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Understanding the Relationship between Mood and Creativity: A Meta-Analysis
Abstract
A meta-analysis of 62 experimental and 10 non-experimental studies was conducted to evaluate the positive-mood-enhances-creativity generalization. While the results demonstrate that positive mood enhances creativity, the strength of that effect is contingent upon the comparative or referent mood state (i.e., neutral or negative mood) as well as the type of creative task. Further, the pattern of effect sizes supports a curvilinear relationship between affective intensity and creative performance. In general, a contextual perspective of mood-creativity relations is supported.
... The innovative potential of organizations heavily depends on the creativity of its members (Smith andTushman 2005, Zhou andHoever 2014). One particularly potent determinant of creativity are felt emotions , Davis 2009). Especially complex emotions such as those involved in dual tuning (George and Zhou 2007) or affective shifts (Bledow et al. 2013) enable recognition of unusual aspects of individuals' work and thus stimulate the generation of creative solutions. ...
... Decades have passed since Teresa Amabile (1996) provided an account of how emotions may influence creativity. Since that time, research relating emotions to creativity has burgeoned , Davis 2009) and a consensus emerged highlighting the benefits of complex emotions for achieving creative performance in organizations (Bledow et al. 2013, George andZhou 2007). Yet, the accumulated body of knowledge on the intrapersonal effects of emotional complexity is not matched by an equally elaborate evidence base on the interpersonal consequences of emotional complexity in leader-follower interactions. ...
... High correlations between both positive as well as negative affectivity and creativity are to be expected ) because positive affect enables more divergent thinking whereas negative affect promotes analytical thinking and undermines creativity (Davis 2009). Similarly, trait epistemic motivation, cognitive flexibility and creativity can be expected to be positively correlated because individuals with high trait epistemic motivation are less likely to prematurely self-impose structure on ill-defined, ambiguous situations and problems (Rietzschel et al. 2007). ...
Moods and emotions are an important influence on creativity at work, and recent developments point to emotional complexity as a particularly relevant influence in this respect. We develop this line of research by shifting focus from emotional complexity as an intrapersonal influence to emotional complexity as an interpersonal influence between leader and subordinate. Specifically, we integrate the social-functional approach to emotions with theory on self-regulation to shed light on the effects of leader emotional complexity (LEC), operationalized as alternations between leader displays of happiness and anger, on follower creativity. Three studies, two video experiments (Studies 1 and 2) and a multisource experience sampling study (Study 3), revealed that, on one hand, LEC stimulated creativity by enhancing the cognitive flexibility of followers; on the other hand, LEC led to heightened self-regulatory resource depletion, which compromised follower creativity. Our results also showed that trait epistemic motivation strengthened the positive effects of LEC on creativity via cognitive flexibility, the negative effects via self-regulatory resource depletion were also stronger for followers with higher trait epistemic motivation. Combined, results suggest that leader displays of emotional complexity can be tiring but are even more inspiring.
Supplemental Material: The online appendices are available at https://doi.org/10.1287/orsc.2019.13152 .
... Most of the research included in Baas et al. (2008) and Davis' (2009) meta-analyses show the impacts of mood on divergent thinking in adults, with only a few considering the same on children. This can be due to the practical fact that getting adult samples is simpler. ...
... However, at the time when this metaanalysis was published, only two studies using mood induction in children in relation to creativity-related outcomes (problem-solving ability and risk-taking trait) were available (Greene & Noice, 1988;Katz, 1996). Similarly, the meta-analysis conducted by Davis (2009) included only two (Jiamei et al., 2002;Russ & Kaugars, 2001) new studies that had not previously been reviewed by Baas et al. (2008). Although other studies on children have been published since (e.g., Morrongiello et al., 2015;Teske et al., 2017), the literature is still scarce when it comes to better understanding the effects of mood induction on creative thinking in children. ...
... Although literature leads to the notion that a positive effect enhances creativity, studies employing mood induction in relation to creativity in children are few in number. As mentioned above, only four studies with children (Greene & Noice, 1988;Jiamei et al., 2002;Katz, 1996;Russ & Kaugars, 2001) were included in the previously described meta-analyses (Baas et al., 2008;Davis, 2009). Two studies showed there to be no effect or mixed effects on creativity. ...
Mood has been consistently related to creative thinking but the effects of mood induction on divergent thinking have been largely studied only in adults. This study compared the effects of positive versus neutral mood inductions on both convergent and divergent (graphic) creative thinking among elementary school children. We hypothesized that after the mood induction, children in the positive mood condition compared to their peers in the neutral condition would (a) perform better in a divergent thinking task for all performance criteria (fluency, flexibility, and originality); (b) perform better in the creative convergent thinking task; and (c) produce more positive elements in their drawings. The results showed that the positive mood condition group had higher divergent thinking scores for originality, the creative convergent thinking task scores were higher for children in the positive mood condition, and that there were no differences in the valence in the children's drawings across all mood induction conditions. Results imply a need of a negative mood induction and the measurement of arousal in order to have more conclusive results on how different moods interact with creative thinking in children. Nevertheless, these findings provide a better understanding of the impact of different emotional states on children's creative thinking and thus it can help educators and policy-makers create methodologies to more effectively engage students in developing creative thinking in the classroom. (PsycInfo Database Record (c) 2023 APA, all rights reserved)
... Although positive and negative feedback can elicit different emotional states influencing DT, the exact associations among emotional states, RI, gender, and creative DT remain unclear. Emotional state is among the essential drivers of creative thinking and performance (Baas, De Dreu, & Nijstad, 2008;Davis, 2009;Lin, Tsai, Lin, & Chen, 2014;Mastria, Agnoli, Corazza, Eisenbarth, & Eisenbarth, 2019) because it influences high-level cognition and modulates neural mechanisms that support cognitive control (Gray, 2004). Whether positive or negative emotions enhance or constrain creative thinking and performance is an open-ended argument in literature (Baas, De Dreu, & Nijstad, 2008;Davis, 2009;Khalil, Godde, & Karim, 2019). ...
... Emotional state is among the essential drivers of creative thinking and performance (Baas, De Dreu, & Nijstad, 2008;Davis, 2009;Lin, Tsai, Lin, & Chen, 2014;Mastria, Agnoli, Corazza, Eisenbarth, & Eisenbarth, 2019) because it influences high-level cognition and modulates neural mechanisms that support cognitive control (Gray, 2004). Whether positive or negative emotions enhance or constrain creative thinking and performance is an open-ended argument in literature (Baas, De Dreu, & Nijstad, 2008;Davis, 2009;Khalil, Godde, & Karim, 2019). Although several studies support the perspective that positive emotion improves creative thinking, which is among various cognitive abilities (Davis, 2009;Lyubomirsky, King, & Diener, 2005), other research suggests that a positive mood can reduce creative thinking; conversely, a negative mood can facilitate it (George & Zhou, 2002;Kaufmann & Vosburg, 2002). ...
... Whether positive or negative emotions enhance or constrain creative thinking and performance is an open-ended argument in literature (Baas, De Dreu, & Nijstad, 2008;Davis, 2009;Khalil, Godde, & Karim, 2019). Although several studies support the perspective that positive emotion improves creative thinking, which is among various cognitive abilities (Davis, 2009;Lyubomirsky, King, & Diener, 2005), other research suggests that a positive mood can reduce creative thinking; conversely, a negative mood can facilitate it (George & Zhou, 2002;Kaufmann & Vosburg, 2002). Experimentally, emotions can be induced or manipulated by evaluative feedback, and previous publications have shown that this induction or manipulation could have modulatory effects on creativity (Agnoli, Franchin, Rubaltelli, & Corazza, 2019;Baas, De Dreu, & Nijstad, 2008;Baas, de Dreu, & Nijstad, 2012). ...
Why can some people generate outstanding creative ideas despite receiving frustrating feedback? Although previous studies highlighted the effects of emotional states on creativity, the interactions between specific psychophysiological emotional parameters or affective states and response inhibition (RI) on creativity remain elusive. Therefore, with this study, we aimed to investigate whether RI mediates the effects of emotional states on creative thinking, specifically divergent thinking (DT), while participants receive frustrating or encouraging feedback. We induced positive and negative affect and psychophysiological arousal (PA) by manipulating feedback on performing a go/no-go task (GNGT), one of the standardized tasks for measuring RI. In other words, we provided participants with artificial feedback on GNGT to induce either frustration following (a negative emotional state) or a feeling of success (a positive emotional state). After receiving the manipulated feedback, participants performed the alternative uses task (AUT), a classical test for measuring DT. Subjective affective states were assessed using the Positive and Negative Affect Scale-Expanded Form (PANAS-X). During AUT, PA was measured through skin conductance (SC) and heart rate variability (HRV). Our data revealed that RI mediates the effect of negative affect and fatigue and enhanced PA (measured through HRV) on DT. Moreover, positive affect and PA (measured through SC) directly enhanced the three indices of DT (fluency, originality, and flexibility). Concerning the measurement of HRV, the application of time-domain HRV analyses was superior to that of frequency-domain HRV analyses. Notably, gender had strong direct and indirect effects on fluency and flexibility but not originality. In conclusion, our results suggest distinct mechanisms for modulatory effects of specific emotional states and associated psychophysiological on divergent creative thinking.
... There is general agreement that creative functioning is affected by affective states, although whether positive or negative affect facilitates or inhibits creative performance is still an ongoing debate (Chi and Lam, 2022). Interestingly, while creativity is commonly accepted as a multicomponent construct (Ivancovsky et al., 2021), creative performance has generally been assessed with divergent thinking and idea generation tasks, association tasks, creative problem-solving tasks, and general creativity performance measures in the existing affectcreativity literature, which focuses primarily on the cognitive components of creativity (Baas et al., 2008;Davis, 2009;Zielińska et al., 2022). The present study aimed to extend this line of research by examining the impact of affect on an alternative creativity component, namely, creativity motivation, which focuses on the driving force of creativity-related behaviors (Zhang et al., 2018). ...
