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Personality and Intelligence as Predictors of Creativity
Abstract
Participants completed the Big Five NEO-FFI (Costa & McCrae, 1992) as a personality measure, the Wonderlic Personnel Test (Wonderlic, 1992) as an intelligence measure, and four measures of creativity: Guilford’s (1967) unusual uses divergent thinking test; the Biographical Inventory of Creative Behaviours; a self-rated measure of creativity; and the Barron–Welsh Art Scale to measure creative judgement. Extraversion was significantly related to all four measures of creativity. Intelligence failed to add any incremental variance in predicting the creativity scores. Multiple regression indicated that up to 47% of the variance in divergent thinking scores can be accounted for by the Big Five personality traits. Personality correlates to creativity vary as a function of the creativity measure.
... In the correlational approach, Feist and Barron (2003) demonstrated that personality serves as a superior predictor of creativity BOTELLA AND THOMAS 2 compared to intelligence. Intelligence, in this context, does not yield additional information for predicting creativity scores, whereas personality traits explain 47% of the variance in divergent thinking scores (Furnham & Bachtiar, 2008). Puryear et al. (2017) conducted an extensive review of the relationship between creativity and personality, involving 188 students. ...
... p , .05) correlate significantly but to a lesser extent with divergent thinking (Furnham & Bachtiar, 2008). ...
... Notably, previous research has presented conflicting findings regarding the trait of agreeableness. Some studies suggest a negative impact on creativity (Eysenck, 1995;Gelade, 2002), whereas others show a positive and significant correlation with divergent thinking (Furnham & Bachtiar, 2008). This discrepancy necessitates deeper exploration Note. ...
Over the past 7 decades, researchers have examined the personalities of creative individuals across various fields, including architecture, art, and science, for instance. These studies have highlighted distinct conative and cognitive traits associated with each of these different domains. But what about the creators in relatively unexplored domains such as magic for example? Do magicians present personality traits distinct from those of the general population? In this exploratory study, we conducted a comparative analysis of the personality traits of 60 magicians and 60 nonmagicians assessing the Big Five traits, creative self and narcissism. The findings indicate that magicians score higher on openness, extraversion, agreeableness, creative self, and narcissism compared to nonmagicians. Furthermore, a distinction was made between magicians based on their years of practice. Results indicate that the most experienced magicians scored higher on openness compared to less experienced magicians. In addition, we sought to predict creative self within the entire sample, encompassing both magicians and nonmagicians. The results revealed that openness is the only predictor of creative self. Consequently, this study highlights the significance of openness in the field of magic. Our results could have practical implications, particularly in the implementation of magic-based interventions aimed at developing certain personality traits such as openness.
... Recognising both helps we appreciate the diverse perspectives and contributions of each person (35). Research on personality and creativity repeatedly indicates strong connections with extraversion and openness to experience, in addition to some negative relationships with neuroticism (35)(36)(37)(38). Researchers typically assert that DT primarily correlates with openness to experience personality dimensions (39). ...
... It was explicitly mentioned that an individual's personality does not impact the student's DT. The results partially supported hypothesis 3. Conversely, previous research suggests that individuals with higher levels of openness to experience and extraversion tend to display curiosity, a willingness to experiment, and a fascination with unconventional ideas, potentially leading them to create unique and creative solutions (37,38). It clearly shows that while extroverted individuals may be more likely to exhibit creative behaviours in general, those with a high level of openness to experience specifically excel in divergent thinking tasks (37,57,58). ...
... The results partially supported hypothesis 3. Conversely, previous research suggests that individuals with higher levels of openness to experience and extraversion tend to display curiosity, a willingness to experiment, and a fascination with unconventional ideas, potentially leading them to create unique and creative solutions (37,38). It clearly shows that while extroverted individuals may be more likely to exhibit creative behaviours in general, those with a high level of openness to experience specifically excel in divergent thinking tasks (37,57,58). Batey et al., discovered that extraversion and openness to experience predict the Consequences DT test. ...
... There is a number of studies examining how creativity (largely described as divergent thinking) is predicted by personality traits, especially the Big Five traits (i.e., Openness to Experience, Extraversion, Conscientiousness, Agreeableness, and Neuroticism; Costa & McCrae, 2008) (e.g., Furnham & Bachtiar, 2008;Hornberg & Reiter-Palmon, 2017;Prabhu et al., 2008). Openness to Experience, a fundamental personality trait denoting recognition and appreciation of unusual ideas, new experiences, and nonconformity, has been consistently reported as the most crucial personality correlate of divergent thinking (Chamorro-Premuzic & Reichenbacher, 2008;Feist, 1998;Furnham, 1999). ...
... In contrast, the majority of studies have reported nonsignificant associations between divergent thinking and the other three Big Five personality traits, namely Neuroticism (an emotional disposition to experience negative affect including anxiety, anger, depression, and self-doubt), Conscientiousness (the personality trait of being responsible, careful or diligent), and Agreeableness (quality of being kind, friendly, cooperative, compassionate, and pleasant to others) (e.g., Batey et al., 2010;Chamorro-Premuzic & Reichenbacher, 2008;Furnham & Bachtiar, 2008;Hornberg & Reiter-Palmon, 2017). ...
... We found variations in the associations between Big Five personality traits and four creativity components. Generally, our findings are in line with the personality-divergent thinking links in the literature: only Openness to Experience and Extraversion were positively related to divergent thinking (components) (e.g., Chamorro-Premuzic & Reichenbacher, 2008;Furnham, 1999;King et al., 1996), while the other three Big Five traits (Conscientiousness, Agreeableness, and Neuroticism) were not related to any divergent thinking components (e.g., Batey et al., 2010;Chamorro-Premuzic & Reichenbacher, 2008;Furnham & Bachtiar, 2008). In addition, the current study went beyond divergent thinking to include convergent thinking as another proxy of creativity. ...
This study investigates how L2 proficiency contributes to creativity in relation to personality among 205 young adolescent English-as-a-foreign-language learners from rural China. Participants completed the Cambridge A2 Key for Schools English Test to assess English proficiency, the Chinese Big Five Personality Inventory to evaluate personality traits, and the Evaluation of Potential Creativity to measure creativity, operationalized as divergent and convergent thinking in verbal and graphic domains. Pearson correlation analyses revealed that L2 proficiency was positively associated with both divergent and convergent thinking across verbal and graphic domains, while Openness to Experience and Extraversion were positively linked to creativity components, albeit partially depending on the domain. Conscientiousness, Agreeableness, and Neuroticism showed no significant associations with creativity. Structural equation modeling further demonstrated that L2 proficiency, Openness, and Extraversion directly co-predicted creativity components, excluding convergent thinking in the verbal domain.
... Trait creative self-efficacy is influenced by various factors, including openness, extraversion, and conscientiousness from the Big Five personality traits, all of which are considered potential covariates of individuals' creative self-efficacy (Karwowski, 2014;Karwowski et al., 2013;Puente-Díaz & Cavazos-Arroyo, 2017). Although the Big Five personality traits, curiosity, and creative self-efficacy are all related to creativity (Furnham & Bachtiar, 2008;Hass et al., 2019;S. B. Kaufman, 2013;Schutte & Malouff, 2020a, 2020b, current research, often limited by small sample sizes, rarely controls for these potential covariates when exploring the relationship between creative self-efficacy and creative behavior. ...
... First, this demonstrates that trait creative self-efficacy was significantly associated with creative behavior, independent of other personality traits. In many studies, the Big Five personality traits are not only related to creative self-efficacy (Karwowski & Lebuda, 2016;Karwowski et al., 2013) but are also strongly associated with creativity (Feist, 1998;Furnham & Bachtiar, 2008), particularly openness (George & Zhou, 2001). After including these variables in the regression model, the effect of trait creative self-efficacy on creativity remained significant, indicating that it exerts a unique effect on creativity beyond the indirect effects of personality traits. ...
This study explores the relationship between creative self-efficacy and creative behavior by modulating state-level creative self-efficacy through false feedback to enhance creative performance. In Study 1, 1539 college students completed the Alternative Uses Task (AUT) to measure performance-based creativity and the Creative Achievement Questionnaire (CAQ) to assess self-reported creative achievements. The Big Five personality traits and curiosity served as covariates. Regression and correlation analyses were conducted to examine the relationship between trait-level creative self-efficacy and both creative performance measures. Experiment 2 employed a 2 × 2 between-subjects design to test the effects of false feedback (positive vs. negative) and trait-level creative self-efficacy (high vs. low) on state-level creative self-efficacy and creative behavior, using the same covariates. In Study 1, creative self-efficacy was positively correlated with both AUT and CAQ, with stronger associations for CAQ. Experiment 2 found that false feedback significantly affected state-level creative self-efficacy and the originality of creative behavior. Changes in state-level creative self-efficacy were positively correlated with originality. This study emphasizes the role of both trait and state-level creative self-efficacy in influencing creative behavior. It offers insights for enhancing creativity through feedback, with implications for educational and workplace settings.
... Along with intelligence, researchers have consistently associated certain personality traits with increased creative potential and achievement (Furnham & Bachtiar, 2008;Shi et al., 2017). Feist (1998) conducted the first meta-analytic review exploring the associations between creativity and personality. ...
... It was hypothesized that these personality traits would be significantly related to creativity. A study of intelligence and personality as predictors of creativity (Furnham & Bachtiar, 2008) serves as the model for the current research, which addresses the need for fluid intelligence measures to predict creativity and rate the DT tests for originality, in addition to the widely used measure of fluency. ...
The present study aimed to explore the association between creativity, intelligence, and personality. The study recruited sixty healthy volunteers in the age range of 20–40 years from Bengaluru city (formerly Bangalore), South India, and administered tests for fluid intelligence (Raven’s Standard Progressive Matrices), personality (Big Five NEO-FFI), and divergent thinking (Wallach & Kogan Creativity Test). Findings revealed that intelligence and openness to experience were positively correlated with the fluency, flexibility, and originality dimensions of creativity. The hierarchical multiple regression analysis suggested openness and fluid intelligence significantly predicted creativity. This suggests that individuals who are more open to new experiences continue to integrate new and diverse information into their existing knowledge base. When combined with contextual and emotional stimuli, this integration process can lead to more varied and innovative responses to divergent thinking tasks.
