Measuring Functional Creativity: Non‐Expert Raters and the Creative Solution Diagnosis Scale

The Creative Solution Diagnosis Scale (CSDS) is a 30‐item scale based on a core of four criteria: Relevance & Effectiveness, Novelty, Elegance, and Genesis. The CSDS offers potential for the consensual assessment of functional product creativity. This article describes an empirical study in which non‐expert judges rated a series of mousetrap designs using the 30‐item CSDS. A confirmatory factor analysis revealed a simple structure that corresponded closely to the a priori theoretical model of functional creativity, resulting in a revised 24‐item CSDS. Non‐expert judges were able to use the scale with a high degree of reliability and internal consistency. The revised CSDS paves the way for further research into the use of non‐expert judges as a possible replacement for more costly, harder‐to‐obtain experts when measuring product creativity using the Consensual Assessment Technique (CAT).     

Effects of Association Instruction on Fourth Graders' Poetic Creativity in Taiwan

In this study, we used a quasi-experimental pretest–posttest mixed design to assess the effect of association instruction on students' poetic creativity. Creativity was judged using the consensual assessment technique. A total of 64 fourth-grade students from two intact classes participated in the study. One class was assigned to the experimental group (n = 34) and the other to the control group (n = 30). Weekly for 5 weeks, the experimental group received 30 minutes of instruction in forming associations, and then each student composed a Chinese free verse based on a given association theme. The control group received traditional writing lectures prior to composing Chinese free verses. Three groups of judges assessed the completed poems (a total of 320 poems), evaluating their creativity on 14 dimensions. The judges included three expert teachers with at least 10 years of teaching experience in Chinese, three teachers who had won awards in nationwide Chinese writing contests, and three professors of children's literature; the overall inter-rater reliability was .85. The experimental group showed greater creativity compared to the control group in number association (d = 1.09), picture association (d = 0.62), and free association (d = 1.07). This article also discusses how to select judges, assessment criteria for children's poetic creativity, and techniques for association instruction to enhance children's poetic creativity.     

Problem Finding,Creativity Style and the Musical Compositions of High School Students

This study sought to understand the effect of problem finding and creativity style on the creative musical product. Participants (N = 32) were categorized by creativity style (adaptor or innovator) using the Kirton Adaption-Innovation Inventory. The participants completed two musical composition problems involving two different degrees of problem finding behaviors: an open (ill defined) and a closed (more defined) problem. The resulting products were scored for creativity by three judges using a modified version of Amabile's “consensual assessment technique.” A repeated measures analysis of variance (ANOVA) was used to analyze the data. The independent variables were composition problem type and creativity style, and the dependent variable was the creativity score on the open and closed problems. No significant differences due to problem type, creativity style, or the interaction of the two factors was found. This research supports the assertion of Kirton that adaption-innovation theory is a measure of creativity style rather than creativity level, but calls into question its use in individual creativity style.     

The Effects of Competition on Improvisers’ Motivation,Stress, and Creative Performance

We explored how competition affects the quality of musical improvisation, as well as the intrinsic motivation and stress reported by improvisers. Amateur musicians improvised on a keyboard in one of two conditions: induced competition and no competition. Employing the consensual assessment technique, improvisations were assessed for creativity and technical goodness by 10 expert judges. Findings indicate that improvisations were judged as more creative under competitive than non-competitive conditions. Moreover, improvisers in the competition condition were more intrinsically motivated, as well as more stressed, than improvisers in the no competition condition. The creativity and technical goodness dimensions of improvisations were positively related to each other. The findings are discussed in light of the intense debate over the effects of extrinsic motivators on intrinsic motivation and creativity and offer mechanisms through which competition may affect creative performance as well as discuss the role of stress in affecting motivation and creativity.     

How Much Does Creative Teaching Enhance Elementary School Students' Achievement?

This study examined the relationship between creative teaching and elementary students' achievement gains. Forty‐eight upper elementary school teachers' classroom instruction was observed and evaluated over the course of 8 different lessons throughout the year. For each teacher, during each lesson, both a creative teaching frequency score and a quality score were derived. These scores were then used as predictor variables in a structural equation model to determine the magnitude of the relationship between creative teaching and classroom achievement gains in reading, language, and mathematics. Our results demonstrated that (a) the majority of teachers do not implement any teaching strategies that foster student creativity; (b) teachers who elicit student creativity turn out students that make substantial achievement gains; and (c) classrooms with high proportions of minority and low‐performing students receive significantly less creative teaching.     

