The cognitive underpinnings of creative thought: A latent variable analysis exploring the roles of intelligence and working memory in three creative thinking processes

The field of creativity has largely focused on individual differences in divergent thinking abilities. Recently, contemporary creativity researchers have shown that intelligence and executive functions play an important role in divergent thought, opening new lines of research to examine how higher-order cognitive mechanisms may uniquely contribute to creative thinking. The present study extends previous research on the intelligence and divergent thinking link by systematically examining the relationships among intelligence, working memory, and three fundamental creative processes: associative fluency, divergent thinking, and convergent thinking. Two hundred and sixty five participants were recruited to complete a battery of tasks that assessed a range of elementary to higher-order cognitive processes related to intelligence and creativity. Results provide evidence for an associative basis in two distinct creative processes: divergent thinking and convergent thinking. Findings also supported recent work suggesting that intelligence significantly influences creative thinking. Finally, working memory played a significant role in creative thinking processes. Recasting creativity as a construct consisting of distinct higher-order cognitive processes has important implications for future approaches to studying creativity within an individual differences framework.     

Enhanced divergent thinking and creativity in musicians: a behavioral and near-infrared spectroscopy study

Empirical studies of creativity have focused on the importance of divergent thinking, which supports generating novel solutions to loosely defined problems. The present study examined creativity and frontal cortical activity in an externally-validated group of creative individuals (trained musicians) and demographically matched control participants, using behavioral tasks and near-infrared spectroscopy (NIRS). Experiment 1 examined convergent and divergent thinking with respect to intelligence and personality. Experiment 2 investigated frontal oxygenated and deoxygenated hemoglobin concentration changes during divergent thinking with NIRS. Results of Experiment 1 indicated enhanced creativity in musicians who also showed increased verbal ability and schizotypal personality but their enhanced divergent thinking remained robust after co-varying out these two factors. In Experiment 2, NIRS showed greater bilateral frontal activity in musicians during divergent thinking compared with nonmusicians. Overall, these results suggest that creative individuals are characterized by enhanced divergent thinking, which is supported by increased frontal cortical activity.     

Strategy Induction Enhances Creativity in Figural Divergent Thinking

Instructional effects in creative‐thinking tasks are important to understand in order to promote creative performance of individuals. In divergent‐thinking tasks, for example, instructional and strategic enhancement effects have been extensively studied for verbal tasks. However, while studies on instructional enhancement effects on creative drawing tasks exist, it is surprising that strategy enhancement in figural divergent thinking is still underresearched. In this study, we used a strategy manipulation approach to reassess the role of executive strategy implementation and the moderating role of an indicator of fluid intelligence, figural analogical reasoning, in two types of figural divergent‐thinking tasks (abstract vs. concrete). The sample comprised N = 75 high‐school students. Importantly, we found strategic enhancement effects by combining strategy instructions with a prompt to “be creative.” This combined instruction was contrasted with a standard instruction, and main effects were found for overall, concrete, and abstract creativity. Moreover, we found in a regression analysis a main effect for figural analogical reasoning on overall creativity and creativity for only the concrete object tasks. An expected interaction effect of instruction and figural analogical reasoning was not found. As another addition, the role of current motivation in figural divergent thinking was explored.     

The Measurement and Prediction of Managerial Creativity

The relations between creative management performance and constructs from the cognitive ability and personality domains were explored. A new openness scale and measures of divergent thinking and general intelligence were correlated with independently obtained criterion assessments of creative-management performance for 221 managers from a variety of organizations. Divergent thinking and openness correlated significantly with key creative-management criteria. General intelligence correlated only marginally with the criteria, and when divergent thinking was statistically removed, not at all. Divergent thinking, conversely, retained its significant criterion correlations with general intelligence statistically removed. Finally, a predictive composite of both divergent thinking and openness is shown to provide solid prediction of managerial creativity and significant utility in a personnel selection context.     

