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How to kill creativity.

In today's knowledge economy, creativity is more important than ever. But many companies unwittingly employ managerial practices that kill it. How? By crushing their employees' intrinsic motivation--the strong internal desire to do something based on interests and passions. Managers don't kill creativity on purpose. Yet in the pursuit of productivity, efficiency, and control--all worthy business imperatives--they undermine creativity. It doesn't have to be that way, says Teresa Amabile. Business imperatives can comfortably coexist with creativity. But managers will have to change their thinking first. Specifically, managers will need to understand that creativity has three parts: expertise, the ability to think flexibly and imaginatively, and motivation. Managers can influence the first two, but doing so is costly and slow. It would be far more effective to increase employees' intrinsic motivation. To that end, managers have five levers to pull: the amount of challenge they give employees, the degree of freedom they grant around process, the way they design work groups, the level of encouragement they give, and the nature of organizational support. Take challenge as an example. Intrinsic motivation is high when employees feel challenged but not overwhelmed by their work. The task for managers, therefore, becomes matching people to the right assignments. Consider also freedom. Intrinsic motivation--and thus creativity--soars when managers let people decide how to achieve goals, not what goals to achieve. Managers can make a difference when it comes to employee creativity. The result can be truly innovative companies in which creativity doesn't just survive but actually thrives.

Administrative Personnel↗

Creativity under the gun.

If you're like most managers, you've worked with people who swear they do their most creative work under tight deadlines. You may use pressure as a management technique, believing it will spur people on to great leaps of insight. You may even manage yourself this way. If so, are you right? Not necessarily, these researchers say. There are instances where ingenuity flourishes under extreme time pressure--for instance, a NASA team within hours comes up with a primitive but effective fix for the failing air filtration system aboard Apollo 13. But when creativity is under the gun, it usually ends up getting killed, the authors say. They recently took a close look at how people experience time pressure, collecting and analyzing more than 9,000 daily diary entries from individuals who were working on projects that required high levels of creativity and measuring their ability to innovate under varying levels of time pressure. The authors describe common characteristics of time pressure and outline four working environments under which creativity may or may not flourish. High-pressure days that still yield creativity are full of focus and meaningful urgency--people feel like they are on a mission. High-pressure days that yield no creativity lack such focus--people feel like they are on a treadmill, forced to switch gears often. On low-pressure days that yield creativity, people feel like they are on an expedition--exploring ideas rather than just identifying problems. And on low-pressure days that yield no creative thinking, people work on autopilot--doing their jobs without engaging too deeply. Managers should avoid extreme time pressure when possible; after all, complex cognitive processing takes time. For when they can't, the authors suggest ways to mollify its effects.

Administrative Personnel↗

[Leonardo in the river--creative behavior of students in a salutogenic perspective].

OBJECTIVE: The presented research is aimed at showing mutual interdependencies between the sense of coherence and creative behaviour in students. This is another attempt at explaining relationships between health and creativity, which were previously usually narrowed down to psychic health. Therefore, the basic problem of the presented research concerns health and creativity at large, without limiting either the first or the second element, for example to the situation of renowned creators like Leonardo da Vinci quoted in the title. METHODS: The research covered a group of 50 students. The empirical material was collected with the A. Antonovski's Life Orientation Questionnaire and S. Popek's Creative Behaviour Questionnaire. RESULTS AND CONCLUSIONS: The results of the research allows the following findings, inter alla: There is a weak positive relationship between the creative attitude of the researched students and the sense of coherence. One can say that creative behaviour in students only slightly affect health. The strongest positive correlation was found between non-conformist as an element in the creative attitude and the sense of manageability. The re-creative attitude, including algorithmic and conformist behaviour indicates clear, systematically negative relationship with the sense of coherence, thus not being conductive to health.

Adult↗

America's looming creativity crisis.

