Solitary minds and social capital: Latent inhibition, general intellectual functions and social network size predict creative achievements.

Successful creative accomplishment is influenced by both individual and social factors. The aim of this study was to investigate the relationship between these factors in 111 Central-Eastern European volunteers recruited from the community. Individual factors evaluated in this study included IQ, latent inhibition (LI), and schizotypal personality traits. In addition to these measures, the size of the primary social network (relatives and friends who know and personally contact each other) and the broader network (persons to whom Christmas cards are sent) were evaluated. Result revealed that the personality trait unusual experiences significantly predicted real-life creative achievements. However, when LI was taken into consideration, this relationship did not retain significance. Further independent predictors of creativity were IQ and, most importantly, primary but not broader social network size. These results suggest that decreased LI, higher intellect and stronger social support independently facilitate real-life creative accomplishment. (PsycINFO Database Record (c) 2011 APA, all rights reserved)     

Creativity map: Toward the next generation of theories of creativity.

What is creativity and how should it be studied after more than 60 years of research? In this paper I call for more terminological clarity in creativity research, especially regarding the distinction between creative potential and creative behavior. The former concerns cognitive abilities and processes and personality dispositions facilitating creative expression. The latter refers to observable behavior, communicated ideas, or products that result from the interaction between individual potential and situational or cultural influences. Much research has focused on different attributes of creative potential, such as creative personality or divergent thinking abilities. I argue that future work in this area will have to specifically address domain-specific creative potential as well as the interaction between attributes of creative potential and situational or social attributes. The interaction of personal potential and social environment will determine whether creativity is expressed and how it is expressed. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Cognitive regularities in creative activity.

Theories of creativity have not traditionally considered whether novel ideas or inventive behaviors can result from regularities in the cognitive processes responsible for such activities. Most of these traditional theories are based on the evaluation of products as meeting (or not) some abstract metric of creative output. However, cognitive theories of creativity can be proposed in which creative activity is a function of more traditional cognitive processes that are not unique to inventive behaviors. The purpose of this article is to review the cognitive regularities of creative activity and organize the research on this topic into a framework that might be useful in understanding and extending investigations directed at studying creativity. To these ends, cognitive processes underlying generation, synthesis, and selection of information in creative activities are delineated. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Distributed creativity: How collective creations emerge from collaboration.

Creativity is often considered to be a mental process that occurs within a person’s head. In this article, we analyze a group creative process: One that generates a creative product, but one in which no single participant’s contribution determines the result. We analyze a series of 5 theater performances that were improvisationally developed in rehearsal by a theater group; over the course of these 5 performances, a collaborative creation emerged from the improvised dialogues of the group. We argue that in cases of creativity such as this one, it is inaccurate to describe creativity as a purely mental process; rather, this case represents a nonindividualistic creative process that we refer to as distributed creativity. We chose this term by analogy with studies of distributed cognition, which are well established in cognitive science, but have not yet had a substantial impact on creativity research. Our study demonstrates a methodology that can be used to study distributed creative processes, provides a theoretical framework to explain these processes, and contributes to our understanding of how collaboration contributes to creativity. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Review of Explaining Creativity: The Science of Human Innovation.

Reviews the book, Explaining Creativity: The Science of Human Innovation by R. Keith Sawyer (2006). Explaining Creativity is a refreshing analysis of creativity within a broad range of creative domains that are often neglected in scientific treatments of creativity. The book is divided into five parts. In the first part, Sawyer reviews previous conceptions of creativity, such as "creativity comes from the unconscious," and "everyone is creative" and claims many such conceptions are myths. The second part of the book reviews individualist approaches to creativity. In the third part of the book, Sawyer reviews evidence from sociology, culture, and history to show how researchers from various perspectives all converge on the importance of context for recognizing creativity. The fourth part reviews the creative process of performance-based, collaborative artistic forms of creativity, such as installation art, screenwriting, sitcom writing, jazz improvisation, and comedy improvisation. The fifth section shows how science and business creativity are also embedded in a social context and can be even more reliant on collaboration than artistic creativity. The book then ends with tips for being more creative. A complete textbook on creativity should be comprehensive, present all the evidence and viewpoints, and be critical of everything. This is not such a book. Nonetheless, this is one of the first books to go beyond the psychological study of creativity and to synthesize various different levels of analysis to understand diverse creative behaviors. To this end, the book is highly recommended to nearly anyone that wants to have a more complete understanding of how creativity operates in today's world. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

A dimensional analysis of creativity and mental illness: Do anxiety and depression symptoms predict creative cognition, creative accomplishments, and creative self-concepts?

The link, if any, between creativity and mental illness is one of the most controversial topics in modern creativity research. The present research assessed the relationships between anxiety and depression symptom dimensions and several facets of creativity: divergent thinking, creative self-concepts, everyday creative behaviors, and creative accomplishments. Latent variable models estimated effect sizes and their confidence intervals. Overall, measures of anxiety, depression, and social anxiety predicted little variance in creativity. Few models explained more than 3% of the variance, and the effect sizes were small and inconsistent in direction. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

The relationship between stressors and creativity: A meta-analysis examining competing theoretical models.

