Dissociative Experiences and Creativity in Fine Arts Students

Studies on creative personality have revealed that the relationship between personality and creativity remains unclear, and various types of creative thinking have been have been associated with various personality traits. To assess the influence of dissociative experiences on creativity in the context of fine arts education, in which the creative process plays a key role, a sample of fine arts students received a test of creative potential and the dissociative experiences test. The results revealed significant differences in creativity (creative imagination and creative experiences) between students scoring high or low in the number of dissociative experiences. High dissociative experiences scores were associated to high scores in creative imagination and creative experiences, and low scores in dissociative experiences were inversely related to creative imagination and creative experiences. Further studies are required to corroborate these findings.     

Effects of Creative Personality on EEG Alpha Oscillation: Based on the Social and General Creativity Comparative Study

The neural mechanism underlying creativity has been identified and confirmed by numerous studies. This current exploratory study compared the neural basis between social creativity and general creativity and explored the effect of creative personality on their neural basis by employing multiple regression analysis. The EEG activities of 34 participants were recorded during social or general creative tasks. The results indicated that a stronger alpha event‐related synchronization (ERS) was presented during the social creative task than during the general creative task. High creative personality individuals were found to exhibit higher event‐related desynchronization (ERD) only for the upper alpha band. Additionally, high creative personality individuals revealed no significant task differences regarding the alpha ERS. However, low creative personality individuals exhibited a stronger alpha ERS for social creative tasks than they did for general creative tasks. The current investigation could lead to new approaches for examining the brain correlates of creativity from different domains and their correlations with respect to creative personality.     

Creativity Through a Lens of Social Responsibility: Implicit Theories of Creativity with Korean Samples

Implicit theories of creativity have been the subject of increased research interest in recent years. These investigations are motivated by the observation that an individual's creative activities are guided by personal definitions rather than professional theories, which may be very different. Cross-cultural studies of implicit creativity theories are rare, yet they can add significantly to our knowledge of how creativity is viewed across cultures. The nature of 428 Koreans' implicit creativity theories were identified in a prestudy, and the structure of 478 Koreans' ratings of the indicated behaviors was analyzed in Experiment 1. In Experiment 2, 211 participants evaluated the creativity of 44 hypothetical profiles based on the results of the first experiment. Results provide evidence that Korean conceptions of creativity are similar to Western conceptions, although Koreans may emphasize negative behaviors and personality characteristics (e.g., deviance) to a greater degree. When asked to use their implicit theories to evaluate the creativity of hypothetical profiles, Korean adults strongly emphasized specific cognitive, personality, and motivational aspects of creativity over noncognitive aspects (e.g., perseverance, independence).     

Types of Creativity and Visualization in Teams of Different Educational Specialization

This research is the first to examine different types of creativity dimensions in relation to different types of visualization on a team level, by comparing adolescences’ teams of different specialization (visual artist, scientists, and humanities) during a complex creative task in an ecologically valid educational setting First, the difference between all teams’ creative outputs (drawings) was compared in terms of their visual characteristics and represented content based on parameters derived from the content analysis of visual media. Second, the teams’ creative performance was compared using evaluations of experts from different professional domains. Based on the evidence from examination of teams’ creative products (final drawings) and their evaluations by professionals, this research suggests that object visualization is related to artistic creativity and spatial visualization is related to scientific creativity on the team-level. Furthermore, the findings provide a clear indication that assessing general creativity independently of the domain, as it has been done so far in most team creativity literature, might be somewhat limited.     

Who Finds Bill Gates Sexy? Creative Mate Preferences as a Function of Cognitive Ability,Personality, and Creative Achievement

Creativity is sexy, but are all creative behaviors equally sexy? We attempted to clarify the role of creativity in mate selection among an ethnically diverse sample of 815 undergraduates. First we assessed the sexual attractiveness of different forms of creativity: ornamental/aesthetic, applied/technological, and everyday/domestic creativity. Both males and females preferred ornamental/aesthetic forms of creativity in a prospective sexual partner than applied/technological and everyday/domestic forms of creativity. Secondly, we assessed the simultaneous prediction of general cognitive ability, personality, divergent thinking, self‐perceptions of creativity, and creative achievement on preferences for different forms of creativity in a prospective sexual partner. The results were generally consistent with assortative mating. The most robust predictors of a preference for applied/technological forms of creativity in a potential sexual partner were intellectual interests and creative achievement in applied/technological domains. In contrast, the most robust predictor of a preference for ornamental/aesthetic forms of creativity was openness to experience. The results suggest that openness to experience and its associated aesthetic, perceptual, and affective aspects are the primary characteristics influencing the sexual attractiveness of a creative display. Further, the results demonstrate the importance of also taking into account individual differences in personality, interests, and creative achievement when considering the sexual attractiveness of different manifestations of creativity.     

