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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↗
PubMed2006

The curvilinear relation between experienced creative time pressure and creativity: moderating effects of openness to experience and support for creativity.

This study examined the possibility of a curvilinear relation between the creative time pressure employees experience at work and their creativity. The authors also examined whether this curvilinear relation was moderated by employees' scores on the openness to experience personality dimension and by the support for creativity employees received from supervisors and coworkers. Data were obtained from 170 employees and 10 supervisors of a manufacturing organization. Results showed an inverted U-shaped creative time pressure-creativity relation for employees who scored high on openness to experience while simultaneously receiving support for creativity. The authors discussed the implications of these results for future research and practice.

Adult↗
PubMed2006

Temperament-creativity relationships in mood disorder patients, healthy controls and highly creative individuals.

OBJECTIVE: To investigate temperament-creativity relationships in euthymic bipolar (BP) and unipolar major depressive (MDD) patients, creative discipline controls (CC), and healthy controls (HC). METHODS: 49 BP, 25 MDD, 32 CC, and 47 HC (all euthymic) completed three self-report temperament/personality measures: the Revised NEO Personality Inventory (NEO-PI-R), the Temperament Evaluation of the Memphis, Pisa, Paris, and San Diego Autoquestionnaire (TEMPS-A), and the Temperament and Character Inventory (TCI); and four creativity measures yielding six parameters: the Barron-Welsh Art Scale (BWAS-Total, BWAS-Like, and BWAS-Dislike), the Adjective Check List Creative Personality Scale (ACL-CPS), and the Torrance Tests of Creative Thinking--Figural (TTCT-F) and Verbal (TTCT-V) versions. Factor analysis was used to consolidate the 16 subscales from the three temperament/personality measures, and the resulting factors were assessed in relationship to the creativity parameters. RESULTS: Five personality/temperament factors emerged. Two of these factors had prominent relationships with creativity measures. A Neuroticism/Cyclothymia/Dysthymia Factor, comprised mostly of NEO-PI-R-Neuroticism and TEMPS-A-Cyclothymia and TEMPS-A-Dysthymia, was related to BWAS-Total scores (r=0.36, p<0.0001) and BWAS-Dislike subscale scores (r=0.39, p<0.0001). An Openness Factor, comprised mostly of NEO-PI-R-Openness, was related to BWAS-Like subscale scores (r=0.28, p=0.0006), and to ACL-CPS scores (r=0.46, p<0.0001). No significant relationship was found between temperament/personality and TTCT-F and TTCT-V scores. CONCLUSIONS: Neuroticism/Cyclothymia/Dysthymia and Openness appear to have differential relationships with creativity. The former could provide affective (Neuroticism, i.e. access to negative affect, and Cyclothymia, i.e. changeability of affect) and the latter cognitive (flexibility) advantages to enhance creativity. Further studies are indicated to clarify mechanisms of creativity and its relationships to affective processes and bipolar disorders.

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↗
PubMed2006

Creativity with dementia patients. Can creativity and art stimulate dementia patients positively?

BACKGROUND: Creative activities could be stimulating for dementia patients. This article gives a review of practical forms of treating dementia patients with art therapeutic indications. It is also a ground for long-term research objective: in brief, I take exception to such a view, contrary to the common belief in the society and some professionals in the healthcare of dementia patients, on the ground that the patients do not have the capacity to improve their own creativity. METHODS: The theory of cognition tells us about the principle of being creative as a basis for human life. This specific principle is effective for the aged as well. In the long-term, the creative potential of old patients will be unblocked in individual and group therapy sessions. RESULTS: Creative activity has been shown to reduce depression and isolation, offering the power of choice and decisions. Towards the end of life, art and creativity offer a path of opening up the windows to people's emotional interiors. CONCLUSIONS: Creative- and art therapy provides possibilities that are mostly indicated to sharpen the capacity of the senses and the patients' propensity to act themselves. Nonverbal therapy methods, such as painting, music, etc., are able to influence the well-being of the patients positively, within the modern healthcare system in nursing homes. The elderly and some of the dementia patients take the initiative to combine creativity and arts and to define his/her feeling for aesthetical matters. Furthermore, group therapy sessions help against isolation and lack of life perspective and hope.

Aged↗
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↗
PubMed2006

[The concept of creativity--and everyday creativity].

The author is of the opinion that creativity is not a single personal trait, but a set of of traits. Basic elements of the concept of creativity include intelligence, intensive interest, knowledge, originality (ideas), creative instinct, non-conformity, courage, and persistence. Creativity can manifest itself in various areas of life; and in its various stages, some of them are in the forefront and some of them in the background. The author makes a distinction between "exceptional creativity" and "everyday creativity". The former may give rise to important works, which are significant for the whole society and bring fame, while the latter occurs in everyday life activities involving certain degree of originality, such as writing poems or developing valuable collections. The characteristics mentioned above are essential for achieving "exceptional creativity"; however, a lesser degree of these are required for everyday creativity, as in this case the requirements are not so high. When important works are created, determination of the individual and a stimulating environment, including the family, educators and schools, play a significant role.

Art↗
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↗