Competing theoretical models and equivocal evidence leave unanswered questions regarding stressors’ effect on creativity. The present meta-analysis of 76 experimental studies (including 82 independent samples) aims to clarify this association and identify factors that may explain differences between studies. Our results suggest that the effect of stressors on creative performance depends on how stress-inducing the stressor is and what type of stress is induced. We found a curvilinear relationship between evaluative stress and creativity such that low evaluative contexts increased creative performance over control conditions, whereas highly evaluative contexts decreased creative performance. We found a linearly negative relationship between uncontrollability and creativity such that more uncontrollability decreased creative performance. The results suggest that stressors’ effect on creativity is more complex than previously assumed and points to the need for understanding boundary conditions that shed light on inconsistent findings. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Creativity and terror management: Evidence that creative activity increases guilt and social projection following mortality salience.

The present research, based on the ideas of O. Rank (1932/1989) and E. Becker (1973), was designed to test the hypotheses that engaging in creative expression after personal mortality has been made salient will lead to both increased feelings of guilt and a desire to enhance social connectedness. In Study 1, the authors used a 2 (mortality salience vs control)?×?2 (creative pretask vs noncreative pretask) between Ss factorial design and measured self-report guilt. Results indicated that participants who were reminded of their death and completed the creative pretask expressed more guilt than all other participants. In Study 2 this effect was replicated with a modification of the creativity treatment. In Study 3, the same conditions leading to increased guilt also led mortality-salient creative-task participants to express higher levels of social projection, an index of perceived social connectedness. Implications of these results for creativity, the interpersonal nature of guilt, and terror management theory are briefly discussed. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Creative self-efficacy development and creative performance over time.

Building from an established framework of self-efficacy development, this study provides a longitudinal examination of the development of creative self-efficacy in an ongoing work context. Results show that increases in employee creative role identity and perceived creative expectation from supervisors over a 6-month time period were associated with enhanced sense of employee capacity for creative work. Contrary to what was expected, employees who experienced increased requirements for creativity in their jobs actually reported a decreased sense of efficaciousness for creative work. Results show that increases in creative self-efficacy corresponded with increases in creative performance as well. (PsycINFO Database Record (c) 2011 APA, all rights reserved)     

Towards a neurobiology of creativity in nonhuman animals.

We propose a cognitive and neurobiological framework for creativity in nonhuman animals based on the framework previously proposed by Kaufman and Kaufman (2004), with additional insight from recent animal behavior research, behavioral neuroscience, and creativity theories. The additional information has lead to three major changes in the 2004 model—the addition of novelty seeking as a subcategory of novelty recognition, the addition of specific neurological processing sites that correspond to each of the processes, and the transformation of the model into a spectrum in which all three levels represent different degrees of the creative process (emphasis on process) and the top level, dubbed innovation, is defined by the creative product. The framework remains a three-level model of creativity. The first level is composed of both the cognitive ability to recognize novelty, a process linked to hippocampal function, and the seeking out of novelty, which is linked to dopamine systems. The next level is observational learning, which can range in complexity from imitation to the cultural transmission of creative behavior. Observational learning may critically depend on the cerebellum, in addition to cortical regions. At the peak of the model is innovative behavior, which can include creating a tool or exhibiting a behavior with the specific understanding that it is new and different. Innovative behavior may be especially dependent upon the prefrontal cortex and/or the balance between left and right hemisphere functions. (PsycINFO Database Record (c) 2011 APA, all rights reserved)     

Creativity: Cognitive, personal, developmental, and social aspects.

Although many psychologists have expressed an interest in the phenomenon of creativity, psychological research on this topic did not rapidly expand until after J. P. Guilford claimed, in his 1950 APA presidential address, that this topic deserved far more attention than it was then receiving. This article reviews the progress psychologists have made in understanding creativity since Guilford's call to arms. Research progress has taken place on 4 fronts: the cognitive processes involved in the creative act, the distinctive characteristics of the creative person, the development and manifestation of creativity across the individual life span, and the social environments most strongly associated with creative activity. Although some important questions remain unanswered, psychologists now know more than ever before about how individuals achieve this special and significant form of optimal human functioning. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

The influence of creative process engagement on employee creative performance and overall job performance: A curvilinear assessment.

Integrating theories addressing attention and activation with creativity literature, we found an inverted U-shaped relationship between creative process engagement and overall job performance among professionals in complex jobs in an information technology firm. Work experience moderated the curvilinear relationship, with low-experience employees generally exhibiting higher levels of overall job performance at low to moderate levels of creative process engagement and high-experience employees demonstrating higher overall performance at moderate to high levels of creative process engagement. Creative performance partially mediated the relationship between creative process engagement and job performance. These relationships were tested within a moderated mediation framework. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Impact of Nanotechnology on Future Civil Engineering Practice and Its Reflection in Current Civil Engineering Education

Current civil engineering education should address the need to provide a broad vision, develop the higher-order skills of future civil engineers, enable them to adopt emerging technologies, and formulate innovative solutions to complex problems. This paper introduces relevant nanotechnology developments to convey the new vision and inspire creativity in civil engineering. It also presents a pedagogical framework for integrating nanotechnology education into a civil engineering curriculum and cultivating self-regulated learning and creativity skills for civil engineering students. The pedagogical framework includes the introduction of nanotechnology innovations and other relevant innovative technologies, and explicit instructions on cognitive strategies for facilitating and inspiring self-regulated learning and creativity. It is implemented with problem/project-based learning for a cocurricular project that requires self-regulated learning and creativity. This pedagogical framework provides a model for integrating emerging technology education and higher-order skill development into existing engineering curriculum. The outcomes from the implementation of the pedagogical framework are presented, and their further improvements are discussed.     