The strength of the American economy does not rest on its manufacturing prowess, its natural resources, or the size of its market. It turns on one factor--the country's openness to new ideas, which has allowed it to attract the brightest minds from around the world and harness their creative energies. But the United States is on the verge of losing that competitive edge. As the nation tightens its borders to students and scientists and subjects federal research funding to ideological and religious litmus tests, many other countries are stepping in to lure that creative capital away. Ireland, Canada, Australia, New Zealand, Denmark, and others are spending more on research and development and shoring up their universities in an effort to attract the world's best--including Americans. If even a few of these nations draw away just a small percentage of the creative workers from the U.S., the effect on its economy will be enormous. In this article, the author introduces a quantitative measure of the migration of creative capital called the Global Creative-Class Index. It shows that, far from leading the world, the United States doesn't even rank in the top ten in the percentage of its workforce engaged in creative occupations. What's more, the baby boomers will soon retire. And data showing large drops in foreign student applications to U.S. universities and in the number of visas issued to knowledge workers, along with concomitant increases in immigration in other countries, suggest that the erosion of talent from the United States will only intensify. To defend the U.S. economy, the business community must take the lead in ensuring that global talent can move efficiently across borders, that education and research are funded at radically higher levels, and that we tap into the creative potential of more and more workers. Because wherever creativity goes, economic growth is sure to follow.

Commerce↗

Hemispheric specialization and creativity.

The results of an experimental study on commissurotomy (split-brain) patients and normal control subjects illuminate the difference in creativity. The surgical disconnection of transcallosal interhemispheric exchange and of any access or communication between the two hemispheres creates in commissurotomy patients an outstanding lack of creativity which could be demonstrated on a lexical, sentential, global, affective, and EEG-analysis level. In contrast to split-brain or alexithymic people, expressive-creative persons verbalized their presentational symbolization and imagery of the right hemisphere which was transformed via corpus callosum to the left hemisphere, called symbollexia. Thus, creativity can be understood as the opposite of alexithymia. The hypothetical concept of creativity as hemispheric bisociation was supported by EEG findings, suggesting an inhibition and lack of inner speech between the two language centers in alexithymic people versus a higher interhemispheric coherence level in expressive-creative persons. Further on, the difference of expressed feelings of anxiety and hostility suggests a restrictive set of rules and of early superego components in commissurotomy patients in contrast to expressive-creative people who empathically experience and verbalize their anxiety about death and are open to the experience of their being in the world as an act of creation. Finally, the vignette of a creative patient whose left hemisphere was overflooded by affects and imagery, expressed in her pictures, illuminates the importance of a balanced transcallosal symbollexia and hemispheric bi-sociation in psychotherapy.

Affective Symptoms↗

[Artistic creativity and bipolar mood disorder].

