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The Effectiveness of Creativity Training: A Quantitative Review
Abstract
Over the course of the last half century, numerous training programs intended to develop creativity capacities have been proposed. In this study, a quantitative meta-analysis of program evaluation efforts was conducted. Based on 70 prior studies, it was found that well-designed creativity training programs typically induce gaïns in performance with these effects generalizing across criteria, settings, and target populations. Moreover, these effects held when internal validity considerations were taken into account. An examination of the factors contributing to the relative effectiveness of these training programs indicated that more successful programs were likely to focus on development of cognitive skills and the heuristics involved in skill application, using realistic exercises appropriate to the domain at hand. The implications of these observations for the development of creativity through educational and training interventions are discussed along with directions for future research.
... Data literacy (with its cousin layers of information and statistical literacy) is related to critical thinking with its major sub-elements of analysis and evaluation (see esp. [92]). Information literacy is also intrinsically associated with practices and critical thinking in technology-enhanced environments (cf. ...
... Students need to be repeatedly reminded and shown how to be creative, to integrate material across subject areas, to question their own assumptions, and to imagine other viewpoints and possibilities (cf. [39,92]). This can be supported by creativity training programmes and learning environments. ...
... They differ with respect to domain specificity, use of substantive models, and theoretical assumptions about the nature of creative thinking [93,94], but most programmes share the common foundation of divergent thinking [95]. A meta-analysis of 70 studies demonstrated that well-designed creativity training programmes prove to be successful also in enhancing critical thinking [92]. Creativity training appeared beneficial for a variety of people, not just younger or unusually gifted children. ...
A fundamental dynamic feature of Finnish education is the role of the national curriculum, renewed after 1985 approximately every 10 years. Over this course, it has been becoming less detailed. The latest revision (2014) was associated with an explicit reform to integrate key (transversal) competences in the core curriculum. The central idea of the revised National Core Curriculum is that transversal competences are embedded into curricular objectives of each subject. Transversal competences are promoted in teaching and learning in every school subject and in multidisciplinary learning modules. Such modules allow students to overcome disciplinary boundaries in their understanding of real-life phenomena, and foster development of transversal competences. Municipalities and schools contribute significantly to the practical implementation of the curriculum: they adjust it to their local priorities and conditions. Some important issues associated with the implementation of the curriculum–such as assessment of transversal competences and learning outcomes of multidisciplinary learning modules–remain yet open. The lack of clear guidelines makes it difficult to compare transversal competencies between schools. Additional research is needed that would perhaps help replace the existing selection of transversal competences in the curriculum with theoretically more robust constructs.KeywordsNational Core CurriculumCurriculum reformTransversal competencesMultiliteracyMultidisciplinary Learning Modules (MLMs)Measuring transversal competencesAssessment of transversal competences
... These best practices can help educators design effective creativity courses that strengthen affective components of creativity, provide practical skills and techniques, and promote personal growth. Caughron et al. (2011) provide an overview of various techniques used in creativity training courses and their effectiveness in promoting creativity, drawing on research by Torrance (1972), Rose and Lin (1984), and Scott et al. (2004). They found that creativity training can be classified into four groups: divergent thinking, problem-solving, creative performance, and attitudes toward creativity. ...
... Amsterdam ; Boston: Academic Press/Elsevier, p. 481. ISBN 9780123750396The article explores different techniques used in creativity training courses and their effectiveness in promoting creativity by examining previous research by Torrance in 1972,Rose and Lin 1984, Scott, Leritz, andMumford in 2004. They synthesized the findings for creativity training that emphasizes that creativity training was classified into four groups: divergent thinking, problem-solving, creative performance, and attitudes towards creativity. ...
... Case studies relating to the 4 p's came from sources including Harvard Business Review and video clips on creators from a variety ofdisciplines. There were also opportunities for students to explore and practice creativity techniques, such as idea generation methods or imagery training(Clapham, 1997;Scott et al., 2004; West et al., 2012). Students were given various opportunities to apply their learning and engage in self-reflection(Cheung et al., 2006; Davis, 2004; Mathisen & Bronnick, 2009). ...
ABSTRACT OF PROJECT
Integrating Artificial Intelligence into Creativity Education:
Developing a Creative Problem-Solving Course for Higher Education
This project aims to develop an introductory college course that integrates Artificial Intelligence (AI) to enhance the Creative Problem Solving (CPS) process. Drawing on best practices for teaching CPS and the latest research of AI, the project outcomes are prototypes of a Master Course Development Document, Student Syllabus, and Lesson Plan with accompanying PowerPoint slides. The course will equip students with the knowledge and skills to apply AI techniques to the CPS process. This project aims to begin to bridge the gap between AI and CPS education, preparing students for the demands of the modern workforce while fostering interdisciplinary thinking.
Keywords: Creative Problem Solving, Creativity, Artificial Intelligence, Generative AI, ChatGPT, Higher Education, Instructional Design, Future of Education, Future of Work
... These themes highlight the need for creative problem-solving training to dedicate creative thinking time, as well as collaboration for solving complex issues. Creativity training focuses on narrower, limited sets of experiences that can enhance creative thought (Scott et al., 2004a), resulting in many models of training programs (e.g. Bull et al., 1995;Osborn, 1953). ...
