中学生科技创造力和课外科技活动关系的测查研究

运用创造性能力测验与中学生课外科技活动调查表,对初中预备班,初二及高二年级学生共２７５名作测查,结果表明：中学生的科技创造力和课外科技活动存在很显著的相关;中学生的科技创造力水平受学校、年级、性别的影响：重点中学优于非重点中学,高二优于初中预备班及初二,男优于女。     

Measuring Tactical Innovation in Terrorist Attacks

Terrorism provides a unique context for examining innovation, as the generation of novel, effective, and complex ideas are essential for survival in destructive and malevolent groups. Despite this, innovation remains an underdeveloped concept in terrorism research, at least from the creativity scholars. One reason for this is the limited empirical data about this phenomenon, making it unclear which tenets of creativity research hold versus which do not translate in the domain of terrorism. This two-part study explores this rich domain by examining the dimensions of innovation in a robust sample of terrorist attacks. Findings indicated that three dimensions of innovation (i.e., novelty, relevance, and elegance) emerged from the attack data and that these dimensions were related to different attack characteristics. This article expands our understanding of terrorist innovation by drawing from established theory and methods from creativity research and highlights their manifestations in this understudied domain.     

A Visual Representation to Quantitate,Diagnose, and Improve Creativity in Insight Problem Solving

A new visual representation for insight problems permits 22 new quantitative measures; which leads to a detailed diagnosis of a person's (or team's) creative weaknesses; which then leads to prescribing targeted, effective counter‐techniques for each weakness. Currently, only two measures are consistently used for insight problem solving: the number of problems solved and the time to solve the problems. These coarse measurements do not reveal the intricate dynamics of solving insight problems. Furthermore, four commonly used creativity measures (i.e., fluency, originality, flexibility, and elaboration) are often not applied to insight problems. This new visualization permits the easy application of all four creativity measures. I challenge creativity researchers to help determine which of the 22 proposed quantitative measures are the most diagnostic for insight problem solving in isolation and, in a weighted linear combination, which might yield an effective quotient (i.e., overall measure) of insight problem solving ability.     

Mood and Creativity over Time in a Bipolar Participant

When depression alternates with mania, as in a bipolar affective disorder, creativity might be enhanced. To investigate this, we employed a single‐subject design, looking at both affective space and the spectral covariation of mood and creativity in a participant presenting with bipolar affective disorder. The study was conducted over a period of 54 days, and employed a standard measure of mood (the Brief Mood Introspection Scale) and a standard task of creativity (Alternative Uses Task). Both positive affect and negative affect appear to be somewhat undifferentiated for this participant, and her mood space does not conform to that described by the accepted major dimensions of Arousal and Pleasure. Conceivably, this is because of her rapid mood fluctuations. A 2.7‐day periodicity was found for Tired, Peppy, Nervous, and Calm, on the one hand, and ideational fluency, ideational flexibility, and originality, on the other. In addition, a 9‐day periodicity was common to Happy, Sad, and Gloomy—all three affects clustering in the same affective space—together with both ideational flexibility and originality. This finding brings into question the relationship between creativity and both positive and negative mood.     

How Artists Create: An Empirical Study of MFA Painting Students

This paper reports on an interview study with MFA students in two different full‐time MFA degree programs in painting. The interviews were conducted as part of two ethnographic studies, each one academic year in length, of art and design schools at two U.S. universities. The goal was to explore the extended process whereby MFA student artists, in the second and final year of their degree program, create the works to be displayed in their public graduation exhibition. Using a grounded theory approach, an emergent theory was developed from the interviews, with additional information provided by studio observations and analyses of the graduation exhibitions and the accompanying written theses. This emergent theory describes the artistic creative process to be wandering, unpredictable, non‐linear, and embedded in the physical act of generating work. There is no evidence that either moments of insight, or the attempt to be original, play a role in their creative process. This emergent theory is compared with theories of the creative process by creativity researchers, and with theories of the design process proposed by design studies researchers.     