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.     

A Two Factor Taxonomy of Creative Bechavior

Two empirical studies examined the similarities and differences between creative professionals in science and art. In the first, 16PF personality profiles of industrial scientists, musicians and artists, and general undergraduates (N = 99) showed no difference between scientific and artistic groups on the Creativity composite index, and both groups differed significantly from general undergraduates. There were a few significant differences on specific traits, however. In the second study, self-reports of involvement in creative behavior collected from larger similar samples (N = 590) were factor analyzed. Two distinct but correlated factors (r = .32) emerged that separated artistic from scientific and business activity. The results indicated that people who specialize in one content domain often make contributions in other domains as well.     

Boundless Creativity: Evidence for the Domain Generality of Individual Differences in Creativity

This study investigated correlates of domain‐general and domain‐specific components of creativity. 158 college students completed a questionnaire that assessed their motivational and personality traits (i.e., intrinsic and extrinsic motivation, creative personality, and originality in word association) as well as intellectual abilities (SAT verbal and quantitative scores). Under two different instruction conditions (standard instruction or explicit “be creative” instruction), students also took a battery of multi‐item, product‐based tests of creativity in three domains (artistic, verbal, and mathematical creativity). Factor analyses showed evidence of domain‐generality of creativity. Furthermore, results from structural equation models showed that motivational and personality traits and intellectual abilities were associated with the domain‐general component of creativity. Only one variable (SAT quantitative score) was found to be associated with the domain‐specific component of mathematical creativity under the explicit “be creative” instruction condition. These results affirm the domain‐generality of creativity and challenge researchers to identify correlates of domain‐specific components of creativity.     

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.     

Creating Through Deviancy or Adjustment? The Link between Personality Profile Normativeness and Creativity

Does deviancy or adjustment predict creativity? To address this question, we tested the association between personality profile normativeness (similarity between one's personality profile and the average profile—a proxy for the deviancy–adjustment continuum) and creativity across four different samples (total N = 348 768). We used a wide range of creativity measures, including self‐reported, informant‐reported, behavioural, and occupational creativity, as well as several essential statistical controls (i.e., demographics, socio‐economic background, intelligence, and life satisfaction). Furthermore, we employed both cross‐sectional and longitudinal designs, including samples of college students and representative adult populations. We found that people who had more normative personality profiles were more creative. However, this association only held within modality (i.e. when both personality and creativity were either self‐reported or informant‐reported). We did not find robust associations between personality profile normativeness and laboratory‐based behavioural measures of creativity, occupational creativity, or creative achievements. We discuss alternative explanations for the observed adjustment–creativity link, specifically, implicit theories of creativity and person perception biases (halo effects). Notably, the findings did not support the idea that deviancy breeds creativity, suggesting that the famed ‘mad genius’ hypothesis might not hold among the general population. © 2019 European Association of Personality Psychology     

In Search of Temperament and Personality Predictors of Creativity: A Test of a Mediation Model

Temperament and personality traits constitute inherent and learned personal characteristics that are crucial for creative behaviors among high ability students. This study investigated the relationships of temperament dimensions and the Big Five personality traits to creativity among 406 honors college students. First, the associations of creativity with temperament and personality were investigated separately. Second, it was sought to document if the selected measures of personality and temperament are distinguishable despite their interdependence. Finally, a mediational role for personality traits in channeling the effect of temperament on creativity was hypothesized. In the mediation model, all four temperament dimensions (orienting sensitivity, effortful control, extraversion/surgency, negative affect) had direct or indirect relationships with creativity. Two personality traits (openness, neuroticism) were found to be significant mediators in these relationships. The findings were discussed in terms of their relevance to the high-ability college students and to the temperament, personality, and creativity literature in general.     

Cantankerous creativity: Honesty-Humility, Agreeableness, and the HEXACO structure of creative achievement

Creativity research has suggested that creative people are low in agreeableness. To explore this issue, we applied the HEXACO model of personality structure, which offers an expanded representation of interpersonal traits, particularly a distinction between Honesty-Humility and Agreeableness. A sample of 1304 adults completed the HEXACO-60 and several measures of creative achievement and activities. Latent variable models found that Agreeableness had no relationship with creativity, but Honesty-Humility did: people lower in Honesty-Humility had higher creativity scores, consistent with past work on arrogance and pretentiousness among creative people.     

Creative style,personality, and artistic endeavor

Research has shown that creative style, as measured by the Kirton Adaption-Innovation Inventory (KAI; M. J. Kirton, 1976), is correlated with more than 30 different personality traits. In this article, the author demonstrates that many of these correlations can be understood within the framework of the Five-Factor Model of personality and shows that the predominant correlates of creative style are personality indicators in the domains of the factors Conscientiousness, Openness to Experience, and, to a lesser extent, Extraversion. These findings provide a basis for comparing the personality traits associated with creative style and occupational creativity. High scorers on the KAI (innovators) differ from both average and creative scientists but have personality characteristics similar to those of artists. This finding suggests that the artistic personality may be more common than is generally supposed and that common factors might underlie both artistic endeavor and creative style.     