... These methods include provisioning effective incentives, acquiring requisite expertise, structuring group interactions, optimising climate and culture, identifying career development experiences, and training to enhance creativity. Creativity training is the preferred approach for enhancing creative thought and action for employees (Montouri, 1992;Scott, Leritz, & Mumford, 2004a). The training method used should include specific techniques to help employees based on job-relevant objectives, such as creative thinking (Day, Blair, Daniels, Kligyte, & Mumford, 2006). ...
... Trainers should consider constraints to training, different learning activities, and a framework of a particular training method. Broadly, creativity training is effective in improving individual and organisational creative thought and innovation (Hunter & Cushenbery, 2011;Scott et al., 2004aScott et al., , 2004b. ...
Creativity, specifically creative problem solving, is often excluded from Homeland Security Enterprise efforts to train and develop their workforces. To determine if this lack of training was a key knowledge gap in the communities, we drew on organisational creativity literature. Using the personnel databases O*NET and Careers in the Military Database, we conducted a training needs assessment by identifying relevant job tasks, knowledge, skills, and abilities (KSA) that align with the creative process. More specifically, we sought to identify the need for creative problem-solving training and designated creative thinking time (e.g. red teaming) to influence innovative intelligence capabilities. Based on our findings, we recommend creativity training to facilitate creative thinking and action. Moreover, we outline situational and individual factors that will affect the transfer of the training, such as organisation environment, leadership, and creative self-efficacy. The impact of these recommendations will aid security, counterterrorism, and intelligence communities to efficiently detect and prevent emerging threats, as well as develop intelligence products to further support the Homeland Security Enterprise mission. ARTICLE HISTORY
... While previous studies have shown that creativity can be enhanced through training (for reviews see Ma, 2006;Scott et al., 2004aScott et al., , 2004b, only limited empirical research has examined the effectiveness of enhancing creativity through online training (see Scott et al., 2004a). The current study developed and examined a five-week online creativity-training program, which focused mainly on general creative thinking skills, under the presumption that these skills can be used for a wide range of tasks. ...
... While previous studies have shown that creativity can be enhanced through training (for reviews see Ma, 2006;Scott et al., 2004aScott et al., , 2004b, only limited empirical research has examined the effectiveness of enhancing creativity through online training (see Scott et al., 2004a). The current study developed and examined a five-week online creativity-training program, which focused mainly on general creative thinking skills, under the presumption that these skills can be used for a wide range of tasks. ...
... Nevertheless, a review on the effectiveness of creativity trainings conducted by Scott et al., (2004a) revealed that most of the training programs employed a traditional, in-person training approach. Findings from the traditional training suggest that effective creativity training programs should provide cognitive skills or strategies for creative thinking and allow practice on these skills (Scott et al., 2004a). ...
In today’s rapidly changing and technology-driven world, the ability to think creatively is essential for individuals and organizations. To date, technology-based training has become a new trend for learning and training in the 21st century; however, little empirical research has been conducted to enhance creativity through online training. In the current study, we developed and examined an online creativity training program, which employed a comprehensive training approach and consisted of twenty self-instructional exercises delivered throughout five weeks. The effectiveness of the training was examined by means of a pre-posttest between-subjects design with two control groups (i.e., a creativity-unrelated online memory training; no-training). Four well-validated tasks tapping onto divergent and convergent thinking were used to measure participants’ creativity. Upon following the online creativity training, participants’ performance tended to significantly improve on several indices of divergent thinking (e.g., fluency, flexibility, originality). For the two control groups, no difference in divergent thinking was observed between the pretest and posttest. Besides, no training effects were observed on convergent thinking. The current findings increase our understanding of enhancing creativity through online training and provide a new comprehensive training approach, which may contribute to the enhancement of creativity in educational and organizational settings.
... The action-learning approach nudges employees to solve problems by openly IJLSS seeking new opportunities while reflecting upon their work results (Cusins, 1996;Marquardt et al., 2018;Powell and Coughlan, 2020). While most of the studies investigating innovationenhancing type of trainings are limited to mere pre-and posttraining assessments of creative-performance interventions (Scott et al., 2004), we examined the key conditions for durable LIT effects. ...
... Likewise, creativity training can enhance employees' divergent thinking and problemsolving abilities (Scott et al., 2004). Puccio et al. (2020) studied 114 problem-solving groups and illustrated how creativity training can hone the quantity and novelty of the ideas and solutions developed by them. ...
... Action learning has proven to be effective in developing self-awareness about making a valuable contribution on the basis of past experiences, especially if people are motivated to Define: Project charter, voice of customer, Kano analysis, stakeholder analysis, idea box and future scenario Measure: Sample size and confidence intervals, bar/column chart, box plot, histogram, scatter plot, Ishikawa diagram, process performance metrics (customer satisfaction, defects per million opportunities, yield, sigma level and process efficiency), Gage R&R (attribute and ANOVA) Analyze: Deployment flow chart, Spaghetti flow chart, value stream map, seven wastes, takt time calculation and process efficiency calculation, regression analyses, hypothesis testing (t-tests, one-way ANOVA, F-test, Barlett test, Levene test, two-proportion test and chi-square test), design of experiment Improve: Brainstorming, failure-mode-effectsanalysis, stakeholder analysis and communication plan, change management plan Control: Process management plan, process management with attribute control charts (npcharts, p-chart, c-chart, u-chart), process monitoring with variable control charts: I chart, Xbar chart, R chart, EWMA chart, CUSUM chart, ROI analysis and statistical proof of improvement Measure and Analyze: Future scenario, SIPOC process map, value stream map, seven wastes, takt time calculation, process efficiency calculation, bar/ column chart, box plot, scatter plot, basic hypothesis tests (simple linear regression, t-test and two-proportion test) Improve: Brainstorming, Webbing, analogies, SCAMPER, idea box, reverse brainstorming, forced connection, effortimpact matrix and action plan Control: Change management plan, stakeholder engagement strategies, force-field analysis and solution-effect analysis Note: Italic text are CPS tools IJLSS learn and to improve (Howell, 1994;Lee and Jang, 2014). Our action-learning-based LIT is designed in accordance with previous reports on developing CRI and IWB among workfloor employees (Ashforth and Schinoff, 2016; Chaubey et al., 2022;Cusins, 1996;Scott et al., 2004;Tierney and Farmer, 2011). ...