The Influence of Openness to Experience on Perceived Employee Creativity: The Moderating Roles of Individual Trust

In this paper, we explain the influence of co‐worker trust on the effect of employees' openness to experience on their perceptions of their own creativity. We surveyed 199 working professionals in Ireland and found that openness to experience was positively associated with both employees' perceptions of their radical creativity and incremental creativity. In addition, the relationship between openness to experience and incremental creativity was negatively moderated by cognition‐based trust in his or her co‐worker. In conclusion, we discuss the theoretical and managerial implications of our findings and highlight directions for future research.     

Do People Really Have Insights in the Shower? The When,Where and Who of the Aha! Moment

While there are well‐known anecdotes and documented insight cases by renowned scientists and inventors, little is known about the experiences of insight in the general population. The present study aimed to determine peoples' self‐reported experience of insight in their daily lives. Using an online questionnaire, responses were obtained from 1,114 respondents. Eighty‐percent reported having insights. These respondents reported demographic information and answered three open‐ended questions on where their insights occur, what insights are and other thoughts on insight. A greater percentage of those who have insights are, female, younger, highly educated, and involved in occupations including, management, sciences, arts and service professions. The qualitative results uncovered eight major themes, reflecting on the places people have insights: At night, work, shower, home, when it is quiet, transport, while exercising, and in nature. Two major themes emerged on what insights are: Something from the subconscious, and a result of (not) thinking. Finally, three major themes emerged from the third question on thoughts they would like to share on insight: The improvement of insight with age, the importance of analyzing the details of the problem, and the unexpectedness of the solution. Results are discussed in the context of the current experimental research on insight.     

Different Effects of Cognitive Shifting and Intelligence on Creativity

The relationship between creativity and executive control has long been controversial. Some researchers view creative thinking as a defocused process with little executive control involvement, whereas others claim that executive control plays a vital role in creative thinking. In this study, we focused on one subcomponent of executive control, cognitive shifting, and examined its relationship with creativity by using latent variable analysis and structural equation modeling. We also analyzed whether this relation was mediated by intelligence. The results showed that: (a) cognitive shifting ability had a positive relationship with creativity, but only on the quantitative aspects (fluency and flexibility); (b) Intelligence had a positive relationship with both quantitative and qualitative aspects (originality) of creativity, and its effect on qualitative aspect was stronger than that on the quantitative aspect; (c) There was a mediating effect of intelligence on the relationship between creativity cognitive and shifting.     

Improvisation: The Astonishing Bridge to Our Inner Music

Musical improvisation is the expressive capacity of a performer fostered by access to their own “productive” (creative) or “reproductive” (mnestic) tonal imagery: a field of consciousness that includes experiences, images that are internal, combined, distorted, associated, or in competition between themselves. In the highly original form of life that is jazz, narrating means directing time: a time of epiphanies and introversions, of intuitions and revelations, of syncopated rhythms and aesthetic insights, which appear and disappear on the edges of interference between consciousness and the unconscious. The performing urgency of gestures, voices, and sounds, although arranged in the same scene, highlights the difference in individual time. In this intense activity of opposition and resolution the experience becomes an unstable territory that rests on the capacity of the body to remember, decide, anticipate, and invent. The ego reveals itself to be an emerging representation of our nerve structures and, even if conscious organization continues to be attributed to it, its role is not at all crucial. Unity, if anything, means coordination. The conscious ego is the expression of the body. In its ultimate form its unity is a biological problem.     

Video installation as a creative means of representing temporality in visual data

This paper describes the use of video installation as a creative means of engaging audiences in visual research. A detailed image-based overview of the project, 1247 Days on Whymark Avenue, is also presented. This interactive video installation offered viewers a level of phenomenological immersion in the compressed temporality and asynchronous dialogue captured by this visual research project. This film is part of a larger research project on the longitudinal photo-documentation of urban life (Hansen & Flynn 2015a). The project uses repeat photography to study street art and graffiti as visual dialogue.