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At least 19 recordsLinked to original sources
PubMed2003

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.

Adult↗
PubMed2000

On the neurobiology of creativity. Differences in frontal activity between high and low creative subjects.

The aim was to investigate the relationship between creativity and hemispheric asymmetry, as measured by regional cerebral blood flow (rCBF). Two groups, each consisting of 12 healthy male subjects, who got either very high or low scores on a creativity test, were pre-selected for the rCBF investigation. rCBF was measured during rest and three verbal tasks: automatic speech (Auto), word fluency (FAS) and uses of objects (Brick). State and trait anxiety inventories were answered after the rCBF measurements. Intelligence tests were also administered. It was predicted that highly creative subjects would show a bilateral frontal activation on the divergent thinking task (Brick), while low creative subjects were expected to have a unilateral increase. Calculations were made of differences in blood flow levels between the FAS and the Brick measurements in the anterior prefrontal, frontotemporal and superior frontal regions. In accordance with our prediction, repeated measure-ANOVAs showed that the creativity groups differed significantly in all three regions. The highly creative group had increases, or unchanged activity, while the low creative group had mainly decreases. The highly creative group had higher trait anxiety than the low creative group. On the intelligence tests the low creative group was superior both on logical-inductive ability and on perceptual speed, while the groups were equal on verbal and spatial tests. The results are discussed in terms of complementary functions of the hemispheres.

Adult↗
PubMed2002

The effectiveness of teaching strategies for creativity in a nursing concepts teaching protocol on the creative thinking of two-year RN-BSN students.

Because of changes in the medical environment, nurses must maintain the ability of divergent thinking to solve the health problems of patients. However, many nurses whose work in clinical practice has become routine have lost the ability of creativity. To cultivate nurses creativity should be a goal of nursing education. The purpose of this study is to evaluate a nursing concepts teaching protocol by utilizing teaching strategies directed toward creativity to promote creativity in two-year RN-BSN students. This study design is a time series and one group experiment utilizing multiple instances of treatment. Teaching strategies for creativity were applied to a teaching unit and 52 two-year RN-BSN students were tested for creativity before the end of each semester. This study was conducted from March, 1999 to May, 2000, but only 30 students completed all tests and reached a 58% return rate. Torrance s (1974) definitions of creativity includ fluency, flexibility, and uniqueness were followed and the instrument, a questionnaire on Creativity in the application of the Nursing Process Tool (CNPT), was designed based on Emerson (1988). The content validity of Chinese-version CNPT was.79. The inter-coder reliability between two researchers was.84 following a coding guide that ten nursing education experts had established. The results indicated that 30 two-year RN-BSN students had improved fluency and flexibility. The improvements reached a significant level after the third semester. Only uniqueness declined. It is suggested that nursing faculty apply teaching strategies uniqueness more often in a teaching protocol of nursing concepts. By utilizing teaching strategies of creativity in a teaching protocol of nursing concepts, it is expected that two-year RN-BSN students can acquire characteristics of creativity for problem-solving skills in clinical settings.

Adult↗
PubMed2004

Whoever is influential is creative: how Chinese undergraduates choose creative people in Chinese societies.

This study surveyed 994 undergraduates in Guangzhou, Hong Kong, Nanchang, Nanjing and Xian about their nomination and evaluation of the most creative people in Chinese societies as well as their valuation of collectivistic and individualistic goals of creativity. Politicians and scientists/inventors were mostly nominated and were generally rated higher on social contribution than on creativity. Artists/musicians and writers/poets were rarely nominated and were mostly rated higher on creativity than on social contribution. Collectivistic goals of creativity were significantly more valued than individualistic goals of creativity. There appears to be a social validation of creativity such that meritorious salience of creativity and social influence of the creator were greatly emphasized. Merit-based attribution of creators may have a detrimental effect on perception and promotion of general creativity in Chinese societies.

Achievement↗
PubMed1997

Creativity in conflict: the personality of the commercial creative.

The Revised NEO Personality Inventory (NEO PI-R) was administered to a group of advertising and design creatives and to a comparable group of professionals and managers in occupations that were not evidently creative. The creatives were substantially more neurotic and more open to experience than the noncreatives, somewhat more extraverted, and less conscientious. Personality profiles suggesting low levels of ego control were more prevalent in the creatives group, but the difference was not significant. These findings are discussed in the light of Otto Rank's theory of creative development and in the context of commercial creativity. It is suggested that advertising and design creatives can be characterized as individuals at the intermediate stage of Rankian creative development.

Adult↗
PubMed2000

Creative potential, creative achievement, and personal growth.