Extension of the Consensual Assessment Technique to Nonparallel Creative Products

The consensual technique for assessing creativity is widely used in research, but its validation has been limited to assessing the creativity of artifacts produced under tightly constrained experimental conditions. Typically, only artifacts produced in response to very similar instructions have been compared. This has allowed researchers to compare such things as the effects of different motivational conditions on creative performance, but it has not allowed many other kinds of comparisons. It has also limited the use of the technique to artifacts gathered for specific experimental purposes, as opposed to already-existing artifacts produced under less controlled conditions. For this study, samples of writings collected by the National Assessment of Educational Progress that were written in response to a very wide variety of assignments and under varying conditions were rated for creativity by 13 expert judges. Judges compared the creativity of 103 stories, 103 personal narratives, and 102 poems, all written by 8th-grade students. Very high levels of inter-rater reliability were obtained, demonstrating that the consensual method can be validly extended to such samples. New avenues for future research made possible by these findings are then discussed.     

The Impact of the Core Knowledge Curriculum on Creativity

The Core Knowledge Sequence, which has been proposed as a voluntary national curriculum and has been adopted in many school districts across the United States, is unusually specific about the content students are expected to learn at each grade level. This has led to suggestions that it may promote rote learning and result in a decline in creativity. This possibility was investigated by comparing the creative performance of middle school students who had been attending Core Knowledge schools to that of students at a matched non-Core Knowledge school. There were 3 comparisons: poems written by seventh-grade students, short stories written by seventh-grade students, and short stories written by eighth-grade students. Experts evaluated the creativity of these stories and poems using a consensual assessment technique. Only 1 of the 3 comparisons yielded a statistically significant difference, and that difference favored Core Knowledge students. These results suggest that the Core Knowledge Curriculum and its detailed and specific requirements of content to be studied at each grade level do not negatively impact students' creativity and may even have a positive impact on creative performance in some areas.     

The Indirect Effect of Teachers’ Creative Mindsets on Teaching Creativity

Understanding how teachers’ implicit beliefs promote and inhibit students’ creativity has important implications for fostering creativity in the classroom. This study investigated whether the effect of teachers’ fixed creative mindset on their self‐efficacy for teaching creativity was mediated by their perceptions of students’ potential and the degree to which this indirect effect varied by level of growth creative mindset. A sample of educators (N = 119) completed an online survey containing questions regarding creative mindsets, perceptions of students’ potential, self‐efficacy for teaching creativity, and a set of relevant covariates. A moderated mediation analysis indicated that the more teachers believed creativity to be innate, the less teachers tended to perceive every student to possess creative potential. Consequently, teachers’ confidence in their ability to teach for creativity was diminished. Results from the corresponding tests of simple indirect effects indicated that this negative indirect effect of a fixed creative mindset was lessened by teachers’ growth creative mindset. Taken together, the findings suggest the likely significant role of teachers’ fixed and growth creative mindsets for fostering creativity in classroom.     

Teaching Creative Writing Skills to Primary School Children in Hong Kong: Discordance Between the Views and Practices of Language Teachers

Although creativity has been valued in ancient and contemporary Chinese literature, the degree to which creativity is valued and incorporated into teaching by Chinese language teachers is not known. This information is important given that creativity has been increasingly recognized in the education literature as a component of effective writing. The purpose of this study was to compare the views of Chinese language teachers in Hong Kong about creativity and the acquisition of creative writing skills by primary school children, and their teaching practices. A total of 449 Chinese language teachers, employed at primary schools throughout Hong Kong completed a survey questionnaire. The 14‐item questionnaire focused on teachers' views of creativity, their perceptions of how to develop students' creativity, their awareness of creative writing strategies, and teaching practices related to creative writing. With respect to the definition of creativity, teachers identified imagination foremost, followed by inspiration, and original ideas. Teachers identified developing students' confidence, and providing an open atmosphere as essential means of fostering creativity. Despite the apparent value of creativity expressed by the teachers and their familiarity with methods for enhancing creativity, the majority reported using traditional methods of teaching writing. Strategies are recommended for reconciling this discrepancy, and promoting creative writing skills by primary school teachers in Hong Kong and other Chinese speaking societies.     