BACKGROUND: Several studies and theories propose a connection between psychopathology and artistic creativity i.e. madness and genius characters share common roots. OBJECTIVE: Employing scientific research data, the objective of this review is to elucidate the frequency of psychopathological alterations among writers and artists and to analyse the possible influence of bipolar mood disorder spectrum on the artistic creativity. METHOD: Reviewing studies a) on retrospective investigations, based on biographies of famous persons with high creative achievements, b) on psychiatric examinations of living writers and artists, c) on individual examples of geniuses in the light of their mental status and work output correlations, and d) on creative traits and skills of diagnosed psychiatric patient populations. RESULTS: Beyond the practical experiences and impressions being held for ages from ancient times, the scientific observations and surveys indicate that psychopathological symptoms, especially those belonging to the bipolar mood disorder (bipolar I and II), major depression and cyclothymia categories occur more frequently among writers, poets, visual artists and composers, compared to the rates in the general population. Self-reports of writers and artists describe symptoms in their intensively creative periods which are reminiscent and characteristic of hypomanic states. Further, cognitive styles of hypomania (e.g. overinclusive thinking, richness of associations) and originality-prone creativity share many common as indicated by several authors. Among the eminent artists showing most probably manic-depressive or cyclothymic symptoms were: E. Dickinson, E. Hemingway, N. Gogol, A. Strindberg, V. Woolf, Lord Byron (G. Gordon), J. W. Goethe, V. van Gogh, F. Goya, G. Donizetti, G. F. Händel, O. Klemperer, G. Mahler, R. Schumann, and H. Wolf. Based on biographies and other studies, brief descriptions are given in the present article on the personality character of Gogol; Strindberg, Van Gogh, Händel, Klemperer, Mahler, and Schumann. Further example is the enigmatic silence and withdrawal from opera composing of Gioacchino Rossini (1792-1868), which is still a matter of various theories and explanations. Until his life of 37 years he composed 39 operas and lived almost another 40 years without composing any new one. Biographies show that severe depressive sufferings played a role in that withdrawal and silence, while in his juvenile years most probably hypomanic personality traits contributed to the extreme achievements and very fast composing techniques. Analysing the available biographies of Rossini and the character of music he composed (e.g. opera buffa, Rossini crescendo) strongly suggests the medical diagnosis of a bipolar affective illness. CONCLUSION: Comparing to the general population, bipolar mood disorder is highly overrepresented among writers and artists. The cognitive and other psychological features of artistic creativity resemble many aspects of the hypomanic symptomatology. It may be concluded that bipolar mood traits might contribute to highly creative achievements in the field of art. At the same time, considering the risks, the need of an increased medical care is required.

Biographies as Topic↗

Frontotemporal and dopaminergic control of idea generation and creative drive.

This article presents a three-factor anatomical model of human idea generation and creative drive, focusing on interactions between the temporal lobes, frontal lobes, and limbic system. Evidence is drawn from functional imaging, drug studies, and lesion analysis. Temporal lobe changes, as in hypergraphia, often increase idea generation, sometimes at the expense of quality. Frontal lobe deficits may decrease idea generation, in part because of rigid judgments about an idea's worth. These phenomena are clearest in verbal creativity, and roughly parallel the pressured communication of temporal lobe epilepsy, mania, and Wernicke's aphasia-compared to the sparse speech and cognitive inflexibility of depression, Broca's aphasia, and other frontal lobe lesions. The phenomena also shape non-linguistic creativity, as in that of frontotemporal dementia. The appropriate balance between frontal and temporal activity is mediated by mutually inhibitory corticocortical interactions. Mesolimbic dopamine influences novelty seeking and creative drive. Dopamine agonists and antagonists have opposite effects on goal-directed behavior and hallucinations. Creative drive is not identical to skill-the latter depends more on neocortical association areas. However, drive correlates better with successful creative output than skill does. Traditional neuroscientific models of creativity, such as the left brain - right brain hemispheric model, emphasize skills primarily, and stress art and musical skill at the expense of language and mathematics. The three-factor model proposed here predicts findings in a broad range of normal and pathological states and can be tested in many experimental paradigms.

Creativity↗

Drinking and creativity: objective and subjective effects.

A literature characterized by considerable speculation but a paucity of empirical studies prompted this experiment on the relation between drinking and creativity. After being queried about how they believed alcohol would affect their creative performance, 40 male undergraduate social drinkers were assigned to one of four treatments in a balanced placebo design. Those actually receiving alcohol consumed a mixture containing .6 g of ethanol per kg of body weight. All subjects then completed the entire Figural portion and the Unusual Uses subtest of the Verbal portion of the Torrance Tests of Creative Thinking. Posttesting explored subjects' own evaluations of their creative products and the kinds of attributions they made about factors contributing to the outcomes. Results showed minimal effects of beverage manipulations on measured creativity even when a priori belief and concurrent mood scores were covaried. However, those individuals who thought they had received alcohol gave significantly more positive evaluations of their creative performances than did subjects who believed they were in the non-alcohol treatments. Subjects did not attribute changes in creativity to drinking. Theoretical and practical implications of these findings were discussed.