Purpose
With the growing need for employees to be innovative, public-sector organizations are investing in employee training. This study aims to examine the effects of a combined Lean Six Sigma and innovation training, using action learning, on public-sector employees’ creative role identity and innovative work behavior.
Design/methodology/approach
The authors studied a public service agency in Singapore in which a five-day Lean Innovation Training was implemented, using a combination of Lean Six Sigma and Creative Problem-Solving tools, with a simulation on day one and subsequent team-based project coaching, spread over six months. The authors administered pre- and postintervention surveys among all the employees, and initiated group interviews and observations before, during and after the intervention.
Findings
Creative role identity and innovative work behavior had significantly improved six months after the intervention, enabled through senior management’s transformational leadership. The training induced managers to role-model innovative work behaviors while cocreating, with their employees, a renewal of their agency’s core processes. The three completed improvement projects contributed to an innovative work culture and reduced service turnaround time.
Originality/value
Starting with a role-playing simulation on the first day, during which leaders and followers swapped roles, the action-learning type training taught all the organizational members to use various Lean Six Sigma and Creative Problem-Solving tools. This nimble Lean Innovation Training, and subsequent team-based project coaching, exemplifies how advancing the staff’s creative role identity can have a positive impact.
... Nowadays, it is widely accepted that various methods can improve creative thinking. Several reviews and metaanalyses have analyzed whether and how creativity training can succeed (Ma, 2006;Scott et al., 2004aScott et al., , 2004bTorrance, 1972a;Valgeirsdottir & Onarheim, 2017). In one of the first metaanalyses, Torrance (1972a) analyzed 142 studies, most of which used the Torrance Test of Creative Thinking (Torrance, 1972b) to evaluate creativity training in classroom settings, and reported a 73% success rate for these training programs. ...
... They found that the most effective training types were critical/creative thinking training and creative process training, while the training of analogies was the least effective. Additionally, Scott et al. (2004a) analyzed 70 of these studies in more detail to explore what type and part of a training program are most effective. The authors categorized and then compared separate training components. ...
... Overall, very similar overall mean effect sizes to Scott et al. (2004a) were found. Ma (2006) compared the effectiveness of 12 types of training across 34 studies. ...
This meta-analysis synthesizes 332 effect sizes of various methods to enhance creativity. We clustered all studies into twelve methods to identify the most effective creativity enhancement methods. We found that, on average, creativity can be enhanced, Hedges’ g = 0.53, 95%-CI [0.44, 0.61], with 70.09% of the participants in the enhancement conditions being more creative than the average person in the control conditions. Complex training courses, meditation and cultural exposure were most effective (gs = 0.66), while the use of cognitive manipulation drugs was least and also non-effective, g = 0.10. The type of training material was also important. For instance, figural methods were more effective in enhancing creativity, and enhancing converging thinking was more effective than enhancing divergent thinking. Study effect sizes varied considerably across all studies and for many subgroup analyses, suggesting that researchers can plausibly expect to find reversed effects occasionally. We found no evidence of publication bias. We discuss theoretical implications and suggest future directions for best practice in enhancing creativity.
... These results are consistent with previous evidence that has demonstrated a similar relationship between art-based programs and academic performance 12,16,18,[54][55][56][57][58] . ...
... These results are relatively large compared to other more intensive and expensive academic interventions performed in the same cultural and geographical context, and in general presented in ref. 57 . For instance, a recent evaluation of the extended school day policy implemented by the Chilean government in 1997 showed minimal efficacy with regard to enhancing academic achievement, ranging from 0.05 to 0.07 sd in language and from 0.00 to 0.12 sd in math 59 . ...
This article evaluates the impact of an Art-based program, which consisted in bringing artist to do workshops in public schools, on academic achievements, creativity (i.e., the skill) and the external manifestation of creativity in action (i.e., creative behaviors). The main contribution with respect to previous literature is a quasi-experimental design—propensity score matching—that makes the causal link between these aspects more plausible, and which had a sample of 297 children between 14 and 16 years old. Four main findings are derived from the empirical investigation. First, substantial practice is crucial. Participation in at least two semester-length workshops is a necessary condition to observe significant impacts. Second, participation has a significant impact on academic achievements. Grades increased by 0.61 standard deviations (sd) for language, by 0.36 sd for math, and by 0.33 sd for art. Overall GPA increased by 0.55 sd. The program also increased participant willingness to consider postsecondary education. Third, the impact of the art-based program on various innovative graphical psychometric measures of creativity was positive and significant. Fourth, related to creative behaviors, the program had a positive impact on certain cultural activities, such as time spent watching films at home and creating cultural goods (e.g., handicrafts, poetry, music). In conclusion, our study presents substantial evidence on the effective enhancement of creativity, the fostering of creative activities, and the improvement of academic performance through the deployment of art-based programs.