Sex differences in instructions to "be creative" on divergent and nondivergent test scores

Harrington (1975) found that both the magnitude and meaning of male subject scores on the Alternate Uses Test were altered by explicit instructions to “be creative,” and argued for the necessity of such instructions, plus qualitative scoring criteria, in the employment of tests of creativity. The present study elaborated upon this study by including female subjects, more than one test of divergent thinking and a test of nondivergent thinking. Instructions to be creative increased the proportion of creative responses output for both males and females, and sharpened correlations with Adjective Check List personality scales. Instructions did not alter performance on the nondivergent test. These results were interpreted to mean the instructions elicited strategies particularly relevant to divergent thinking and ruled out nonspecific effects such as those due to motivation. A reliable sex-difference in ideational fluency was also observed: instructions to be creative facilitated the total number of responses output for the male subjects. This supports a hypothesis that the instructions disambiguate I he test situation differently for men and women, suggesting the need to isolate individual conceptions of creativity in order to maximize test performance.     

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.     

Personality and intelligence as predictors of creativity

Participants completed the Big Five NEO-FFI (Costa & McCrae, 1992) as a personality measure, the Wonderlic Personnel Test (Wonderlic, 1992) as an intelligence measure, and four measures of creativity: Guilford’s (1967) unusual uses divergent thinking test; the Biographical Inventory of Creative Behaviours; a self-rated measure of creativity; and the Barron–Welsh Art Scale to measure creative judgement. Extraversion was significantly related to all four measures of creativity. Intelligence failed to add any incremental variance in predicting the creativity scores. Multiple regression indicated that up to 47% of the variance in divergent thinking scores can be accounted for by the Big Five personality traits. Personality correlates to creativity vary as a function of the creativity measure.     

Creativity, intelligence, and personality: a critical review of the scattered literature

The authors examined the relations among intelligence, personality, and creativity. They consider the concept and definition of creativity in conjunction with the qualifications that researchers in the field have suggested. The present authors briefly refer to historiometric studies but focus on psychometric intelligence and its relations to tests of divergent thinking (DT) and ratings of creativity. The authors consider the relation between personality and creativity in the context of Eysenckian 3-factor and 5-factor models of personality and with reference to DT tests and ratings of creativity. The authors also present recommendations for the future study of creativity.     

Are intelligence and creativity really so different? : Fluid intelligence, executive processes, and strategy use in divergent thinking

Contemporary creativity research views intelligence and creativity as essentially unrelated abilities, and many studies have found only modest correlations between them. The present research, based on improved approaches to creativity assessment and latent variable modeling, proposes that fluid and executive cognition is in fact central to creative thought. In Study 1, the substantial effect of fluid intelligence (Gf) on creativity was mediated by executive switching, the number of times people switched idea categories during the divergent thinking tasks. In Study 2, half the sample was given an effective strategy for an unusual uses task. The strategy condition interacted with Gf: people high in Gf did better when given the strategy, consistent with their higher ability to maintain access to it and use it despite interference. Taken together, the findings suggest that divergent thinking is more convergent than modern creativity theories presume.     

Comments on Where the Creativity Research Has Been and Where Is It Going

This Commentary examines where the creativity research has been and where it is going. They key points include evolving definitions of creativity, interdisciplinarity in the creativity research, divergent thinking as a reliable index of creative potential, improvements in testing, the impact of technology, the inclusion of political, moral, and everyday creativity in the research, the use of semantic networks and conceptual maps, the creative economy, and the need to extricate personal creativity from social recognition.     

The Effects of Zhongyong Thinking Priming on Creative Problem‐Solving

Zhongyong thinking is a common approach adopted by Chinese people to solve problems encountered in life and work. Based on the four modes of zhongyong thinking proposed by Pang (Social Sciences in China, 1, 1980, 75), this study chooses the “neither A nor B” form, which represents the “mean” (中) characteristics of zhongyong thinking, called eclectic thinking, and the “both A and B” form, which reflects the “harmony” (和) feature, called integrated thinking. This study primed eclectic thinking and integrated thinking, respectively, through self‐compiled problem situations, and 150 college students and postgraduates students were the participants. Experiment 1 explored the role of the priming of zhongyong thinking in three classic creative thinking tasks: a divergent thinking test, remote association test, and insight problem‐solving test. Experiment 2 further examined the effect of priming of zhongyong thinking on “market investment problems” with higher ecological validity. The findings show that priming integrated thinking can improve remote associates test performance and promote creative solutions to market investment problems, but there is no significant impact on the scores of divergent thinking test and insight problem‐solving; priming eclectic thinking has no significant impact on any of the subsequent creative tasks. This study shows that integrated thinking primes cognitive processing related to information association and information integration, promoting subsequent creative tasks.     