... In previous research, there has been a debate about what factors contribute to excellent educational outcomes: is it the student's motivation, talent, or social environment? It has been argued that intelligence is not the only reliable predictor of success (Furnham and Bachtiar, 2008). Other predictors include personality traits such as perseverance, creative thinking, and problem-solving skills, as well as organizational talents and the ability to use ingenuity (Kappe and Van Der Flier, 2012). ...
... Main findings: Firstly, the results suggest a positive association between higher levels of creative personality traits and increased innovative (King et al., 1996;Furnham and Bachtiar, 2008;Kandler et al., 2016). Notably, openness emerges as a significant predictor of creative performance, indicating its pivotal role in fostering innovation among students. ...
Honors education has ascended as an integral element within the sphere of global higher education, concentrating on fostering individuals who exhibit creativity and a history of innovative achievements. Despite its widespread adoption, there remains a scarcity of exhaustive longitudinal studies investigating its effects and associated variables. To address this shortcoming, this study deploys rigorous structural equation modeling (SEM) and linear regression analyses to meticulously examine a dataset comprising 319 students, who enrolled over a decade (2011–2021) in a prestigious honors college at a preeminent university in China. The primary objective is to discern the predictive efficacy of Chinese honors education selection criteria on students’ creative and academic accomplishments. This endeavor strives to clarify the complex interplay among students’ creative personalities, academic performance, creative achievements, and standardized college entrance exam scores. The findings emphasize that individuals who exhibit enhanced creative personality traits are predisposed to elevated levels of both innovation and academic attainment (β = 0.170, p = 0.017). Additionally, a significant inverse relationship is observed between general learning aptitude and subsequent academic performance (β = −0.008, p = 0.023), while students pursuing science disciplines demonstrate superior innovation outcomes compared to their liberal arts counterparts (β = 0.125, p = 0.048). Interestingly, neither gender nor general academic prowess exerts significant predictive power over collegiate innovation (β = −0.002, p = 0.134). These empirical insights equip policymakers and scholars with nuanced perspectives on the determinants shaping students’ refined educational experiences, thereby inciting critical discourse concerning the refinement of selection criteria and the imperative of nurturing students’ creative proclivities.
... Previous research has linked rule-breaking in aggression and mindset-breaking in creative thinking (Petrou et al., 2020;Saggar et al., 2019) and suggested that they may share the same psychological mechanisms. This behavior is particularly common among rebellious, curious, and emotionally driven young individuals (Furnham & Bachtiar, 2008;Kashdan & Fincham, 2002), who are more impulsive and focus more on immediate problems (Bryan et al., 2023). Under these circumstances, CTT can redirect their impulsivity, and more importantly, provide a "vent" or a more constructive way for releasing internal tension of aggression and promoting creative problem-solving. ...
... This implies that the disposition of highly creative individuals could be a mixture of contradictions containing both the pro-and antisocial dispositions (Gralewski, 2019) and a manipulation that could optimize the balance between these two dispositions would help transform aggressive and antisocial dispositions into creative and prosocial ones. In essence, the transformation from aggression to creativity may require relinquishing narrow, self-centered thinking (Anestis et al., 2009) and a destructive tendency to adopt a broader perspective and method to approach problems that consider the needs of others (Furnham & Bachtiar, 2008). Moreover, according to the broaden-and-build theory, CTT may teach more aggressive individuals to cope positively with their internal negative response bias to aggression, expand the limited scope of attention, establish enduring personal resources, and afford sufficient time for reflection on more nuanced solutions from broader, diverse, and constructive perspectives (Fredrickson, 2001). ...
Although reducing students' aggressive behaviors and improving their creativity are both important commitments of educators, they are usually treated independently as unrelated tasks. However, cumulative evidence suggests potential links between aggression and creativity, not only from the perspectives of personality traits and psychological development, but also from their shared cognitive mechanisms. This implies that there may be an approach to achieving these two goals through a single intervention. Moreover, this new approach may overcome the limitation of the usually adopted aggression intervention, which is limited in its regulatory effectiveness and might bring about some disadvantageous impacts on creativity that are closely associated with aggression. To test this possibility, the present study implemented a four‐session, 2‐week creative thinking training (CTT) intervention for students with high aggression scores to examine whether it could simultaneously downregulate aggression and increase creativity. Our results demonstrate that, compared to the control group, the intervention group experienced significant improvements in creativity and a reduction in aggression following the CTT intervention. Furthermore, our findings suggest that this regulatory effect can persist for up to 6 months. The CTT‐induced creativity change (increase) could significantly correlate with and predict the CTT‐induced aggression decrease, thus suggesting that the CTT could transform aggression into creativity.
... For example, recent findings suggested that around 40%-60% of variance in different creativity facets was explained by genetic factors, with the remaining variance explained by non-shared and, to lesser extent, shared environmental factors (Piffer & Hur, 2014;Toivainen et al., 2021). At the behavioral level individual differences in creativity facets have been linked to differences in intelligence and personality (Batey & Hughes, 2017;Deary, 2001;Furnham, 2016;Furnham & Bachtiar, 2008;Xurui et al., 2018). Studies also found differences in creativity related to expertise in different domains. ...
... A number of studies have investigated creativity in specific domains (Carson, Peterson, & Higgins, 2005;Dollinger, 2006;Furnham & Bachtiar, 2008;Hughes, Furnham, & Batey, 2013;Jaussi, Randel, & Dionne, 2007;Kaufman, 2012;Runco, Plucker, & Lim, 2001). For example, the short self-rating of creativity (SSRC) measures creativity in five broad domains: scientific, social, visual artistic, verbal artistic & sports (Hughes et al., 2013). ...
Previous research has focused on understanding when, why, and how sex differences in creativity occur, as results vary across samples, measures, and methodologies. In the current study we investigated sex differences in creativity among 984 high achieving adolescents in three expertise areas: Sciences, Arts, and Sports. Eight creativity indicators were analyzed: Alternative uses task (AUT) fluency; creative self‐efficacy (CSE); intraindividual strengths (difference between CSE and AUT Fluency); five self‐reported creativity scales: Self/everyday, scholarly, performance, mechanical/scientific, artistic. The results showed negligible sex differences ( = .01), with females performing better in AUT Fluency and males self‐rating their CSE higher. No sex differences were found in self/everyday, scholarly and performance creativity. Males self‐rated their mechanical/scientific creativity ( = .06) higher than females; while females self‐rated their artistic creativity ( = .02) higher in comparison to males. Our results extend the existing literature by finding negligible sex differences in adolescent expert groups. However, some stereotypical differences emerged, for example, females with Sciences expertise rated their mechanical/scientific creativity lower than males with and even without Sciences expertise. Results call for further investigation into the links between sex differences, expertise, and specific creativity domains.
... High level significant differences were found in the research results. When the creativity of individuals with different intelligence levels is examined, it is seen that each individual has a more or less common ability (Batey & Furnham, 2006;Feldhusen & Goh, 1995;Furnham & Bachtiar, 2008). Also, Torrance (1975) found a moderate relationship between creativity and intelligence. ...
... In the study in which the bright and gifted students were grouped among themselves, no results were obtained that support the threshold theory between intelligence scores and creativity scores. Furnham and Bachtiar's (2008) study found a non-significant relationship (r = 2.02) between creativity and intelligence scores. Silvia (2008) determined in a study that general intelligence (abstraction ability) explains 18.40% of creativity. ...
This study examines the relationship between the intelligence and creativity scores of gifted and bright students according to the Threshold Theory.1155 students participated in the study. Students are at the secondary school level. There are seven different regions in Turkey. The sample consists of participants from the largest provinces of the regions. The Wisc-R intelligence test and Torrance Creative Thinking Test (TTCT) were used. Data were collected over a decade between 2012 and 2022. The obtained data were tested according to the Threshold Theory. The relationship between intelligence and creativity was studied based on different intelligence score ranges. A significant relationship was found between the intelligence and creativity scores of the bright students. It was determined that there is a positive and significant (r = .725, p < .001) correlation between intelligence and creativity scores of children (n = 432) with bright intelligence (120–129). In the findings obtained, no significant correlation was found between giftedness and creativity scores of the gifted and profoundly gifted students. No significant correlation was found between intelligence and creativity scores (r = .051, p > .05) of gifted children (n = 581). No significant correlation was found between intelligence and creativity scores (r = .062, p > .05) of children (n = 142) with profoundly gifted intelligence (146–160). The result of this study confirmed the Threshold Theory.
... These findings relate with empirical findings of Furnham and Bach ar (2008) who found the personality factors: extraversion followed by openness to experience significantly predic ng divergent thinking. The significant rela onship found to exist between crea ve problem-solving ability a ributes and ins tu onal brand personality is similar to the Big Five personality predic ve effect on the composite crea vity score (Furnham and Bach ar, 2008). The present study's result is also in line with the personality -crea ve findings of Batey et al. ...
The study examined the linkages between creative problem-solving ability attributes and the specific components of the institutional (corporate) brand personality dimensions; as well as the predictive influence of creative problem solving ability attributes on the aggregated institutional brand personality of Ghanaian basic schools. Two hundred and seventy-nine headteachers and 558 teachers provided data using the creative problem-solving ability attributes and brand personality dimensions inventories. The structural equation modelling result showed that the hypothesised model of the linkage between creative problem-solving ability attributes and institutional brand personality fit the data. Results also indicated that divergent thinking had a significant indirect effect on brand personality, with motivation and knowledge showing significant direct effects. The implication of the findings when it comes to school leaders creatively providing solutions and determining the schools brand personality was discussed.