... In the extensive research work regarding the affect-creativity link, affect is usually conceptualized as a broad term, referring to a subjective feeling state that incorporates both moods and emotions (e.g., Baas et al., 2008;Davis, 2009;He and Wong, 2022). Specifically, moods denote habitual, stable and long-lasting affective states, which are mild feelings that are experienced as diffuse psychological states. ...
... Much of the existing research on the affect-creativity link has focused primarily on the cognitive processes and thinking skills underlying creativity, in which context creative performance has been predominantly assessed with divergent thinking and idea generation tasks, association tasks, creative problem-solving tasks, and general creativity performance measures (Baas et al., 2008;Davis, 2009;Zielińska et al., 2022). Such research generally supports the beneficial role of positive affect. ...
This research involved two investigations that examined the effects of two types of affect (i.e., mood and emotion) on creativity motivation. Study 1 examined the degree to which noninduced habitual mood impacted creativity motivation in the context of a group of junior secondary school students in Hong Kong (n = 588), while Study 2 examined the effect of the experimental manipulation of emotion induction on creativity motivation in the context of a group of undergraduate students in Hong Kong (n = 653). The Chinese version of the Creativity Motivation Scale, the International Positive and Negative Affect Schedule-Short Form, and the Affect Grid were employed to assess creativity motivation, mood, and emotional states, respectively. Interesting findings were obtained. First, both studies consistently demonstrated a facilitating role of positive and negative affect in creativity motivation. Second, both studies consistently showed that the impact of positive affect on creativity motivation was stronger than that of negative affect. While previous affect-creativity research has focused predominantly on the role of affect in the cognitive components of creativity and yielded mixed results, this research adds to the literature by showing that students’ motivation to engage in creativity-related behaviors can be influenced by a broad spectrum of affective experiences (i.e., positive and negative affect, stable and enduring moods, and momentary and mutable emotions). The theoretical and educational implications of the findings are highlighted.
... Music can influence the emotions of the human; these emotions might be a pleasure (good, happy, pleased, joyful), arousal (stimulated, excited, alert or active), dominance (influential, in control, significant) (Andersson, Kristensson, Wästlund and Gustafsson, 2012; Hai, 2016; Zhang, Leng and Liu, 2020; Adelaar, Chang, Lancendorfer, Lee and Morimoto, 2003). These emotions, such as excellent, happy, pleased, stimulated, excited, alert, and active, might turn into a good mood (Robbins and Judge, 2018;Davis, 2009), and these emotions could be impacted by good background music at the store. Moreover, Rook (1987) proved that the buyers' mood would impact their impulse buying behaviour; 85% of the respondents, who were in a good mood, such as a joyful and excited mood, would buy impulsively rather than in a bad mood. ...
... Therefore, the store environment, consumer mood, and emotional responses directly or indirectly influence consumer impulse buying behaviour. Davis (2009) Maruani and Geoffroy (2022) confirmed that emotional reactivity refers to emotion response intensity and threshold. Mehrabian and Russell (1974) proposed the Stimuli, Organism and Response model, widely known as the S-O-R model. ...
Dyslexia refers to a learning disability that affects a wide range of individuals, specifically children worldwide. Subjects with dyslexia have different experiences with recognizing the letters and the words comprising it. While several modern technologies have been envisaged for the purpose of detecting dyslexia effectively, the means to assist this learning disorder is largely inadequate till date and technical interventions in this regard have either been quite slim or the solutions presently at hand fail to take up a pragmatic approach towards dealing with the issue at hand. In this research, we have adopted an application-based efficient approach which will assist and enhance the learning process of the people who have been medically diagnosed with dyslexia. People with dyslexia tend to have problems reading text or electronic documents in the conventional font which is largely used across various resources and this invariably slows down their learning process. Dyslexia Assistant aims to address this issue and takes up multiple feasible approaches which will help enhance the visual as well as auditory perception of the concerned person with dyslexia during the course of the learning process.KeywordsDyslexiaLearningOpen DyslexicTypefaceVisual PerceptionAudio PerceptionReader
... Music can influence the emotions of the human; these emotions might be a pleasure (good, happy, pleased, joyful), arousal (stimulated, excited, alert or active), dominance (influential, in control, significant) (Andersson, Kristensson, Wästlund and Gustafsson, 2012; Hai, 2016; Zhang, Leng and Liu, 2020; Adelaar, Chang, Lancendorfer, Lee and Morimoto, 2003). These emotions, such as excellent, happy, pleased, stimulated, excited, alert, and active, might turn into a good mood (Robbins and Judge, 2018;Davis, 2009), and these emotions could be impacted by good background music at the store. Moreover, Rook (1987) proved that the buyers' mood would impact their impulse buying behaviour; 85% of the respondents, who were in a good mood, such as a joyful and excited mood, would buy impulsively rather than in a bad mood. ...
... Therefore, the store environment, consumer mood, and emotional responses directly or indirectly influence consumer impulse buying behaviour. Davis (2009) Maruani and Geoffroy (2022) confirmed that emotional reactivity refers to emotion response intensity and threshold. Mehrabian and Russell (1974) proposed the Stimuli, Organism and Response model, widely known as the S-O-R model. ...
Quantum computing (QC) is founded on the principles of quantum entanglement and the superposition of matter. It employs advanced computation techniques rather than conventional ones. To circumvent the limitations of conventional computing, new supercomputers employ quantum mechanics knowledge, which allows for the coherence of ones and zeros. Several fields like finance, healthcare, cybersecurity, transportation, climate change, and many more are taking advantage of QC. Indoor environmental quality (IEQ) is also one of the sectors that can benefit enormously with QC. The IEQ contains several parameters. Major IEQ parameters are indoor air quality, thermal comfort, acoustic comfort, and visual comfort. These parameters are associated with several physical, chemical, and biological components, which need critical computational considerations for accurate results and better understanding as the data can be highly overlapped. This chapter contains possible forthcoming research opportunities available in the collaborative work between “indoor environment” and “quantum computing.”
... This study, unfortunately, did not present the supportive result, which specifically concerns in creativity and speaking ability of EFL students. Similarly, Davis (2009) has employed a meta-analytic to show how mood affects ones' creativity. These results from the former and the latter research were attempted to present creativity that attached in students' daily life with no empirical data regarding its role in students' speaking ability. ...
... In terms of creative outcome, this notion can be interpreted as novelty and value. Following this consideration, any debate concerning creativity is supposed to assort creative outcomes from the creative process (Davis, 2009) since the latter has become a significant question in creativity research. To apprehend the creative process, there is a twocategorized elemental model of creative thinking that should be understood: the primary and the secondary elements. ...
... Creativity has been put forward as a necessary skill for youth to be able to navigate our increasingly complex world and is a component of many school curricula around the world (Kaufman et al., 2022). It is also interlinked with well-being and emotions: positive emotions foster creative thinking (Davis, 2009) and have a broadening effect on attention, cognition, and behavior (Fredrickson, 2001;. In the IKIA project, we measure both convergent and divergent thinking (Guilford, 1967). ...
This paper describes the rationale and design of the Every Child Is Different project (Dutch: Ieder Kind is Anders, IKIA). IKIA is a national crowdsourcing study designed to examine the dynamic and dimensional nature of Dutch children's and adolescents' mental health and well-being using both self-report (8-18 years) and parental report (of youth 4-18 years). Emotional processes are integral to the project as they underlie most of the processes related to mental health and well-being. Via an internet platform participants complete cross-sectional questionnaires on emotional and psychosocial development, well-being, mental health, parenting, and social environment. Participants receive automated feedback which consists of visual displays of their (sub)scores compared to the sample's average and an explanation of the subject. Participants can additionally participate in a 30-day smartphone-based diary study about their daily activities, behaviors, and emotions. This paper describes the methods and techniques used in the IKIA project, as well as future research that can be conducted with the resulting data.
... y concern the interplay between affective and cognitive processes such as attention, perception, memory and decision making, which are deeply implicated in learning processes and outcomes (Brosch, Scherer, Grandjean, & Sander, 2013;Immordino-Yang, 2016;Pessoa, 2013). Research may target higher-order phenomena, such as creativity or problem-solving M. Davis, 2009). Yet another target is constituted by inter-personal processes, in which affective phenomena may regulate or undermine collaborative situations (Andriessen, Baker, & der Puil, 2011;M. Baker et al., 2013;Järvenoja, Volet, & Järvelä, 2013). ...
In computer-mediated learning environments, especially in remote conditions, learners often lack the socio-affective cues that are usually available in face-to-face interactions. Socio-affective phenomena are known to play a prominent role at various levels of learning processes and outcomes, spanning high-order cognitive functions, motivation, sense of belonging, and quality of interaction with colleagues. Emotions, in particular, are nowadays considered dynamic and multifaceted phenomena that serve a wide range of adaptive functions. As a result, an interdisciplinary interest has recently emerged on ways by which computer-mediated learning environments may be endowed with emotional awareness, that is, information about one’s own emotions and/or the emotions of colleagues, which is instrumental to the learning task at hand. Emotion Awareness Tools are one such attempt to bestow learners with the possibility to produce and peruse emotional awareness through a dedicated interface that coexists with the overall learning environment. The thesis provides the details of the implementation and empirical assessment of an Emotion Awareness Tool with the following main characteristics. First, it is based on voluntary self-report of emotion. Second, it implements a computational structure of emotion rooted in appraisal theories of emotion, for which emotion elicitation and differentiation is a dynamic and ongoing process driven by a cognitive evaluation of the situation. Third, learners can produce and peruse emotional awareness through the tool on a moment-to-moment basis. Adopting an iterative design process, the implementation and assessment of the tool are guided by evidence gathered through empirical contributions aimed at investigating which factors – intrinsic to the tool, deriving from the interaction between learners and the tool, between learners themselves, as well as between learners and the instructional design – determine whether and how emotional awareness may be
beneficial in computer-mediated learning environments. The main outcomes of the
thesis are a toolbox that allows researchers and practitioners to configure an instance of the tool according to their own scientific or instructional goals, a structural causal
model of the influence of emotional awareness on learning in computer-mediated
environments, and methodological techniques or instruments that may be applied in
similar contexts.
