Creative Metacognitive Feelings as a Source of Information for Creative Self-efficacy,Creativity Potential,Intrapersonal Idea Selection,and Task Enjoyment

Creativity scholars try to untangle the commonalities and differences between creative self-beliefs: creative self-efficacy, creative self-concept, creative metacognition, and creative role identity. While these efforts are already contributing significantly, we would like to suggest that for creative metacognition, we need to go beyond the assessment of confidence beliefs and regulation and include creative metacognitive feelings and intrapersonal idea selection as two additional components. To test the validity of our proposition, this study examined the influence of creative metacognitive feelings on creative self-efficacy, creative potential, accurate intrapersonal idea selection (agreement between individuals’ selection of their most creative idea and two independent judges’ selection of the participants’ best idea), and task enjoyment. To elicit metacognitive feelings, participants were randomly assigned to remember and write down two or six instances in their lives in which they generated novel and useful ideas that helped solve a problem. Participants then completed a questionnaire assessing creative self-efficacy, ease of recall as a proxy of metacognitive feelings, performance on a divergent thinking task, and task enjoyment. Results showed an indirect influence of recalling fewer examples on creative self-efficacy through its influence on metacognitive feelings. Metacognitive feelings then had an indirect influence, through creative self-efficacy, on creative potential and task enjoyment.     

The paradox of evolution

In the second (and expanded) version of Origin of the Species, Darwin introduces the term “advanced progressive development” in an attempt to describe the development of the more complex species from the simpler ones. More than 100 years have passed since Darwin tried to qualify and conceptualize the directional question of evolution, and very little progress has been made regarding the subject. The appearance of the species, from the simple to the more complex, is today an empirical fact, one which is no longer dependent upon any theory, including that of Darwin. This work examines the subject of advanced development in evolution by attempting to answer a few basic questions: What parameters may be used to evaluate complexity? Can any rules or order be identified as to the development of the species? Is the mechanism of “natural selection” sufficient to explain the direction or ‘purpose’ of evolution? Can the human race be included within the “rules” of Darwin's evolutionary theory?

The purpose of this essay is to develop and represent a new conceptual framework. Through this, it will be possible to offer a principle answer to all four questions.     

下属越轨创新对主管阻抑的影响——地位威胁感和权威主义取向的作用

主管阻抑作为一种相对隐蔽的负性领导行为,会潜移默化地削弱下属的绩效表现。有鉴于此,探索主管阻抑的发生机制,能够帮助我们更好地预防主管阻抑。本研究基于125份两时间点的上下级配对数据,探讨了下属越轨创新对主管阻抑的影响机理。结果表明:下属越轨创新会诱发主管阻抑,主管的地位威胁感在此过程中起部分中介作用;此外,主管权威主义取向对下属越轨创新与地位威胁感之间的正向关系具有显著的强化效应。     

Orpheus and Eurydice: a creative agony

The archaic story of the Thracian musician Orpheus and his bride Eurydice is heard first as an ancient myth of marriage and death, wedding and separation. The mixture of expectation and dread in its sentiments is sounded still today in the contemporary wedding songs and funeral laments of the Mediterranean and the Balkans. Similar sequences of engagement and withdrawal, ascent and descent, change and metamorphosis are found in the adventures and vicissitudes of other mythic figures. Its premise of the soul's transmigration and its promise of psychic transformation inspired the religious ruminations and philosophic speculation of many centuries. The shifting keys in the songs of Orpheus and the cries of Eurydice score the shocking emotions of epiphanal moments, the creative 'agon', and a depth psychological passage. With its crescendos and denouements, the Orpheus/Eurydice phenomenon suggests the range of experience as one both engages reality and reaches toward meaning.     

Exploring the Relationship between Adolescent Activities and Choice of Graduate School Discipline: Implications for Creativity Development

The relationship between adolescent extra‐curricular activities and choice of graduate‐education field was examined among students from three fields of study, science (n = 12), art (n = 12), and education (n = 14), using qualitative and quantitative methods. Results of profile analysis indicated that the different majors participated in stereotypically varying activities when they were adolescents. Science majors generally participated in mathematics and science activities during adolescence. Art majors generally participated in theater and music activities, and education majors tended to have participated in social leadership and educational activities. Interviews with the participants supported these findings and provided a more comprehensive discussion of these tendencies. While in high school, the participants had many influences when determining a field of study. Using personal happiness as a guide, the participants chose activities and ultimately graduate‐level majors that reflected their interests. It was concluded that adolescent extra‐curricular activities are important in the development of interest in creatively talented individuals and may lead to graduate field selection.     