We tested the idea that young people who have creative potential (are complex and unconventional) increase in intrapsychic awareness as they mature but often have difficulty with psychosocial growth, especially the development of a cohesive identity; and that for some women commitment to creative work solves the problem of psychosocial integration and leads to creative achievement. In a longitudinal sample of 109 women, these ideas were supported: Creative potential and creative achievement were both associated with intrapsychic growth but only creative achievement was associated with psychosocial growth. Regression analyses showed that the development of a cohesive identity from early to middle adulthood added to and interacted with creative potential in the prediction of creative achievement.

Achievement↗
PubMed2001

Implicit theories of creativity: laypersons' perceptions of the creativity of adaptors and innovators.

Kirton has put forward a theory of creativity style in which he maintains that people with more adaptive or more innovative orientations possess equal creative potential. The purpose of this study was to compare Kirton's explicit theory with laypersons' implicit theories of creativity. Laypersons and students were asked to read descriptions of adaptors and innovators and then, using their own personal conceptions of creativity, rate adaptors and innovators on creativity. Analysis showed that the innovative style was perceived as significantly more creative. Furthermore, individuals who possessed a more innovative style were much more likely to rate the innovative orientation as more highly creative. Potential reasons for the implicit view that innovators are more creative are offered. In particular, cultural biases towards the innovative style are discussed.

Adaptation, Psychological↗
PubMed1978

EEG differences as a function of creativity, stage of the creative process, and effort to be original.

Results of two experiments examining the relationship between creativity and EEG alpha wave presence are reported. In Experiment 1, it was found that more creative subjects exhibited higher alpha indices during an analogue of creative inspiration than during an analogue of creative elaboration. This pattern was not found in less creative subjects. In Experiment 2 a similar effect was found in a more controlled setting and shown to be specific to creative subjects when they are instructed to be original but not when they are given no such instructions. No consistent relationship between creativity and basal EEG alpha activity was found.

Alpha Rhythm↗
PubMed1997

Can salient reward increase creative performance without reducing intrinsic creative interest?

Two experiments, involving 416 preadolescent school children, investigated the effects of monetary reward on generalized creative performance and intrinsic creative interest. In Experiment 1, the explicit requirement of novel performance in 1 task (generating unusual uses for physical objects) produced greater subsequent creative performance in an entirely different task (picture drawing) when a large reward was used rather than a small reward or no reward. In Experiment 2, reward for novel performance increased subsequent intrinsic creative interest, measured here by the choice to produce original drawings rather than copy a familiar drawing. Intrinsic creative interest was reduced only by reward for uncreative performance. These findings suggest that the explicit requirement of novel performance for salient reward enhances generalized creativity without any loss of intrinsic creative interest.

Child↗
PubMed1988

Creativity and schizotypal traits. Creativity test scores and perceptual aberration, magical ideation, and impulsive nonconformity.

Using a nonclinical and noneminent population, this study demonstrates an overlap in creative and schizotypal traits in the areas of perceptual functioning, behavioral and personality styles, and interests. No such overlap is observed in the area of divergent thinking. A battery containing five creativity measures was administered to a group of college student subjects scoring high on either the Perceptual Aberration Scale or the Magical Ideation Scale (N = 52) and to a group of control subjects (N = 65). A multivariate analysis of variance indicated that subjects high on the schizotypal traits of Perceptual Aberration or Magical Ideation (Per-Mag subjects) differed significantly from control subjects on the five creativity tests. Per-Mag subjects scored significantly higher than control subjects on the Barron-Welsh Revised Art Scale, a measure of preferences for figures, and the How Do You Think, a biographical and personality measure. There was a tendency for female Per-Mag subjects to score higher than female control subjects on the Domino Creativity Scale of the Adjective Check List. Per-Mag and control subjects did not differ on the Gough Creative Personality Scale of the Adjective Check List or on the Alternate Uses test, a test of divergent thinking. Per-Mag subjects who scored above the median for their group and gender on the Impulsive Nonconformity Scale received the highest creativity scores on the Barron-Welsh Revised Art Scale and the How Do You Think, although these results only approached significance. These findings argue for the specificity of areas of similarity and difference in schizotypy and creativity.

Adult↗
PubMed1975

Creativity and cortical activation during creative, intellectual and EEG feedback tasks.

Thirty-two male subjects were divided into four groups based on their performance on the remote associates test and alternate uses test, two measures of creativity. Right EEG alpha presence was monitored under basal conditions, while subjects took tests of creativity and intelligence, and while they attempted to enhance and suppress the amount of alpha in a feedback situation. High scorers on the alternate uses test operated at a high percentage of basal alpha during all tests while high scorers on the remote associates test showed differential amounts of alpha presence across tests, with the highest percentage of basal alpha during tests of creativity and the lowest percentage during an intellectual test. Both high creative groups tended to show increases in amount of alpha across trials when trying to suppress alpha as well as when trying to enhance it, but did not differ in overall control from the low creative groups.

