In Pursuit of Everyday Creativity

Creativity researchers have long paid careful attention to individual creativity, beginning with studies of well‐known geniuses, and expanding to personality, biographical, cognitive, and social‐psychological studies of individual creative behavior. Little is known, however, about the everyday psychological experience and associated creative behavior in the life and work of ordinary individuals. Yet evidence is mounting that such individuals can be responsible for important instances of creativity and innovation in the world: open innovation, user innovation, and citizen innovation. Research into this phenomenon could do much to advance the study and practice of creativity.     

Organizational Development Interventions for Enhancing Creativity in the Workplace

In an era of rapidly accelerating change, many organizations which developed during a more stable era that demanded bureaucratic efficiency find themselves in a crisis of adaptability and commitment. Effective organizations are those which can mainstream both adaptability and efficiency and strike an appropriate balance between the two. This paper evaluates traditional organizational development (OD) approaches to this problem, then presents a new approach to OD based on organizational creativity. Organizational creativity is defined as a deliberate and continuous change-making process of problem generation and formulation, problem solving, and solution implementation, and as synonymous with adaptability and innovation. Unlike traditional OD approaches that lack a strategic perspective and that rely on single interventions, OD should be employed as an innovation process requiring thinking skills in change-making and incorporating interventions as tools. Under the new approach, organizations can learn to mainstream adaptability by doing two things: encouraging employees to master new thinking skills which increases their creativity, motivation, and commitment; and creating an infrastructure that ensures that these skills will be used regularly. Research is reviewed supporting the new approach, and future research directions are suggested.     

Sensational Thinking A Teaching/Learning Model for Creativity

Change, the acknowledged constant: The paradox of two seeming opposites contained as one. In the world today we find ourselves challenged by a multitude of paradoxical problems and our need to resolve these issues drives a change process, the nature of which is dynamic and complex. Dynamic change is recognized as a process of moving from one state or form to another, in ways that appear chaotic, non-linear, and unpredictable (Gleick, 1987). This results from the interactions between and among individual component parts of a system (Gleick, 1987; Bohm & Peat, 1987; Goodwin, 1991), and studies to understand how and why this type of change occurs have found that dynamic change is a creative process that occurs naturally in physical, biological and social systems.     

Creativity Development of High-Achieving Students

Few studies on creativity have focused on creativity development in various grade levels for high-achieving students. The purpose of this study was to explore the developmental trajectories of creative ability for high-achieving students. The participants constituted a national representative sample of 982 male (N = 506) and female (484) students from grades 1 to 10 in five governorates in Oman (Muscat, South-Al Batinah, South- Al Sharqia, Dhofar, and Al Dhakilia). The students completed two subtests of the Profile of Creative Abilities (PCA), a measure of creative potential, namely drawings and categories. There was an evidence of a developmental trend of creativity across grade levels. The Multi-variate analysis of variance (MANOVA) showed that the main effect of grade was statistically significant for the drawings subtest. Also, the main effect of gender was also statistically significant for the drawings subtest. The main effect of interaction (gender X grade) was not significant. Overall, females’ creative performance was significantly better than males’ in the Creativity Index score. The results of the study are discussed in the light of existing literature about developmental trends and gender differences in creative thinking.     

医学影像学见习应用PACS教学法与传统读片教学法的对比研究

将中南大学湘雅医学院2010级临床医学五年制197名学生随机分成两组,在医学影像学见习教学过程中分别应用影像存储及传输系统（PACS）教学法（98人）及传统读片教学法（99人）,学期结束时对两组学生考试成绩进行分析,并对PACS组学生进行问卷调查及结果分析.统计数据显示,PACS组学生读片测验及卷面考试中,病例分析题成绩显著高于传统读片组,问卷调查显示PACS组学生大多数认可该教学方法.因此,应用PACS教学有助于提高学生的临床分析能力及主动学习的能力,是学生欢迎的教学方式.但对医学影像学基本知识的传授,应用PACS法较传统读片法并无明显优势.     