... The project involves multiple disciplines to test the creative thinking skills across disciplines, and the selfreport inventory was designed as domain-general. While some studies argue for the domain-specificity of creativity [32][33][34], creative thinking is also evidenced as domaintransversal by a fair amount of research [35][36][37][38]. For instance, in a qualitative review of creativity training, Scott et al. [38] found that cognitive strategies in creative thinking, including underlying core processes such as problem construction, information encoding, combination and reorganization, and idea evaluation were effective in developing creative skills across programmes and domains. ...
... While some studies argue for the domain-specificity of creativity [32][33][34], creative thinking is also evidenced as domaintransversal by a fair amount of research [35][36][37][38]. For instance, in a qualitative review of creativity training, Scott et al. [38] found that cognitive strategies in creative thinking, including underlying core processes such as problem construction, information encoding, combination and reorganization, and idea evaluation were effective in developing creative skills across programmes and domains. We harmonized the above frameworks and identified five key skills and characteristics that can be enhanced across domains through practice, feedback, and diverse applications within teaching and assessment. ...
This study aims to develop a self-report inventory to measure University students’ perception of their creative thinking skills. Creative thinking is a critical learning outcome in higher education and one of the essential 21st Century Competency. The data were collected from 253 students of a university in Hong Kong. A structural equation model was applied to confirm the construct validity of the instrument. The result shows that the key characteristics of creative thinking skills are empirically constructed by creative character, originality, sensitivity, synthesizing and resistance to premature closure. The five characteristics of creative thinking can be considered as learning processes or outcomes to inform the design of instructional events and learning activities to nurture students’ creative thinking skills.
... Over the last half century, many programs have been designed and implemented to nurture people's creative abilities. Scott, Leritz, & Mumford (2004) have done quantitative meta-analytic work in this regard. Before that, 70 previous studies had shown that creatively designed training programs would be able to improve performance, and this improvement in actions would be generalized to other situations. ...
... Creativity training has been provided for different groups of children and adolescents in different ages and grades. These programs have been designed and implemented in a variety of ways and with different educational solutions due to their different audiences and differences in the framework for understanding and explaining creativity (Scott, Leritz, & Mumford, 2004). In addition, that can be able to teach creativity, Importance and necessity of material and spiritual of such training is important. ...
Developing of gifted and creative people is one of the top priorities of developed societies. Developed world owes to Creative Problem Solving. Although it is a novelty but some societies have developed, it has way and experiences which can be used for others because creativity is influenced by educational methods. Therefore, the purpose of this study was to design a Creative Problem-Solving for training gifted Iranian male adolescent. To this end, the Creative Problem-Solving was developed in a qualitative method and validated and evaluated by quantitative method. The original program was taken from American Mary Kay, M. (2003). At first was translated to Persian then, it was expanded and initially localized. finally, the validation of the textbook was done in four steps: 1. accuracy in translating the original text, 2. designing the new text inspired by the original program based on the research community culture, 3. examining the internal and external validity of the protocol and its accuracy in implementation, and 4. The final editing; Effectiveness of the prepared text was evaluated in the community of gifted eighth grade students in Ardebil city. For this purpose, two classes of eighth grade students were selected and conducted in a quasi-experimental method. Results show Significantly increases in all dimensions of creativity. Localization and implementation of similar specimens for other cultures is recommended to researchers.
Keywords: Creative Problem Solving, Creativity, Gifted, Iran, developing program
... S. Schumacher and S. C. Eimler The central unit of the courses represents the phases of Input, Testing and Reflection. Their basic structure is based on overarching principles that can be used to design units to promote creative performance (Scott et al., 2004) and are adapted for the digital context. The unit is (1) designed based on cognitive aspects of creativity (2) which are explained at the beginning and related principles or heuristics and their possible impact on creativity and the generation of ideas are introduced. ...
... Since the course involves participants from different disciplines and a bigger number of problem statements are needed. In order to implement real problems (Scott et al., 2004), generally accessible topics from the higher education agenda or related programmes (e.g. idea awards outcalled by the university), the 17 sustainability goals of the EU or aspects of trend research can be included. ...
The education of future entrepreneurs shapes how we will live in the future, and proper entrepreneurship education is thus of utmost importance. Entrepreneurship educators and researchers constantly renew tools, interventions, and training programs for entrepreneurship education and adapt them to the specific needs of entrepreneurs and developments in the entrepreneurship ecosystem. This open-access book is based on this background and offers expert insights that highlight context-specificity and discuss training methods and tools that are impact-oriented. The authors represent multiple institutional and cultural backgrounds, to provide a useful resource with new ideas for the community of entrepreneurship educators, facilitators, and scholars. Based on the chapters, the editors of the volume also offer several propositions and critical insights important for the current state of entrepreneurship education and its future development. This book will be a valuable resource for entrepreneurship educators and education policymakers alike.
... S. Schumacher and S. C. Eimler The central unit of the courses represents the phases of Input, Testing and Reflection. Their basic structure is based on overarching principles that can be used to design units to promote creative performance (Scott et al., 2004) and are adapted for the digital context. The unit is (1) designed based on cognitive aspects of creativity (2) which are explained at the beginning and related principles or heuristics and their possible impact on creativity and the generation of ideas are introduced. ...
