Big C, little c, big M, little m.

Comments on the article Multicultural experience enhances creativity: The when and how by A. K. Leung et al (see record 2008-03389-003) which discusses how many practices aimed at cultivating multicultural competence in educational and organizational settings (e.g., exchange programs, diversity education in college, diversity management at work) assume that multicultural experience fosters creativity. In line with this assumption, the research reported in this article is the first to empirically demonstrate that exposure to multiple cultures in and of itself can enhance creativity. The current author, Grant J. Rich, feels that despite the reviews of a number of recent studies that seem to justify at least to some degree the value of such programs for enhancing creativity, Leung et al left a number of vital questions unanswered or unasked. Leung et al seemed to focus the majority of their attention on little c creativity and Big M multicultural experience. Rich hopes that their continued endeavors focus on the relationships between other forms of creativity and other forms of multicultural experience as well. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

"Facilitating creativity by regulating curiosity": Comment.

Comments on the article by C. Martindale (see record 2001-00625-007) which discussed the intellect of Thomas Young. The current author discusses creativity as it relates to curiosity. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Help us creativity researchers, you're our only hope.

I propose suggestions for how creativity can be fostered in the classroom and what creativity researchers can do to facilitate creative growth in students. Suggestions include closing the creativity gap between current education policy and current societal values of creativity, better training of teachers on how to teach creativity, creativity researchers becoming more active and vocal advocates of education policy supporting creativity in the classroom, and changing the language authors use away from a need to enhance creativity and toward the view that creativity needs to be encouraged. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Scientific creativity as constrained stochastic behavior: The integration of product, person, and process perspectives.

Psychologists have primarily investigated scientific creativity from 2 contrasting in vitro perspectives: correlational studies of the creative person and experimental studies of the creative process. Here the same phenomenon is scrutinized using a 3rd, in vivo perspective, namely, the actual creative products that emerge from individual scientific careers and communities of creative scientists. This behavioral analysis supports the inference that scientific creativity constitutes a form of constrained stochastic behavior. That is, it can be accurately modeled as a quasi-random combinatorial process. Key findings from both correlational and experimental research traditions corroborate this conclusion. The author closes the article by arguing that all 3 perspectives--regarding the product, person, and process--must be integrated into a unified view of scientific creativity. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Measurements, causes, and effects of creativity.

In this article, I express my appreciation for the Korean teacher who recognized my potential and my American mentors who helped me identify the creative energy in myself. I discuss how living a “wonderful” Korean life smothered the essence of my being. Next, the overview of my research in creativity is discussed in 3 categories: measurement of creativity, causes of creativity, and effects of creativity. One effect of creativity summarizes how creativity can manifest itself as either a gift or a curse. The article ends with affirming that individualism promotes creativity and a discussion of the direction of my future research, which centers on helping students and adults identify the creative energy in themselves. (PsycINFO Database Record (c) 2010 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)     

Toward a broader conception of creativity: A case for "mini-c" creativity.

In this article the authors argue that a new category of creativity, called "mini-c" creativity, is needed to advance creativity theory and research. Mini-c creativity differs from little-c (everyday) or Big-C (eminent) creativity as it refers to the creative processes involved in the construction of personal knowledge and understanding. The authors discuss how the category of mini-c creativity addresses gaps in current conceptions of creativity, offers researchers a new and important unit of analysis, and helps to better frame the domain question in creativity research. Implications for creativity research are also discussed. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

The effects of promotion and prevention cues on creativity.

This study tested whether cues associated with promotion and prevention regulatory foci influence creativity. The authors predicted that the "risky," explorative processing style elicited by promotion cues, relative to the risk-averse, perseverant processing style elicited by prevention cues, would facilitate creative thought. These predictions were supported by two experiments in which promotion cues bolstered both creative insight (Experiment 1) and creative generation (Experiment 2) relative to prevention cues. Experiments 3 and 4 provided evidence for the process account of these findings, suggesting that promotion cues, relative to prevention cues, produce a riskier response bias (Experiment 3) and bolster memory search for novel responses (Experiment 4). A final experiment provided evidence that individual differences in regulatory focus influence creative problem solving in a manner analogous to that of incidental promotion and prevention cues. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Task conflict and team creativity: A question of how much and when.

Bridging the task conflict, team creativity, and project team development literatures, we present a contingency model in which the relationship between task conflict and team creativity depends on the level of conflict and when it occurs in the life cycle of a project team. In a study of 71 information technology project teams in the greater China region, we found that task conflict had a curvilinear effect on team creativity, such that creativity was highest at moderate levels of task conflict. Additionally, we found this relationship to be moderated by team phase, such that the curvilinear effect was strongest at an early phase. In contrast, at later phases of the team life cycle, task conflict was found to be unrelated to team creativity. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Multicultural experience enhances creativity: The when and how.

