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Creativity

Jasmine Stow U24125: Personality and Individual Differences Inglés 73 fichas

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  1. 1(Torrance, 1975)“A set of abilities, skills, motivations
    and states linked to dealing with
    problems”
  2. 2(Vernon, 1989)“A person’s capacity to produce ideas,
    inventions, artistic objects, insights
    and products evaluated highly by
    experts”
  3. 3(Feldhusen & Goh, 1995)“A complex mix of motivational
    conditions, chance factors and
    end products”
  4. 4(Feist, 1998)“Creative thought or behaviour
    must be novel-original and
    useful-adaptive”
  5. 5(Sternberg & O’Hara, 2000)“the production of an idea
    or product that is both
    novel and useful”
  6. 6(Prentky, 2001)‘‘What creativity is, and what it is
    not, hangs as the mythical
    albatross around the neck of
    scientific research on creativity’’
  7. 7Most definitions of ‘creativity’ tend to include variations on two criterion:- Novel or original
    - Useful, adaptive or functional
  8. 8In general definitions also tend to relate to four different areas…1)The person who creates;
    2)The processes involved in the creation of those ideas;
    3)The product that results from this creative activity;
    4)The place or environment factors conducive to creativity;
    (Rhodes, 1961)
  9. 9“the production of an idea or product that is both novel and useful”(Sternberg & O’Hara, 2000)
  10. 10Problem 1:- Very few ideas are truly ‘original’ or new, and are
    often derived from earlier ideas.
  11. 11Problem 2:- The “usefulness” of an idea / product is subjective, and depends on the demands of the situation.
  12. 12For many years, creativity researchers assumed that ‘creativity’ was one, all-purpose skill… but...creativity is domain general, e.g. musician, engineer and painter can do all of them
  13. 13‘domain-specific’…i.e.
    Individuals who exhibit creativity in one domain will not necessarily be creative in another.
  14. 14Psychologist believe that there are two types of creativitybig c and little c
  15. 15“Big C”(eminent) creativity
    - Creative genius
    - Relatively rare displays of creativity that have a major societal/cultural impact.
  16. 16“Little c”creativity
    - Everyday creativity
    - Daily problem solving & ability to adapt to change;
    output has no real impact on wider world
  17. 17We are all ‘creative’ to some extent…When assessed psychometrically, “little-c” creativity tends to follow a normal distribution.
  18. 18very few big c...When creativity is assessed in terms of real-life production or achievement, this distribution becomes skewed toward a
    relatively small group of gifted creators.
  19. 19‘Creativity’ can be measured in a variety of different ways: (9)- Divergent thinking tests
    - Attitude & interest inventories
    - Personality inventories
    - Biographical inventories
    - Teacher & peer nominations
    - Supervisor ratings
    - Judgements of products
    - Eminence
    - Self-reported activities & achievements
  20. 20Convergent thinking- Concerned with identifying the one, “correct” solution to a problem.
    - Individuals apply logic & previous knowledge to narrow down to the answer.
  21. 21Divergent thinking- Concerned with identifying as many different possible solutions to a problem.
    - Individuals explore ideas and new associations between concepts to identify several answers.
  22. 22Several different measures of creativity have been designed to assess divergent thinking… (5)- Unusual uses test
    - Consequences test
    - Word association test
    - Remote associations test
    - Torrance test of creative thinking
  23. 23Alternate / unusual uses test Name?(Guilford, 1954, 1967)
  24. 24J.P. Guilford (1954, 1967) The alternative/unusual uses test:- Originally designed to measure an
    individual’s “flexibility of thinking”.
    - Participants are asked to list as many
    possible uses for a common household
    item (e.g. a cup, brick, newspaper)
  25. 25J.P. Guilford (1954, 1967) Consequences testParticipants are asked to imagine the possible consequences of several different hypothetical situations / events.
  26. 26Word association test (Getzels & Jackson, 1962)Participants are simply asked to write as many meaning as they can for different words.
  27. 27Remote associations test (Mednick, 1962; Mednick & Mednick, 1967)Participants are asked to identify the fourth word that is associated with three unrelated words
  28. 28Torrance test of creative thinking (Torrance, 1974)Participants are given a battery of different tests that are intended to assess divergent thinking & problem-solving skills…
  29. 29Tests of divergent thinking are the most commonly used measure of creativity… because...- Tests are easy to administer.
    - Offers a straightforward & convenient
    way to compare people.