... However, no effect of mood was found in a parallel offline production task. Since mood and affect are directly related to creativity, with positive moods promoting cognitive flexibility (Isen, 1999;Davis, 2009), it is an open question whether linguistic creativity interacts with the IC coreference bias. Regarding the discourse level, Skalicky, Crossley, McNamara, and Muldner (2017) recently investigated linguistic markers of creativity analyzing linguistic features of conversations between participants elaborating creative ideas in joint divergent-thinking tasks. ...
The present study investigates the production and perception of creative language with a particular focus on the discourse level. In particular, it addresses the question whether discourse biases associated with Implicit Causality are altered when we make a contribution that is intended to be original. This issue was addressed in two text production and two offline rating experiments. Our results show that creative contributions to ongoing discourse leave biases such as Implicit Causality largely unchanged but affect other linguistic markers.
... A further important point to consider in interpreting data relating to a potential link between mindfulness and creativity is that mindfulness practice might have a beneficial effect on aspects of cognition other than attention and WM, which might likewise indirectly translate into improvements in creative performance. For example, many researchers testify to the impact that mood has on creativity and argue that creative tasks are mood sensitive (e.g., Amabile et al., 2005), reporting a significant, positive relationship between elevated mood states and creativity (e.g., Davis, 2009). There is likewise an extant literature that supports a positive association between mindfulness and enhanced mood (e.g., Garland & Howard, 2013;Keng et al., 2011). ...
Findings relating to the impact of mindfulness interventions on creative performance remain inconsistent, perhaps because of discrepancies between study designs, including variability in the length of mindfulness interventions, the absence of control groups or the tendencies to explore creativity as one unitary construct. To derive a clearer understanding of the impact that mindfulness interventions may exert on creative performance, two meta-analytical reviews were conducted, drawing respectively on studies using a control group design (n = 20) and studies using a pretest-posttest design (n = 17). A positive effect was identified between mindfulness and creativity, both for control group designs (d = 0.42, 95% CIs [0.29, 0.54]) and pretest-posttest designs (d = 0.59, 95% CIs [0.38, 0.81]). Subgroup analysis revealed that intervention length, creativity task (i.e., divergent vs. convergent thinking tasks) and control group type, were significant moderators for control group studies, whereas only intervention length was a significant moderator for pretest-posttest studies. Overall, the findings support the use of mindfulness as a tool to enhance creative performance, with more advantageous outcomes for convergent as opposed to divergent thinking tasks. We discuss the implications of study design and intervention length as key factors of relevance to future research aimed at advancing theoretical accounts of the relationship between mindfulness and creativity.
... Cognitive flexibility, defined as the capacity to alternate between different modes of thinking, is underscored in creativity literature as an indispensable factor in creative problem-solving (Davis 2009). In the AI sphere, this might translate to the development of models capable of dynamically modulating their emphasis between novelty and usefulness, contingent upon task requirements or user preferences. ...
In this paper, drawing inspiration from the human creativity literature, we explore the optimal balance between novelty and usefulness in generative Artificial Intelligence (AI) systems. We posit that overemphasizing either aspect can lead to limitations such as hallucinations and memorization. Hallucinations, characterized by AI responses containing random inaccuracies or falsehoods, emerge when models prioritize novelty over usefulness. Memorization, where AI models reproduce content from their training data, results from an excessive focus on usefulness, potentially limiting creativity. To address these challenges, we propose a framework that includes domain-specific analysis, data and transfer learning, user preferences and customization, custom evaluation metrics, and collaboration mechanisms. Our approach aims to generate content that is both novel and useful within specific domains, while considering the unique requirements of various contexts.
... Cognitive flexibility, defined as the capacity to alternate between different modes of thinking, is underscored in creativity literature as an indispensable factor in creative problem-solving (Davis 2009). In the AI sphere, this might translate to the development of models capable of dynamically modulating their emphasis between novelty and usefulness, contingent upon task requirements or user preferences. ...
Drawing inspiration from the human creativity literature, we explore the optimal balance between novelty and usefulness in generative Artificial Intelligence (AI) systems. We posit that overemphasizing either aspect can lead to limitations such as hallucinations and memorization. Hallucinations, characterized by AI responses containing random inaccuracies or falsehoods, emerge when models prioritize novelty over usefulness. Memorization, where AI models reproduce content from their training data, results from an excessive focus on usefulness, potentially limiting creativity. To address these challenges, we propose a framework that includes domain-specific analysis, data and transfer learning, user preferences and customization, custom evaluation metrics, and collaboration mechanisms. Our approach aims to generate content that is both novel and useful within specific domains, while considering the unique requirements of various contexts.
... According to a 2012 Cornell University study, divergent thinking boosts performance and increases language proficiency. Positive and energizing moods are stimulated by divergent thinking (Davis, 2009). Divergent thinking among management students can potentially have a few advantages. ...
This study investigated the divergent system of education in Pakistan with a special focus on evaluating youth engagement contributing to a secure Pakistan. Youth engagement activities were explored with respect to economic, social, and political context. The study adopted a descriptive strategy following a qualitative approach. Nine participants from government institutions, private institutions and madrasahs were selected using convenient sampling technique for data collection. Interviews with structured questions were designed to apply the thematic analysis. The findings show that a small segment of private schools understand its significance and engage their students in activities that facilitate them to understand the concepts such as entrepreneurship, business engagements, small and large-scale businesses, and ideas related to such business domain. It was found that only a few public schools responded to promote leadership skills in their respective schools through various classroom practices and school activities. The respondents of madrasahs perceive political engagement of youth by affiliating themselves with a political party. The findings show a mixed response to the political engagement of youth. However, the realization of its significance in the current times has been found among all respondents. In accordance with the social engagement of youth, there seems to be a proper system in place for fostering social skills amongst the students in private schools.
... Additionally, archival studies that look at the success of implemented ideas that are considered to be creative are at times measured as creativity (Clement et al., 2018;Mannucci & Yong, 2017;Tierney et al., 1999), and inherently include the implementation phase within the definition of creativity. It is also worth noting that a large number of creativity meta-analyses conducted in the last few decades have included both creativity and innovation in the literature review search terms (Byron & Khazanchi, 2012;Byron et al., 2010;Davis, 2009); meta-analyses of individual innovation include creativity in search terms (Hammond et al., 2011); and recent reviews of creativity incorporate the two into a definition statement (Anderson et al., 2014). ...
... Both positive and negative emotions play an important role in the creative process (Audrin et al. 2020;Botella 2011). According to Davis (2009), a positive mood state can boost productivity in divergent thinking, possibly because it leads to a more relaxed standard for assessing the merit of an idea. Moreover, a study by Peilloux and Botella (2016) shows a specific affective profile for each stage of the creative process. ...
Creativity has been studied for a long time and it has become a more significant topic of research in educational fields in recent decades. The present paper outlines a multivariate approach to creativity and substantiates this approach by investigating the creative process and multivariate factors through a creative course for master’s students at the University of Teacher Education in Switzerland. Our goal is to examine more specifically the stages of the creative process and the emerging multivariate factors in different creative activities. The article reports findings from the analysis of students’ creative report process diaries as well as semi-structured interviews. Drawing on experiential learning, this pilot study was conducted in collaboration with master’s student teachers (n = 10). The results show that the different microlevels of the creative process are the subject of variations from one creative experience to another. Most factors of the multivariate approach emerge from this kind of creative training. The discussion will allow for a review of the research results and also a better understanding of the creative process in the pedagogy of creativity.
... Well-conducted MAs help creativity research progress at a faster pace. Creativity research builds on a stronger ground because of MAs addressing the critical issues on how creativity is influenced by training (Bertrand, 2005;Cohn, 1985;Scott et al., 2004;Rose & Lin, 1984;Tsai, 2013;Ma, 2006), intrinsic and extrinsic motivation (Byron & Khazanchi, 2012;de Jesus et al., 2013;Liu et al., 2016), mood (Baas et al., 2008;Davis, 2009), psychopathology (Acar et al., 2018;Paek et al., 2016), stress and anxiety (Byron & Khazanchi, 2011;Byron et al., 2010), and personality (Karwowski & Lebuda, 2016;Puryear et al., 2017). Therefore, researchers should keep conducting MAs on areas of interest and controversy for which a sufficient number of empirical studies are available. ...
... Heather L. Stuckey and Jeremy Nobel (2010) and Lily Martin et al. (2018) found that engaging in creative activities helped to decrease symptoms of anxiety, stress and mood disturbances. Mood-creativity research indicates a correlation between positive mood-states and motivation towards specific goals (Baas 2008;Davis 2009;Han et al. 2019). Community art spaces can help to re-narrate personal and collective stories and elevate personal connectedness, belonging and esteem (Butterwick and Selman 2020;Hancox et al. 2022). ...
The pressures of caring for those affected by the COVID-19 pandemic and taking care of self and family have put an untold burden on healthcare professionals and educators. This has exacerbated the risk of mental health issues and burnout. It is important for mental health professionals to engage in self-care strategies in dealing with this on-going trauma. Art therapists have creativity to help them cope with difficult circumstances and technology to help connect in community. This report discusses the art salon created by three arts therapists to manage stressors during COVID-19. Through art-based reflective practice, emergent themes surfaced including creating a sacred space, rituals, connections and communication, and creative expression and transformation.
