Donald Campbell's Model of the Creative Process: Creativity as Blind Variation and Selective Retention

This special issue honors Donald Campbell, who died on May 6, 1996. Although Campbell became best known for his methodological contributions, he also published a classic 1960 paper in which he developed a blind-variation and selective-retention model of the creative process. Not only does this Darwinian model accurately describe Campbell's own creative modus operandi, but in addition it may provide the basis for a comprehensive theory of creativity. The articles collected for this special issue are devoted to evaluating Campbell's theoretical proposal from the hindsight of nearly 40 years of research and thinking on the creative process.     

“SECOND-GUESSING”

Messages received from other social actors cannot always be taken at face value. When people have reason to question such messages, it is hypothesized that they engage in a cognitive process called “second-guessing,” wherein they reevaluate the literal interpretation of the message to determine its veridicality. Should they determine that it is not veridical, they generate an alternative, potentially more plausible interpretation. We assessed the frequency and importance of situations that might provoke reinterpretation of messages. Such situations were seen as occurring frequently and were of some importance. Social actors revealed sophisticated knowledge concerning the strengths and weaknesses of information obtained about people or events outside their direct experience. They also claimed to be able to “debias”such information, winnowing a “correct” interpretation from one judged to be “incorrect.” Preliminary data suggest that naive social actors are quite good at delecting scientifically documented sources of bias and making reasonable adjustments in their judgments to correct for those biases when plausibly present.     

Versatility,Openness to Experience,and Topical Diversity in Creative Products: An Exploratory Historiometric Analysis of Scientists,Philosophers, and Writers

Creative individuals are considered versatile when their achievements extend beyond their most commonly cited domain, thus indicating remarkable and varied interests and abilities. The present study examined the association between versatility and (a) the personalities of eminent creators and (b) the topical diversity of their creative products. The main sample consisted of 67 eminent scientists, creative writers, philosophers, and scholars drawn from the history of Western Civilization, with a subsample of 38 creators obtaining observer‐based scores on openness to experience. Versatile creators were found to have produced works with greater topical diversity than did their non‐versatile counterparts. In addition, topical diversity was positively associated with openness. These relationships varied according to the domain of creative achievement.     

Cinematic Creativity and Production Budgets: Does Money Make the Movie?

Although filmmaking requires substantial capital investment, it is not known whether cinematic creativity is positively correlated with the size of the film's budget. Therefore, budgetary impact was investigated in a sample of feature films released between 1997 and 2001. Although production costs were positively related to box office success (as measured by both first weekend and gross), such expenditures had no correlation with best picture awards and were negatively correlated with critical acclaim (as gauged by both film reviews and movie guide ratings). These divergent consequences could be partly interpreted in terms of how the budget and success criteria differentially correlated with what have been identified as the four creative clusters of filmmaking, namely, the dramatic, visual, technical, and musical.     

Enhancement of Creativity through a One‐Semester Course in University

With the increasing interest by Asian countries in developing a more creative workforce through the education system, many universities have introduced courses that aim to enhance the creativity of their students. Students also perceive a need for increased creativity. However, there is some debate about whether short‐term creativity training is effective at university level. This study examines the effect of a short (one‐semester) course, which included elements of creativity training and practice, at a Hong Kong university. Training in creativity techniques for part of the semester led to increases in two key aspects of creative ability as measured by standard creativity tests conducted outside the classroom: verbal creativity increased compared with a control group, and drawing creativity also increased. Students enjoyed the course, felt it was useful and rated themselves as more creative after the course. Short‐term out‐of‐discipline training courses in creative thinking have a number of other benefits, demonstrably for learning strategies, in addition to an increase in creative abilities.     

Scala and the Spinning Spheres

I have argued that contemporary humeans face a trilemma: either (i) give up temporal parts. (ii) deny the humean supervenience of causal relations, or (iii) deny the possibility of there being a difference between rotating and nonrotating homogeneous spheres. Mark Scala ("Homogeneous Simples", Philosophy and Phenomenological Research , Vol. 64, 2002) describes an interesting class of seemingly possible objects, spinning and stationary simples; and argues their possibility undermines my argument. I argue that it does not. And 1 conclude with a more general assessment of the status of objections to humeanism from the possibility of homogeneous objects in motion.