efficacy than with support for innovation, whereas the environmental dimension was related more closely to support for innovation than to creative self-efficacy. Incremental validity was confirmed by significant and additional explanations from PEFSC in predicting innovative behavior. These results consolidated the application of person–environment fit theoretical framework in creativity research.     

The Effect of Changes in the Temperature and Humidity of the Air on the Apparent Skin Resistance

The effects of affective expression on divergent thinking performance were studied in 40 male and female graduate education students. Divergent thinking was operationally defined in terms of the ideational fluency and originality dimensions of Guilford's (4) Plot Titles test. Experimental group E1, in which emotional states were related to visual stimuli, produced significantly more original responses than experimental group E2 (p < .025), in which the same visual patterns viewed in terms of their geometrical-technical dimensions, and control group C1 (p < .01), in which no training was administered. Groups E2 and C1 demonstrated no significant differences. The groups did not differ with respect to ideational fluency. Verbal ability was a poor predictor of individual differences in ideational fluency and originality. The results suggest an effective approach toward fostering originality and indicate that nonintellective variables may be significant in the creative process.     

Heritability of Creative Achievement

The purpose of this qualitative research study was to explore the relationship between creative self-efficacy and creative behavior through an open-ended survey. A 10-question survey was collected from 242 college students, asking about their creative behavior, and what they believed about their own creative abilities. Creative behavior does appear to be a function of creative self-efficacy. However, this study also found that 21% (23/109) of this student sample reported high levels of creative self-efficacy but low levels of creative behavior. There was also a group of students (12.7% or 6/47) who reported low levels of creative self-efficacy but high levels of creative behavior. The students in these two groups appeared to be influenced by a number of myths and misconceptions they held about creativity.     

Personal Accomplishment,Mentoring, and Creative Self-Efficacy as Predictors of Creative Work Involvement: The Moderating Role of Positive and Negative Affect

This research explores the relationships among personal accomplish- ment, mentoring, affect, creative self-efficacy, and creative involvement. With a sample of working adults (N = 242), structural equation modeling results revealed that the data fit the theoretical model well in that creative self-efficacy fully mediated the relationships between personal accomplishment and creative work involvement and between mentoring and creative work involvement. Hierarchical regression analyses demonstrated that positive affect moderated the relationship between personal accomplishment and creative self-efficacy but negative affect did not, signifying that positive affect may be a necessary situational factor to optimize the personal accomplishment-creative self-efficacy link. In contrast, negative but not positive affect moderated the link between mentoring experiences and creative self-efficacy, suggesting that mentoring experiences associated with negative affect situationally may have been likely to have a significant consequence in weakening creative self-efficacy. The findings expand upon self-efficacy and mentoring theories by highlighting the importance of employing theoretically relevant moderating and mediating variables in research investigating the etiology of possible variables associated with vital workplace outcomes.     

Can Creativity Be Improved by an Attention-Broadening Training Program? An Exploratory Study Focusing on Team Sports

ABSTRACT

A look at a number of recent experiments reveals that the interaction between breadth of attention and creative performance is mainly based on correlational studies and laboratory creativity tasks, yet task complexity is seldom taken into consideration. Discussion of several methodological aspects recommends the field of sport in particular as a fruitful area in which complex behavior can be studied in a complex context.

An exploratory 6-month longitudinal study (n = 48) proved the influence of an attention-broadening training program on the development of creative performance in the area of team sports. Creative performance was measured by a real-world sport-specific creativity task with 2 different kinds of complexity levels. A comparison between a control group and a treatment group, which focused on training a narrow breadth of attention, showed that the creative performance improved significantly (partial χ² = .51). An attention-broadening training program facilitated greater improvements in creative performance in complex tasks than in simple tasks. The results of this exploratory study are discussed in terms of theoretical and practical implications.     

Innovation 101: Promoting Undergraduate Innovation Through a Two-Day Boot Camp

Commitment involves how a person invests resources in a work role over long periods of time. Creativity is a novel, appropriate variation that is embraced by a field of gatekeepers and transforms the symbolic domain. This qualitative analysis (Cohen's kappas of .62, .86, .68 across three coders) addresses the different roles that commitment plays in the careers of 36 writers, depending on what level of creative influence the literary field has attributed to the writer's work. The sample was segmented into genre conformers who played by established literary rules (M = 0.15, SD = 0.18), experimentalists whose innovations have not yet caught on widely (M = 0.80, SD = 0.17), and domain transformers who changed the canon (M = 1.32, SD = 0.27). For genre conformers, commitment compensates. They invest technique in the craft of writing to improve their social standing among other writers, editors, and critics within the field. For experimentalists, commitment defies. They translate their selves into words by twisting traditions and supports to yield new meanings, which gains them an emotional rush plus increased control over their self-expression. For domain transformers, commitment impassions. They trust some beloved aspect of literature, such as a character or poetic form, to convert new minds to the latent possibilities of the domain.     

