Measuring Creativity: A 40+ Year Retrospective

This article describes how, as theories of creativity evolved, so have measures of creativity. Measures thus reflect the theories that generated them.     

Evaluating Creativity Through the Degrees of Solidity of Its Assessment: A Relational Approach

In this paper, we introduce a new approach to creativity assessment. Arguably, one of the main obstacles to creativity assessment is that creativity criteria are likely to change depending on what is assessed and who is making the assessment. We argue that we might be able to solve this problem by adopting a relational ontology, i.e., an ontology according to which beings of the world acquire their properties by relating to other beings. First, we present the main consequences of this ontological approach for creativity assessment: (a) Accounting for the creativity of a given object involves retracing the beings (including criteria) that relate it to its alleged creativity; (b) One can assess the creativity of this object by looking at the number of beings that substantiate this relation, i.e., by looking at what we call the “degree of solidity” of the relation; (c) One can thus account for the specificity of various forms of creativity and, at the same time, compare them in terms of solidity. Building on these ontological assumptions, we then present a new assessment technique, the Objection Counting Technique, before putting it to the test using an excerpt taken from a naturally occurring brainstorming session.     

Creative at Each Age: Age‐Related Differences in Drivers of Workplace Creativity from an Experience Sampling Study

Creativity and innovation are essential agents for change processes and accelerating technical development. Having to face challenges, such as demographic change, organizations require individuals who are creative and innovative at each age. Previous research identified affect as a crucial determinant of creativity, even though empirical findings showed inconsistencies. Drawing on literature on age‐related changes in affective experiences, we investigated the moderating effect of employees’ age on the association between daily positive and negative affect and creativity using a daily diary study. A total of 116 employees responded to daily questionnaires twice a day over five consecutive working days. As expected, hierarchical linear modeling analyses revealed differential effects regarding the affect‐creativity association, dependent on employees’ age. Although older employees were most creative on days when they experienced a high level of positive affect (compared to their mean level of positive affect), younger employees were particularly creative when experiencing negative affect (compared to their mean level of negative affect). We discuss practical implications on how organizations could provide creativity‐enhancing work environments for employees at each age.     

WHITEHEAD,CHANCE, AND THE IMMANENTLY CREATIVE SPIRIT

In this essay, it is argued that God through the Spirit is both the immanent and eminent principle of creativity, ever wooing and empowering the advancements in complexity within biological evolution. I argue herein also that God, particularly in and through the activity of the Spirit of creativity, was fully present in and with and under what is oft called “creation,” from the very beginning of created time—and will be to the end of time, proleptically present as the expression of the principle of creativity. I maintain that the Spirit, by her kenosis into the natural world, imbibed the nature with an evolving fertility that has continually manifested itself in and through the increases of complexity in the natural environ. This primal imbibing of herself into the world of nature caused the world to become marked by what principally amounts to an activation of the naturally occurring, inherent potentialities within nature, thereby producing a distinctive self‐creativity within the world. Somewhat akin to Peirce, who said that we need a “thorough‐going evolutionism or none,” I contend that we need a thoroughly immanent God or none, all the while noting that both immanent creativity and self‐creativity are marks of this overall poietic process known as biotic evolution.     

AESTHETICS,CREATIVITY, AND MYSTICISM: AN INVESTIGATION OF THREE MODES OF CONSCIOUSNESS

This essay explores the universal nature of aesthetic, creative, and mystical experience, tracing some essential interrelations among the three. Enlarging upon the work of anthropologist Jacques Maquet, I speculate that “sensory fixedness” is both necessary and sufficient to achieve aesthetic experience, and that the unification of mind engendered by sensory fixedness is the essential source of aesthetic power. Therefore, the role of the aesthetic object (construed broadly) is either as an arbitrary sensory focusing mechanism, or as the physical embodiment of a gestalt facilitating fixedness; the first category is merely attractive, while the second contains all that is truly great in art (visual and auditory). I suggest further that as both creative inspiration and mystical experience result from fixedness, both are related to aesthetic experience. However, while aesthetic experience is rooted in sensation, mystical and creative experience, though often prepared by sensory fixedness, may transcend the sensory domain altogether toward more abstract forms of mental fixedness.     