Alpha Rhythm↗
PubMed1987

Testing aspects of Carl Rogers's theory of creative environments: child-rearing antecedents of creative potential in young adolescents.

Longitudinal data involving 106 children and their parents were used to test preschool child-rearing implications of Carl Rogers's theory of creativity-fostering environments (Rogers, 1954). Indices were developed for each parent and for each mother-father combination that reflected the degree to which the parents' child-rearing practices and interactions with their preschool children matched the recommendations implicit in Rogers's description of a creativity-fostering environment. The three indices of Rogers-prescribed child-rearing practices each correlated positively (rs = .38 to .46) and significantly (all ps less than .001) with a composite index of creative potential in early adolescence, 7 to 11 years later. Rogers-prescribed preschool child-rearing practices also emerged as significant antecedents of adolescent creative potential in regression/path analyses that held constant the influence of sex, preschool intelligence, and preschool creative potential. Theoretical and methodological aspects of the study are discussed.

Adolescent↗
PubMed1995

Enduringness and change in creative personality and the prediction of occupational creativity.

Participants in a longitudinal study of women's adult development were scored at midlife on the Occupational Creativity Scale (OCS), which draws on J. L. Holland's (1985) model of vocational environments in the assessment of participants' creative achievement. College measures of cognitive-affective style and career aspirations predicted OCS scores at age 52, and consistency of creative temperament (H. G. Gough, 1992), motivation, and overall attributes of creative personality were demonstrated with both self-report and observer data over several times of testing. However, there was change along with this enduringness: Large fluctuations in creative temperament over one period of life or another were common in individuals, and OCS scores were associated with an increase in level of effective functioning over 30 years.

Adult↗
PubMed2003

Fantasy proneness, creative capacity, and styles of creativity.

The Creativity Styles Questionnaire-Revised was used to measure graduate psychology students' (N=173) self-perceptions of creative capacity and styles of creativity (beliefs about and strategies for going about being creative). Participants also completed the Inventory of Childhood Memories and Imaginings, a self-report measure of Fantasy Proneness. The Self-perceived Creative Capacity and Fantasy Proneness scores were significantly correlated (r=.36, p<.001), and these scores were positively correlated with the styles subscale scores of Belief in Unconscious Processes. Use of Techniques, Use of Senses, and negatively correlated with Final Product Orientation. Also, the Fantasy Proneness scores were positively correlated with the Superstition scores and the Environmental Control and Behavioral Self-regulation scores.

Adult↗
PubMed1991

[Creativeness and creative personalities--a study of successful entrepreneurs].

The term creativity is defined, and the underlying creative process is described. The creative process is developed with the help of the new metaphors. The two most successful and creative from over 130 entrepreneurs involved in a research project are taken as examples. The essentials of the creative process the inexhaustible process of the phantasy concerning certain ideas and problems is enlarged in connection with the results of the Giessen Test S and the two above-mentioned entrepreneurs.

Achievement↗
PubMed1999

Some notes on the 'heroic self' and the meaning and importance of its reparation for the creative process and the creative personality.

The author discusses a few points in a long clinical history from which he has derived the notion of 'heroic self', describing how it manifested through 'heroic' projective and introjective identifications. He also demonstrates the importance of repairing both the heroic self and the internal objects, and how essential it is for the analyst to differentiate between the heroic self and its megalomaniac psychopathic manifestations, and to recover the heroic self when it appears to be lost, as in the case of severe, quasi-melancholic, depression. By heroic self and heroic projective and introjective identifications, he means the creative person's specific need to associate himself with, to compete with and excel the heroes of his own cultural tradition. The creative person is able to do so via these projections and introjections, and the need is based on the creator's inner awareness of naturally possessing unusual, or even outstanding, gifts; in other words, the creative person has an awareness of being, or of the possibility of becoming, a creative hero. Brief reference is made throughout to other clinical material, and in the final section further support is given to the author's views on the heroic self with short quotations and examples from non-psychoanalytic sources that provide further interesting evidence of the existence and functioning of the heroic self. With particular reference to Segal's work in this field (1952, 1991), and her notion of 'meaningful form', the author tries to further develop its implications in the light of the heroic self and of the heroic projective and introjective identifications, as far as the creator and those who respond to and evaluate his or her work are concerned.

Creativity↗