... Since the course involves participants from different disciplines and a bigger number of problem statements are needed. In order to implement real problems (Scott et al., 2004), generally accessible topics from the higher education agenda or related programmes (e.g. idea awards outcalled by the university), the 17 sustainability goals of the EU or aspects of trend research can be included. ...
Creativity is an important resource for driving innovation. The authors show how entrepreneurship is made usable as a key competence for application-oriented adaptation in digital higher education and how new formats of virtual courses for training creativity are designed and implemented. They outline how EntreComp is used as a quality-ensuring framework and how aspects of computer-mediated communication are incorporated.KeywordsIdeationCreativityEntrepreneurship educationEntreCompDigital higher educationComputer-mediated communicationCmCEXIST-Potentiale
... Conversely, In the modern business world, a company's essential competency is increasingly seen as its worker's ability to be creative and innovative (Scott et al. 2004). As a result, many companies are looking for effective strategies to encourage employee innovation and originality (Hon et al. 2016). ...
... Ethical leadership encourages people to innovate to attain group goals (Brown et al. 2003). Employees are more innovative and creative when they think their supervisors are committed (Mayer et al. 2009, Peitz et al. 2015, Scott et al. 2004. Ethical leaders help to boost employee creativity (Chughtai et al. 2015). ...
According to grounded social exchange theory, this study examines ethical leadership's direct and indirect impact on worker's creative performance. More specifically, this study will also investigate the intervening mediate roles of work engagement and employee's attitudes towards performing well between Ethical leadership and Creative work performance. The study data was obtained through self-reporting survey questionnaires distributed to employees of construction organizations in Lahore, Pakistan. The findings supported that Ethical leadership directly relates to creative work performance. Furthermore, work engagement and attitude toward performing well positively relate to ethical leadership and creative work performance. The findings broaden our understanding of how factors such as a positive attitude, psychological states, and engagement at work may produce the worker's performance and increase their potential for creative intellectual in implementing novel ideas at the workplace.
... Studies that examine how creativity can be influenced by training or work techniques emphasize that the essential components necessary for creativity have been largely neglected (Schuler and Görlich, 2007;Scott et al., 2004;Valgeirsdottir and Onarheim, 2017). Specifically, empirical work highlights emotional factors as fundamental to the modulation of creative thinking (Baas et al., 2008;Conner and Silvia, 2015;Davis, 2009;Ivcevic and Hoffmann, 2017). ...
... Based on the assumption that creativity can be influenced (Scott et al., 2004), we assumed that different interventions would result in differential impact on creativity. According to previous findings boredom and joy were expected to enhance creative performance as opposed to concentration (Baas et al., 2008;Baird et al., 2012;Bledow et al., 2013;Dijksterhuis and Meurs, 2006;Gasper and Middlewood, 2014;Gilhooly et al., 2013). ...
We aim to extend the body of research on boredom as a potentially creativity-enhancing state. Therefore, 124 students were assigned to one of five 6-minute interventions (boredom-discomfort, boredom-equanimity, boredom-continuation, joy, and concentration) and the effects on figural as well as verbal fluency and diversity as measures of creativity were examined. It was verified whether the emotional state changed during the intervention. In addition, the emotional dimensions, valence, arousal, and alertness were controlled before and after the test. Boredom-discomfort, joy, and concentration altered the emotion experienced during the intervention in the intended way. The boredom-equanimity and boredom-continuation groups served as control conditions for various boredom states, and less boredom resulted for subjects in these groups. Figural and verbal measures of creativity were differently influenced by the interventions. For verbal fluency, we obtained a significant interaction between time and group, in particular, the performance differed between the intervention with either concentration, or joy. Verbal creativity decreased after intervention in all groups, most for joy and boredom-discomfort groups and least for concentration. In contrast, figural performance increased in four groups, most for boredom-discomfort but not for concentration. Subsequent analyses revealed significant interaction effects between time and group with respect to both verbal and figural measures of creativity. The interventions had not only short-term effects on subjects' emotions but also, in some cases, a significant longer-term impact on emotion dimensions at the end of the study. After discussing methodological aspects, conclusions are drawn for further research approaches.
... Tomando como base de la creatividad el pensamiento divergente Feldhusen creó y aplicó el programa Purdue There-Stage Model for Gifted Educaction para el desarrollo del pensamiento creativo, logrando que sus participantes obtuvieran puntajes superiores en pensamiento creativo y fluencia verbal. (Reyero y Tourón, 2003;Scott, Leritz, Mumford, 2004) El último aspecto a abordar se encuentra relacionado con los aspectos motivacionales, pretendiendo con ello conocer las explicaciones dadas por los teóricos sobre lo que lleva a las personas a crear. En este punto, como en los anteriores también existen múltiples teorías: ...