Creating Through Deviancy or Adjustment? The Link between Personality Profile Normativeness and Creativity

Does deviancy or adjustment predict creativity? To address this question, we tested the association between personality profile normativeness (similarity between one's personality profile and the average profile—a proxy for the deviancy–adjustment continuum) and creativity across four different samples (total N = 348 768). We used a wide range of creativity measures, including self‐reported, informant‐reported, behavioural, and occupational creativity, as well as several essential statistical controls (i.e., demographics, socio‐economic background, intelligence, and life satisfaction). Furthermore, we employed both cross‐sectional and longitudinal designs, including samples of college students and representative adult populations. We found that people who had more normative personality profiles were more creative. However, this association only held within modality (i.e. when both personality and creativity were either self‐reported or informant‐reported). We did not find robust associations between personality profile normativeness and laboratory‐based behavioural measures of creativity, occupational creativity, or creative achievements. We discuss alternative explanations for the observed adjustment–creativity link, specifically, implicit theories of creativity and person perception biases (halo effects). Notably, the findings did not support the idea that deviancy breeds creativity, suggesting that the famed ‘mad genius’ hypothesis might not hold among the general population. © 2019 European Association of Personality Psychology     

市场信息整合的创造性思维机制初探

采用个别测试和集体测试相结合的方法, 辅以个别访谈等技术, 运用自编的实验测试材料, 通过两个实验探索市场信息的量、关键启发信息的突出性等对商业投资问题的思维决策结果的影响, 初步探讨了市场信息整合的创造性思维过程和机制。实验结果发现, 提供给被试的市场信息越多, 信息整合的问题空间越大, 其整合过程难度越大; 在问题空间进行搜索时, 被试需要抓住关键启发信息形成一个初始意向, 明确进一步搜索的思维方向; 初始意向形成后, 被试须筛选必要信息、排除冗余信息, 并进一步整合有用信息, 使初始意向更加精致化, 最终形成一个“可盈利的完善的投资方案”。     

基于外域范例可拓推理的研究

基于范例推理(CBR)是人类常用的一种解决问题方式,也是人工智能的一种研究范式,在许多领域都得到了应用。但CBR也可能受到心理定势和负迁移的影响,对于创造性思维有一定的负面作用。研究对CBR进行了改进,提出了在外域搜索范例并作可拓变换的方法,称为基于外域范例的可拓推理,并将它运用到产品创新构思系统的设计中,为把认知心理学应用到国家经济建设中提供了新思路。     

Relative accessibility of domain knowledge and creativity: The effects of knowledge activation on the quantity and originality of generated ideas

In brainstorming research, quantity is assumed to breed quality. However, little is known about the cognitive mechanisms underlying this relationship. A parsimonious explanation assumes a random process, in which every idea has an equal chance of being a high-quality (original and feasible) idea. In contrast, a ‘deep exploration’ approach suggests that the originality (but not the feasibility) of generated ideas is dependent on the degree to which people engage in deep exploration of their knowledge. We conducted two experiments to test the latter hypothesis. Prior to a brainstorming task, participants were primed with subcategories of the brainstorming topic. Priming caused a higher relative productivity and average originality within the primed subcategory, but did not affect global productivity and originality across categories. This effect was replicated in dyadic interactions. These results support the deep exploration hypothesis, and suggest that the relationship between quantity and quality is more complex than has previously been assumed.     

Grace and Imagination: From Fear to Freedom

Creative use of our imagination is essential if we are to live a vibrant life. Although our use of imagination is often blocked by various fears, D. W. Winnicott's insights into play, aggression, and the use of transitional objects open up paths towards greater freedom. The sacred texts, symbols, and liturgies of our religious traditions can then become the toys which engage us in profound and re-creating soul play. Through grace and the evocative examples of our teachers, we can find ways to use our imagination more freely to deepen our spiritual life and psychological wholeness.