A propulsion model of types of creative contributions.

This article proposes a propulsion model characterizing 7 different types of creative contributions in any domain. Four of these types of creativity accept current paradigms of work; 3 of the types reject these current paradigms. The basic notion is that creative contributions differ not only in the amounts of creativity they display but also in the types of creativity they display. The article discusses (a) creative contributions and why there is a need for a taxonomy of them, (b) some existing models of creative contributions, (c) a propulsion model for understanding creative contributions and 7 types of contributions that follow from the propulsion model, (d) why such a model can be useful in evaluating creative work, and (e) some phenomena that have been observed in the field of creativity and how they can be explained in terms of the model. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Peacocks, Picasso, and parental investment: The effects of romantic motives on creativity.

Four experiments explored the effects of mating motivation on creativity. Even without other incentives to be creative, romantic motives enhanced creativity on subjective and objective measures. For men, any cue designed to activate a short-term or a long-term mating goal increased creative displays; however, women displayed more creativity only when primed to attract a high-quality long-term mate. These creative boosts were unrelated to increased effort on creative tasks or to changes in mood or arousal. Furthermore, results were unaffected by the application of monetary incentives for creativity. These findings align with the view that creative displays in both sexes may be linked to sexual selection, qualified by unique exigencies of human parental investment. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

When the presence of creative coworkers is related to creativity: Role of supervisor close monitoring, developmental feedback, and creative personality.

Study 1 was conducted to examine the contribution of the joint condition of supervisor close monitoring and the presence of creative coworkers to employees' creativity. In addition to replicating Study 1's results, Study 2 examined (a) the joint condition of supervisor developmental feedback and presence of creative coworkers and (b) whether creative personality moderated the contributions of the 2 joint conditions. Converging results from the 2 field studies demonstrated that when creative coworkers were present, the less supervisors engaged in close monitoring, the more employees exhibited creativity. Study 2 also found that the contribution of this joint condition was stronger for employees with less creative personalities and that when creative coworkers were present, the more supervisors provided developmental feedback, the more employees exhibited creativity. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Incremental effects of reward on creativity.

The authors examined 2 ways reward might increase creativity. First, reward contingent on creativity might increase extrinsic motivation. Studies 1 and 2 found that repeatedly giving preadolescent students reward for creative performance in 1 task increased their creativity in subsequent tasks. Study 3 reported that reward promised for creativity increased college students' creative task performance. Second, expected reward for high performance might increase creativity by enhancing perceived self-determination and, therefore, intrinsic task interest. Study 4 found that employees' intrinsic job interest mediated a positive relationship between expected reward for high performance and creative suggestions offered at work. Study 5 found that employees' perceived self-determination mediated a positive relationship between expected reward for high performance and the creativity of anonymous suggestions for helping the organization. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Establishment of Critical Success Factors for Construction Partnering

Research into the use of partnering in construction has become ubiquitous; however, a framework is needed that can be used to identify critical success factors (CSFs) that contribute to the successful use of partnering in projects. Based on a review of the partnering literature within the management discipline, a partnering framework has been developed to identify the CSFs for construction parties implementing partnering arrangements. The framework highlights the influence of contextual characteristics and management skills on partnering success. The CSFs identified and discussed in the framework are effective communication, conflict resolution, adequate resources, management support, mutual trust, long-term commitment, coordination, and creativity. The degree of success of partnering can be determined by subjective measures (e.g., perceived satisfaction of partners' expectations) and objective measures (e.g., cost variation and rejection of work). A case for initiating partnering is also presented, together with some general guidelines.     

Calvin W. Taylor: Richardson Creativity Award.

Presents the 1970 recipient of the American Psychological Association's Richardson Creativity Award, established by the Richardson Foundation in 1965. The award is given for "the most outstanding contribution during the preceding year or recent years toward improving creative and innovative talents or developing or utilizing such talents." This year's winner is Calvin W. Taylor. The recipient receives a citation and a check for five thousand dollars. Dr Taylor's citation reads: "For his initiative in organizing conferences to stimulate research in the identification of creative scientific talent; for his editorial skill in bringing together diverse contributions of himself and others to form coherent volumes that have channeled research efforts by focusing on such important problems as the climate for creativity and the development of scientific creativity; and for his own original research on significant biographical factors in the personal and professional development of creative scientists." (PsycINFO Database Record (c) 2010 APA, all rights reserved)