音乐治疗在消化内镜室的应用研究

在精神科领域,精神病患者及家属对精神疾病的认识存在许多误区。诸如：对精神疾病诊断、治疗的认识误区,对精神疾病病因的认识误区;对人际关系与社会功能的认识误区;对仪器设备检查过度迷信的认识误区等。为了保证精神病患者的诊断、治疗、康复的顺利进行,必须消除对精神疾病的认识误区,必须重视与加强精神科医患之间全方位有效沟通。     

Creativity in Medical Education: The Value of Having Medical Students Make Stuff

What is the value of having medical students engage in creative production as part of their learning? Creating something new requires medical students to take risks and even to fail--something they tend to be neither accustomed to nor comfortable with doing. “Making stuff” can help students prepare for such failures in a controlled environment that doesn’t threaten their professional identities. Furthermore, doing so can facilitate students becoming resilient and creative problem-solvers who strive to find new ways to address vexing questions. Though creating something new can be fun, this is not the main outcome of interest. Rather, the principle reason we recommend devoting precious curricular time to creative endeavors is because it helps medical students become better doctors.     

从诺贝尔医学奖获取教益

通过对诺贝尔医学奖100余年获奖项目和获奖者的分析研究,发现创造性成果获奖多,基础研究成果获奖多,获奖者大多具有多学科的知识结构,获奖者大多出自一流的学术环境和获奖者都具有崇高的精神品质等特点.并且指出,我国要向诺贝尔医学奖迈进,就必须重视创造性、基础性成果的研究,必须重视和加强医学工作者和医学生创造性和综合素质的培养,必须营造有国际级科学大师引领的世界一流的学术环境.     

Epistemological Development and Judgments and Reasoning About Teaching Methods

Children's, adolescents’, and adults’ (N = 96 7–8, 10–11, and 13–14-year-olds and university students) epistemological development and its relation to judgments and reasoning about teaching methods was examined. The domain (scientific or moral), nature of the topic (controversial or noncontroversial), and teaching method (direct instruction by lectures versus class discussions) were systematically varied. Epistemological development was assessed in the aesthetics, values, and physical truth domains. All participants took the domain, nature of the topic, and teaching method into consideration in ways that showed age-related variations. Epistemological development in the value domain alone was predictive of preferences for class discussions and a critical perspective on teacher-centered direct instruction, even when age was controlled in the analysis.     

青少年创造力的发展研究

创造性思维是创造力认知方向研究的一个热点,绝大多数研究者将发散思维作为测查的唯一指标.本研究将聚合思维也纳入测查指标,采用自编的<青少年创造性思维测验>,对我国青少年创造力的发展进行研究,结果表明:(1)青少年的创造力整体呈阶段性发展,在同一阶段内呈连续性,小学六年级到初一为发展的关键期.(2)女生创造力水平明显高于男生,主要表现在发散思维的流畅性和变通性子维度上.     

A Comparison of Assessment Methods and Raters in Product Creativity

Although previous studies have attempted to use different experiences of raters to rate product creativity by adopting the Consensus Assessment Method (CAT) approach, the validity of replacing CAT with another measurement tool has not been adequately tested. This study aimed to compare raters with different levels of experience (expert ves. nonexpert raters) using both CAT and the product creativity measurement instrument (PCMI) to assess the product creativity of 56 design works based on a design competition. The results showed that nonexpert raters who used either CAT or PCMI had higher interreliability than expert raters. Using PCMI was found to result in higher correlation than using CAT for the expert and nonexpert raters, although the correlation between the CAT and PCMI methods was statistically insignificantly different. After regression analysis, the results showed that all PCMI items had higher explanatory power for the creativity scores using CAT and, moreover, the nonexpert raters were found to have higher explanatory power than the expert raters. Based on these results, it is recommended that the use of both nonexpert raters and PCMI is an alternative way of enhancing the flexibility of product creativity assessment.     

Motives for Creativity: Exploring the What and Why of Everyday Creativity

People spend a lot of time on creative activities in their leisure time, but we still know little about what these activities are and what drives them. The literature suggests that several specific motives may be relevant for everyday creative behavior, including enjoyment, expression, challenge, coping, prosocial, social, material, recognition, and duty motives. Across two online studies totaling 750 participants, enjoyment was the strongest motive for everyday creativity, consistent with previous research linking creativity to intrinsic motivation and positive affect. Importantly, however, the relevance of motives differed across creative domains: visual arts, literature, and music were more strongly motivated by expression and coping motives, whereas handicrafts and creative cooking were more strongly motivated by prosocial and recognition motives. Intrinsic motives for creative activities were substantially related to high openness to experience, but explained incremental variance in the prediction of self-reported creativity as well as rated creative achievements. Together, these findings provide new insights into the motivational basis and function of everyday creativity.