... They also utilize school-level formal and informal teams to help them work together towards a common goal. This way, principal leadership contributes to distributed leadership by helping school principals with major activities like vision crafting and structuring for academic achievement [ 41 ]. In this regard, the results of data analysis indicated a neutral ((M = 3.48, SD = 1.13) value. ...
The principal objective of this study was to assess the extent to which principals practice distributed leadership in government secondary schools in the East Shewa Zone. Pragmatic worldview guided the study. The study used quantitative approach. The population of the study includes secondary schools working in the Zone. Seven secondary schools were chosen as a sample using simple random sampling. 239 teachers, 14 department heads, and 7 supervisors were chosen as a sample using stratified and availability sampling, respectively. Questionnaires and documents were used to collect the data. Data analysis utilized descriptive statistics, nonparametric statistics, and ordinal regression. The findings indicated a low level of distributed leadership practice. It is recommended that: secondary school principals make effort to understand new leadership practices; Education Offices support secondary schools; the Regional Education Bureau supports principals and education officials; and the Ministry of Education checks the curriculum used for secondary school principals' training.
... Notably, positive mood has consistently been found to increase the proportion of problems solved insightfully versus analytically, as well as the likelihood of solving insight problems accurately (Oh, Chesebrough, Erickson, Zhang, & Kounios, 2020;Subramaniam, Kounios, Parrish, & Jung-Beeman, 2009). Positive affect is associated with enhanced performance during creative reasoning generally (Ashby, Isen, & Turken, 1999;Baas, de Dreu, & Nijstad, 2008;Davis, 2009), perhaps through a moderating influence on cognitive flexibility or by priming individuals for associative thought (Hirt, Devers, & McCrea, 2008;Liu & Wang, 2014;Wang, Chen, & Yue, 2017). There is some evidence that positive affect may influence metacognition during generative activity by increasing the salience of epistemic affective experiences (Volz et al., 2022). ...
An underexplored aspect of the relationship between analogical reasoning and creativity is its phenomenology; in particular, the notion that analogical reasoning is related to insight and its associated “aha!” experience. However, the relationship between these phenomena has never been directly investigated. We adapted a set of verbal analogy stimuli for use as an insight task. Across the two experiments, participants reported stronger aha moments and greater representational change when reasoning about analogies with greater internal semantic distance, relative to those with greater internal semantic consistency. Aha strength increased linearly with changes in participants’ verbal descriptions of the analogy over the course of each trial, indicating that aha experiences accompany changes in mental representation. The relationship between subjective difficulty and aha strength followed an inverted U-shaped function, with aha strength increasing with greater difficulty but dropping at the highest levels. A similar pattern was observed for the relationship between confidence and aha strength. Furthermore, participants in a more positive mood rated aha experiences as stronger. These findings provide evidence that analogical reasoning can give rise to the phenomenology of insight by triggering representational change and suggest that the affective consequences of relational reasoning may play an important role in promoting creative cognition.
... Studies that examine how creativity can be influenced by training or work techniques emphasize that the essential components necessary for creativity have been largely neglected (Schuler and Görlich, 2007;Scott et al., 2004;Valgeirsdottir and Onarheim, 2017). Specifically, empirical work highlights emotional factors as fundamental to the modulation of creative thinking (Baas et al., 2008;Conner and Silvia, 2015;Davis, 2009;Ivcevic and Hoffmann, 2017). We derive a definition of creativity from previous work that underpins the potential relationship between emotions and creativity and highlights possible emotion-sensitive cognitive processes for boredom, joy, and concentration. ...
We aim to extend the body of research on boredom as a potentially creativity-enhancing state. Therefore, 124 students were assigned to one of five 6-minute interventions (boredom-discomfort, boredom-equanimity, boredom-continuation, joy, and concentration) and the effects on figural as well as verbal fluency and diversity as measures of creativity were examined. It was verified whether the emotional state changed during the intervention. In addition, the emotional dimensions, valence, arousal, and alertness were controlled before and after the test. Boredom-discomfort, joy, and concentration altered the emotion experienced during the intervention in the intended way. The boredom-equanimity and boredom-continuation groups served as control conditions for various boredom states, and less boredom resulted for subjects in these groups. Figural and verbal measures of creativity were differently influenced by the interventions. For verbal fluency, we obtained a significant interaction between time and group, in particular, the performance differed between the intervention with either concentration, or joy. Verbal creativity decreased after intervention in all groups, most for joy and boredom-discomfort groups and least for concentration. In contrast, figural performance increased in four groups, most for boredom-discomfort but not for concentration. Subsequent analyses revealed significant interaction effects between time and group with respect to both verbal and figural measures of creativity. The interventions had not only short-term effects on subjects' emotions but also, in some cases, a significant longer-term impact on emotion dimensions at the end of the study. After discussing methodological aspects, conclusions are drawn for further research approaches.
... Our current findings align with previous conceptualizations of positive emotions as tools selected for their adaptive functions of broadening one's horizon, leading to more flexible creative responses and the building of personal psychological and social resources 96 . Indeed, it has been demonstrated that the emergence of positive emotions has cascade effects into socio-cognitive processes such as attention 97 , interpersonal cognition 98 , logical reasoning 99 and creativity 100 . In turn, while positive emotions energize people to explore and to think outside of the box, intentional self-control and self-awareness provide the flexibility needed for growth, and innovative problem resolution, as well as the structure needed for effective, management of the available resources. ...
Recent genomic, psychological, and developmental research shows that human personality is organized as a complex hierarchy that ascends from individual traits in many specific situations to multi-trait profiles in two domains that regulate emotional reactivity (temperament) or goals and values (character), and finally to three integrated temperament-character networks that regulate learning to maintain well-being in changing conditions. We carried out person-centered analyses of the components of subjective well-being (positive affect, negative affect, and life satisfaction) to personality in both adolescents (N = 1739) and adults (N = 897). Personality was considered at each level of its organization (trait, temperament or character profiles, and joint temperament-character networks). We show for the first time that negative affect and life satisfaction are dependent on the personality network for intentional self-control, whereas positive affect is dependent on the personality network for self-awareness that underlies the human capacities for healthy longevity, creativity, and prosocial values.
... The more robust finding from studies on the creativity literature indicates that the production of novel and useful ideas is a function of positive affect Davis, 2009). This means that when feeling enthusiastic, joyful, and inspired, individuals are prone to think in an unconventional way and generate novel ideas to solve problems or take advantage of new opportunities to reach desired goals. ...
The Cambridge Handbook of Creativity and Emotions provides a state-of-the-art review of research on the role of emotions in creativity. This volume presents the insights and perspectives of sixty creativity scholars from thirteen countries who span multiple disciplines, including developmental, social, and personality psychology; industrial and organizational psychology; neuroscience; education; art therapy, and sociology. It discusses affective processes – emotion states, traits, and emotion abilities – in relation to the creative process, person, and product, as well as two major contexts for expression of creativity: school, and work. It is a go-to source for scholars who need to enhance their understanding of a specific topic relating to creativity and emotion, and it provides students and researchers with a comprehensive introduction to creativity and emotion broadly.
... Further, the artworks used were selected based on ratings of how much they were liked, and the valance of emotion they evoked, by the judges. As it has been found that positive emotions can enhance originality, and their intensity can determine the originality of the generated ideas (Davis, 2009), we chose visual art that had been assessed by the judges as having been most liked and most emotionally positively evocative. However, we did not measure the intensity of emotions derived from viewing these artworks (i.e., how much were they influenced or moved by the picture). ...
Figurative language is one of the most prevalent expressions of verbal creativity, and use of novel metaphors is the most significant source of verbal innovation. As environmental and personality trait factors can impact creativity, the current study aimed to examine whether exposure to an environment rich in visual stimuli (artwork) and verbal stimuli (novel metaphors) contributes to verbal creativity, taking into account the personality trait of “openness to experience.” Study participants (132) were divided into three groups: (1) a group exposed to a creative verbal environment (reading novel metaphors), (2) a group exposed to a visually creative environment (observing abstract and figurative artwork), and (3) a group not exposed to any creative environment. Participants completed personality questionnaire and a metaphor generation questionnaire that asked participants to describe 10 emotions using novel metaphors. Results showed the type of creative environment exposure had a graded effect on creativity (i.e., generation of novel metaphors): the non-exposed control group generated fewer novel than conventional metaphors, the group exposed to novel verbal metaphors produced a similar number of novel and conventional metaphors, and the group exposed to artwork produced more novel than conventional metaphors. This may imply that environments containing visually creative stimuli provide opportunities for silent contemplation which in turn evoke neuropsychological mechanisms related to creative processes. Furthermore, the finding that the trait of “openness to experience” and exposure to a visually creative environment contributed to greater generation of novel metaphors suggests that creativity may be dependent on both individual and environmental factors.
... Further, the artworks used were selected based on ratings of how much they were liked, and the valance of emotion they evoked, by the judges. As it has been found that positive emotions can enhance originality, and their intensity can determine the originality of the generated ideas (Davis, 2009), we chose visual art that had been assessed by the judges as having been most liked and most emotionally positively evocative. However, we did not measure the intensity of emotions derived from viewing these artworks (i.e., how much were they influenced or moved by the picture). ...
