Openness to experience, plasticity, and creativity: Exploring lower-order, high-order, and interactive effects

What are creative people like? Openness to experience is important to creativity, but little is known about plasticity, the higher-order factor that subsumes openness. College students (n = 189) completed measures of the Big Five and measures of creative cognition (fluency and quality of divergent thinking), everyday creative behaviors, creative achievement, and self-rated creativity. Latent variable models found broad effects of openness to experience and few effects of the other four domains. At the higher-order level, plasticity predicted higher scores on nearly all of the facets of creativity, and stability had several significant effects. For some creativity measures, plasticity and stability had opposing effects. Tests of latent interactions found no significant effects: plasticity and stability predict creatively independently, not jointly.     

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.     

Gender differences in creative thinking revisited: Findings from analysis of variability

This study investigated gender differences in creativity among 985 schoolchildren (499 boys, 486 girls) by analyzing both means and variability. A relatively new creativity test, the Test for Creative Thinking-Drawing Production (TCT-DP), was employed to gain a more refined understanding of gender differences in creativity using a gestalt approach. Whereas the results of analyses of means generally supported the Gender Similarities Hypothesis, the variability analyses tended to support the Greater Male Variability Hypothesis and the Gender Difference Hypothesis. Analyses of the TCT-DP subscales revealed that both genders have their relative strengths and weaknesses in creative thinking. Whereas girls outperformed boys in thoroughness of thinking, boys outperformed girls in boundary-breaking thinking. Variability analyses further showed that more boys clustered in the two extremes of the composite score. Significantly greater variability was found for males on five criteria of the TCT-DP. The educational implications of such a complex pattern of gender differences are discussed. With a view to searching for an explanation for gender differences, several lines of further research are proposed.     

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.     

Gender Differences in Creativity

Research on gender differences in creativity, including creativity test scores, creative achievements, and self‐reported creativity is reviewed, as are theories that have been offered to explain such differences and available evidence that supports or refutes such theories. This is a difficult arena in which to conduct research, but there is a consistent lack of gender differences both in creativity test scores and in the creative accomplishments of boys and girls (which if anything tend to favor girls). As a result, it is difficult to show how innate gender differences in creativity could possibly explain later differences in creative accomplishment. At the same time, the large difference in the creative achievement of men and women in many fields make blanket environmental explanations inadequate, and the explanations that have been proposed thus far are at best incomplete. A new theoretical framework (the APT model of creativity) is proposed to allow better understanding of what is known about gender differences in 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.     

Mapping Dimensions of Creativity in the Life-Space

Three studies examined content dimensions of creativity. A life-report questionnaire was developed to measure everyday, artistic, and intellectual creativity. Multiple life areas were assessed, including self-presentation, education and work, arts and crafts, culture and media consumption, everyday relations and activities, and memberships in groups that encourage creativity. Study 1 indicated that everyday creativity could be empirically distinguished from artistic creativity. Factor analyses in Studies 2 and 3 identified three broad dimensions of creativity in college students and professional adults: creative life-style, arts, and intellectual achievement. Both similarities and differences among these dimensions were observed in relation to gender and personality traits.     

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.     

Estimating Creativity with a Multiple-Measurement Approach Within Scientific and Artistic Domains

This article presents the structure and the composition of a newly developed multifaceted test battery for the measurement of creativity within scientific and artistic domains. By integrating existing procedures for the evaluation of creativity, the new battery promises to become a comprehensive assessment of creativity, encompassing both domain-general and domain-specific components. In particular, the test battery was designed for the measurement of the 2 main stages of the creative thinking process: ideation and evaluation. The test battery also includes 2 measures of creative achievement and can be used to assess professional levels of creativity in artistic and scientific creativity, as well as everyday creativity. Because creative thinking is not an isolated phenomenon in human behavior, the battery includes the measurement of 2 constructs, intelligence and personality, both of which are highly relevant for creativity. Preliminary results from a vast administration campaign of this test battery are presented.     

Relationships Between Bilingualism and Adaptive Creative Style,Innovative Creative Style,and Creative Strengths Among Korean American Students

The purpose of this study was to examine whether there is a relationship among different degrees of bilingualism and creativity (adaptive creative style, innovative creative style, creative strengths). A total of 116 Korean American students participated in this study. They consisted of 49 boys with the mean age of 11.8 and 65 girls with the mean age of 11.3. The Word Association Test and the Subjective Self Rating were used to determine the degrees of bilingualism, and the Torrance Test of Creative Thinking–Figural was used to measure creative potential. The results indicated that the degree of bilingualism was positively associated with creativity, and more specifically, with the adaptive creative style and creative strengths.     

An Empirical Assessment of the GAM Theory of Creativity

ABSTRACT: Therivel (1993, 1998, 1999a, 1999b), in a series of articles, presented the GAM theory of creativity, which postulates that creativity is a function of genetics, assistances, and misfortunes. Two studies were undertaken to determine whether empirical data support this theory. In the first study, a sample of 529 undergraduate students completed a questionnaire designed to assess their creativity and the presence of anecdotal evidence regarding the three components of Therivel's theory. Two subsamples were formed of high creative (n = 40) and low creative (n = 38) individuals, and their scores on the three components were compared. In a second study, college students who were low on creativity but either high (n = 52) or low (n = 47) on academic achievement were identified and compared to the high creative individuals of Study 1 on the three components. In general, the results present at best modest support for Therivel's theory and no difference in applicability of the theory to creativity versus achievement.     