... 3 Creativity is a fascinating phenomenon for scientists and laypeople alike. In line with this fascination, countless studies have investigated which personal and situational characteristics favor the emergence of creative ideas (e.g., Amabile, 1988;Baron & Harrington, 1981;Furnham & Bachtiar, 2008). An interesting, and somewhat counterintuitive finding here is that creative solutions often come to our mind, in situations in which our attentional focus is not on the actual problem but rather when we work on unrelated tasks (Baird et al., 2012;Dodds et al., 2003;Sio & Ormerod, 2009). ...
Processing nominally irrelevant information has been linked to successful creative ideation, especially in open-minded individuals. To investigate attentional processing, prior studies in this field relied on in-laboratory eye tracking. Despite several advantages, this method also comes with downsides like high costs and slow data collection. To address these issues, online, webcam-based eye tracking might be a promising solution. In three preregistered experiments, we transferred an established paradigm from in-laboratory research to the online context. Participants (N = 100 for each study) had to come up with possible uses for visually presented items, which were surrounded by nominally irrelevant distractor objects. Between experiments, we manipulated the kind of these distractor items (Study 1: real objects; Study 2: real objects for half of the trials and random geometric figures for the other half; Study 3: random geometric figures). In line with prior in-laboratory research, in Study 1 and in the real objects condition in Study 2, we found a positive relation of the time processing this nominally irrelevant information and the originality of the produced uses. For the random geometric figures condition of Study 2 and in Study 3, no such relation was found. We conclude that irrelevance processing only promotes creativity if the additional information is somehow related to the given task and can thus stimulate novel ideas. In contrast, simply shifting the visual focus away from a task might not be sufficient to facilitate creative thinking. We discuss the potential and limitations of online webcam-based eye tracking for creativity research.
... One possible explanation for the positive associations between social creativity and divergent thinking may also be linked to personality traits of Openness to Experience and Extraversion. Previous research has found that these personality traits were positively associated with divergent thinking (Furnham & Bachtiar, 2008). These personality traits also capture the frequency and enjoyment of social interactions which are relevant in the engagement in social creativity. ...
The assessment of creativity in education is important because it allows educators to recognize and nurture students’ creative potential. Many measures tap into Individual differences, such as cognitive tests; estimates of one’s own individual characteristics (self-reported creativity); and inventories of previous creative behaviours. Such measures can estimate creativity in general or in specifically defined domains (e.g., in science and art). However, previous research has indicated poor construct validity which indicates that inter-relationships between different measures are inconclusive. The present study investigated latent component structure among thirteen creativity measures (three cognitive tasks, two behavioural inventories and eight self-reported questionnaires) in a sample of 188 English speaking adults. The results suggested a multidimensional structure of creativity, comprising six components explaining 74% of the variance of individual differences in this construct. Measures of previous creative behaviours (creative activity and creative achievement measures) were not strongly associated with any general creativity measures (self-reported or cognitive tests); but were associated with self-reported domain-specific visual and verbal creativity. Furthermore, out of five self-reported creativity domains (scientific, social, visual, verbal and sports), only social creativity was associated with any general creativity measures; it was associated with two cognitive creativity measures. General creativity measures (cognitive tests and self-reports), as well as behavioural inventories, loaded on three separate components. The results support a view of creativity as a multidimensional construct which needs to be considered when making inferences based on performance in specific creativity measures.
... Studies have shown that dyslexic individuals often have strong visual memory and the ability to think in pictures (Papangelo et al., 2020). Furthermore, research has indicated that personality traits, such as openness to experience and extraversion, are associated with artistic inclinations and creative problem-solving (Furnham & Bachtiar, 2008). ...
This paper discusses dyslexia, a learning disorder affecting many children in Malaysia. The Malaysian Ministry of Education estimates that approximately 314,000 students have dyslexia, impacting their ability to read, write, and spell. To address these challenges, the government prioritizes inclusive education, providing teachers with training on special needs and implementing support strategies to help dyslexic students thrive academically. While dyslexia create difficulties in traditional learning areas, research highlights strengths in visual memory and creativity, allowing many dyslexic individuals to excel in artistic fields such as drawing. Personality traits like openness and extraversion also contribute to their creative problem-solving abilities. Proper support and intervention enable dyslexic students to achieve academic success and leverage their unique skills in visual and creative domains.
... Additionally, their ability to build social capital and networks (Thompson, 2005) helps them develop creativity that aligns with their core values and personal preferences, leading to greater job satisfaction. Furthermore, proactive individuals are better equipped to adapt to changes in their environment that require creativity (Furnham and Bachtiar, 2008;Pretz and McCollum, 2014). Highly proactive individuals actively seek opportunities to acquire, learn, and develop the resources necessary for their performance and work (Carson et al., 2014;Major et al., 2006;Thompson, 2005). ...
Purpose
This study aimed to investigate the impact of benevolent leadership on proactive customer service performance by creating a moderated mediation model. The model focuses on the role of harmonious passion as a mediator in the relationship between benevolent leadership and proactive customer service performance as well as the moderating influence of proactive personality on this mediation.
Design/methodology/approach
The model was tested using data from 339 immediate supervisor-subordinate pairs in eight five-star hotels in Egypt. Frontline service employees and their immediate supervisors completed separate questionnaires, and the responses were matched using identification numbers.
Findings
The results indicate that harmonious passion fully mediates the positive relationship between benevolent leadership and proactive customer service performance. Additionally, proactive personality was found to moderate the mediated relationship between benevolent leadership and proactive customer service performance through harmonious passion, such that the mediation was stronger for employees with higher proactive personalities.
Research limitations/implications
By testing the moderated mediation model, this study contributes to our theoretical understanding of the motivational mechanism through which benevolent leadership influences proactive customer service performance.
Originality/value
This research offers initial evidence of the mediating role of harmonious passion in the positive relationship between benevolent leadership and proactive customer service performance. The moderated mediation model extends existing findings by incorporating proactive personality as a significant moderator in explaining the impact of benevolent leadership on proactive customer service performance.
... Since people generally prefer to establish and maintain predictable relationships (Sheldon & Gunz, 2009), such volatile individuals are unlikely to sustain favourable relationships. Given that the ability to maintain social relationships is crucial for gathering new information for creative activities (Furnham & Bachtiar, 2008;Gocłowska et al., 2019;Zare & Flinchbaugh, 2019), poor social functioning due to low interpersonal stability can hinder creative processes. ...
This study introduces resilience as a personal resource that promotes employee creativity in the face of various obstacles and challenges. Drawing on the notion of resource caravan from conservation of resources (COR) theory, we propose that resilience initiates the resource caravan process wherein employees use and translate personal resources into social resources by maintaining stable interpersonal interactions in their work. Over time, stable interpersonal functions lead to the conservation of internal resources and further generate social resources, which then contribute to employee creativity. The indirect effect of resilience on employee creativity through interpersonal stability is expected to be accentuated by high situational intrinsic motivation, which channels the resource investment to passionate engagements to improve the task and related procedures. Our empirical analysis of field data collected from 144 employees and their supervisors using multiwave and multisource design confirmed our theoretical propositions. The current analysis highlights the significance of resilience that leads to stable interpersonal interactions in predicting creative performance of employees. This study also expands the application of COR theory by illustrating how individual resources help generate a resource caravan to promote employee creativity.
... Creative thinking requires the concentration and regulation of individual attention resources. It does not rely on any single mental process (Furnham & Bachtiar, 2008;Smith et al., 2013). In contrast, tactile feedback can remind individuals of attention diversion states without increasing visual or auditory loads compared to visual and auditory feedback. ...
This study aimed to systematically investigate the impacts of virtual reality (VR) technology integrated with electroencephalogram (EEG) vibrotactile feedback on undergraduate students’ creativity performance, attention value, and cognitive load. 4P’s creativity model was adopted as the
macro strategy, with cognitive load theory and constructivist theory serving as a micro strategy. A 2 x 2 quasi-experimental factor design was utilized. A total of 149 undergraduate students with varying spatial abilities were randomly assigned to an experimental group (using a VR interactive system with EEG vibrotactile feedback) and a control group (without feedback). Covariance analysis (ANCOVA) and analysis of variance (ANOVA) were employed to identify significant differences among the systems and examine interaction effects among variables. The quantitative results provided empirical evidence that the experimental group exhibited significantly higher levels of creativity performance and attention value than the control group. Furthermore, undergraduate students with higher spatial ability demonstrated lower cognitive load, superior creativity performance, and attention value compared to those with lower spatial ability. The study also revealed that the system positively impacts learning in university creativity education and holds promising potential for improving traditional VR interactive training systems. These findings contribute valuable insights for future research on the application of VR interaction technology and EEG technology in cognitive training for creativity.
... In our study, personality traits could explain 9 % of variance in mathematical creativity scores, and 25 % of variance in domain-general creativity. However, both findings stand in contrast to 47 % of explained variance in another study that investigated the link with domain-general creativity (Furnham & Bachtiar, 2008). The personality trait that showed the highest correlation with mathematical creativity and also remained a significant predictor in the regression of personality traits on mathematical creativity was neuroticism. ...
... Highly creative individuals tend to possess relatively stable psychological traits, styles, or dispositions (i.e., personality; Hofstee, 1994) that differ from more typical individuals (Helson, 1999;Mackinnon, 1965). The creative personality has been studied for decades using both interviews and case studies of professionally creative individuals (e.g., Dumas et al., 2022;Gute et al., 2014), as well as larger scale studies of the general population using applied tasks and lab measures associated with more everyday creativity (e.g., Furnham & Bachtiar, 2008). Divergent thinking (DT) tasks, for example, which require participants to generate multiple original ideas to a given prompt or problem within a certain amount of time, are a classic measure associated with creativity (e.g., Acar & Runco, 2019). ...