The Effect of Intrinsic Motivation on the Affect and Evaluation of the Creative Process Among Fine Arts Students

The main aim of this study was to gain a deeper understanding of the effect of intrinsic motivation on affect, subjective evaluation, and the creative process of young artists. Relations between motivation, affect, and evaluation were treated as a dynamic process and measured several times. The unique contribution of this study is that it concerned not only the effect of intrinsic motivation on the final result of creativity, but also changes in subjective evaluation and affect of the intermediate results at consecutive stages of the creative process. Thirty-six female fine arts students participated in the experiment. The creative task (collage making) was sampled on 3 occasions: after 5 min, 10 min, and at the end of the activity. Intrinsic and extrinsic motivations were induced by 2 types of instruction. The creative products were assessed by 13 judges in accordance with the consensual assessment technique. Intrinsically motivated art students experienced significantly higher levels of positive affect in the creative process and evaluated their performance significantly higher than extrinsically motivated students. The distribution of collage creativity scores suggests that there may be a complex effect of motivation on creativity among fine arts students. The study sheds new light on the effect of intrinsic motivation on evaluation, affect and product creativity.     

Conceptions of Creativity and Relations with Judges' Intelligence and Personality

The aim of this study is to describe naïve conceptions of creativity and offer some explanation for their variability. Two methods are used to analyze conceptions of creativity. The first one consists of analyzing adjectives that are associated by naïve judges with the notion of creativity of an advertisement. The second one consists of predicting the evaluation of creative level of advertisements by naïve judges, through the assessment of dimensions such as the originality of these advertisements or the quality of their design. Results show that with both methods, originality is always the most characteristic dimension of creativity. Moreover, the results show that the variability of the importance given to the dimensions of creativity is linked to certain characteristics of judges. In particular, factor g is positively related to the weight given to originality in creativity. A personality trait, preference for novelty, is also positively associated with greater weight for originality in creativity judgments.     

How Artists Create: An Empirical Study of MFA Painting Students

This paper reports on an interview study with MFA students in two different full‐time MFA degree programs in painting. The interviews were conducted as part of two ethnographic studies, each one academic year in length, of art and design schools at two U.S. universities. The goal was to explore the extended process whereby MFA student artists, in the second and final year of their degree program, create the works to be displayed in their public graduation exhibition. Using a grounded theory approach, an emergent theory was developed from the interviews, with additional information provided by studio observations and analyses of the graduation exhibitions and the accompanying written theses. This emergent theory describes the artistic creative process to be wandering, unpredictable, non‐linear, and embedded in the physical act of generating work. There is no evidence that either moments of insight, or the attempt to be original, play a role in their creative process. This emergent theory is compared with theories of the creative process by creativity researchers, and with theories of the design process proposed by design studies researchers.     

Cultural influences on artistic creativity and its evaluation

Two studies were designed to compare (a) the rated creativity of artworks created by American and Chinese college students, and (b) the criteria used by American and Chinese judges to evaluate these artworks. The study demonstrated that the two groups of students differed in their artistic creativity. American participants produced more creative and aesthetically pleasing artworks than did their Chinese counterparts, and this difference in performance was recognized by both American and Chinese judges. The difference between the use of criteria by American and Chinese judges was small, and consisted mainly of the American judges' use of stricter standards in evaluating overall creativity. Moreover, in general, there was a greater consensus among Chinese judges regarding what constitutes creativity than among American judges. The study also revealed, but preliminarily, that the artistic creativity of Chinese students was more likely to be reduced as a function of restrictive task constraints or of the absence of explicit instructions to be creative. The results of this study seem to support the hypothesis that an independent self‐oriented culture is more encouraging of the development of artistic creativity than is an interdependent self‐oriented culture. Other possible explanations, such as differences in people's attitudes toward and motivation for engaging in art activities, or socioeconomic factors might also account for differences in people's artistic creativity.     

Teachers’ Perceptions of Students’ Creativity in China’s Classrooms: The Role of Students’ Academic Achievement and Misbehaviors

Teachers can be biased, especially toward low achievers and students with behavioral issues. However, creative students often appear to be disruptive in the classroom, and many of them struggle academically. The purpose of the present study was to examine the extent to which teachers’ perceptions of students’ creativity is associated with students’ academic achievement and classroom (mis)behaviors, as well as to examine the interaction between these two factors. Three hundred and fifty‐four eighth‐grade students selected from five middle schools in China participated in this study. Using achievement scores, peer nominations, a divergent thinking test, a self‐rated ideational behavior scale, and teacher ratings, the present study found that, whereas creativity has no significant relationship with teachers’ perceptions, academic achievements and misbehavior are significantly associated within structors’ perceptions. The achievement bias resulted in the underestimation of low achievers’ creativity, even when the low achievers were highly creative. More nuances emerged when student misbehaviors were considered. Specifically, misbehaving low achievers’ originality was further underestimated even when they were highly original. In contrast, teachers overestimated well‐behaved high achievers’ creativity, even when the students comprised the lowest creativity group. The results are further discussed from a socio‐cultural perspective.     

