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.     

DISPOSITIONAL INFLUENCES ON TRANSFER OF LEARNING IN MULTISTAGE TRAINING PROGRAMS

The training effectiveness literature has paid little attention to the potentially dynamic interaction of individual differences with various phases of training in determining ultimate training success. This study investigates the role of individual differences in explaining the transfer of learning from 1 phase of training to another among pilot trainees in a multistage, aviation training program. Using 3 of the Big Five factors (Conscientiousness, Emotional Stability, Openness to Experience), the results showed these measures to contribute to the prediction of the number of hours it took for trainees to attain their private pilot's license. Significant interactions between some of these measures and success on an earlier, simulator phase of the training program were also found. The results are discussed in terms of both the role of individual differences in training research as well as the broader issue of transfer of learning between phases of training.     

What Is the Active Ingredients Equation for Success in Executive Coaching?

In this response, we address commentator concerns about the generalizability of the active ingredients of psychotherapy to the science and practice of executive coaching. We discuss four ingredient that may make a difference: (a) client characteristics, (b) goals or success criteria, (c) role of the organization, and (d) contextual knowledge of the executive coach. We explore how each of these differences is likely to affect the weighting of the four active ingredients in the equation for predicting executive coaching outcomes. From this analysis, we re-affirm our hypotheses that the active ingredients are generalizable to coaching and hold promise for strengthening research and practice. We conclude by highlighting the efforts of several commentators to extend and deepen our hypotheses to other areas of leadership development.     

Faculty Perceptions of College Creativity Courses

If you were going to teach a college-level course in creativity, would you be interested in what other instructors believe about such courses? Would you like to know their views about planned outcomes, evaluation and course content? These are some of the areas addressed in this report. The study orginated discussions at the First National Conference on Creativity in American Colleges and Universities.¹ The conference was promoted by the work of McDonough and McDonough (1987),² and was held in July of 1990 at the Alden B. Dow Creativity Center of the Northwood Institute in Midland, Michigan. It was an exciting opportunity for university-level teachers of creativity to get together and talk. To facilitate discussions, most participants brought with them copies of their course syllabi. Much of the ensuing discussion centered around the purposes of creativity courses, appropriate course experiences, required products, and the evaluation of student participation and learning. While the diversity of opinion of those present soon become clear, many participants were left questioning if the opinions heard and syllabi offered at this conference were representative of what was being done nationally. The present study is born from that question.