In this study, 100 self-reported personality items from the Big Five Aspects Scale, responded to by a sample of 334 undergraduate participants, were used to predict quantity (ideational fluency) and quality (originality) of ideas on a divergent thinking (DT) task. The originality of DT responses was scored through a fine-tuned version of the Generative Pre-trained Transformer (GPT) 3.5 (i.e., Ocsai), and a least absolute shrinkage selection operator (LASSO) machine learning model selected the items that were meaningful predictors of each outcome. Results revealed that the personality profiles of highly fluent and highly original individuals were characterized by a tension between seemingly opposed personality attributes. Both ideational fluency and originality were predicted by a playfully open intellectualism that nonetheless avoided more typical work (i.e., was disorderly and unindustrious). Fluency was additionally predicted by a tension between enthusiasm for social interaction and depressive symptoms associated with withdrawal. Originality was predicted by a socially dominant assertiveness that was tempered by awareness and care for others’ feelings (e.g., compassion and politeness) as well as stability (i.e., non-volatility). Taken together, these results demonstrate that the creative personality is likely to be composed of aspects of multiple dimensions of typical personality models like the Big 5, and that the highly fluent and the highly original creative personality is different in important ways.
... In the meta-analysis of Feist (1998) is most famous in which he indicated that creative individuals are high in autonomy, more ambitious, hostile, dominant, impulsive, confident, extravert and open to new experiences. Like Feist (1998) there are number of other writers who confirmed that individuals with high extraversion trait are considered more creative with more intuition and full of divergent ideas (Stavridou and Furnham, 1996;Costa and McCrae, 1985;King et al., 1996;Wolfradt and Pretz, 2001;Furnham and Bachtiar, 2008). These types of traits are helpful to generate divergent thinking. ...
In this competitive era the excellence of the mankind depends on their innovation. Ideas are the key to innovation. Idea generation is described as the process of creating, developing and communicating abstract, concrete or visual ideas. While thinking divergently necessary traits help to expedite creation and generation of new ideas. Creativity as production of useful and novel ideas in domain while Innovation refers to implementation of creative ideas in organization so creativity is the first stage is innovation. Therefore before analysis of the relationship between personality and innovative behaviour it is essential to study the interdependence with personality with divergent thinking. However there are number of studies already investigated the relationships between personality and creative thinking. But it is important to study the effect of personality on creativity in order to explore the personality-innovative behaviour relationship. Thus the present study tries to envisage whether the Personality-Creativity-Innovative model is effective for exploration of ideas.
... "The efficient generation of a variety of ideas to met a given question or problem" [3]. A divergent thinking task requires individuals to generate original and appropriate answers to open ended, vague problems and it is one of the most often used measures for creativity [4]. Divergent thinking comprises of features such as fluency (e.g. the number of responses a person provides to a given question or problem), flexibility of thinking (e.g. the number of categories their responses fall into), originality (e.g. ...
Aims: Ideas are the key to innovation. In this competitive era the excellence of the mankind depends on their innovation. Innovative outcomes laid stress on how to think divergently. Creativity is varied in nature. Several factors are responsible to perform any creative task. Therefore, it is necessary to find out the most important factor which can help to expedite creativity among the person, more specifically to explore the scientific reason behind the specific factor and multivariate relationship between two or more factors. Study Design: In the present study the investigator used explanatory-case study method. Methodology: The present research included under non-probability sampling technique. For conducting the present research work systematically researcher used purposive sampling method for sample selection. It is basically selected for solving several purposes properly. Therefore the willing and accessible 31 subjects are chosen for this purpose. Out of 31 subjects, 20 students arefrom Bengali Medium School and remaining 11students are from English Medium School. These schools are affiliated to West Bengal Board of Secondary Education and CBSE Board. Results: A scatter analysis is used to compare two data sets for finding out the relationship between them. Simultaneously, curve fitting algorithm is used to examine the relationship between one or more predictors (independent variable) and a response variable (dependent variable) with the goal of defining a best fit model of the relationship. The major aim of this study is to find out the relationship between one or more predictors (independent variable) and a response variable (dependent variable) with the goal of defining a best fit model of the relationship. Conclusion: Exploring the effective factors of creativity is addressed on 14 years age of boys and girls.
... Creativity is a fascinating phenomenon for scientists and laypeople alike. In line with this fascination, countless studies have investigated which personal and situational characteristics favor the emergence of creative ideas (e.g., Amabile, 1988;Baron & Harrington, 1981;Furnham & Bachtiar, 2008). An interesting, and somewhat counterintuitive, finding here is that creative solutions often come to our mind, in situations in which our attentional focus is not on the actual problem but rather when we work on unrelated tasks (Baird et al., 2012;Dodds et al., 2003;Sio & Ormerod, 2009). ...
Processing apparently irrelevant information has been linked to successful creative ideation, especially in open-minded individuals. To investigate attentional processing, prior studies in this field relied on in-laboratory eye tracking. Despite several advantages, this method also comes with downsides like high costs and slow data collection. To address these issues, online, webcam-based eye tracking might be a promising solution. In three preregistered experiments, we transferred an established paradigm from in-laboratory research to the online context. Participants (N = 100 for each study) had to come up with possible uses for visually presented items, which were surrounded by apparently irrelevant distractor objects. Between experiments, we manipulated the kind of these distractor items (study 1: real objects; study 2: real objects for half of the trials and random geometric figures for the other half; study 3: random geometric figures). In line with prior in-laboratory research, in study 1 and in the real objects condition in study 2, we found a positive relation of the time processing this apparently irrelevant information and the originality of the produced uses. For the random geometric figures condition of study 2 and in study 3, no such relation was found. We conclude that irrelevance processing only promotes creativity if the additional information is somehow related to the given task and can thus stimulate novel ideas. In contrast, simply shifting the visual focus away from a task might not be sufficient to facilitate creative thinking. We discuss the potential and limitations of online webcam-based eye tracking for creativity research.
... Bu noktada, eğilimlerimiz açıklıktan yana olmasa bile, açık olmakla ilişkili becerileri geliştirmenin yollarını keşfetmek ve örgüt içinde bu eğilime göre hareket etmek gerekmektedir. Bu husus McCrae ve Greenberg (2014) tarafından deneyime açıklık olarak yenilik ve çeşitliliğin takdir edilmesi ve belirsizliğe karşı yüksek tolerans ile karakterize edilen geniş bir kişilik özelliği olarak kavramsallaştırılmıştır. Örgüt içinde farklı, çeşitli ve sıra dışı seçenekler sunan insanların düşüncelerini yapıcı bir şekilde üzerinde düşünülen olguya odaklamaları yaratıcı süreçle sonuçlanması muhtemel bir yaklaşım olacaktır (Furnham ve Bachtiar, 2008). Yaratıcılık kavramı ile irade ortaya koyma arasında da açıklığa benzer bir ilişki görülmektedir. ...
In this chapter, where new technologies and working life are examined, in this section where creativity and innovation management in business life is discussed, it will be discussed how businesses and individuals who want to maintain their place and exist in the future should handle creativity and innovation management.
... Analysing cognitive domain of creativity the researchers usually mention intelligence. The modest relationship between intelligence and creativity was confirmed taking into account the past and present research findings (Furnham & Bachtiar, 2008). Another crucial thing for cognitive dimension of creativity is divergent thinking. ...
The purpose of this research was to examine the self-concept of the Polish visually impaired adolescents identified with different levels of creative behaviour. Tennessee Self-Concept Scale (TSCS), The Heuristic Thinking Questionnaire and A Short Demographic Questionnaire were administered to 30 Polish adolescents
with visual impairments who attended two special schools in Lublin and Cracow. Their mean age was 16.8 years. A median for all scores (N=30) obtained in The Heuristic Thinking Questionnaire was computed to divide the sample into two groups. The visually impaired participants who scored above median were classified as more
creative (group A, n=13) and those who got scores below it were regarded as less creative (group B, n=17). T test for independent samples showed significant differences between the means for more creative (group A) and less creative visually impaired youth (group B) in the following TSCS subscales: moral-ethical self (t=3.313;
p<0.003), moral-ethical self-esteem (t=2.315; p<0.028), moral-ethical self-behaviour (t=2.401; p<0.023) and personal self-esteem (t=2.749; p<0.010). Further, thorough study including larger samples is required to understand the relationships among visual impairment, self-esteem and creativity.
... Sci. 2024, 14, 58 2 of 10 thinking [7,8]. Therefore, to provide concrete implications for fostering creative personality and creativity during adolescence, it is essential to identify environmental factors that can influence these personality factors and individual factors that can moderate these relationships. ...
This study investigated the impact of perceived parent–child relationships on creative personality in middle school students according to self-concept, focusing on environmental (parent–child relationships) and individual (self-concept) factors that can influence these students’ creative personalities. To this end, this study verified the moderation effect using sixth-year data (third year of middle school students) from the Seoul Longitudinal Educational Study 2010 Panel, utilizing SPSS 26.0 and the PROCESS macro. The results revealed that the self-concept of middle school students moderated the influence of parent–child relationships on creative personality. Specifically, it was found that as the level of self-concept increased above the average the positive relationship between parent–child relationships and creative personality strengthened. Based on the study’s findings, theoretical and practical suggestions for creating a home and educational environment to promote creativity during adolescence were discussed.
... Personality is a set of enduring tendencies to feel, think, and act in certain ways (e.g., to be extraverted, compassionate, tidy, anxious, rebellious [34][35][36][37][38]). Personality traits have wide-ranging, consequential impacts on behaviors and outcomes across a variety of domains, from education and career path choices, to art preferences, to invention and creativity, to job performance, and even to longevity (3,12,14,(39)(40)(41)(42)(43)(44) ...
Tall - short, introverted - extroverted, smart - simple; the range of differences between people is stunning. But have you ever wondered why we're so different? For the past fourteen years, our team worked to unravel this mystery through the world’s largest set of meta-analyses delving into the connections between personality and intelligence.