The Creative Personality: A Synthesis and Development of the Creative Person Profile

Several constructs from the research literature on the creative personality were reoperationalized to gain further understanding of the structure of the creative personality and to develop a broad measure of relevant traits (CPP—the Creative Person Profile). From an initial pool of 38 creativity relevant personality constructs, 7 factors were identified and labeled (emotional instability, ambition, associative orientation, motivation, need for originality, agreeableness, and flexibility) in a sample of 481 participants with a mean age of 31.6 years. In a subsample, there were theoretically meaningful correlations between the 5-factor model of personality and 5 of the CPP factors. Moreover, most of the 7 components correlated with at least 1 ability test or self-report criterion of creativity (creative problem solving, remote associates test, ideational fluency, items from a creative activities checklist). Finally, in a discriminant validity study, scores on the 7 factors clearly differentiated between a group of professional artists (n = 69) and the remainder of the sample, and between a group of marketing students (n = 40) and the remainder of the sample.     

Conscious Motivations of Adolescent Visual Artists and Creative Writers: Similarities and Differences

This exploratory study was designed to expand the field’s understanding of talented adolescent visual artists and creative writers and their conscious motivations for engaging in these creative activities. Accordingly, 233 talented high school visual arts (n = 151) and creative writing (n = 82) students were asked to rate the degree to which they believed their creative activities were motivated by each of a wide range of possible motivations. The students in both fields reported being very strongly motivated by the opportunities their activities provided them to use their imaginations, feel free, sense that they were being their “true” selves, regulate their emotions, capture moments in time, deepen their self-understanding, express themselves, improve their skills, and enhance their self-esteem. Some of these motivations correspond closely to those highlighted by theories of intrinsic motivation, competence motivation, and self-actualization, several are similar to those which have been reported by professional artists and writers, and some suggest that the students may have derived important psychological benefits from their creative activities. Theoretically plausible differences between the motivational profiles of the visual and creative writing students were identified and discussed.     

The Dynamics of Creative Self-Concept: Changes and Reciprocal Relations Between Creative Self-Efficacy and Creative Personal Identity

Although creative self-concept constructs are intensively studied in the creativity literature, little is known about the dynamics of their changes during the life span and the relationships between different aspects of the creative self-concept. Using a longitudinal and a cross-sequential design, this investigation aimed to test changes in two important creative self-concept constructs—creative self-efficacy and creative personal identity—over short (6 months) and longer (20 months) periods of time, while simultaneously examining reciprocal relationships between them. The results showed the short-term stability of both constructs, but they also revealed significant change over the longer period―specifically, a growth of creative self-efficacy and creative personal identity in people from late adolescence to early adulthood and a drop among older participants. Reciprocal longitudinal relationships between creative self-efficacy and creative personal identity were also demonstrated, with creative self-efficacy being a more stable predictor of creative personal identity than the reverse.     

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.     

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.     

The Road to Creative Achievement: A Latent Variable Model of Ability and Personality Predictors

This study investigated the significance of different well‐established psychometric indicators of creativity for real‐life creative outcomes. Specifically, we tested the effects of creative potential, intelligence, and openness to experiences on everyday creative activities and actual creative achievement. Using a heterogeneous sample of 297 adults, we performed latent multiple regression analyses by means of structural equation modelling. We found openness to experiences and two independent indicators of creative potential, ideational originality and ideational fluency, to predict everyday creative activities. Creative activities, in turn, predicted actual creative achievement. Intelligence was found to predict creative achievement, but not creative activities. Moreover, intelligence moderated the effect of creative activities on creative achievement, suggesting that intelligence may play an important role in transforming creative activities into publically acknowledged creative achievements. This study supports the view of creativity as a multifaceted construct and provides an integrative model illustrating the potential interplay between its different facets. © 2013 The Authors. European Journal of Personality published by John Wiley & Sons Ltd on behalf of European Association of Personality Psychology.     

Proactive Personality and Innovative Work Behavior: the Mediating Effects of Affective States and Creative Self-Efficacy in Teachers

The purpose of the current study was to examine the influence proactive personality on innovative work behavior in teaching profession and investigate the potential mediating effects of affective states and creative self-efficacy on this relationship. Proactive Personality Scale, Positive and Negative Affect Schedule, Creative self-efficacy Scale and Teachers’ Innovative Work Behavior Scale were administered to 352 primary and middle school teachers in China. Results showed that proactive personality was significantly positively associated with teachers’ innovative work behavior. Furthermore, mediation analyses revealed that the impact of proactive personality on teachers’ innovative work behavior were simply mediated by positive affect and creative self-efficacy and sequential mediated by positive affect–creative self-efficacy and negative affect–creative self-efficacy. These findings provide a new perspective in understanding the intervening mechanisms underlying proactive personality on innovative work behavior. The possible explanations and limitations are discussed.