Figurative language is one of the most prevalent expressions of verbal creativity, and use of novel metaphors is the most significant source of verbal innovation. As environmental and personality trait factors can impact creativity, the current study aimed to examine whether exposure to an environment rich in visual stimuli (artwork) and verbal stimuli (novel metaphors) contributes to verbal creativity, taking into account the personality trait of "openness to experience." Study participants (132) were divided into three groups: (1) a group exposed to a creative verbal environment (reading novel metaphors), (2) a group exposed to a visually creative environment (observing abstract and figurative artwork), and (3) a group not exposed to any creative environment. Participants completed personality questionnaire and a metaphor generation questionnaire that asked participants to describe 10 emotions using novel metaphors. Results showed the type of creative environment exposure had a graded effect on creativity (i.e., generation of novel metaphors): the non-exposed control group generated fewer novel than conventional metaphors, the group exposed to novel verbal metaphors produced a similar number of novel and conventional metaphors, and the group exposed to artwork produced more novel than conventional metaphors. This may imply that environments containing visually creative stimuli provide opportunities for silent contemplation which in turn evoke neuropsychological mechanisms related to creative processes. Furthermore, the finding that the trait of "openness to experience" and exposure to a visually creative environment contributed to greater generation of novel metaphors suggests that creativity may be dependent on both individual and environmental factors.
... Shipton et al. [93] indicated that rare studies had analyzed the connection between employee job satisfaction and innovation performance. The few studies that addressed this relationship revealed that innovativeness and job satisfaction are interconnected, as job satisfaction has a significant positive impact on creativity and knowledge generation [94,95]. On the other hand, Ahmad and Umrani [66] argue that GHRMPs are one of the fundamentals of employee job satisfaction, thus validating the mediation of job satisfaction between GHRMPs and innovative performance. ...
Small- and medium-sized enterprises (SMEs), like large corporations, confront new issues related to business sustainability, which necessitates playing a part in environmental protection and enhancing environment-based human resources management strategies in order to remain in business. Green human resources management practices (GHRMPs) have been found to positively impact innovative performance. However, the mechanisms by which GHRMPs influence innovation are not well understood. This study aimed to examine the mediating role of individual green values and job satisfaction in the relationship between GHRMPs and innovative performance. Using a sample of 605 small- and medium-sized (SMEs) hotels and travel agents, structural equation modeling (PLS-SEM) was conducted using SmartPLS program v4 to analyze the obtained data. The study found that GHRMPs were positively related to both individual green values and job satisfaction, and in turn, individual green values and job satisfaction were positively related to innovative performance. The results of this study suggest that individual green values and job satisfaction play a significant mediating role in the relationship between GHRMPs and innovative performance. Practical and theoretical implications were elaborated on and discussed.
... Notably, positive mood has consistently been found to increase the proportion of problems solved insightfully versus analytically, as well as the likelihood of solving insight problems accurately (Oh, Chesebrough, Erickson, Zhang, & Kounios, 2020;Subramaniam, Kounios, Parrish, & Jung-Beeman, 2009). Positive affect is associated with enhanced performance during creative reasoning generally (Ashby, Isen, & Turken, 1999;Baas, de Dreu, & Nijstad, 2008;Davis, 2009), perhaps through a moderating influence on cognitive flexibility or by priming individuals for associative thought (Hirt, Devers, & McCrea, 2008;Liu & Wang, 2014;Wang, Chen, & Yue, 2017). There is some evidence that positive affect may influence metacognition during generative activity by increasing the salience of epistemic affective experiences (Volz et al., 2022). ...
An underexplored aspect of the relationship between analogical reasoning and creativity is its phenomenology; in particular, the notion that analogical reasoning is related to insight and its associated “aha!” experience. However, the relationship between these phenomena has never been directly investigated. We adapted a set of verbal analogy stimuli for use as an insight task. Across two experiments, participants reported stronger aha moments and greater representational change when reasoning about analogies with greater internal semantic distance, relative to those with greater internal semantic consistency. Aha strength increased linearly with changes in participants’ verbal descriptions of the analogy over the course of each trial, indicating that aha experiences accompany changes in mental representation. The relationship between subjective difficulty and aha strength followed an inverted U-shaped function, with aha strength increasing with greater difficulty but dropping at the highest levels. A similar pattern was observed for the relationship between confidence and aha strength. Furthermore, participants in a more positive mood rated aha experiences as stronger. These findings provide evidence that analogical reasoning can give rise to the phenomenology of insight by triggering representational change and suggest that the affective consequences of relational reasoning may play an important role in promoting creative cognition.
... Thus, vigor is likely to foster creativity within the collaborative context of coworking spaces as it makes people more alert and willing to search for novel solutions and provides "access to a fuller, more diverse range of information, both within the individual (e.g., memory), and outside the individual (e.g., environment)" (de Vries, Bakker, & Breevaart, 2021, p. 6). Supporting this idea, scholars have documented that vigor derived from multiple sources including emotional intelligence (Carmeli et al., 2014), integrative body-mind training (Ding, Tang, Deng, Tang, & Posner, 2014), and sports performance during lunch breaks (de Vries et al., 2021) can positively impact creativity (Davis, 2009). We expect that help received from others is also a source of vigor that may translate into heightened creativity. ...
Although receiving help is largely viewed as a positive gesture, we argue that some people may interpret being helped differently depending on their self-views. We focus on help received while working in the novel context of coworking spaces. Coworking space members differ from traditional coworkers in that they are not structurally linked to each other and may even work in a different industry, thus eliminating the competitive and political trappings of normal workplace help exchanges. Employing a daily-diary methodology and applying affective events theory (AET), we confirm that being helped via the provision of feedback, problem solving, emotional support, and network connections results in both daily- and person-levels of vigor. Person-level vigor, in turn, impacts the creativity and coworking space departure intentions of the worker one month later. We further predict and find, consistent with self-verification theory, that participants with higher self-esteem experience more vigor resulting from receiving help from others as compared to those experiencing lower self-esteem. Collectively, these findings suggest that some people may benefit from working in these new work contexts more than others.
... An empirical study found that even light levels and colors can affect workers' moods [177]. A positive mood is proposed as a precursor to creative ideas, which can positively influence and support creativity [178,179]. Workers can also be more creative in environments designed to be intellectually and perceptually stimulating [180]. ...
This study proposes a multilevel conceptual framework for a deeper understanding of the relationship between employee well-being and innovativeness. We overview 49 years of well-being research [1972-2021] and 54 years of research on innovativeness [1967-2021] to uncover 24 dominant themes in well-being and ten primary topics in innovativeness research. Citation network analysis and text semantic similarity were used to develop a conceptual framework featuring 21 components and three levels: individual, organizational, and market. These components consist of constructs, domains, and factors that can influence or be influenced by employee well-being and innovativeness either directly or indirectly. This is the first study to use citation network analysis and data mining techniques to investigate the relationship between employee well-being and innovativeness. This novel framework can aid organizations in identifying more holistic and efficient strategies for fostering innovativeness and enhancing the well-being of their workforce. It can also assist in developing new theories and serve as a roadmap for future research. We discuss the research limitations and theoretical and practical implications and propose three research themes that future studies may address.
... Previous studies have generally revealed the conducive effect of positive affect on creativity (e.g. Amabile et al. 2005;Binnewies and Wörnlein 2011;Davis 2009). Therefore, we suggest that work vigor, as a work-related positive affect, may have a similar impact on employee creativity. ...
Drawing on social information processing theory (SIP) and activation theory, this study theorizes a curvilinear moderated mediation model that links employee‐experienced control human resource management (control HRM) and employee creativity. Using multisource data from 814 employees and 157 supervisors, we find that employee‐experienced control HRM has an inverted U‐shaped relationship with employee work vigor and that work vigor is positively related to employee creativity. Employee‐experienced commitment HRM moderates the direct effect of employee‐experienced control HRM on work vigor and the indirect effect on employee creativity. When employee‐experienced commitment HRM is high and employee‐experienced control HRM is moderate, employees are more vigorous and in turn more creative. Theoretical and practical implications are discussed.
No one universal affective route leads to creative ideas. Rather, the designers’ affective experience is influenced by the cultural contexts they are in. However, scant research has examined how culture shapes designers’ emotion in creative problem-solving activities. We present two survey studies that explore the interplay between affect, culture, and idea generation. The findings suggest that people tend to associate low-arousal, positive emotion with idea generation in Japanese contexts, compared with high-arousal, positive emotion in American contexts. We also found that Japanese participants expressed more socially engaging emotions, had higher levels of emotional fluctuation, and reported lower levels of emotional expressiveness than their American counterparts. This research contributes to the emerging field of emotion research in design by examining the cultural shaping of affect in idea generation. We call for more cultural research to enable designers to provide insights into the profound roles of affective experience and expression in creative processes and how it may vary across cultures. In doing so, we hope to offer new vistas for enhancing creative performance and enabling cross-cultural collaboration in creative work.
The present research examines how creative process engagement (information gathering, idea generation, idea evaluation, and idea pitch) influences the affective states of positive affect (PA) and negative affect (NA). Drawing from motivation theory and research, we proposed that creative process behaviors that are more autonomous and less constrained will increase positive affect. Additionally, creative process behaviors that are more likely to be perceived as making negative goal progress are expected to result in higher levels of negative affect. We also examine boundary conditions of these effects including task‐relevant knowledge, perceived performance, and baseline affect. Results from two studies confirm that idea generation, which is considered an autonomous activity, increases PA levels. This effect holds true across varying starting affect levels (excited, calm, and neutral). Moreover, results confirm that information search, which may be perceived as making negative goal progress, increases NA levels and PA levels decrease when task‐relevant knowledge is low. The effects of idea evaluation and idea pitch on PA and NA are mixed across the two studies. The implications of these findings for understanding how the creative process impacts affect are discussed.
Two studies investigated the effect of a short improvisation intervention (theatrical improvisation in Study 1, musical improvisation in Study 2) on negotiation processes and outcomes. The expectation was that an improvisation exercise, compared to a control condition in which participants engaged in jigsaw puzzling, would result in better negotiation agreements via higher levels of divergent thinking. Results showed that improvisation exercise increased participants' divergent thinking, compared to the control condition. The effects on negotiation processes and outcomes, however, only partly supported the predictions. In Study 2, improvisation exercise had an indirect influence on negotiation outcomes via divergent thinking, and in Study 1 improvisation exercise did influence divergent thinking but did not influence negotiation outcomes. So improvisation exercise increases divergent thinking, and sometimes this heightened divergent thinking results in higher negotiation outcomes.