By meticulously gathering data from millions of people across more than 50 countries over the past century, we conducted 3,500+ meta-analyses. Each meta-analysis served as a pixel in the panorama of human diversity. The resulting picture revealed profound patterns and a unifying theory that explains why we're all so different.
... Feist (1998) concluded that introverted people are more proficient on creative work. Extraversion has a positive connection with new experience, especially in an organizational setting (Furnham & Bachtiar, 2008;Wolfradt & Pretz, 2001). Since Extraversion /Introversion is merely considered to be direction of energy and is an Intrinsic factor, cultural dimension's direction will not have any relation to it. ...
... Incidentally, weirdness is a personality characteristic that is arguably relevant to many core elements of the aforementioned creativity-promoting processes. Indeed, creativity scholars have long acknowledged that deviating from established norms (Gough, 1979;Morris & Leung, 2010;Warren, 2003) and being open to new experiences (Furnham & Bachtiar, 2008;Ma, 2009;Yao & Li, 2021) are key factors that facilitate creativity, and these tendencies are also hallmarks of weirdness (Wood et al., 2007). ...
Many iconic entrepreneurs have been celebrated for being unapologetically weird. Using pitches collected from the TV show Shark Tank, we seek to unpack the link between entrepreneur weirdness and investor interest (i.e., number of bidders) in the context of securing investor funding. Integrating Wood and colleagues’ (2007) theory of non-normativity with Amabile’s (1983, 1996) componential theory of creativity, we propose that weirdness, as a form of non-normativity, yields both positive and negative outcomes for entrepreneurs through two distinct pathways. Specifically, the weirdness advantage operates through entrepreneur creativity, whereas the weirdness liability operates through lower entrepreneur competence. Our empirical analyses of non-normativity suggest that entrepreneur weirdness indeed is a double-edged sword. Further, we propose that entrepreneur warmth (being friendly and good natured) moderates both weirdness effects, by strengthening the positive effect on entrepreneur creativity and dampening the negative effect on entrepreneur competence. Implications of the advantages and disadvantages of entrepreneur weirdness are discussed.
... Although some of these findings are quite different, there are some clear observable patterns that exist especially in the context of the fivefactor model of personality (e.g., Costa & McCrae, 1995;da Costa, Páez, Sánchez, Garaigordobil, & Gondim, 2015;Feist, 2019;Ma, 2009). Even when researchers use divergent thinking (DT) to assess creativity-related aspects (creative potential) findings parallel those using other methods (e.g., Forthmann, Oyebade, Ojo, Günther, & Holling, 2019;Furnham & Bachtiar, 2008;Jauk et al., 2015). However, the extent to which these patterns are consistent across studies assessing DT has not been evaluated. ...
Exploring personality characteristics that distinguish creative people from others has been a topic of interest for decades. Past research on creativity and the Big Five showed some clear patterns such that openness and extraversion, also denoted as the plasticity of personality, are positively correlated with creativity indicators. However, the extent to which this pattern applies to divergent thinking (DT) has yet to be examined. In this meta-analysis, we investigated the relationship between the Big Five personality traits and DT. We analyzed 156 effect sizes for openness, 110 for extraversion, neuroticism, and conscientiousness, 107 for agreeableness, and 17 for honesty-humility drawn from 63 studies with a total sample of 24,298 participants. In line with previous research, we did find a significant, albeit weak, relationship between DT and openness (r = 0.20, 95 % CI [0.18, 0.22]), as well as extraversion (r = 0.09, 95 % CI [0.06, 0.12]). We also assessed moderating effects of DT measure type and scoring, Big Five measure type, age group, culture, and publication year. We discuss the implications of our findings for creativity and personality research and assessment.
Purpose
This study examines how neuroticism influences job performance through creativity as a mediator and job autonomy as a moderator.
Design/methodology/approach
A survey of 215 lecturers in Indonesian universities used established measures for neuroticism, creativity, job autonomy and job performance. Statistical analyses assessed validity, reliability and a moderated mediation model to understand the impact of neuroticism on performance through creativity, moderated by job autonomy.
Findings
Job autonomy enhances the link between neuroticism and creativity, while creativity positively influences job performance, highlighting the importance of fostering autonomy and creativity to leverage neurotic traits for better outcomes.
Practical implications
Organizations can use these insights to design interventions promoting autonomy and creativity, turning neurotic tendencies into drivers of innovation and productivity, enhancing employee potential and organizational success.
Originality/value
This study presents a unique framework elucidating how individual traits and organizational factors interact to influence job performance.
This study focused on the effect of Reread Strategy (RRS) on cognitive reasoning among children with mild intellectual disorder (CWMID) in public special-need schools in Ogun State, Nigeria. Gender and parental support were also considered as moderating variables. Using a pretest-posttest quasi-experimental design; the study involved 28 participants that met the inclusion criteria out of 31 pupils from two special-need schools in Ogun State. Participants were divided into RRS, and control groups. After an intervention period of six weeks, data analysis revealed a significant effect of the Reread Strategy on improving cognitive reasoning, with the participants in the RRS group scoring higher than those in the control group. Reread strategy proved to be very effective in enhancing cognitive reasoning, and the strategy was recommended for use in improving CR in CWMID.
Cognitive reasoning (CR) is a critical aspect of human intelligence, encompassing the mental processes utilised for thinking, learning, and comprehending, which are essential for academic achievement. This article explores the effects of bibliotherapy on cognitive reasoning among CWMID in public special-need schools in Ogun State, Nigeria. The study adopts a pretest, posttest quasi-experimental design Purposive sampling technique was adopted, and all 22 educable children with mild intellectual disorder, aged 6-16 years, from two special-need schools in Ogun State participated in the study. Analysis of covariance was used to analyse the data collected. The study was able to establish that bibliotherapy improved cognitive reasoning among children with mild intellectual disorder in the schools for children with special needs, Ogun State, Nigeria. The treatment strategy is therefore recommended to be adopted for improving cognitive reasoning among children with mild intellectual disorder
The relationship between bipolar disorder (BD) and creativity has long fascinated both the academic community and the public. However, empirical evidence and meta-analytic findings have remained ambiguous and complex. This meta-analysis systematically investigates the association between BD (including clinical and subclinical samples) and various dimensions of creativity, including divergent thinking, creative achievements, and artistic creativity, with a particular focus on the moderating effects of multiple influencing factors. A thorough literature search of 6,298 screened articles yielded 35 relevant studies, encompassing 114 effect sizes and 48,979 individuals. Using a multilevel random-effects model, our analysis found a small but statistically significant positive relationship between BD and creativity ( g = 0.20, 95% CI : [0.08, 0.32]). Specifically, individuals with subclinical BD were associated with higher levels of creative output ( g = 0.32, 95% CI: [0.22, 0.41]) than clinical sample ( g = 0.06, 95% CI : [-0.17, 0.29]), which somewhat supports the inverted U-shaped relationship hypothesis. Studies using correlational methods or self-reported creativity exhibited a significantly positive link between BD and creativity. Additionally, this link was moderated by several key variables, such as the severity and type of BD, the creativity assessment method, and various demographic factors. By addressing methodological inconsistencies in previous research and offering a more comprehensive analysis of moderator variables, this meta-analysis deepens our understanding creativity in BD.
While humor has been a subject of fascination for people since ancient times, research examining the effect of humor on creative behavior has been relatively scarce in recent decades, despite the reciprocal relationship between these variables. Moreover, it is not apparent whether the effect of humor on creativity significantly varies based on various personality traits or differences in humor usage. Thus, we presented two studies aiming to investigate these issues, with a particular focus on the manipulation of humor styles, namely self-enhancing humor and self-defeating humor, along with a control condition. Study 1 focused on the effect of humor and personality traits on creativity. Humor was manipulated using cartoons, and participants were asked to generate alternative uses for an ordinary object in a creativity task. Study 2 was a continuation of the first study, where the state of extraversion in participants was manipulated. The findings revealed that the participants who did read humorous cartoons generated more ideas than those who did not read cartoons. Moreover, personality traits moderated the effect of self-defeating humor on creative behavior. These findings underscore the important role of personality traits in the relationship between humor and creativity and provide valuable insights for future studies on the experimental manipulation of humor styles.
The connection between personality and creativity has captured the interest of the scientific community, showing controversial results about the specific personality traits that are able to influence the human creativity. To better investigate this relationship, our study employees both explicit measures such as self-report questionnaires about personality, creativity and emotions and implicit measures, we utilize a virtual reality environment in which users can create artistic artworks, enabling us to conduct an ontological analysis on the virtual artworks. The aim of our study is twofold, on one side we want to assess the correlation between scores on personality traits and creativity traits; on the other side we want to explore how personality traits may influence user’s creative skills, during a creative task in VR. Our findings support previous studies about the relationship between extroversion, agreeableness, conscientiousness, openness and creativity; and they also reveal new insights about the influence of personality on the artistic skills of the subjects.
Purpose
The study aims to develop a hierarchical model for innovative work behaviour (IWB) that can capture the complex associations among the factors contributing to IWB within the information technology (IT) sector. To accomplish this, the authors rely on an abductive approach using a graph theoretic model, often called interpretive structural modelling (ISM).
Design/methodology/approach
After conducting an in-depth literature review and using the Delphi method, the authors identified 12 factors (11 enablers and IWB as an outcome). The authors collected data through the Delphi approach by sending the questionnaire to 11 experts from academia and the IT sector who have extensive experience and knowledge relevant to the study. The authors then used the ISM method to analyse the relationships among these factors and understand their driving forces.
Findings
Based on the ISM model and the Matrice d'Impacts Croisés Multiplication Appliquée à un Classement analysis, the authors have identified that inclusive leadership, proactive personality and knowledge creation ability are the variables with strong driving power but weak dependence. Conversely, IWB has strong dependence but weak driving power. These findings suggest that to foster IWB, the organisation should prioritise inclusive leadership, proactive personality and knowledge-creation ability to succeed in challenging times. The study’s findings contribute to the social exchange theory, which explains IWB in a dynamic setting. Additionally, the study helps address the significant concerns that most IT companies face during times of crisis.