Identificar las teorías implícitas de la creatividad construidas por universitarios se considera fundamental bajo la presunción que ellas guían gran parte de las acciones humanas. Para cumplir este objetivo se realizó esta investigación cualitativa, la información se recogió a partir de una entrevista semi-estructurada que se aplicó a 25 universitarios. La entrevista abordó cinco categorías: creencias sobre personalidad, motivos para crear, características de los creativos, influencia de variables personales (inteligencia, edad, género y educación) y criterios para designar un producto como creativo. Las respuestas coinciden con las formuladas, tanto por los expertos como los legos, en su diversidad, en la asociación de la creatividad con la generación de productos novedosos y en la apreciación del creador como una persona original e imaginativa, en algunas respuestas se notó la influencia cultural en otras el sentido común. El análisis de las respuestas permitió concluir que para entrevistados la creatividad es un proceso que empieza con la imaginación y termina con la creación de un objeto novedoso producido por personas originales e imaginativas, dicho objeto puede ser creado para suplir una necesidad o bien brotar espontáneamente de la mente del creador.
... Considering the benefits of creativity, researchers and educators have been exploring ways to enhance individuals' creative potential (Scott et al., 2004), with some advocating the use of physical activity interventions as a means to foster and improve creativity (Hao et al., 2017;Kim, 2015). While a few studies have examined the impact of physical activity on divergent thinking (Aga et al., 2021;Bollimbala et al., 2023;Rominger et al., 2022), the majority of the literature is still focused on examining the effects of acute physical activity on creativity (Bollimbala et al., 2021(Bollimbala et al., , 2022Campion & Levita, 2014;Oppezzo & Schwartz, 2014;Zhou et al., 2017), whereas the number of studies investigating the impact of chronic physical activity on creativity is relatively limited (Gondola & Tuckman, 1985;Hillman et al., 2014;Hinkle et al., 1993;Neville & Makopoulou, 2021;Tuckman & Hinkle, 1986). ...
There is growing evidence to suggest that physical activity positively influences cognitive processes. A similar trend is seen in the literature examining the relationship between acute physical activity and creativity. Nevertheless, certain questions persist: Does engaging in physical activity over an extended period (chronic) influence creativity? If it does, what is the duration of this impact? The present study uses Randomized Controlled Trials (RCT) to examine whether chronic physical activity for 6 weeks can improve individual creativity vis-à-vis a control group that performs regular class activity without any physical activity. It also assesses whether the effect of chronic physical activity on creativity endures after 2 weeks of ceasing the interventions. The study involves 49 school students who were randomly assigned to either the experimental or the control conditions. Their creativity, operationalized as divergent thinking is measured using the Alternate Uses Task. The measurements are taken before the intervention, again 6 weeks later, and once more, after 2 weeks of cessation of interventions. The results indicate that after 6 weeks of engaging in physical activity, the participants showed improvements in both the fluency and originality components of divergent thinking when compared to the control group. Furthermore, the results demonstrate a lingering effect of physical activity on the originality component of divergent thinking. The findings lend some support to the strength model of self-control. The implications for research and practice are further discussed in the study.
... proposition 1a). Similarly, Scott, Leritz, and Mumford (2004) found Table 1. Overview of temporal propositions for both perspectives. ...
... How do groups or teams develop such group-level skills? There is considerable evidence that training of individual creativity works quite well, especially for programs that focus on cognitive skills and skill application, using realistic exercises (Scott et al., 2004). Research on training teams for their various tasks suggests that such training can also be quite effective (Salas & Cannon-Bowers, 2001). ...
... As for training creative skills, research reviews have repeatedly shown that they can be trained, (Ma, 2006;Scott, Leritz, & Mumford, 2004a, 2004bValgeirsdottir & Onarheim, 2017). Based on a custom meta-analysis that included 84 studies and 332 effect sizes on creative performance measures, the overall results showed that approximately 70% of the individuals in the training condition performed better creatively than the average individual in the comparison condition. ...
Creativity – developing something new and useful – is a constant challenge in the working world. Work processes, services, or products must be sensibly adapted to changing times. To be able to analyze and, if necessary, adapt creativity in work processes, a precise understanding of these creative activities is necessary. Process modeling techniques are often used to capture business processes, represent them graphically and analyze them for adaptation possibilities. This has been very limited for creative work. An accurate understanding of creative work is subject to the challenge that, on the one hand, it is usually very complex and iterative. On the other hand, it is at least partially unpredictable as new things emerge. How can the complexity of creative business processes be adequately addressed and simultaneously manageable? This dissertation attempts to answer this question by first developing a precise process understanding of creative work. In an interdisciplinary approach, the literature on the process description of creativity-intensive work is analyzed from the perspective of psychology, organizational studies, and business informatics. In addition, a digital ethnographic study in the context of software development is used to analyze creative work. A model is developed based on which four elementary process components can be analyzed: Intention of the creative activity, Creation to develop the new, Evaluation to assess its meaningfulness, and Planning of the activities arising in the process – in short, the ICEP model. These four process elements are then translated into the Knockledge Modeling Description Language (KMDL), which was developed to capture and represent knowledge-intensive business processes. The modeling extension based on the ICEP model enables creative business processes to be identified and specified without the need for extensive modeling of all process details. The modeling extension proposed here was developed using ethnographic data and then applied to other organizational process contexts. The modeling method was applied to other business contexts and evaluated by external parties as part of two expert studies. The developed ICEP model provides an analytical framework for complex creative work processes. It can be comprehensively integrated into process models by transforming it into a modeling method, thus expanding the understanding of existing creative work in as-is process analyses.
... Of worden alle lesonderwerpen en werkwijzen van bovenaf opgelegd, zonder dat studenten hier inspraak in hebben? Krijgen studenten in het onderwijs veel en intensieve oefening in creatieve manieren om problemen op te lossen, op basis van complexe voorbeelden uit de praktijk (De Souza Feith, 2000;Scott, Leritz & Mumford, 2004)? Of keert creatief denken in zijn geheel niet terug in lessen? ...