This research paper was conducted to identify and analyze the relationship between background music at stores and the impulse buying behaviour of young customers in Viet Nam. The research method employs Confirmatory Factor Analysis (CFA) and structural equation modelling (SEM) by using AMOS 20 software. The sample size includes 300 respondents in Viet Nam. In the proposed research model, “Musical genres”, “Volume in music”, “Familiarity with the music”, and “Rhythm in music” of background music at stores would positively impact to “emotional responses” of young customers, the “emotional responses” would impact positively to “mood changes”, and “mood changes” would impact positively to “impulse buying behaviour” of young customers. From this research, the authors also propose some managerial implications for organizations to increase the effectiveness of using background music at their stores to attract and trigger the impulse buying behaviour of young customers to increase their sales revenue. In addition, this research may reference other related research in the future.
The present study investigated the moderating role of peer attachment style in the relationship between mood and creativity. An experiment was conducted with a sample of 267 undergraduate students (Mage = 19.85, range = 17-24 years). First, participants' peer attachment style was measured, following which positive, neutral, or negative mood was induced; subsequently, two creative tasks were conducted. A MANOVA revealed significant interactions between peer attachment and mood. Specifically, for secure participants, creativity was significantly higher in the positive mood state compared to the neutral and negative mood states; for insecure participants, the effect of positive mood was not pronounced. Moreover, negative mood exerted a significant beneficial effect on the originality dimension for participants with an anxious-ambivalent peer attachment style; they showed higher creativity in the negative mood state than in the neutral or positive mood states. In general, peer attachment style moderated the relationship between mood and creativity; specifically, positive mood was beneficial to creativity among secure persons, and negative mood was beneficial to creativity among anxious-ambivalent persons.
The Cambridge Handbook of Creativity and Emotions provides a state-of-the-art review of research on the role of emotions in creativity. This volume presents the insights and perspectives of sixty creativity scholars from thirteen countries who span multiple disciplines, including developmental, social, and personality psychology; industrial and organizational psychology; neuroscience; education; art therapy, and sociology. It discusses affective processes – emotion states, traits, and emotion abilities – in relation to the creative process, person, and product, as well as two major contexts for expression of creativity: school, and work. It is a go-to source for scholars who need to enhance their understanding of a specific topic relating to creativity and emotion, and it provides students and researchers with a comprehensive introduction to creativity and emotion broadly.
The Cambridge Handbook of Creativity and Emotions provides a state-of-the-art review of research on the role of emotions in creativity. This volume presents the insights and perspectives of sixty creativity scholars from thirteen countries who span multiple disciplines, including developmental, social, and personality psychology; industrial and organizational psychology; neuroscience; education; art therapy, and sociology. It discusses affective processes – emotion states, traits, and emotion abilities – in relation to the creative process, person, and product, as well as two major contexts for expression of creativity: school, and work. It is a go-to source for scholars who need to enhance their understanding of a specific topic relating to creativity and emotion, and it provides students and researchers with a comprehensive introduction to creativity and emotion broadly.
The Cambridge Handbook of Creativity and Emotions provides a state-of-the-art review of research on the role of emotions in creativity. This volume presents the insights and perspectives of sixty creativity scholars from thirteen countries who span multiple disciplines, including developmental, social, and personality psychology; industrial and organizational psychology; neuroscience; education; art therapy, and sociology. It discusses affective processes – emotion states, traits, and emotion abilities – in relation to the creative process, person, and product, as well as two major contexts for expression of creativity: school, and work. It is a go-to source for scholars who need to enhance their understanding of a specific topic relating to creativity and emotion, and it provides students and researchers with a comprehensive introduction to creativity and emotion broadly.
The Cambridge Handbook of Creativity and Emotions provides a state-of-the-art review of research on the role of emotions in creativity. This volume presents the insights and perspectives of sixty creativity scholars from thirteen countries who span multiple disciplines, including developmental, social, and personality psychology; industrial and organizational psychology; neuroscience; education; art therapy, and sociology. It discusses affective processes – emotion states, traits, and emotion abilities – in relation to the creative process, person, and product, as well as two major contexts for expression of creativity: school, and work. It is a go-to source for scholars who need to enhance their understanding of a specific topic relating to creativity and emotion, and it provides students and researchers with a comprehensive introduction to creativity and emotion broadly.
Emotion is here conceptualized as action disposition, in the sense that the primary function of human emotion is to motivate action. Creative behavior, among others, provides a concrete action bringing new insights into the possible and its cultivation. The role of emotion in creativity has been of considerable interest, with different authors depicting emotion as an intermediary state between a series of situational and personality predictors, on the one hand, and creative performance, on the other. Emotion is here explored in the context of creativity research in order to understand how motivational tendencies can help in understanding the possibility of creative actions that take place “in between” actors and their environment. This entry then starts with a brief conceptualization of emotion as action disposition before moving to the relationship between emotion and creativity. This relation will be then examined taking into consideration the notion of the possible within an action framework. Some final considerations are offered toward the end to reflect on the importance of studying emotion, conceptualized as action disposition, in creativity, which provides a concrete investigation of the possible.
Purpose
This study examines the relationship between green human resource management (green HRM) and employee innovative behaviour. It also investigates the mediating role of job satisfaction to explore the mechanism through which green HRM is related to employee innovative behaviour. Additionally, it examines the moderating role of inclusive leadership to determine the boundary condition of the relationship between green HRM and employee innovative behaviour.
Design/methodology/approach
The study used a quantitative research approach using survey and collected 508 responses from full-time employees in Australia.
Findings
The authors have found support for all the hypothesised relationships in the study. Specifically, green HRM is positively related to employee innovative behaviour. This relationship is mediated by job satisfaction and accentuated by inclusive leadership.
Originality/value
Green HRM promotes a green atmosphere in which employees can contribute to a safer and healthier environment. Despite the increasing attention to green HRM in the management literature, little is known about the mechanisms and boundary conditions explaining employees' responses to green HRM.
Information processing lies at the heart of human performance. This chapter describe the characteristics of the different important stages of information processing, from perception of the environment to acting on that environment. It begins by contrasting different ways in which information processing has been treated in applied psychology, and then describes processes and transformations related to attention, perception, memory and cognition, action selection, and multiple-task performance. The chapter adopts as a framework the information-processing model depicted. Stimuli or events are sensed and attended and that information received by the sensory system is perceived, that is, provided with some meaningful interpretation based on memory of past experience. The chapter also describes the means by which comprehension is achieved. It provides information on the unification subsystem, including the corpus of knowledge it requires and the operations it performs.
Two experiments are reported in which relationships between cognitive control and generative as well as evaluative aspects of creativity were studied. Cognitive control was assessed through the interference effects of the Navon and Stroop tasks. Generative and evaluative aspects of creativity were studied with a procedure, called Generation and Evaluation (GenEva). Each participant first generated a number of solutions to a set of divergent problems, and then he or she evaluated solutions provided by another participant, chosen at random. The data suggest that participants scoring high on Urban and Jellen's Test for Creative Thinking-Drawing Production showed better indexes of cognitive control than participants with lower scores. A similar relationship has been found concerning the originality of participants' productions (GenEva procedure) but not their fluency and flexibility. These findings are interpreted in terms of basic cognitive processes, which are probably responsible for idea production. It also appeared that cognitive control allowed more accurate evaluation of other people's ideas, but only in the case of participants with global cognitive style of information processing.
We identify the creative requirement of a job as a neglected predictor of employee creativity and propose that it may account for relationships between traditional work factors and creativity. As such, it may represent a more effective means of increasing creativity than changes in job design. Using structural equation modeling, we tested this model against four competing models using a sample of 1,083 health service employees. Creative requirement was found to account for much of the variance by fully mediating the effects of supportive leadership and role requirements and partially mediating those of empowerment and time demands. We conclude that creative requirement is an important proximal determinant of employee creativity and a potentially significant intervention.
The current study examined the effect of mood and autonomy in problem definition on the idea-generating performance of temporary workgroups. Groups (N=54) were randomly assigned to a mood (positive vs neutral) and autonomy (high vs low) condition and asked to brainstorm ways to improve university student life. It was found that positive mood increased the originality of ideas and that problems that provided low autonomy led to a greater number of ideas. Mood and autonomy interacted to affect group satisfaction. Furthermore, positive mood led to the identification of more important domains for improvement in the high-autonomy condition. Implications for future research using temporary problem-solving groups are discussed. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
This study examined how affective states and exposure to diverse information influence figurai divergent thinking using a pretest-posttest design. A total of 148 participants were divided into 4 conditions: positive affect, negative affect, information, and control. In the positive and negative affect conditions, participants respectively listened to the elation and depression statements of the Velten procedure. In the information condition, participants listened to the neutral statements of the Velten procedure. In the control condition, participants listened to word-processing instructions. Divergent thinking was measured using the figurai form of the Torrance Tests of Creative Thinking (TTCT), and affect was measured using a mood questionnaire and the State-Trait Anxiety Inventory. Multivariate analyses of covariance were conducted using the TTCT, mood, and state-trait anxiety premeasures as covariates; the TTCT, mood, and state-trait anxiety postmeasures as the dependent variables; and treatment condition as the independent variable. Results showed a significant effect of condition on posttreatment TTCT scores, F(3, 140) = 3.37, p = .0203; mood, F(3, 140) = 7.44, p = .0001; and state anxiety, F(3,140) = 6.27, p = .0005. Comparison tests showed that the information exposure treatment resulted in significantly higher TTCT scores than the control condition, indicating that exposure to diverse information can enhance divergent thinking. Results further indicated that, although the positive affect manipulation was effective in enhancing mood and reducing state anxiety, it did not enhance divergent thinking scores. The negative affect manipulation did not appear to be effective. Possible explanations for these results are discussed.