Practical implications
The study provides valuable guidance for managers and policymakers who are grappling with the challenges of improving IWB in the IT sector. This study is particularly relevant as the industry is currently navigating an economic recession and facing intense competition from other tech companies launching new products and services.
Originality/value
This research holds great significance for top executives, line managers and policymakers in the IT industry. It sheds light on the relevance and importance of various factors facilitating millennials' IWB.
Violations of the etiquette of manners that occur today are seen as a manifestation of the low manners of students. This is important because Indonesia is famous for its polite culture. Furthermore, how religiosity negotiating with habituation occurs to provide an understanding of manners to students. Therefore, this study wants to conduct a theoretical exploratory study of the civics teacher strategy. This research approach uses multi-site qualitative methods, combining content analysis with case study concepts. This approach is used to deepen the theoretical context of the research, which is discussed in a case study with interviews with three civil teachers in elementary schools. Furthermore, the data were analyzed with Pierre Bourdieu’s habitus, contextualized to students’ manners. The results show that character development in children occurs through a process that begins at birth and continues into adulthood. Individual morality develops slowly and through several stages of moral reasoning (the ability to understand why something is considered right and wrong) towards an individual with total moral capacity. The more children use their thinking skills to deal with problems in their daily lives. The more children master these stages of development. This will make it easier for children to move up to the next stage of moral development. Habituation will occur and continue through the character development of early learners in interpersonal conformity. Students at this stage try to please others by being good people and trying to meet the expectations of others. So, personal relationships become an essential part. So, courtesy must be a habit while instilling religious and habituation aspects in Civic at school.
The assessment of creativity as an individual difference has historically focused on divergent thinking, which is increasingly viewed as involving the associative processes that are also understood to be a key component of creative potential. Research on associative processes has proliferated in many sub-fields, often using Compound Remote Associates (CRA) tasks with an open response format and relatively small participant samples. In the present work, we introduce a new format that is more amenable to large-scale data collection in survey designs, and present evidence for the reliability and validity of CRA measures in general using multiple large samples. Study 1 uses a large, representative dataset (N = 1,323,480) to demonstrate strong unidimensionality and internal consistency (α = .97; ωt = .87), as well as links to individual differences in temperament, cognitive ability, occupation, and job characteristics. Study 2 uses an undergraduate sample (N = 685) to validate the use of a multiple-choice format relative to the traditional approach. Study 3 uses a crowdsourced sample (N = 357) to demonstrate high test–retest reliability of the items (r =.74). Finally, Study 4 uses a sample that overlaps with Study 1 (N = 1,502,922) to provide item response theory (IRT) parameters for a large set of high-quality CRA items that use a multiple-choice response mode, thus facilitating their use in future research on creativity, insight, and related topics.
The Cambridge Handbook of Creativity is a comprehensive scholarly handbook on creativity from the most respected psychologists, researchers and educators. This handbook serves both as a thorough introduction to the field of creativity and as an invaluable reference and current source of important information. It covers such diverse topics as the brain, education, business, and world cultures. The first section, 'Basic Concepts', is designed to introduce readers to both the history of and key concepts in the field of creativity. The next section, 'Diverse Perspectives of Creativity', contains chapters on the many ways of approaching creativity. Several of these approaches, such as the functional, evolutionary, and neuroscientific approaches, have been invented or greatly reconceptualized in the last decade. The third section, 'Contemporary Debates', highlights ongoing topics that still inspire discussion. Finally, the editors summarize and discuss important concepts from the book and look to what lies ahead.
Eleştirel düşünme, geliştirilmesi hedeflenen beceriler arasında yer alır. Söz konusu düşünme becerisi geliştirmek için farklı teknik, strateji veya yöntemler kullanılabilir. Bunlardan birisi de satrançtır. Bu çalışmanın genel amacı, satranç oynamanın eleştirel düşünme becerileri gelişimine etkisinin incelenmesidir. Çalışma kesitsel tarama modelinde sürdürülmüştür. Çalışma grubu 5–7 sınıf aralığındaki toplam 159 öğrencilerden oluşturulmuştur. Çalışma grubu oluşturulur iken seçkisiz olmayan amaçlı örnekleme yöntemlerinden ölçüt örnekleme türü kullanılmıştır. Araştırmada veri toplama aracı olarak araştırmacı tarafından oluşturulmuş olan bilgi toplama formu ve Şahin ve Yılmaz (2018) tarafından revize edilmiş olan Eleştirel Düşünme Becerileri Ölçeği kullanılmıştır. Analizler, en az iki yıldır satranç bilen öğrencilerin eleştirel düşünme toplam puanları satranç bilmeyen akranlarından anlamlı düzeyde farklı çıktığına işaret etmektedir. Sınıf düzeyine göre yapılan alt analizlerde ise satranç bilen öğrencilerin puanlarında anlamlı bir farklılık ortaya çıkmaz iken, satranç bilmeyen öğrencilerin puanlarında üst sınıflar lehine anlamlı bir farklılık saptanmıştır. Bu sonuçlar, eleştirel düşünme becerileri gelişiminde satrancın anlamlı düzeyde katkı yaptığına işaret etmesi bağlamından manidardır.
The present study focuses on assessing first-year architecture students’ creative skills by examining the changes in their cognitive skills due to curricular intervention and revealing the possible effects of personality and motivation factors. An experimental research design with related groups pre-and post-test approach was adopted, and a multiple-assessment test battery was developed based on the literature. The pre-and post-test approach was used to evaluate whether (1) the curricular intervention in the first-semester basic design course affected the cognitive skills of the students, (2) there was a significant change in personality and motivation factors of the students, and (3) the effects of the curricular intervention could be isolated from the changes in personality and motivation factors. The responses to the pre-and post-test were statistically analyzed, and findings indicated that the curricular intervention in the first-semester basic design course enhanced the fluency and flexibility dimensions in students’ divergent thinking skills to a greater extent and originality to a lesser extent in visual and verbal stimuli tasks. Such increase was found to be independent of the changes in personality and motivation factors. Rather, it was related to the curricular tasks provided to the students throughout the semester.
The orange economy which is also known as the creative economy has been an unrecognized industry though it has been a major contributor to economic growth and development. In this research an introspection has been done on four major economic factors such as: Choice of creativity with available resources, Marketing the good with unique strategies, Supply chain of good and services and tackling the demand fluctuations. These four factors rule the creative economy and hence the interlink between all these factors and its impact on the success of orange economy has been discussed in this research. The data has been collected from 30 small-owned creative business units which are spread across Karnataka. An interview schedule has been conducted with the creative business owners to understand the creative business units and its functionality. The structured interview has three layers which include (layer 1: questions related to creative business, layer 2: impact of Covid-19 pandemic on creative business units and layer 3: questions related to marketing, promotion and sales strategies used by creative business units. All the collected data has been exposed to a manual qualitative content coding to find new variables, new themes, cause, and effect and to construct a new conceptual model. The model has been suggested to the creative business units for active consideration and implementation. If the creative business units make use of the suggested marketing mix and strategies, they will be able to sustain themselves in the post-Covid-19 pandemic.
The orange economy which is also known as the creative economy has been an unrecognized industry though it has been a major contributor to economic growth and development. In this research an introspection has been done on four major economic factors such as: Choice of creativity with available resources, Marketing the good with unique strategies, Supply chain of good and services and tackling the demand fluctuations. These four factors rule the creative economy and hence the interlink between all these factors and its impact on the success of orange economy has been discussed in this research. The data has been collected from 30 small-owned creative business units which are spread across Karnataka. An interview schedule has been conducted with the creative business owners to understand the creative business units and its functionality. The structured interview has three layers which include (layer 1: questions related to creative business, layer 2: impact of Covid-19 pandemic on creative business units and layer 3: questions related to marketing, promotion and sales strategies used by creative business units. All the collected data has been exposed to a manual qualitative content coding to find new variables, new themes, cause, and effect and to construct a new conceptual model. The model has been suggested to the creative business units for active consideration and implementation. If the creative business units make use of the suggested marketing mix and strategies, they will be able to sustain themselves in the post-Covid-19 pandemic.
This study explored impacts of the COVID-19 pandemic on creativity and productivity and how personality variables moderated these impacts. Two online self-report surveys were conducted. 863 (spring 2020) and 421 (spring 2021) participants were asked how the corona crisis affected their creativity and productivity. In addition, personality variables, namely the Big Five (openness, conscientiousness, extraversion, agreeableness, neuroticism), as well as interpersonal trust, need for cognition, risk-taking, and life satisfaction, were assessed. As a result of the crisis, the group of participants appeared more creative in 2020, while no significant group effect of the pandemic was found for productivity. In 2021, however, the crisis had a negative impact on creativity and productivity. In 2020, predictors for an improved creativity were openness, conscientiousness, neuroticism, and life satisfaction; predictors for improved productivity were conscientiousness, negative interpersonal trust, and life satisfaction. In 2021, only life satisfaction predicted improved creativity, while improved productivity was predicted by conscientiousness, negative neuroticism, and life satisfaction. At its beginning, the COVID-19 pandemic had, on average, a positive effect on creativity and a neutral one on productivity. Later, the impact turned negative on both creativity and productivity. Here, lower life satisfaction was particularly relevant.
This study examined the relationship between implicit environmental clues in a creativity task and individual differences in state change and personality traits. In two experiments, participants completed a Remote Associates Test. Some solution words were implicitly primed as clues. In Experiment 1, the clue priming effect turned from negative to positive depending on task progress, which is related to arousal state. Clue priming can hinder people's generating ideas depending on arousal. In Experiment 2, considering participants' personality traits as a moderator, we further examined the relationship between sensitivity to environmental clues and arousal measured by heart rate. The results confirmed Experiment 1's outcomes and revealed that the relationship is moderated by extraversion. For extraverted participants, an implicit clue had a negative effect in a high‐arousal state but a positive effect in a low‐arousal state. The facilitative or obstructive influences of external factors can be determined by the interaction of internal factors (i.e., solvers' traits and states). Thus, extraverts and introverts differ in how they receive and utilize external information.