The phenomenology of minority–majority status: Effects on innovation in argument generation

In three experiments, we manipulated participants' perceived numerical status and compared the originality and creativity of arguments generated by members of numerical minorities and majorities. Independent judges, blind to experimental conditions, rated participants' written arguments. In Studies 1 and 2, we found that participants assigned to a numerical minority generated more original arguments when advocating their own position than did numerical majorities. In Study 3, an equal‐factions control group was included in the design, and all participants were instructed to argue for a counter‐attitudinal position. Those in the numerical minority generated more creative arguments than those in both the majority and equal‐factions conditions, but not stronger arguments. We propose cognitive and social processes that may underlie our obtained effects and discuss implications for minority influence research. Copyright © 2008 John Wiley & Sons, Ltd.     

On short‐selling the investment theory of creativity: A reply to Runco

In creativity, there is scant evidence of significant racial and gender differences, and when such differences are found, there is no consistency regarding which groups perform best. There has been little work focusing on racial and gender biases and/or stereotypes within creativity assessment. It is study these issues by using a modified version of the Consensual Assessment Technique in which the judges are provided with information about the creators' gender and/or race. A total of 455 undergraduates assigned ratings for creativity, writing ability, and enjoyment to 60 poems downloaded from a poetry Web site. These poems either had no attribution or had (fictional) stereotypical Black, White, and Crossover names for each gender. Results suggest that novice raters using CAT methodology display little evidence of bias in their ratings of creativity, writing ability, and poem enjoyment. Very slight preference was found for poems assigned names of White females.     

The Creative Product and Process in Computer‐Mediated Groups

The effects of information technology on the creative performance in small groups were examined. An experimental 3 × 2 design was used in order to assess the effects of Group Communication Support System (GCSS) and perceived usefulness on the creative product and the creative process. A chat, a video conference and a face‐to‐face group were compared. The consensual technique was used to obtain measurements of creativity. The results of the analysis of variance indicated that the face‐to‐face group evoked more creative results than the other two. The more real life‐like the conditions were the better fluency of ideas. The video conference group scored significantly lower on incubation in the creative process. No effects were found concerning the participants' perceived usefulness. Participants in the face‐to‐face group reported themselves to be more satisfied with both their product and process than the participants in the computer‐mediated groups. The study suggests that the measurement of both the creative product and the creative process can contribute to the research on how GCSS affects creative performance.     

Creativity and Intuition Revisited

This study used the recently revised Myers Briggs Type Indicator (MBTI) and a variety of validated creativity measures to replicate a classic finding — that sensing‐intuition predicts creativity — and to evaluate whether the other MBTI scales add to the prediction of creativity. 94 undergraduates completed the MBTI (form M self‐scorable) and criterion measures including the Creative Personality Scale, an abbreviated Creative Behavior Inventory (self‐reported past accomplishments) and the Test of Creative Thinking‐Drawing Production (creative product ratings using consensual assessment). Results showed that intuition predicted all three criteria but that, contrary to expectation from past research, judging‐perceiving did not add to the prediction model. Thinking‐feeling emerged as a possible suppressor variable. We suggest that judging‐perceiving predicts creativity as an artifact of its relation with intuition and that the combination of intuition and feeling best characterizes high scorers on a composite creativity measure.     

Fostering Creativity in the Classroom: Effects of Teachers' Epistemological Beliefs,Motivation, and Goal Orientation

The relationships of teachers' epistemological beliefs, motivation, and goal orientation to their instructional practices that foster student creativity were examined. Teachers' perceived instructional practices that facilitate the development of multiple perspectives in problem solving, transfer, task commitment, creative skill use, and collaboration were measured as indicators of their effort to foster creative thinking in students. Participants were 178 elementary‐school teachers of third‐, fourth‐, and fifth‐graders. Teachers' learning goal orientation was the most significant teacher attribute that demonstrated significant impacts on all five creativity‐fostering instructional practices. Teachers with sophisticated beliefs about knowledge and with high intrinsic motivation for creative work also reported supporting student creativity through some of their instructional practices. However, teachers' motivation for challenging work, beliefs about learning, or performance goals did not significantly predict most of the creativity‐fostering instructional practices. Educational implications of the current findings are offered.