Adolescent↗

Definition and empirical characterization of creative processes.

Creative processes exhibit a new, thus far unrecognized, form of dynamical behavior distinct from the known classes of mechanical and chaotic dynamics. We present quantitative methods of time series analysis that distinguish creative processes from random and chaotic systems. Creative processes exhibit diversification, indicating an expanding phase space volume, which contrasts with processes that converge to equilibrium, or to periodic or chaotic attractors. Creative processes exhibit novelty, that is, they produce less recurrence than obtains from random series. Creative processes exhibit arrangement, a measure of patterned recurrences that indicates nonrandom complexity. These three measures, diversification, novelty, and arrangement, reliably identify creative dynamics and distinguish creativity from chaos and from randomness.

Affect↗

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.

Career Choice↗

Hypothalamic digoxin, hemispheric chemical dominance, and creativity.

The human hypothalamus produces an endogenous membrane Na(+)-K+ ATPase inhibitor, digoxin, which regulates neuronal transmission. The digoxin status and neurotransmitter patterns were studied in creative and non-creative individuals, as well as in individuals with differing hemispheric dominance, in order to find out the role of cerebral dominance in this respect. The activity of HMG CoA reductase and serum levels of digoxin, magnesium, tryptophan catabolites, and tyrosine catabolites were measured in creative/non-creative individuals, and in individuals with differing hemispheric dominance. In creative individuals there was increased digoxin synthesis, decreased membrane Na(+)-K+ ATPase activity, increased tryptophan catabolites (serotonin, quinolinic acid, and nicotine), and decreased tyrosine catabolites (dopamine, noradrenaline, and morphine). The pattern in creative individuals correlated with right hemispheric dominance. In non-creative individuals there was decreased digoxin synthesis, increased membrane Na(+)-K+ ATPase activity, decreased tryptophan catabolites (serotonin, quinolinic acid, and nicotine), and increased tyrosine catabolites (dopamine, noradrenaline, and morphine). This pattern in non-creative individuals correlated with that obtained in left hemispheric chemical dominance. Hemispheric chemical dominance and hypothalamic digoxin could regulate the predisposition to creative tendency.

Adult↗

Effects of explicit instructions to "be creative" on the psychological meaning of divergent thinking test scores.

The Alternate Uses Test was administered to 50 undergraduate males instructed to produce creative (i.e., novel and worthwhile) uses and to 55 comparable subjects simply instructed to produce as many uses as possible. All uses were rated for creativity. An index of self-assessed creative thinking ability correlated significantly more strongly (p less than .05) with the number of creative uses produced in the qualitatively-oriented condition than with the number of creative or total uses produced in the standard, quantitatively-oriented condition. The correlation between self-rated creative ability and creative uses production in the qualitatively-oriented condition remained significant (p less than .001) after indices of achievement motivation and general verbal aptitude were partialled out. The results were interpreted as demonstrating the value of coordinating informative divergent thinking test instructions with qualitative scoring criteria.

Achievement↗

Mental illness and creative activity in female writers.

OBJECTIVE: This study addressed three questions. Are female writers more likely to suffer from mental illness than members of a matched comparison group? If so, does a familial basis exist for their psychopathology and creativity? What factors predict overall creativity in women? METHOD: Questionnaire and interview data were obtained on 59 female writers and 59 members of a matched comparison group. These data were used to assess overall creativity and to identify psychiatric disorders in subjects and their first-degree relatives. RESULTS: Female writers were more likely than members of the comparison group to suffer not only from mood disorders but from drug abuse, panic attacks, general anxiety, and eating disorders as well. The rates of multiple mental disorders were also higher among writers. Although there was evidence for the familial transmission of psychopathology, physical or sexual abuse during childhood also loomed as a potential contributor to later psychological difficulties. Creativity also appeared to run in families. The cumulative psychopathology scores of subjects, their reported exposure to sexual or physical abuse during childhood, mental difficulties in their mothers, and the combined creativity scores of their parents represented significant predictors of their overall creativity. CONCLUSIONS: The high rates of certain emotional disorders in female writers suggested a direct relationship between creativity and psychopathology. But the relationship was not necessarily a simple one. As the results of the predictive analysis indicated, familial and environmental factors also appeared to play an important role.