This book explores the development of cognitive skills related to reasoning and creativity, two strands that can intertwine to work together at times but may also be at odds. Spontaneity and freedom from constraint, characteristic of the thinking of young children, may be essential to creativity, which has prompted many to question how much we lose as we progress through childhood. Research and common sense tell us that effort, practice, and study are necessary for the highest levels of creative accomplishment, yet such intentional exertions seem antithetical to these hallmarks of creativity. In this revised and expanded second edition, leading scholars shed new light on creativity's complex relationship to the acquisition of domain-based skills and the development of more general logical reasoning skills. Creativity and Reason in Cognitive Development will be an essential reference for researchers, psychologists, and teachers seeking to better understand the most up-to-date work in the field.
Art and design involve divergent creative processes. Design is a more constrained domain than art. While creativity in some specific domains, such as painting, sculpture, and music, has been widely studied, some have as yet been little explored. One example is stone carving. What characterizes stone carving, as a creative occupation? What is a stone carver's creative process? We set out to answer these questions by interviewing a stone carver about his profession, his process, his productions, and his place in society. In this case study, we examined the stone carver's discourse using a combination of three content analysis software tools. Taken together, the results highlight and detail 3 of the 7 Cs of creativity: the stone carver as creator, his creating (creative process), and his creations (productions) on which the interview focuses. The results of this participatory case study were validated by the stone carver himself. They reveal that stone carving sits at the intersection between handicraft, design, and art.
This study adopted an interactional approach to understanding how 2 of the Five-Factor traits, openness to experience and conscientiousness, are related to creative behavior in the workplace. Openness to experience is theorized to result in high levels of creative behavior and conscientiousness is theorized to result in low levels of creative behavior when the situation allows for the manifestation of the trait influences. More specifically, the authors hypothesized that openness to experience would result in high levels of creative behavior if feedback valence were positive and job holders were presented with a heuristic task that allowed them to be creative. The authors also hypothesized that conscientiousness would result in low levels of creative behavior if supervisors engaged in close monitoring and coworkers were unsupportive. The authors tested their hypotheses in a sample of office workers, and 5 out of the 6 hypotheses were supported.
Intelligence cannot be fully or even meaningfully understood outside its cultural context. Work that seeks to study intelligence a contextually risks the imposition of an investigator’s view of the world on the rest of the world. Moreover, work on intelligence within a single culture may fail to do justice to the range of skills and knowledge that may constitute intelligence broadly defined and risks drawing false and hasty generalizations. In this article, we consider the relevance of culture to intelligence and its investigation, assessment, and development. We describe studies from diverse continents, based on the theory of successful intelligence, that show the importance of understanding intelligence in its cultural context and conclude that intelligence must be understood in such context.
A study was conducted with 300 students in Grade 11 to examine the relationships among creativity, intelligence, personality, and academic achievement. Analysis showed significant positive relations of creativity with some personality dimensions (extraversion, theoretical, and aesthetic value pattern) and scholastic achievement. The relation between creativity and intelligence was nonsignificant.
States that both the popular creativity tests, such as the Torrance Tests of Creative Thinking, and the subjective assessment techniques used in some previous creativity studies are ill-suited to social psychological studies of creativity. A consensual definition of creativity is presented, and as a refinement of previous subjective methods, a reliable subjective assessment technique based on that definition is described. The results of 8 studies testing the methodology in elementary school and undergraduate populations in both artistic and verbal domains are presented, and the advantages and limitations of this technique are discussed. The present methodology can be useful for the development of a social psychology of creativity because of the nature of the tasks employed and the creativity assessments obtained. Creativity assessment is discussed in terms of the divergent aims and methods of personality psychology and social psychology. (46 ref)
As a brief measure of general intelligence, the Wonderlic Personnel Test (WPT) has been shown by C. B. Dodrill (see record
1982-00123-001) to render IQ scores closely resembling the WAIS Full Scale IQ (FSIQ). Long-term stability of the WPT IQ has not yet been demonstrated, however. In the present study, 30 normal adults were administered both the WPT and the WAIS on 2 occasions 5 yrs apart. Ss were 17–69 yrs of age at the 2nd testing. Test–retest reliability was .94 for the WPT and .96 for the WAIS FSIQ. The 2 tests were similar in terms of reliability of clinical classification, but the WPT demonstrated fewer practice effects than the WAIS. It is concluded that the WPT merits additional attention by clinical psychologists. (5 ref) (PsycINFO Database Record (c) 2012 APA, all rights reserved)
This study examined the relationship between fluid intelligence, the Big Five traits, hypomania and three measures of creativity: Divergent Thinking fluency, Self-rated creativity and the Biographical Inventory of Creative Behaviours (BICB). One hundred and twenty eight sixth-form students took part. Fluid intelligence was found to be positively associated with DT fluency, but unrelated to both Self-rated creativity and the BICB. Hypomanic traits were significantly correlated to all three creativity criteria. The combination of hypomanic traits and fluid intelligence demonstrated the strongest association with DT fluency, accounting for 11% of the variance. Hypomania was the best predictor of Self-rated creativity accounting for 17% of the variance. The Big Five accounted for incremental validity of 5–8% depending on the creativity measure used.
One hundred sixty-three men who have been followed prospectively for over 45 years were rated on a set of 25 personality traits at the end of their college careers and took the NEO-PI at approximately ages 67–68. The college traits were transformed, via a rating procedure, to scales assessing each of the Big Five dimensions and related to the NEO-PI. Three traits—Neuroticism, Extraversion, and Openness—exhibited significant correlations across the 45-year interval. Furthermore, the trait profiles remained relatively stable over that interval. Both sets of personality traits were related to a wide variety of life course variables representing the domains of global adult adjustment, career functioning/success, creativity, social relations, mental health, substance abuse, childhood characteristics, familial history of pathology, maturity of defenses, and political attitudes. Conscientiousness in college was the best predictor of what happened to the men in the future, whereas Neuroticism in late midlife was the best correlate of life course functioning across a variety of domains.
Preliminary studies of the Wonderlic Personnel Test as a brief measure of general intelligence have rendered positive findings but have not included a variety of subject groups in the same investigation. Psychiatric, neurological, psychiatric/neurological, and normal subjects were used in this study to evaluate the relations between the Wonderlic and Wechsler Adult Intelligence Scale (WAIS) in each sample. In each case close relations were found. The Wonderlic Personnel Test deserves additional attention as a brief measure of general intelligence. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
For 62 students scores on the Barron-Welsh Art Scale, a measure of creativity, were correlated with scores on the Eysenck Personality Questionnaire. As predicted, psychoticism correlated positively with Art Scale scores, while extraversion and neuroticism did not.
Divergent thinking tests are probably the most commonly used measure of children's potential for creative thinking. Divergent thinking is not synonymous with creative thinking, but the research presented in this volume suggests that divergent thinking is an important component of the creative process. This research also suggests that divergent thinking tests are not perfect measures (just as IQ tests are not perfect measures of intelligence), but they are useful estimates of the potential for creative thought.
There are a number of unanswered questions about children's divergent thinking and creativity. Several of these are addressed throughout this book, and may be identified as themes in the research.
One of the themes in this book is that the capacity for divergent thinking may not be normally distributed across all levels of ability.
There are several concerns one must recognize when conducting or evaluating the empirical research on the distribution of creativity.
My research addresses the distribution issue in its demonstrating that ideational originality and flexibility are more reliable and valid in gifted children than nongifted children.
A second theme in this book was introduced in Wallach and Kogan's "Modes of Thinking in Young Children." Wallach and Kogan suggested that divergent thinking is influenced by the conditions under which it is assessed.
A third theme of this book is methodological.
A final theme is that divergent thinking is important for both "basic" and "applied" research. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Theory and research in both personality psychology and creativity share an essential commonality: emphasis on the uniqueness of the individual. Both disciplines also share an emphasis on temporal consistency and have a 50-year history, and yet no quantitative review of the literature on the creative personality has been conducted. The 3 major goals of this article are to present the results of the first meta-analytic review of the literature on personality and creative achievement, to present a conceptual integration of underlying potential psychological mechanisms that personality and creativity have in common, and to show how the topic of creativity has been important to personality psychologists and can be to social psychologists. A common system of personality description was obtained by classifying trait terms or scales onto one of the Five-Factor Model (or Big Five) dimensions: neuroticism, extraversion, openness, agreeableness, and conscientiousness. Effect size was measured using Cohen's d (Cohen, 1988). Comparisons on personality traits were made on 3 sets of samples: scientists versus nonscientists, more creative versus less creative scientists, and artists versus nonartists. In general, creative people are more open to new experiences, less conventional and less conscientious, more self-confident, self-accepting, driven, ambitious, dominant, hostile, and impulsive. Out of these, the largest effect sizes were on openness, conscientiousness, self-acceptance, hostility, and impulsivity. Further, there appears to be temporal stability of these distinguishing personality dimensions of creative people. Dispositions important to creative behavior are parsed into social, cognitive, motivational, and affective dimensions. Creativity like most complex behaviors requires an intra- as well as interdisciplinary view and thereby mitigates the historically disciplinocentric attitudes of personality and social psychologists.
The authors examined the relations among intelligence, personality, and creativity. They consider the concept and definition of creativity in conjunction with the qualifications that researchers in the field have suggested. The present authors briefly refer to historiometric studies but focus on psychometric intelligence and its relations to tests of divergent thinking (DT) and ratings of creativity. The authors consider the relation between personality and creativity in the context of Eysenckian 3-factor and 5-factor models of personality and with reference to DT tests and ratings of creativity. The authors also present recommendations for the future study of creativity.