High Mathematical Creativity in a Pair of Identical Twins

This article reports an incidental finding in an investigation undertaken by the author (Haylock, 1984) into aspects of mathematical creativity in 11- to 12-year-old children. The two most mathematically creative pupils in the sample of 280 were identical twin boys. Moreover, these two boys were found to have almost identical profiles in a series of assessments of some significant personality and attitude characteristics.     

Creativity and the Dark Triad: A meta-analysis

This paper presents a meta-analysis of the relationships between creativity (creative potential, activities, and achievement) and the Dark Triad of personality: narcissism, Machiavellianism, and psychopathy. Multilevel meta-analytic models demonstrated a small but significant positive association between creativity and narcissism (r = 0.15 [0.10, 0.29]) and Machiavellianism (r = 0.06 [0.02, 0.09]), but not with psychopathy (r = 0.03 [-0.02, 0.07]). Creativity measures (self-report-vs.-performance), aspects (self-perception, creative activity, creative abilities, creative achievements), and domains (general, art, science, and everyday creativity) moderated the links with the Dark Triad. We discuss the possible mechanism of associations between Dark Triad traits and creativity and highlight future research directions.     

The Potential Role of the Physical Environment in Fostering Creativity

ABSTRACT: Two studies investigated the role of specific interior design elements on creativity. In Study 1, a photographic structured Q sort was used to determine where participants would feel most creative and least creative. Content analysis of the photographs by independent raters scaled each setting according to size, shape, light, internal organization of objects, and characteristics of bounding surfaces. Analyses identified 5 environmental characteristics that independently predicted greater perceived creativity: (a) complexity of visual detail, (b) view of natural environment, (c) use of natural materials, (d) with fewer cool colors used, and (e) less use of manufactured or composite surface materials. In Study 2, tests of actual creative performance were administered in 2 different settings. One setting had been rated relatively high in creativity potential, and the other setting was rated relatively low in creativity potential by the original participants in Study 1. Creative performance of an independent sample was greater in the setting that had been rated higher in creativity potential by participants in Study 1.     

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。     

大学生心理健康、创造性人格与创造力关系的模型建构

通过问卷法对我国八大行政区10所不同类型学校的1043名大学生进行调查研究。从创造性思维和创造性人格多侧面认识大学生创造力的特点,从医学模式以及人格角度了解大学生心理健康的状况,在此基础上,借助现代统计技术———结构方程模型,揭示心理健康、个性和创造力之间的关系;将创造力作为内源潜变量,心理健康和创造性人格作为外源潜变量,三者构成的结构模型是可以接受的,该模型表明,大学生的创造力受其创造性人格和心理健康的积极影响。     

Controlled Substance‐related Beliefs and Use: Relationships to Undergraduates' Creative Personality Traits

The relationship between creativity and various mind‐altering substances — especially alcohol — has been a popular topic among creativity researchers and the public at large. Yet experimental studies have found little evidence that alcohol use has a causal influence on creativity, with most studies of creative production showing negative or neutral effects. However, the impact of high levels of creativity on future alcohol use (i.e., the reciprocal relationship) has been rarely studied. The present study examined the relationship between creative personality characteristics, use of alcohol, tobacco, and marijuana, and alcohol‐related beliefs among 431 undergraduates. Results of correlational and t‐test analyses suggest that creative personality is not significantly correlated with use of these three controlled substances, and that the relationships between personality scores and self‐reported beliefs about alcohol are generally weak, with notable exceptions. The paper concludes with specific recommendations regarding research on the relationship between creativity and the use of controlled‐substances.     

Examining Gender with General Creativity and Preferences for Creative Persons in College Students within the Sciences and the Arts

The purpose of the research was to investigate gender similarities and differences in general creativity constructs with their preferences for creative persons. Data were collected from 247 participants (87 engineering, 24 psychology students with a psychology major, 51 psychology students with a major other than psychology, 30 English, and 55 music students) from a large Mideastern Big 10 university. All participants completed measures of general creativity (creative personality, creative temperament and cognitive risk tolerance) and a demographic questionnaire with the request to list 10 creative persons and their given field. Results indicated that males and females tended to have similar levels of general creativity, yet the most frequently listed creative eminent persons tended to be male. The most frequently listed creative person selections were in science and art, with the three most frequently selected eminent persons being in the science domains. The most frequent creative person selections, consistently selected by at least 10 participants, were Caucasian males.