De onderzoeksvragen die centraal staan in dit artikel zijn: welk oordeel hebben techniekstudenten over het creatief klimaat van hun opleiding, in welke mate hangt dit beoordeelde klimaat samen met hun gerapporteerde creatieve prestaties en welke suggesties doen zij ter verbetering van dit klimaat? Is er sprake van een interactie-effect tussen creativiteit als kenmerk van de student en als kenmerk van het onderwijsklimaat? Na het definiëren van creativiteit en creatief klimaat is een censussteekproef uitgezet onder hbo-techniekstudenten. 1075 van hen vulden een online vragenlijst in, waaruit bleek dat het mogelijk was creatief klimaat en zelf gerapporteerde creatieve prestaties op een betrouwbare manier te meten. Creativiteit als kenmerk van studenten hun persoonlijkheid en het onderwijsklimaat bleken beide een positief en betekenisvol effect op creatieve prestaties te hebben, maar een interactie tussen beide variabelen bleef uit. Na een verklaring voor deze uitkomsten volgen aanbevelingen voor vervolgonderzoek.
... Critical thinking includes high-level thinking skills beyond decision-making, problem-solving, and organising and evaluating arguments (Watson & Glaser, 1980). Since both critical thinking and creative thinking require logic-based problem-solving, the central aspect of critical thinking reinforces creativity (Scott et al, 2004). Whenten and Cameron (2011) said that creativity is an extension of problem-solving and critical thinking, and McMullan and Kenworthy (2015) argued that critical thinking and creativity, must be combined to improve corporate performance. ...
This study aims to examine the relationship among critical thinking, grit, and creativity, which will be core competencies in a future society, and to verify the moderating effect of grit as an individual psychological factor between the two variables. For this purpose, a Likert survey is conducted on undergraduate students in a Korean university; and 129 responses are used. The result shows that, first, critical thinking and grit have significant influences on creativity. Second, the moderating effect of grit on the relationship between critical thinking and creativity is significant. The finding indicates that the higher the grit, the higher the positive relationship between critical thinking and creativity. This result implies that to increase the creativity of college students, an education that increases both critical thinking and grit is necessary.
... Well-conducted MAs help creativity research progress at a faster pace. Creativity research builds on a stronger ground because of MAs addressing the critical issues on how creativity is influenced by training (Bertrand, 2005;Cohn, 1985;Scott et al., 2004;Rose & Lin, 1984;Tsai, 2013;Ma, 2006), intrinsic and extrinsic motivation (Byron & Khazanchi, 2012;de Jesus et al., 2013;Liu et al., 2016), mood (Baas et al., 2008;Davis, 2009), psychopathology (Acar et al., 2018;Paek et al., 2016), stress and anxiety (Byron & Khazanchi, 2011;Byron et al., 2010), and personality (Karwowski & Lebuda, 2016;Puryear et al., 2017). Therefore, researchers should keep conducting MAs on areas of interest and controversy for which a sufficient number of empirical studies are available. ...
... served as its theoretical foundation [70]. In the study he used a personal diary approach to examine the motivations and reasons for creativity in the field of art and design. ...
Self-regulated Learning has become one of educational psychology's most critical research areas. Contemporary research indicates that student creativity is crucial to the success of arts education. However, there is limited research on creativity in arts education in Self-regulated Learning. Therefore, this study aims to define the creativity characteristics that determine the quality of students’ work. This study implemented a creative competition in painting and composition for first-year undergraduates. It evaluated the characteristics of creativity during the three main phases of the task: planning, execution, and completion. We discovered through semi-open questionnaires (n=178)，and using the content analysis method. According to the competition results, the students with the highest scores in Flow, Inspiration, and Idea Generation in the Performance phase had the best quality work. In the Forethought phase, Analogical Thinking and Idea Generation worked best for most students, while in the Performance phase, Flow Sense, Idea Generation, and Idea Manipulation worked best.Data on creativity characteristics at different work phases and final quality might adequately guide and organize educational procedures. These findings can serve as a theoretical foundation for quantifying the creativity phase in Self-regulated Learning and offer arts educators a reference for creativity instruction.
... The effectivity of the creativity training was a subject of the research and studies in past [11,12,13,14,15]. Speaking about creativity, it should be distinguished between creative outcomes and creative processes [9]. ...
... Creativity is a robust predictor of academic 188 and career success 189 , yet effective methods for teaching creative thinking remain poorly understood. As past work has indicated that creative thinking can be supported by focusing on specific underlying processes 190 , the memory-based processes highlighted within the MemiC framework present promising targets for future investigation into creativity interventions. ...
Creativity reflects the remarkable human capacity to produce novel and effective ideas. Empirical work suggests that creative ideas do not just emerge out of nowhere but typically result from goal-directed memory processes. Specifically, creative ideation is supported by controlled retrieval, involves semantic and episodic memory, builds on processes used in memory construction and differentially recruits memory at different stages in the creative process. In this Perspective, we propose a memory in creative ideation (MemiC) framework that describes how creative ideas arise across four distinguishable stages of memory search, candidate idea construction, novelty evaluation and effectiveness evaluation. We discuss evidence supporting the contribution of semantic and episodic memory to each stage of creative ideation. The MemiC framework overcomes the shortcomings of previous creativity theories by accounting for the controlled, dynamic involvement of different memory systems across separable ideation stages and offers a clear agenda for future creativity research.