Revisiting the Investment Theory of Creativity

This research further examines Sternberg and Lubart's (1995) investment theory of creativity by testing the newly constructed Multifaceted Assessment of Creativity (MAC). The MAC measures the extent to which people take into account the 6 resources for creativity (intelligence, knowledge, intellectual styles, personality, motivation, and environment) when they evaluate (a) hypothetical cases and (b) the importance of the six resources for identifying creativity. Two forms of the MAC (one assessing school boys and the other assessing school girls) were administered to 270 (120 male and 150 female) Chinese university students. Overall, results strongly supported the investment theory of creativity. Meanwhile, the 2 types of evaluation tasks yielded diverse results centered on the importance of intelligence and of styles. Furthermore, differential expectations were expressed for boys versus girls regarding what counts in creativity.     

The Effect of General Creative Personality and Freedom of Task Choice on Adolescents' Social Creativity

This study investigated the effect of general creative personality and freedom of task choice on the social creativity of adolescents. The results indicated, first, that senior high school students scored higher than junior high school students. Second, girls scored higher than boys on originality, fluency, flexibility, appropriateness, and utility with regard to creative social problem‐solving. Third, freedom of task choice and its interaction with creative personality had significant effects on the originality, appropriateness, utility, flexibility, and fluency of social creativity. Adolescents who completed the task voluntarily scored higher on these dimensions than adolescents who completed it reluctantly and, among the voluntary adolescents, those with high and medium creative personality scored higher than those with low creative personality, whereas no such difference was found among the reluctant adolescents. Adolescents were more likely to show social creativity, and their general creative personality was more likely to be brought into effect under the freedom of task choice condition.     

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.     

The creative skills of culturally and linguistically diverse gifted students

The purpose of this study was to explore the creative abilities of culturally and linguistically diverse students. The relationships among creativity and achievement, intelligence, nonverbal reasoning, and instructional climate were also examined. For the pupils in this study, moderate correlations were found between creativity and intelligence and between creativity and reading achievement. A low correlation was found between creativity and nonverbal‐reasoning skills. Significant relationships were found between creativity and several classroom variables. Results are discussed in terms of the importance of identifying gifted youth from culturally and linguistically different backgrounds.     

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.     

From Implicit Theories to Creative Achievements: The Mediating Role of Creativity Motivation in the Relationship between Stereotypes,Growth Mindset,and Creative Achievement

Research has demonstrated that implicit theories of creativity are crucial in shaping an individual’s behavior and real‐life decisions toward being creative. The present study proposed and examined the underlying mechanisms of how two kinds of implicit theories—the growth mindset of the creative self and the stereotype of creative others—are associated with creative achievements through the mediating role of creativity motivation. Participants were 606 undergraduate students who were enrolled in an education major in two universities in China. Overall, the study found that Chinese students held a positive image toward a creative student, regarding him or her as highly competent, warm, and popular. Student perceptions of a creative other were positively related to their growth mindset of creativity. Moreover, results verified both the mediating role of creativity motivation on growth mindset, as well as the effect of positive stereotyping of the creative other on students’ creative achievement. These findings point to promising creativity motivation strategies including the cultivation of a malleable view of creativity and of creative role models, that may, in turn, promote creative achievement by encouraging students to do, learn, and accomplish new things.     

Assessment of students' behavioral interactions during on-task classroom activities

This study was designed to characterize the quality and quantity of interactions between students and significant others in the processing of new information during classroom activities. I wanted to test the hypothesis that black children, from moderate to low income urban environments, tend to have a more socially active cognitive style than their white peers in the performance of classroom tasks. Five different English classes, all 8th graders in a single junior high school (total of 114 black and white boys and girls), were observed in the same environment at different intervals to identify differences in the number of interactions between boys and girls, by racial groups. Classroom lessons and related activities were videotaped. The recorded activity was tabulated and rated by 3 trained observers. Black children more than white, and boys more than girls, initiated interactions with peers in the classroom in performing assigned tasks. This social interaction also showed that (1) 76% of the observed classroom time, subjects as a group were observed on-task and (2) pupils' interactions with their selected targets (classmates and their teacher) were 87% positive, and (3) relatively few interactions could be classified as disruptive.     

An Investigation of the Relationship between Age,Achievement, and Creativity in Mathematics

In this exploratory study, I investigate the relationship between age, knowledge, and creativity in mathematics, by looking at to what extent does grade level, controlled for mathematical achievement, influence mathematical creativity and what characterizes the relationship between grade level, mathematical achievement and mathematical creativity. This was accomplished in two steps. In the first part, 301 students, 184 grade eight students and 117 grade eleven students, were given a creative mathematics test. A 3 × 2 ANOVA indicates that the older students were more creative; however, there was a significant interaction effect between grade level and achievement in mathematics on mathematical creativity. In the second part, an inductive content analysis was performed on the solutions of high achievers in grade eleven and grade eight. The results indicate that high achievers in grade eight are more creative than high achievers in grade eleven, but the nature of the task mediates the relationship between creativity and knowledge.     

Correlations among measures of cognitive ability, creativity, and academic achievement for gifted minority children

This study explored the correlations among nonverbal reasoning ability, creativity, and academic achievement in gifted minority children, 89 girls and 71 boys in Grades 1 through 8 in a program for gifted. A random half of students from all grade levels were tested at the beginning of the year and the remaining half after 7 mo. with Raven Progressive Matrices, Torrance Tests of Creative Thinking, and the California Achievement Test. Pearson correlations reflected limited relations among these variables except for a significant positive value between creativity and reading achievement. Suggestions for further study and implications for identification procedures and program development were provided.