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- 1Sternberg (1985)list characteristics of intelligent, clever person.
Creativity = nonentrenchment, integration, intellectuality, aesthetic taste, imagination, deicisional skill, flexibility - 2Systematic implicit theoriesconstructions by people that reside in the minds of these persons
- 3Runco & Sakamoto (1999)creativity most complex psychological constructs within western psychology
- 4Levin, Galin & Zywiak (1991)heterogeneous, poly-faceted concept
- 5Dacet & Madus (1969)creativity so complex it 'mitigates against a universally acceptable definiton'
- 6Barron (1979)Creativity = ability & propensity to bring something new into existence, drive or motivation to create rather than the production of a particular outcome. Human creativity may be eminent or everyday, and mental or externally manifested
- 7Treffinger, Renzulli & Feldusen (1971)'Semantic Fog' = vast array of conceptual approaches & definitions that hover around creativity research.
Creativity cultural or individual? Domain specific or general? - 8Adaptive Noveltydifficult to measure/operationalise
creativity is a process whereby new products/performances emerge,
they are 1) original novel, 2) useful, valuable or adaptive - 9Simonton (2000)investigated adaptive novelty
The 4P's of Creativity
1) cog processes involved in the creative act
2) the characteristics of the creative person
3) development/manifestation of creativity across lifespan
4) social environments most strongly associated with creative activity - 10Mooney (1963)four main differential approaches to creativity
1) person = personality
2) process = cognitive mechanisms
3) press = context/environment
4) product = creations, creative outcomes - 11Models of Creativityinteraction between cognition, personality and environmental variables
- 12The Creative Process Lubart (2000)'sequences of thoughts and actions that lead to a novel, adaptive production
- 13Wallas (1926) - 4 Phase Model1) Preparation
2) Incubation
3) Illumination
4) Verification - 14Evaluationnot all empirical research supports the model
model to be extended to include additional stages - such as problem finding
implication that creative process involves experiential shifts is clear
stage models are superficial (Guilford, 1950) - 15Guilford (1950)became the first leading figure in creativity research,
importance of increasing creativity research, 186/121000 - 16Sternberg & O'Hara (2000)5 possible ways in which creativity and intelligence are linked
- 17Creativity as a form of IntelligenceC a subset or form of intelligence is not new, C associated with novel/appropriate responses = clear component of I in creative thinking
- 18Guilford (1967)multi-dimensional model - intellectual operation was divergent production
multiple solutions to problems
if DP represents aspect of I, C is a subset - 19Problem?DT cannot be measured using MCQ's
objective scoring almost impossible - 20Cattell (1971)C is combination of primary skills (sensitivity, motor speed, rhythm, timing, judgement) = subset of fluid intelligence (gf)
- 21Gardner (1993)theory of multiple intelligences
C individuals = high levels of domain-revlevant abilities - 22Investment Theoryparadigmatic model, C precondition for I - extra ordinary ability to invest in ideas
'think differently & defy crowd' - 23Sternberg & O'Hara (2000)C helps individuals redefine problems - solve problems in new ways
3 aspects of I (synthetic, analytical, practical) underlie ID in C - 24Haensly & Reynolds (1989)C & I 'unitary phenomenon' - C ultimate manifestation of intellectual ability
- 25Weisberg & Alba (1981)no quali differences exist between C & I - same cog mechanisms employed when solving C & I problems
- 26Creativity and Intelligence unrelated constructsambigious empirical evidence, mutually exclusive almost - response = I, not C
need low unsig correlations but findings are opposite - 27Cox (1926)correlation between creative impact & intelligence sig but modest (r=.16)
- 28Barron (1963)correlations between I & C = r=.40
IQ higher than 120, scores poor predictor of C - 29Threshold Theorymin level of I required to be C.
I necessary but not sufficient for creative thinking (Schubert, 1973) - 30Barron (1963)creative, low intellect = affected, aggressive, demanding, dependent, forceful, impatient
high intelligence, low creativity = mild, optimistic, pleasant, quiet, unselfish - 31Eysenck (1999)substantial overlap between processes underpinning creative & psychopathological thinking
- 32Maslow (1971)humanistic psychologist
C associated with psychological health rather than mental disorders
C indiv = greater sense of self actualisation, longevity = associated with good physical health - 33Barron & Welsh (1952)psychoticism relate to aesthetic preference rather than creative output
no sig correlation between C & P, dislike art more than less psychotics - 34Merton & Fischer (1999)psychoticism levels significantly higher in 'creative' professions
- 35Chamorro-Premuzic & Furnham (2005)openness to experience - aesthetic preferences, values, fantasy, feelings, actions
should be interpreted as self reported measure of creativity - 36King, Walker & Broyles (1996)verbal creativity positively correlated with extraversion, openness, negatively correlated with agreeableness
- 37Feist (1998)traits most strongly distinguished creative from less creative were extraversion and openness
meta analysis - 38Chamorro-Premuzic & Furnham (2005)N, E & O + linked to C
A & C - correlated to C
combination of both personality & intelligence needed to explain & predict ID in creativity - 39Alternate Uses Testname all the things you can do with x object
scored in terms of orginality, fluency, flexibility & elaboration - 40Remote Associations Test30 item, psychometric test, single correct response between word groups;
remote/unusual associations indicate capacity to generate novel ideas - 41Torrance Test of Creativity & Thinking (TTCT)measures divergent production of semantic units
uses picture based and word based exercises to assess fluency, flexibility, originality, elaboration - 42Behavioural Paradigmnovel associations, insight, effects of experience, creativity is latent
- 43Biological Paradigmphysiological, brain structures, neural processes, right or left hemispherical activity, original ideas = lower levels of cortical arousal, creativity needs both
- 44Clinical Paradigmabnormal behaviour, cause/consequence of psychological disorder, 'mad-genius hypothesis' - connection between insanity & artistic creativity
- 45Cognitive Paradigmrole of cog processes, attention, memory, broader attention beneficial for C, expertise needed for CT as reduces flexibility
- 46Developmental Paradigmchanges in C throughout lifespan, characteristics of family influence C levels, gender & C = androgynous individuals - more flexible, more creative
- 47Educational Paradigmcontext of formal education, assess different teaching modalities influence C, policy & designing interventions, CT rather than divergent thinking
- 48Differential/Psychometric Paradigmleading approach, personality traits, independent area of ID, four major perspectives: person, process, product, press
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- Fichas sobre Sin título, creado por daisy.gibson el 11/05/2014.
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