    - Scoring systems allows ‘creativity’ to be
    quantified & measured.
    - Tests can be used with both adults and children.
  30. 30Divergent thinking test prosDivergent thinking test scores
    have been found to predict
    creative achievement in a variety
    of different settings.
    (i.e. predictive validity)
  31. 31Divergent thinking test cons- The associations found between divergent thinking & creative achievement are often weak.
    - Tests to focus only on idea-generation; fail to reflect the evaluative aspects of creativity.
    - Do fluency, originality, flexibility & elaboration scores really assess ‘creativity’?
  32. 32cons continued- DT scores do not differentiate between
    highly creative (eminent) individuals &
    moderately creative people. - Perhaps it is unrealistic to expect that creativity
    solely depends on one cognitive skill?
    - Creativity might be ‘domain-specific’ – focussing on divergent thinking might be misguided.
  33. 33Consensual assessment technique (Amabile, 1983)- Self-report measures have been criticised
    for their lack of real-world validity
  34. 34Assumption: The best way to assess the creativity of something is to ask a panel of experts in that field.The CAT is not based on any particular theory of creativity (i.e. atheoretical).
    - Considered to work well for both domain-general & domain-specific creativity.
    - Now regarded as the “gold standard” for creativity assessment (Carson, 2006)
  35. 35How does CAT work?1. Individuals are asked to create
    something… (e.g. a poem, a short story, a composition, experimental design)
    2. Experts in the domain are then asked to (independently) evaluate / rate the creativity of the things they have made.
  36. 36CAT pros?The CAT assesses actual creative performance, rather than skills that might contribute to creativity.
    - Expert ratings tend show high inter-rater reliability (r = .72 – .93). (Amabile, 1983) - High ecological validity (i.e. seems to mimic the way creativity is assessed in the real-world)
  37. 37CAT cons?- Resource intensive
    - Impractical & time-consuming
    - Who decides what is & isn’t an
    appropriate creative task?
    - What qualifies someone as an ‘expert’?
    - Focused exclusively on creative ‘products’
  38. 38What could link to creativity?Early work using biographical measures found a link between creativity & intelligence…
  39. 39Cox (1929) Used encyclopaedia entries to retrospectively estimate the intelligence & creativity of 301 ‘eminent’ individuals who lived between 1450 & 1850.- Creative impact was measured in terms of length of biographic articles;
    - IQ estimates were based on their intellectual achievements;
    Although the methodology was clearly
    problematic, a significant correlation (r = .16) was found between creativity & intelligence.
  40. 40Baron (1963)Participants (i.e. students, army officers, writers, artists & businessmen) were
    asked to complete divergent thinking and intelligence tests. - Found evidence for a modest relationship between creativity & intelligence (r = .40). - However, it was also noted that when participants’ IQ exceeded 120, the same relationship was significantly weaker
  41. 41It has been proposed that a minimum or ‘threshold’ level of intelligence is required for creative thinking…i.e. ‘Threshold theory of creativity’ (Guilford, 1967)
  42. 42‘Threshold theory of creativity’IQ = 120
    - The correlation between creativity &
    intelligences drops significantly when
    IQ scores exceed 120.
    This suggests that high intelligence is
    necessary for creative thinking, but it
    is not the only factor...
  43. 43‘Three-ring theory of giftedness’ (Renzulli, 1978; 1986)Renzulli (1978, 1986) suggested that
    high intelligence, creativity and task
    commitment were all likely to overlap for
    gifted individuals.
  44. 44Creativity & the ‘big five’Openness to experience is the most
    significant ‘personality predictor’ of creativity. (see Batey & Furnham, 2006 for a review)
    e.g. - Divergent thinking found to be consistently associated with self-report & peer ratings of openness (McCrae, 1987)
  45. 45Creativity & the ‘big five’However, measures of creativity have also
    been related to other aspects of personality…
  46. 46- Divergent thinking positively related to extraversion.(e.g. Chamorro-Premuzic & Reichbacher, 2008)
  47. 47- Psychoticism found to correlate with measures of creativity & creative achievements.(e.g. Woody & Claridge, 1977; Gotz & Gotz, 1979)
  48. 48- Neuroticism linked to creativity for artists, but not for scientists(Feist, 1999)
  49. 49Perhaps different personality traits underlie different domains of creativity?(i.e. domain-specificity)
  50. 50Feist (1998) Based on a meta-analysis of over 80 studies it was concluded that highly creative individuals are…- More autonomous
    - Open to new experiences
    - Norm-doubting
    - Self-confident
    - Self-accepting
    - Ambitious / driven
    - Impulsive
  51. 51“Creativity holds an intermediate position between intelligence and personality, because creative productions imply both an ability to think fluently and flexibly and inclination to do so.”(Zeidner, 1995)
  52. 52‘Creative’ individuals might be suffering from some kind mental disorder...i.e. Many people think there is a “fine line between genius & insanity”
  53. 53DepressionThere is limited evidence to suggest there is a correlation between creative
    achievement & the incidence of mood disorders.