才思泉涌“举步”间：体育运动对创造性思维的影响

创造性思维是运用独特且新颖的观点解决问题的思维形式,发散与聚合思维是两种常见的类型。体育运动对发散与聚合思维具有不同的影响,且受到运动强度、方式、时长以及个体差异等因素的调节。目前解释体育运动如何影响创造性思维的理论有情绪假说、执行功能假说与身心隐喻理论。未来的研究需要在进一步重视研究规范性的基础上,加强神经科学研究并拓宽群体覆盖面,关注体育运动与创造性成就的关系,为开具创造性思维运动处方提供有力的科学支持。     

创造性人格与员工创造力:一个被调节的中介模型研究

本文基于动机行动和成就动机理论,构建一个被调节的中介模型以检验创造性人格对员工创造力产生的作用机理。以251套来自主管-下属配对的问卷数据为样本,实证分析结果表明:创造性人格可预测员工创造力产生,学习目标导向与绩效证明目标导向在两者之间起部分中介作用;内在动机能够强化个体目标导向对创造力的作用,并显著正向调节创造性人格对员工创造力的间接效应。最后,论文讨论了研究发现对员工创造力产生的理论和实践意义。     

Openness to Experience and Intellect Differentially Predict Creative Achievement in the Arts and Sciences

The Big Five personality dimension Openness/Intellect is the trait most closely associated with creativity and creative achievement. Little is known, however, regarding the discriminant validity of its two aspects—Openness to Experience (reflecting cognitive engagement with perception, fantasy, aesthetics, and emotions) and Intellect (reflecting cognitive engagement with abstract and semantic information, primarily through reasoning)—in relation to creativity. In four demographically diverse samples totaling 1,035 participants, we investigated the independent predictive validity of Openness and Intellect by assessing the relations among cognitive ability, divergent thinking, personality, and creative achievement across the arts and sciences. We confirmed the hypothesis that whereas Openness predicts creative achievement in the arts, Intellect predicts creative achievement in the sciences. Inclusion of performance measures of general cognitive ability and divergent thinking indicated that the relation of Intellect to scientific creativity may be due at least in part to these abilities. Lastly, we found that Extraversion additionally predicted creative achievement in the arts, independently of Openness. Results are discussed in the context of dual‐process theory.     

Creativity,Mood Disorders,and Emotional Intelligence

The study addressed two findings in the creativity literature that show, on the one hand, that bipolar disorder and other clinical dysfunctions are overrepresented among eminently creative people, and that positive affect is positively associated with creativity. The central hypothesis of the study was that emotional intelligence could be an intervening variable between clinical conditions and creative production. A sample of 412 undergraduates completed a wide range of divergent thinking and creative production measures, and the Emotional Intelligence Scale; 11 percent of the sample reported that they had completed treatment for mood disorder and 5 percent report that they were currently in treatment. A combination of regression and ANOVA analyses revealed: The link between mood disorders and creative production persisted after emotional intelligence was statistically removed; the same was true for ideational fluency and flexibility of cognitive style. The link between emotional intelligence and creative production persisted after the effect of clinical disorders was removed. Ideational fluency and emotional intelligence were higher among people who completed treatment compared to people in treatment. The tentative interpretation is that emotional intelligence serves as a counterweight against mood disorders in enhancing creative production.     

Creative Reading in the Information Age: Paradoxes of Close and Distant Reading

This article reflects on transformations of modes of reading in an information age, asking what “creative reading” entails in information‐intensive, multimodal environments. We currently face the challenge of the development of reading strategies that oscillate between “close” and “distant” reading. For years, these reading strategies have been a topic of debate between practitioners of Digital Humanities on the one hand, and “traditional” humanists on the other. This ongoing polemics presents reading methods in an unnecessarily polarized manner. I argue that creativity research can be operationalized to come to a more productive model to characterize the ways we read in an information age. I show that the “schism” between close and distant reading is structured around a number of apparent paradoxes that I unravel such as hyper‐ and deep attention/attention and distraction, and convergence and divergence. The paradox of creativity resides in the fact that we find convergence in divergence and vice versa, that the two by definition intertwine. Building on these concepts, I propose a model that considers reading in terms of scale variance. I suggest the humanities turn to creativity research and the interrelations between divergent‐exploratory and convergent‐integrative thinking (Lubart), for a conceptual framework that will allow us to train students on all levels how to read (and how and when not to read), in an information age.     