The subject of creativity has been neglected by psychologists. The immediate problem has two aspects. (1) How can we discover creative promise in our children and our youth, (2) How can we promote the development of creative personalities. Creative talent cannot be accounted for adequately in terms of I.Q. A new way of thinking about creativity and creative productivity is seen in the factorial conceptions of personality. By application of factor analysis a fruitful exploratory approach can be made. Carefully constructed hypotheses concerning primary abilities will lead to the use of novel types of tests. New factors will be discovered that will provide us with means to select individuals with creative personalities. The properties of primary abilities should be studied to improve educational methods and further their utilization. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
In "Where Have We Been, Where Are We Going To? Taking Stock in Creativity Research," the author attempted to use 2 recent handbook publications as a basis for drawing some general conclusions about the current state of affairs in creativity research. The commentaries provided by Eisenberger, Kaufmann, Runco, and Russ with regard to this review not only aptly illustrate some key points made in this feature article, but also provide some thought-provoking extensions of this review. In this reply, the author considers these commentaries with respect to both points of agreement and disagreement. With regard to points of disagreement, he stressed in his initial review, and would continue to stress, the practical, social aspects of creative work, as well as the need to reference creativity against products as opposed to potential. In agreement with the commentators, however, he would argue that creativity research has now progressed beyond the provisional hypotheses generation stage. Thus, the challenge confronting us is to bring about integration while simultaneously conducting research evidencing greater specificity with regard to processes, tasks, domains, and requisite dispositional characteristics.
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.
The dedicated work of numerous scholars has, over the last 10 years, led to some radical advances in our understanding of the nature and implications of creativity. This work has been summarized in 2 recent handbooks - Mark Runco's Creativity Research Handbook and Robert Sternberg's Handbook of Creativity. In this article I use these handbooks as a starting point to take stock in both what has been accomplished and what still needs to be done in our attempts to understand creativity. I begin by noting that both handbooks clearly describe the major approaches being used in studies of creativity and the findings resulting from each approach. A careful review of the chapters presented in these handbooks, however, brings to the fore a number of issues. For example, we need critical comparative tests contrasting the merits of different methods and theories, elaboration and extension of our traditional samples and our traditional measures, and more attempts to develop integrative models. However, some topics, such as the demands of practical innovation, cross-field differences in the nature of creative thought, and the effects of creativity on people and social systems need more thorough treatment. By laying a foundation for cumulative research along those lines, publication of these handbooks represents an important step toward development of a coherent, scientific model of the creative act.
This study examined the relations among the five-factor model of personality, creative ability, and creative accomplishments. Seventy-five subjects completed measures of verbal creative ability and openness to experience and listed their creative accomplishments. Openness to experience and extraversion were positively correlated with creative ability, controlling for measures of academic ability. Agreeableness was negatively correlated with creative accomplishments. Both verbal creativity and openness had significant positive correlations with creative accomplishments. Hierarchical regression analyses indicated that these relations were qualified by significant creative ability by openness and creative ability by conscientiousness interactions. At high levels of openness, creative ability shared a positive linear relation with accomplishments. Individuals high in creative ability but low on openness to experience reported relatively few creative accomplishments. In contrast, conscientiousness was related to heightened accomplishments by individuals low in creative talent. Results are interpreted as illustrating the interplay of abilities and traits in promoting creative behavior.
This article discusses how to teach for wisdom, intelligence and creativity. It briefly discusses how to teach analytically, creatively and practically, and presents examples on each.
Art may be at times of interest only to its "creator ", but it is not uncommon that art has an appeal based upon material of much wider significance. The picture may be designed to appeal to mankind—at least to some considerable segment. To the extent that the objective is realized does the picture attain greater value and have wider significance, particularly if it touches upon some vital emotion or some vital phase of human experience known to mankind generally. A natural question would therefore be raised as to whether the student taking art is more adept in the use of and can better interpret symbols having social reference than the student not taking art courses. On this theory the present study was projected. Abstractions were chosen as a medium by which the interpretation of symbolic reference might be accomplished. The problem of "solving" abstractions requires recognition or appreciation of the meaningfulness of the elements within the picture. The act of reorganizing such complicated sense data into a logical and satisfactory experiential whole requires several processes: the ability to recognize clues, to form wholes from parts, to perceive relationships, to evaluate relative items on a basis of significance to the whole, to react sympathetically to the purposes of the painting or the presumed objective of the painter. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
78 students completed the NEO-Five Factor Inventory (Form S), the 1975 Barron-Welsh Art Scale, and 3 estimates of their own creativity. Multiple regressions showed openness-to-experience predicted all 3 self-estimates of creativity but not the actual creativity score. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
This research monograph on the antecedents and correlates of creativity in school-aged children discusses implications of measures of intelligence versus measures of creativity and attempts an interpretation of the psychological requirements for creative products in children. Harvard Book List (edited) 1971 #624 (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Notes the emergence of "a "transhumanistic psychology' dealing with transcendent experiences and with transcendent values." Transpersonal psychology is described as a "fourth force" in psychology, in contrast to behaviorism and Freudian psychology, and an outgrowth of the "third force," i.e., humanistic psychology, concerned with "real human experience and human needs, goals and values." (PsycINFO Database Record (c) 2012 APA, all rights reserved)
The Barron-Welsh Art Scale was administered to 44 art students, 8 art faculty members, and a group of nonartists matched with the artist group on age and sex. The test did not discriminate between art students and established artists, but there was a large significant difference between the nonartists and the art groups. For the art students, the test scores correlated .40 with ratings of the students' originality, and .34 with grade-point average. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
This Article critically analyzes the practice of lawyers taking equity in their clients as compensation for legal services. First, it explains that equity billing can provide significant private benefits to law firms and clients, and can also provide indirect public benefits. Second, it argues that equity billing can be usefully analogized to contingency fee arrangements. Third, it addresses ethical issues raised by equity billing. The Article concludes that a case cannot be made for prohibiting equity billing or capping the amount of equity that a lawyer can take in a client, and that the most appropriate form of regulation is heightened disclosure of equity billing arrangements, coupled with the pre-existing regime of ethical rules and fiduciary principles.
This study looked at the relationship between personality, intelligence, art experience (i.e. art interests, activities, and knowledge), and a test of art judgement. Participants completed the Graves Maitland Design Test (Graves, 1948), an intelligence measure (Wonderlic, 1992), and the NEO-FFI (Costa & McCrae, 1992). Odessa, FL: Psychological Assessment Resources] personality measure of the Big Five, as well as a questionnaire on their art experience. Openness to Experience was significantly related to art experience (i.e. preference), but not to art judgement (i.e. ability), while intelligence was significantly related to art judgement, but not to art experience. Multiple regression analysis showed that Openness to Experience was a powerful predictor of art experience, accounting for up to 33% of the variance. Personality also predicted art judgement: those high on Extraversion and low on Conscientiousness did best.
Auditory latent inhibition (LI) and schizotypy were measured in (n=54), showing that LI was an inverted-U function of schizotypy score. Only average levels of schizotypy were associated with undiminished LI while both low- and high-SPQ subjects showed reduced LI. No relationship was found between LI and either psychoticism or any of the five NEO PI-R domains. These results complement the similar complex relationship of neuroleptic drug dose effects on LI in normals and schizophrenics. A priming task and the unusual uses and pattern meanings measures of creativity were related to personality measures of schizotypy, N, E, and O (but not the EPQ-R psychoticism, LI, or priming performance). Priming effects tracked the inverted-U function of schizotypal personality questionnaire (SPQ) scale scores shown in the LI task. It is suggested that LI is dependent on a non-linear interaction with masking task load and attentional allocation, modulated by schizotypy.
How strongly is creativity related to intelligence? Although a large body of work has found a small relationship between them, there are reasons to suspect that their relationship has been underestimated. Most studies have assessed creativity and intelligence with observed scores, not as latent variables, and few studies have examined higher-order latent intelligence factors. A sample of university students (n = 226) completed divergent thinking tasks and measures of fluid reasoning, verbal fluency, and strategy generation. Creativity was modestly related to the three lower-order cognitive factors, but it was substantially related (β = .43) to a higher-order intelligence factor composed of the lower-order factors. This effect declined (β = .26) when openness to experience, a likely confounding variable, was considered.
Previous research has provided conflicting accounts of the effects of personality on creative behaviour. This study examines the issue by means of factor analysis and multivariate analysis of variance. Different measures of creative behaviour and cognitive abilities are correlated with personal characteristics such as psychoticism, extraversion and other measures of personality. The results are consistent with the idea that different forms of creative behaviour are related to distinct characteristics of personality.
. The Wallach-Kogan tests of creativity were administered to 124 first-year university men under group conditions, along with five tests of intelligence. Correlation coefficients indicated that the battery of creativity tests possessed a high degree of internal consistency, and relative independence of intelligence tests. However, a substantial general factor loaded highly on both kinds of test.
This study adopted an interactional approach to understanding how 2 of the Five-Factor traits, openness to experience and conscientiousness, are related to creative behavior in the workplace. Openness to experience is theorized to result in high levels of creative behavior and conscientiousness is theorized to result in low levels of creative behavior when the situation allows for the manifestation of the trait influences. More specifically, the authors hypothesized that openness to experience would result in high levels of creative behavior if feedback valence were positive and job holders were presented with a heuristic task that allowed them to be creative. The authors also hypothesized that conscientiousness would result in low levels of creative behavior if supervisors engaged in close monitoring and coworkers were unsupportive. The authors tested their hypotheses in a sample of office workers, and 5 out of the 6 hypotheses were supported.
Originality is defined in terms of uncommonness of response to 8 tests. Two groups of S's selected from 100 U.S.A.F. captains, the regularly original and the regularly unoriginal, are used to test a set of 5 major hypotheses which generate 15 predictions concerning originality. 12 of the predictions are confirmed. Originality is found to be related to independence of judgment, to personal complexity, and to the preference for complexity in phenomena, to self-assertion and dominance, and finally to the rejection of suppression as a mechanism for the control of impulse.
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