Multimodal reflection for creative facilitators: an approach to improving self-care

Creative and arts-based facilitators who work in the area of supporting others, such as youth workers, educators, counsellors and therapists, often do not prioritise their own well-being and self-care. This paper explores a study that focused on the utility of multimodal reflection for sustainable as well as satisfying practice for creative facilitators. Participants in the study were involved in a trial 10-week reflective programme called Stepping Outside the Circle. This programme was part of a larger research project that sought to understand the professional and reflective practices of creative facilitators, a term used within the study to encompass practitioners who use arts (both performative and visual) interventions to work within a variety of therapeutic and educational settings. During the programme, participants drew on their own personal knowledge of the disciplines in which they worked and reflected in and on this practice both professionally and personally. They also collaboratively supported each other through the process. We argue that engagement in multimodal reflection shared with others, particularly for creative facilitators, is integral for purposeful and effective self-care practice.     

The ethics of creative accounting

Creative accounting, which generally involves the preparation of financial statements with the intention of misleading readers of those statements, is prima facie a form oflying, as defined by Bok.¹ This paper starts by defining and illustrating creative accounting. It examines and rejects the arguments for considering creative accounting, in spite of its deceptive intent, as not being a form of lying. It then examines the ethical issues raised by creative accounting, in the light of the literature on the ethics of lying. This literature includes the evaluation of various excuses and justifications for lying, and these are examined here in relation to creative accounting. It is concluded that even in circumstances in which creative accounting would arguably serve a worthy purpose, that purpose would be at least as well served by honest communication.     

小学三～五年级儿童创造性思维训练的实验研究

研究表明学龄儿童已具有一定的创造力 ,因此要重视并激发儿童的创造活动。本研究在前人研究的基础上 ,自编了一套创造性思维训练题 ,并设计了传统讲授教学法和促进、诱导学生自我发现的发现法二种训练方法 ,同时与未经训练的对照组比较 ,考察了小学三～五年级儿童创造性思维的几个维度和总体水平上在训练前后的变化。结果表明 :经过一个学期的短期训练 ,无论在创造性思维的不同维度上还是在总体水平上 ,都对小学儿童产生了显著的影响 ,而所设计的二种训练方法在短期效果上没有明显差异。     

Social Media Use and Creativity: Exploring the Influences on Ideational Behavior and Creative Activity

This study explored the relationship between social media (SM) use and creativity. The data collected from 407 participants included indicators such as time spent using SM, frequency of SM use, purposes for using SM, and the nature of SM use. The data involved two aspects of creativity: ideational behavior and creative activity and accomplishment. Correlational analyses indicate that SM use is positively related to both creativity measures. Overall, the active use of SM (e.g., sending a post) is more related to creativity than the passive use (e.g., reading others’ posts); and the link between creativity and SM use is more evident for certain platforms (i.e., Twitter) than others (e.g., Instagram). Ideational behavior and creative activity were also found to be higher among those who use SM primarily for expressing their ideas and opinions, gleaning information on topics to discuss and self‐education and learning compared with those who use it primarily for entertainment or relaxation. None of the creativity measures used was related to extraversion and excessive use of SM. Our findings indicate that SM is not necessarily a negative factor for creativity; it may even be a useful platform to support new ideas and projects.     

The Impact of Affective States and Affective Shifts on Creative Ideation and Evaluation

This study aims to examine the impact of affective states and affective shifts on ideation and evaluation of creativity. Affects were induced by a two‐stage imagination procedure of recalling autobiographical experiences. Three periods of divergent thinking were measured to represent the participants’ creative ideation at different times. Creative evaluation was measured by estimating the originality of each response provided by the participants. The results indicate that (a) during the initial period of ideation, groups with positive affect obtain better creative ideation than the groups with neutral or negative affect. (b) The ideation in positive affect groups gradually decreases over time, while the ideation in negative affect groups gradually increases over time. (c) During the evaluation of originality, groups with negative affect have a higher proportion of over‐estimates and a lower proportion of under‐estimates than groups with positive affect. The viewpoints of cognitive tuning theory, which posit that the affective state influences creativity, are supported.