Factors Influencing Word-Association Responses: A Reanalysis

In a reanalysis of data previously published (Merten, 1992, 1993b), the relations between a variety of indicators of word-association tests (WATs) and personality variables, verbal intelligence, age, and self-reflected thought and speech disorders were studied. Multiple regression analyses performed with a group of 46 healthy individuals showed pyschoticism to be a strong predictor for response creativity. On the basis of the data, more stringent methodological approaches to the WAT (common and individual response condition) are suggested for personality and creativity research. A cluster analysis of WAT data from 43 schizophrenics, 15 affective psychotics, and 46 control revealed different response patterns to be related to a number of variables, such as psychopathology, verbal intelligence, and personality. Although there seemed to exist a clear relation between the dimension of conformity/nonconformity and WAT responses, this relation is far more complex than correlational analyses or group comparisons can reflect. This work is relevant to creative studies in several ways. It extends associative theory, for example, which is often used to describe creative thinking. Similarly, it clarifies how originality of thought--and its antitheses, conformity and commonness--arise and are judged while thinking. Additionally, it contrasts groups that have varying levels of creativity, including individuals with mood disorders.     

Unraveling Effects of Novelty on Creativity

Novelty is inherent to creative processes. A positive effect of novelty on creative task performance was therefore predicted. However, creativity can benefit from divergent, as well as convergent thinking. Subsequently, novelty may benefit creative performance when divergent thinking is required, but it could inhibit creative performance when convergent thinking is required. In Study 1, participants were primed with novelty or familiarity, and performed a creativity task that required divergent thinking. Results showed a beneficial effect of novelty priming on originality of the answers. In Study 2, a creativity task that required convergent thinking was framed as novel, familiar, or neutral. Results showed an inhibitory effect of novelty on creativity. Results are related to information processing styles, and implications for creativity and novelty research are discussed.     

How Creativity Was Affected by Environmental Factors and Individual Characteristics: A Cross-cultural Comparison Perspective

The purpose of this study was to explore how environmental factors (family environment and school education) and individual characteristics (personality, creative attitudes, and divergent thinking) collectively affect creative achievement of American and Chinese college students. Data were collected from 378 college students in the United States (N = 193) and China (N = 185). Results showed that the US sample had significantly higher means in home resources, high-school education, Conscientiousness, creative achievement, and all four dimensions of the Abbreviated Torrance Test for Adults (ATTA) than the China sample. In contrast, the China sample scored significantly higher in understanding the importance of creativity. Results indicated creative attitudes and divergent thinking sequentially mediated the effects of parental values on creative achievement for the US sample, whereas Openness mediated the effect of high-school education on creative achievement for the China sample. For both samples, creative attitudes mediated the effect of Openness on divergent thinking. The results suggested cultural differences in the effects of environmental factors on creativity, yet more similar findings in the effects of individual characteristics on creativity between the two samples. The results and implications are discussed.     

Extroversion Personality,Domain Knowledge,and the Creativity of New Product Development Engineers

Creativity refers to a person’s thinking of new and useful ideas at work. Drawing on the personality literature, this study proposes that employees with high extroversion personality will exchange job relevant information with colleagues to generate creativity. Drawing on the information exchange theory, this study further proposes that the effect of extroversion personality with creativity via information exchange will be stronger for workers with insufficient domain knowledge. Data collected from Taiwanese new product development engineers support our hypotheses. Previous research found that extroverted persons perform more creatively because they are more confident in their abilities. This study further demonstrates that, after controlling for self-efficacy, extroverted engineers can still think of creative ideas via exchanging information with colleagues. Although domain knowledge has been shown as crucial to creativity, few studies have explored how to stimulate creative ideas from workers with insufficient domain knowledge. This study demonstrates a useful substitute for domain knowledge, namely the extroversion personality, which may inspire creativity via exchanging information with colleagues.