Pearson product moment correlations are often corrected for statistical artifacts such as range restriction and unreliability. Formulas have long existed to make such corrections. However, other effect size estimates are rarely corrected for these artifacts, in spite of the fact that there is an established mathematical link between the correlation and some effect size estimates. Correlations and other effect sizes are therefore vulnerable to the same artifacts. The authors take a common effect size estimate, the standardized mean difference between two groups, and derive (and reaffirm in one instance) correction formulas suitable for use with this statistic. It is demonstrated how these formulas might substantially increase the precision of estimates and decisions made within organizational research and practice, whenever correction factors can be appropriately estimated.
Workplace creativity has important organizational and individual implications, and workplace affect seems to influence creative performance on the job. Across studies, however, research examining the relationship between affect and creative performance has yielded inconsistent and sometimes contradictory results. Creativity has been found to be significantly related to positive affective states in some research, but has been tied to negative affective states in others. Various moderators and mediators of affective influences on creativity have been examined in 1 or 2 studies, but systematic reviews and integrative models of research on affect influences on creativity are lacking. In this article, we review the existing research on affect and creative performance and present a theoretical model designed to help integrate results across studies. Implications of our model for future research and for the management of workplace creativity are discussed.
Two experiments are reported in which relationships between cognitive control and generative as well as evaluative aspects of creativity were studied. Cognitive control was assessed through the interference effects of the Navon and Stroop tasks. Generative and evaluative aspects of creativity were studied with a procedure, called Generation and Evaluation (GenEva). Each participant first generated a number of solutions to a set of divergent problems, and then he or she evaluated solutions provided by another participant, chosen at random. The data suggest that participants scoring high on Urban and Jellen's Test for Creative Thinking-Drawing Production showed better indexes of cognitive control than participants with lower scores. A similar relationship has been found concerning the originality of participants productions (GenEva procedure) but not their fluency and flexibility. These findings are interpreted in terms of basic cognitive processes, which are probably responsible for idea production. It also appeared that cognitive control allowed more accurate evaluation of other people ideas, but only in the case of participants with global cognitive style of information processing.
This study provides a comparative test of two psychological theories concerning the relationship between affect and performance. Managerial simulations are used to test whether people who are positive in disposition perform better or worse on both decisional and interpersonal tasks. Results are consistent in supporting the happier-and-smarter as opposed to the sadder-but-wiser hypothesis, since they show positive relationships between dispositional affect and performance. The results are discussed in terms of their relevance to both the older literature on links between satisfaction and performance and the more recent controversy over the dispositional approach to job attitudes.
A theoretical framework for understanding creativity in a complex social setting, such as an organization, is developed. Organizational creativity is defined as the creation of a valuable, useful new product, service, idea, procedure, or process by individuals working together in a complex social system. The starting point for the theoretical development is provided by the interactionist model of creative behavior developed by Woodman and Schoenfeldt (1989). This model and supporting literature on creative behavior and organizational innovation are used to develop an interactional framework for organizational creativity. The theoretical framework is summarized by 3 propositions that can effectively guide the development of testable hypotheses.
reviews research on the impact of affective states on evaluative judgments, presenting evidence that is difficult to reconcile with the assumption that emotional influences on social judgment are mediated by selective recall from memory / rather, the presented research suggests that individuals frequently use their affective state at the time of judgment as a piece of information that may bear on the judgmental task, according to a "how do I feel about it" heuristic
extends the informative-functions assumption to research on affective influences on decision making and problem solving, suggesting that affective states may influence the choice of processing strategies / specifically it is argued that negative affective states, which inform the organism that its current situation is problematic, foster the use of effortful, detail oriented, analytical processing strategies, whereas positive affective states foster the use of less effortful heuristic strategies (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Using a mood-as-input model, the authors identified conditions under which negative moods are positively related, and positive moods are negatively related, to creative performance. Among a sample of workers in an organizational unit charged with developing creative designs and manufacturing techniques, the authors hypothesized and found that negative moods were positively related to creative performance when perceived recognition and rewards for creative performance and clarity of feelings (a metamood process) were high. The authors also hypothesized and found that positive moods were negatively related to creative performance when perceived recognition and rewards for creativity and clarity of feelings were high.
The process of creation is a cognitive process. Perceiving, learning, thinking, and remembering—this is the stuff of creativity. The creative process involves the acquisition of knowledge and skills, the transformation of knowledge into new forms, and the rendering of these forms into a shareable product. Each stage in the process entails cognition. It seems appropriate, therefore, to inquire about a cognitive model of creativity. In one way or another, the chapters in this part of the book all address this issue. The purpose of this chapter is to examine the creative process from the perspective of one particular aspect of cognition—metacognition.
Very little discussion of the nature-nurture topic has appeared in the literature, mainly because of the complexities of the problem and the difficulties of collecting objective evidence. A useful attempt was made by Scheinfeld in his book, Heredity in Humans (1972), but this was a popular rather than a scientific treatment. A brief account by Zigler and Farber (1985) can also be recommended. In the absence of hard data from tests, sociological surveys, or controlled experiments, this chapter has to rely very largely on observational and interview studies, historical or biographic information, the opinions of critics or colleagues about creative individuals, and discussions of theories, all of which are liable to ambiguity and subjectivity.
Emotional ambivalence, or the simultaneous experience of positive and negative emotions, is an underexplored emotional state in organizations. The results from two laboratory experiments demonstrate that individuals experiencing emotional ambivalence are better at recognizing unusual relationships between concepts, therefore showing an ability believed to be important to organizational creativity. Informational theories of emotion suggest that individuals interpret emotional ambivalence, which is perceived to be an unusual emotional experience, as signaling they are in an unusual environment, which in turn increases sensitivity to unusual associations. These results yield important implications regarding how to influence creative performance at work.
Previous research by Hirt, Melton, McDonald, and Harackiewicz (1996) found that mood effects on creativity were not mediated by the same mechanisms as were mood effects on quantitative measures of performance and evaluations of performance, suggesting that mood may simultaneously be working through different processes (dual process view). However, other research (Martin & Stoner, 1996; Sinclair, Mark, & Clore, 1994) supports a single process, mood-as-information model for similar effects of mood on processing. In the present research, we hypothesized that if a single, mood-as-information process accounts for mood effects on both creativity and quantitative performance, then all mood effects should be eliminated if participants are cued that their mood is irrelevant to the task (cf. Schwarz & Clore, 1983). We manipulated participants' moods prior to task performance and presented them with either an enjoyment-based or a performance-based stop rule; half of the participants were cued to the true source of their moods, half were not. Cueing participants eliminated mood effects on quantitative measures of performance (e.g., number generated). However, consistent with a dual-process view, the cueing manipulation did not affect creativity; happy participants generated the most creative responses regardless of stop rule or cue.
We examined relations between creative performance and the extent to which employees received support for creativity from both work (supervisors/coworkers) and nonwork (family/friends) sources. We also examined whether (1) employees' mood states mediated the support-creativity relations and (2) creative personality characteristics moderated these relations. Results demonstrated that work and nonwork support made significant, independent contributions to creative performance. Positive mood mediated these relations, and employees with less creative personalities responded most positively to nonwork support.
Humor is a common element of human interaction and therefore has an impact on work groups and organizations. Despite this observation, managers often fail to take humor seriously or realize its numerous benefits. Humor is more than just funny concepts; it represents a multifunctional management tool that can be used to achieve many objectives. This article describes how managers can use humor to reduce stress and enhance leadership, group cohesiveness, communication, creativity, and organizational culture. Specifically, we suggest humor styles that are best suited to realize these outcomes. Additionally, the effect of humor on organizational outcomes is moderated by individual differences such as ethnicity and gender. Much like selecting the proper tool from a tootkit, managers can select the appropriate humor style suitable for the desired organizational outcome, adjust for individual differences, and achieve positive organizational outcomes.
In this article we develop a theoretical framework for understanding creativity in complex social settings. We define organizational creativity as the creation of a valuable, useful new product, service, idea, procedure, or process by individuals working together in a complex social system. The starting point for our theoretical development is provided by the interactionist model of creative behavior developed by Woodman and Schoenfeldt (1989). This model and supporting literature on creative behavior and organizational innovation are used to develop an interactional framework for organizational creativity. The theoretical framework is summarized by three propositions that can effectively guide the development of testable hypotheses.
A music mood induction was used to induce either elated, depressed, or neutral mood in 71 college undergraduates. The elated group scored significantly higher than the depressed group on mood ratings. Creativity measures administered to each group revealed that subjects in the elated and depressed groups showed significantly greater creativity than subjects in the neutral group. Findings were interpreted in light of existing research on the relationship between mood and creativity. 1995 Creative Education Foundation
To study productive thinking where it is most conspicuous in great achievements is certainly a temptation, and without a doubt, important information about the genesis of productive thought could be found in biographical material. A problem arises when a living creature has a goal but does not know how this goal is to be reached. Whenever one cannot go from the given situation to the desired situation simply by action, then there has to be recourse to thinking. The subjects ( S s), who were mostly students of universities or of colleges, were given various thinking problems, with the request that they think aloud. This instruction, "Think aloud", is not identical with the instruction to introspect which has been common in experiments on thought-processes. While the introspecter makes himself as thinking the object of his attention, the subject who is thinking aloud remains immediately directed to the problem, so to speak allowing his activity to become verbal. It is the shift of function of the components of a complex mathematical pattern—a shift which must so often occur if a certain structure is to be recognized in a given pattern—it is this restructuration, more precisely: this transformation of function within a system, which causes more or less difficulty for thinking, as one individual or another tries to find a mathematical proof.