Adult↗

Reflections on creativity and madness.

The author reflects on the long-assumed relationship between creativity and madness. He comes to the conclusion that, while not a prerequisite, a touch of madness could enhance creativity. He attempts to define creativity and breaks it down into the basic elements of creative person, creative process, and creative product. He touches on the influence of a particular culture on the emergence of creative works.

Creativity↗

Play, creativity, and adaptive functioning: implications for play interventions.

Discussed the importance of play in creative problem solving and its implications for play interventions. Theory and research in the areas of play and creative cognitive processes and play and creative affective processes are reviewed. Play has been associated with the development of creative problem solving. Creative problem solving is thought to be a resource for everyday coping and adjustment. Play intervention studies that investigate the effects of specific aspects of play on specific criteria would be appropriate for the creative problem-solving and coping area. A systematic program integrating laboratory research on play and creativity, research on play techniques, and play intervention with specific populations is needed.

Adaptation, Psychological↗

Enhancing creativity to improve palliative care: the role of an experiental self-care workshop.

Creativity plays an important part in all aspects of life. Although the nature of creativity is hypothesized in a variety of ways, there is no common agreement as to how or why it manifests. In the USA and UK, creative ability is often restricted by education, and nursing education programmes appear to be no exception. This article discusses the development of a weekend workshop programme for health professionals working with older people and in palliative care, using Alligood's (1991) hypotheses, that there are positive correlations between creativity, self-actualization and empathy. Actualization and creativity are closely related to self-care and there is evidence that 'selfishness' is an essential ingredient in the actualizing process. There is also evidence that an empathic relationship between health workers and their patients has a significant positive impact on interpersonal care processes. If the creative potential of nurses and carers can be enhanced through self-care, their ability to empathize may be increased. The focus of the workshops is on creative methods of self-care, using experiential exercises in relaxation, music, touch, massage and silence. Evaluation of the workshops revealed that the potential of using this method to develop care practices is worthy of investigation and development.

Creativity↗

The unconscious and the creative process.

Both psychologist and writer, the author describes the creative process from research, psychological, psychoanalytic, and personal experiential perspectives. The approaches of Ernest Hemingway, Stephen King, and W. Somerset Maugham to their work are very different, illustrating that the expression of creativity is idiosyncratic and unique. Examples of the author's creative process are also presented. Creativity can be used to help the writer come to terms with and to master his or her conflicts as described by Ray Bradbury. It can also be used simply to discharge those conflicts without coming to terms with them as was the work of Sylvia Plath. The relation between dreaming and creativity is discussed. Creativity is viewed not only as a vehicle for self-expression but also as a vehicle for self-discovery. The therapist's creativity and its relevance to the treatment process is also pointed out.

Creativity↗

Psychoanalysis and creative living.

Psychoanalysis is ambivalent about creativity and its own creative potential. On the one hand, psychoanalysis offers enormous resources for elucidating obstacles to creativity, that way of living, making and relating to self and others that is fresh, vital, unpredictable and open to feedback and evolution. On the other hand, when we analysts know too much beforehand about what a work of art really means or the fundamental and singular motives of creativity, then psychoanalysis unconsciously partakes of a perverse scenario in which the work of art serves as merely a means to the author's ends and is psychologically colonized. When psychoanalysis is The Discipline That Knows, then art has nothing new to teach psychoanalysts and our field is impoverished. "Psychoanalysis and Creative Living" attempts to elucidate how psychoanalysis could work through this tension between its creative and perverse possibilities and foster creative living.

Art↗