  54. 54(e.g. Andreasen, 1987; Ludwig, 1994)- Creative writers are found to experience depression at significantly
    higher rates than the general population.
  55. 55(e.g. Ludwig, 1995, Post, 1996)- Analyses of the biographies of people who have achieved ‘creative eminence’ (esp. writers, poest & artists) showed higher prevalence of mood disorders & other psychological disorders.
  56. 56Eysenck (1999)believed there was considerable
    overlap between the processes that underpin creative & psychopathological thinking.
  57. 57Psychoticism is known to correlate highly with measures of divergent & original thinking(e.g. Farmer, 1974; Woody & Claridge, 1977)
  58. 58Whilst psychoticism might predispose individuals to creative thinking, it might also lead them to...reject existing social norms,
    to behave in an impulsive, disinhibited & anti-social manner.
  59. 59The supposed link with mental illness seems to be inconsistent with humanistic perspectives on creativity…For humanistic psychologists, creativity is associated with psychological heath, not mental disorder. e.g. Hierarchy of needs
    (Maslow, 1943, 1954)
  60. 60Although suggestive of a link, the evidence for a relationship between psychopathology & creativity is open to question…- The link with mental disorders is often based on retrospective, biographical accounts.
    - Modern creativity tests are unlikely to assess the kind of creative thinking employed by an eminent artist, composer or writer.
  61. 61‘Creative’ and non-creative individuals seem to be motivated by different things...- Creative individuals tend to be more intrinsically motivated (i.e. they engage in a task simply because they enjoy it, regardless of the rewards).
    - Whereas their less creative counterparts
    tend to be more extrinsically motivated.
  62. 62“Creativity is often obvious in young children, but it may be harder to find in older children and adults because their creative potential has been suppressed by a society that encourages intellectual conformity”(Sternberg, 2006)
  63. 63Traditionally, schools tend to praise & reward convergent thinking…Education -Standardised tests actively discourage creative & original thinking.
    - Creative thinking, artistic ability & curiosity have all been found to decline soon after children enter elementary school. (e.g. Axtell, 1966; Gardner, 1982; Torrance, 1967)
  64. 64how do artist get through this system?Perhaps ‘creative’ individuals are those who have managed to resist the pressure to conform to social norms & expectations of teachers?
  65. 65‘confluence approach’.Individual differences in creativity are likely to reflect a complex interaction of factors… this idea is known as the ‘confluence approach’. Whilst initial insights were helpful, it is now increasingly clear that several different
    factors must all converge to facilitate creative thinking…
  66. 66Creativity may require the ‘confluence’ of several interacting factors…1. Intellectual ability
    2. Knowledge
    3. Styles of thinking
    4. Personality
    5. Motivation
    6. Environment
  67. 671. Intellectual ability- The creative ability to think about problems in new ways
    - The analytic ability to recognise which ideas are worth pursuing - The practical skills to persuade others of these new ideas (Sternberg, 1985)
  68. 682. Knowledge- You need to know enough about the subject to contribute meaningfully, but not so much that your ideas are entrenched in established thinking.
  69. 693. Styles of thinking- A willingness to think along new lines, and to think both globally & locally
  70. 704. Personality- Individuals should show an openness to new experiences, a willingness
    to take sensible risks and a tolerance for ambiguity.
  71. 715. Motivation- Creative individuals tend to exhibit an intrinsic, task-focused motivation
    orientation, or an ability to find intrinsic motivation in any given task.
  72. 726. Environment- Individuals are most likely to be ‘creative’ when working in an environment
    that is supportive of, and rewards creative ideas.
  73. 73—

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U24125: Personality and Individual Differences Fichas sobre Creativity, creado por Jasmine Stow el 15/04/2019.
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Jasmine Stow
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