A meta-analysis of 14 studies reporting the effect of argument strength on attitude under various mood states was conducted. The analyses included 39 estimates of effect size that were used to test the predictions of the processing deficit perspectives (i.e., motivational or ability deficits) and the hedonic contingency model. The results were most consistent with the hedonic contingency model, indicating that participants’ processing of messages seemedto be motivated toward attaining or maintaining positive moods.
This article picks up on the suggestion made by Mumford that the relationship of affect to creativity is an important, new trend in the field. Fuel is added to this argument by pointing to evidence indicating that tasks of creative thinking may be particularly mood sensitive. The main stream argument that positive mood unconditionally and reliably facilitates creativity is characterized as a case of premature closure. Evidence is reviewed that calls this general thesis into serious question. It is concluded that creativity is a multifaceted construct, and that different moods are differentially related to different components of creative thinking.
This study examined how social (group size: two, three, or four persons), appearance (similar or dissimilar dress), and affective (positive or neutral mood) factors can influence social categorization and, consequently, intergroup bias. As expected, positive affect increased the extent to which subjects formed inclusive group representations, anticipating that the members of two groups would feel like one, superordinate group. Also as predicted, subjects in dissimilarly dressed groups expected the memberships to feel less like one group. Consistent with the common in-group identity model, stronger superordinate group representations, in turn, predicted more positive out-group evaluations and lower levels of intergroup bias. The conceptual and applied implications of affect and social representations for improving intergroup relations are considered.
The duration of effects of the Velten mood induction procedure (VMIP) and the effectiveness of a strategy for removing residual negative effects Were experimentally examined. Self-reports of mood taken immediately after the induction indicated that the VMIP successfully induced both elated and depressed moods. Depressed moods were still evident following a JO-minute waiting period; however, they were significantly improved compared to immediately postinduction. Residual negative moods were effectively removed by the reading of a subset of elation statements used during elation induction. Elevated moods induced by' the VMIP were no longer evident at the end of the 10-minute waiting period.
This study examines some specific effects of the Positive and Negative Velten Mood Induction Procedures and of two motion pictures selected for their affect inducing qualities. Results revealed that, despite apparently strong effects on affective state when measured immediately after affect induction, the Velten Statements and one of the films had no discernible effect when measured after a brief, neutral, intervening task. The other film, in contrast, appeared to influence affective state not only when tested immediately, but even after the intervening task. These results were interpreted as shedding additional light on the affect inductions studied, suggesting limitations of some of the techniques, and indicating that induced affect may be measured relatively specifically.
Theoretically, pretend play facilitates cognitive and affective processes important in creativity. Expression of affect states and affect-laden fantasy are affective processes common to both play and creativity. This study investigated the effect of instructing children to engage in happy or angry play on affect in play and on divergent thinking. Eighty 1st- and 2nd-grade children were randomly assigned to 1 of 4 groups. It was hypothesized that children in the happy and angry puppet play groups would have more affect in their play and that their mood would be congruent with the play instruction. It was also hypothesized that children in the happy and angry groups would have higher divergent thinking scores than children in the free-play and puzzle conditions. One major finding was that children in the angry play group had more expression of negative affect in their play and more self-reported negative mood than children in the other groups. There were no differences among the experimental groups in divergent thinking. However, self-reported mood during the play and puzzle tasks was significantly associated with originality of the divergent thinking responses. Children who experienced more affect as opposed to feeling neutral gave more original responses. The major conclusion of the study is that the play paradigm can be used to study affective processes in children.
Darwinism provides not only a theory of biological evolution but also supplies a more generic process applicable to many phenomena in the behavioral sciences. Among these applications is the blind-variation and selective-retention model of creativity proposed by Campbell (1960). Research over the past 4 decades lends even more support to Campbell's model. This support is indicated by reviewing the experimental, psychometric, and historiometric literature on creativity. Then 4 major objections to the Darwinian model are examined (sociocultural determinism, individual volition, human rationality, and domain expertise). The article concludes by speculating whether the Darwinian model may actually subsume all alternative theories of creativity as special cases of the larger framework.
This study examined the independent and joint contributions of employees' creativity-relevant personal characteristics and three characteristics of the organizational context - job complexity, supportive supervision, and controlling supervision - to three indicators of employees' creative performance: patent disclosures written, contributions to an organization suggestion program, and supervisory ratings of creativity. Participants (171 employees from two manufacturing facilities) produced the most creative work when they had appropriate creativity-relevant characteristics, worked on complex, challenging jobs, and were supervised in a supportive, noncontrolling fashion.
This study examined the independent and joint effects of the nature of a preliminary task, the amount of time devoted to that task, and the amount of information about a subsequent task on individuals' creativity on that subsequent task. In addition, the study examined the possibility that individuals' mood states would explain the effects of the task, time, and information conditions on subsequent task creativity. Data were collected from 149 individuals who completed preliminary and subsequent tasks in a laboratory setting. Results demonstrated that individuals who worked on a complex preliminary task for a short interval or a simple task for a long interval exhibited higher subsequent task creativity than those in other task and time interval conditions (i.e., complex-long interval and simple-short interval). Moreover, these findings were partially explained by 1 positive mood state (enthusiasm) that had been measured immediately after the completion of the preliminary task. Implications of these results for future research and practice are discussed.
The putative importance of analogy in creative insight and intelligence has been repeatedly supported in anecdotal reports of creative scientists and theoretical proposals on creativity. The aim of the present study was to investigate the influence of affect on analogical transfer. For that purpose, three experiments were conducted in which negative, neutral, or positive affect was induced by films. Persons were asked to solve ill‐defined, well‐defined, and insight problems. Analogical reasoning was evoked by base information presented prior to the film and target problem. The first two experiments indicated that positive affect facilitates transfer in ill‐defined problems, but impairs it in well‐defined problems. These findings are discussed in terms of the cognitive strategies used to solve well‐ and ill‐defined problems, and the theoretical assumptions about the impact of positive affect on cognitive organization. The results of the third experiment supported the hypothesis that the influence of positive affect on analogical transfer is related to the form (visual/verbal) of presenting the base analogy.
The hypothesis that the effects of positive and negative mood on creative problem solving may differ as a consequence of the degree of constraint on the solution space of the task was tested. Sixty-eight participants were divided into positive mood, negative mood, and control conditions. Mood was experimentally induced by showing selected film clips, and performance on four different idea production tasks was recorded across a time interval of 4 min for each task. Results showed a significant mood-production time interaction. Positive mood led to the highest number of scores in early idea production and the lowest number in late production, whereas both control and negative mood led to relatively superior task performance in late production. Alternative interpretations of the results are discussed, and suggestions for further studies are offered.
Previous work has shown that positive mood may facilitate creative problem solving. However, studies have also shown positive mood may be detrimental to creative thinking under conditions favoring an optimizing strategy for solution. It is argued herein that the opposite effect is observed under conditions promoting loose processing and satisficing problem-solving strategies. The effects of positive and negative mood on divergent-thinking performance were examined in a quasi-experimental design. The sample comprised 188 arts and psychology students. Mood was measured with an adjective checklist prior to task performance. Real-life divergent-thinking tasks scored for fluency were used as the dependent variables. Results showed natural positive mood to facilitate significantly task performance and negative mood to inhibit it. The re was no effect of arousal. The results suggest that per sons in elevated moods may prefer satisficing strategies, which would lead to a higher number of proposed solutions. Persons in a negative mood may choose optimizing strategies and be more concerned with the quality of their ideas, which is detrimental to performance on this kind of task.
Two positions concerning positive mood and its relation to creative problem solving have been taken. The general position (GP) postulates that there is a consistent positive relation between positive mood and creative problem solving. The qualified position (QP) states that the relation is a contingent one. This study explores one possible limitation to the GP, by testing Weisberg's (1994) suggestion that positive mood facilitates productivity but not quality of ideas. Self-reported mood was measured by positive, negative, and arousal scales. Divergent thinking tasks scored for fluency, flexibility, originality, and usefulness were used as criterion variables. A perfect, theoretically predicted rank order between positive mood and degree of solution constraint measured by the divergent thinking indices emerged. Positive mood was significantly related to an idea quantity factor but not to an idea quality factor. Although this evidence is not conclusive, it supports the QP and indicates that the GP should be modified to include task type and degree of solution constraint.
Three experiments investigated why and when sad moods might inhibit generative thought relative to happier moods. Specifically, sad moods might inhibit generative thought compared to happier moods, because they result in individuals' (a) being less likely to use accessible, old ideas; (b) being less likely to use novel ideas; or (c) having less material available in memory. These three possibilities were investigated by having participants in happy or sad moods completed a task that familiarized them with a set of solutions to an upcoming generative task. In contrast to the hypothesis that participants in sad moods were less likely to use accessible ideas than those in happy moods, mood did not influence the use of old solutions on the generative task. Instead, mood affected how many new responses participants generated, with those in sad moods generating fewer new responses than did those in happy moods. This effect of mood was eliminated when participants were told that all responses were acceptable. Because these instructions affect how individuals use information from memory but could not affect what was in memory, these results suggest that mood alters the use of novel information rather than altering the use of accessible responses or the type of material in memory.
Proposes an interactionist model of creative behavior that incorporates elements of personality, cognitive, and social psychology explanations of creativity. In the model, creative behavior is viewed as a complex person–situation interaction. Antecedent conditions exist as a precursor to the current state of the person and their interaction. Antecedent conditions that affect creativity include past reinforcement history (learning), early socialization experiences, and background characteristics such as gender and socioeconomic status (SES). (PsycINFO Database Record (c) 2012 APA, all rights reserved)