Many practices aimed at cultivating multicultural competence in educational and organizational settings (e.g., exchange programs, diversity education in college, diversity management at work) assume that multicultural experience fosters creativity. In line with this assumption, the research reported in this article is the first to empirically demonstrate that exposure to multiple cultures in and of itself can enhance creativity. Overall, the authors found that extensiveness of multicultural experiences was positively related to both creative performance (insight learning, remote association, and idea generation) and creativity-supporting cognitive processes (retrieval of unconventional knowledge, recruitment of ideas from unfamiliar cultures for creative idea expansion). Furthermore, their studies showed that the serendipitous creative benefits resulting from multicultural experiences may depend on the extent to which individuals open themselves to foreign cultures, and that creativity is facilitated in contexts that deemphasize the need for firm answers or existential concerns. The authors discuss the implications of their findings for promoting creativity in increasingly global learning and work environments. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

The development and validation of a test of creativity in engineering.

"Two forms of a 20-item test of creativity were developed through analyses of item response data of 345 engineering students at Purdue University. Three scores were developed for the test: Fluency score, Flexibility score, and Originality score. Investigations of the validity, reliability, interscorer agreement, relationships with other tests, and 'face validity' of the Creativity scores were made with 64 product development engineers and process engineers in a large automobile accessories manufacturing company." Significant validity was found (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Continual association as a function of level of creativity and type of verbal stimulus.

Continual word association was studied as a function of Remote Associates Test (RAT) performance, form class, associative hierarchy, and Thorndike-Lorge word frequency. Ss were selected as high creative (HC), low creative (LC), and medium creative (MC) on the basis of their RAT scores. It was found that HC Ss give the greatest number of associations and maintain a relatively higher speed of association throughout a 2-min. period. More responses were elicited by nouns than adjectives, flat hierarchy words than steep, and high frequency words than low. The S and stimulus variable did not interact. Relevance to an associative theory of creative thinking is discussed. (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)     

Conceptual versus experimental creativity: Which works best on convergent and divergent thinking tasks?

David Galenson's research on creativity has identified two unique creative methods: conceptual and experimental. These methods have different processes, goals, and purposes. To determine whether (a) college students use one method more than the other, and (b) if one method is superior to the other, the authors randomly assigned 115 college students to use the conceptual creative method, the experimental creative method, or their own creative method (i.e., how they would solve a creative problem without instruction) while completing two types of convergent and divergent thinking tasks. Participants using the experimental creative method performed better than the other groups on both types of convergent thinking tasks, with most participants using the experimental creative method unaware of this increase in performance. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

The strength-of-weak-ties perspective on creativity: A comprehensive examination and extension.

Disentangling the effects of weak ties on creativity, the present study separated, both theoretically and empirically, the effects of the size and strength of actors' idea networks and examined their joint impact while simultaneously considering the separate, moderating role of network diversity. I hypothesized that idea networks of optimal size and weak strength were more likely to boost creativity when they afforded actors access to a wide range of different social circles. In addition, I examined whether the joint effects of network size, strength, and diversity on creativity were further qualified by the openness to experience personality dimension. As expected, results indicated that actors were most creative when they maintained idea networks of optimal size, weak strength, and high diversity and when they scored high on the openness dimension. The implications of these results are discussed. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Understanding when bad moods foster creativity and good ones don't: The role of context and clarity of feelings.

Using a mood-as-input model, the authors identified conditions under which negative moods are positively related, and positive moods are negatively related, to creative performance. Among a sample of workers in an organizational unit charged with developing creative designs and manufacturing techniques, the authors hypothesized and found that negative moods were positively related to creative performance when perceived recognition and rewards for creative performance and clarity of feelings (a metamood process) were high. The authors also hypothesized and found that positive moods were negatively related to creative performance when perceived recognition and rewards for creativity and clarity of feelings were high. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Radical and incremental creativity: Antecedents and processes.

This study extends creativity theory and research by differentiating between 2 distinct forms of creative performance: radical and incremental. It also examines the differential effects of certain antecedents on these two forms of creativity. Results demonstrate that intrinsic motivation, problem-driven, and abstract theory-related creative ideas are associated mostly with radical creativity, whereas extrinsic motivation and ideas that are solution-driven and developed on the basis of concrete practices are linked more closely to incremental creativity. Theoretical and managerial implications are discussed. (PsycINFO Database Record (c) 2011 APA, all rights reserved)     

"Creativity and confidence: price of achievement?": Comment.

Comments on the article by C. Martindale (see record 2001-00625-007) which discussed Thomas Young. The author supports the views of Martindale and gives his own insight on the subject of creativity. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

The value and meaning of creative leisure.

The purpose of this paper is to introduce the construct of creative leisure and explore its implications for both the fields of creativity and leisure. The relationship between the constructs of creativity and leisure has yet to be considered directly, and these fields indeed overlap in significant and important ways. When one has the perception of freedom and the intrinsic desire, creates for the sake of creating, and perceives this to be creative, this is creative leisure. Research and theory that relates to creative leisure is identified. The author proposes why creative leisure should be examined and poses future research questions. (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)