... The distinction is that creativity generates good ideas, but innovation is the adaptation or generation of good ideas and their implementation. Mumford [8] Innovation is "the act of developing and transferring new and improved goods, processes, materials, and services to a facility or market where they are required." Rubenstein [9] Finding new chances and coming up with new ideas are examples of innovative work behavior (creativity-related behavior). ...
Innovation is about creativity and the improvisation of new ways and techniques suited to the individual. Guidance and counseling are essential parts of teaching and learning in Ghana. Regarding guidance and counseling in schools, new ideas and creativity can help a country's technological, social, and economic growth. Therefore, this study sought to investigate the effect of the counselor's service innovation behavior on effective counseling delivery and the feeling of psychological safety of the student-client in Ghana. The study hypothesized that the University Counselors' service innovation behavior will more than likely impact students' satisfaction and feeling of psychological safety; students' satisfaction in counseling will significantly affect their feeling of psychological safety; the service innovation behavior of the counselors will significantly impact students' psychological safety through their feeling of satisfaction in counseling, and; There will be an interactive effect between Students' satisfaction in counseling and counselors' service innovation behavior and clients' psychological safety. This study employed a quantitative approach with a cross‐sectional research design. The respondents were engaged using purposive and convenience sampling techniques. The PLS-SEM analysis revealed that counselors' service innovation behavior significantly positively affects clients' satisfaction and psychological safety. The results and the implications of the study are further discussed below.
... Researchers have long been concerned with the issue of whether creativity can be created through training or not. Various approach and preparation paradigms, for example modeling strategies, structuring group interactions, and offering opportunities, have been apllied to promote divergent thinking (Scott et al., 2004;Smith, 1998). One way of enhancing creativity has shown among the various strategies studied is cognitive enhancement involving an introduction to the ideas of others. ...
Divergent thinking is one of the criteria that needed in digging knowledge. It, furthermore, is identified as an innate element and implanted in every gifted individual’s identity especially those who are musically talented. Divergent thinking is nurtured through giftedness features that existed in a gifted individual, including a unique neurological system. This study is to provide understanding towards the process of divergent thinking that happen in musically gifted minds. This study is to review the evolution of a creativeness in gifted practices with the exploration on neurology paradigm. This study also proposed a stringent interpretation on how musically gifted individuals think and the importance of divergent thinking to stimulate creative domains. An exploration towards this matter will ensure understanding between gifted and musically gifted individuals to make a good consequence for their future.
... Through a review of 70 studies on teaching creativity, Scott, Leritz, and Mumford suggest that creativity is, in fact, a teachable skill, rather than an inherent ability. They conclude that well designed workshops and training modules have been proven effective in developing creative thinking and problem solving abilities, particularly when content and activities focus on the development of divergent thinking skills through realistic problems [15]. This is supported by Cropley and Cropley's work in an engineering context, where an increase in demonstrated innovation was seen in students who had participated in structured 'creativity counselling' [16]. ...
There is a noted disparity between the open-ended problem solving skills required of engineers, and the creative thinking skills possessed by graduating engineering students. Barriers to creativity exist, often grounded in students’ difficulty with an open-minded approach and a lack of internal motivation to engage in creative thinking. Extra-curricular activities (particularly the creative and performing arts) could be viewed as opportunities for students to incrementally combat fears that hinder creative thinking. Are students involved in certain extra-curricular activities more confident in their capacity to successfully engage in creative thinking or problem solving? There is limited research literature regarding the potential relationship between creative arts activities and creativity in engineering students. A thorough understanding of this relationship could provide a means to build confidence in creative ability throughout undergraduate engineering, improving the intrinsic motivation of a student to engage in creative thinking.
... This value makes their teaching and measurement an important inclusion in the classroom (Robinson 2001). Research demonstrates that creative thinking and innovation skills can not only be learned effectively (Amabile 1996;Kaufman and Beghetto 2009;Scott et al. 2004), but that their inclusion in learning in the classroom can contribute to gains in student achievement (Akpur 2020; Anwar and Aness 2012; Gralewski and Karwowski 2012;Gregory et al. 2013;Huang et al. 2017;Sebastian and Huang 2016;Schacter et al. 2006) and improve school performance (Sternberg 2003). Beyond academic performance, training in creative thinking and innovation might also serve to improve creative self-efficacy (Mathisen and Bronnick 2009;Perry and Karpova 2017), and an improve attitudes toward risk-taking (Perry and Karpova 2017). ...
Current conceptualizations of creative thinking focus primarily on the measurement of creative thinking for the purpose of identifying creative thinking proficiency. We propose a conceptualization that includes a framework and assessments that focus on the measurement and learning of creative thinking and innovation skills. Our conceptualization involves an understanding that innovation is a critical application of creative thinking and that the process of creative thinking that leads to innovation can be performed intentionally and explicitly. In this paper, we put forth a process model for creative thinking and innovation that focuses on an expanded set of cognitive and social skills and processes that facilitate the navigation of the spectrum of conventionality. The process model includes the conventional thinking skill, which serves as not only a foundational skill for understanding and navigating the spectrum of conventionality, but also facilitates the reliable measurement of creative thinking and innovation by supporting the generation of a response pool that represents the full spectrum of conventionality for use in scoring. We explore the advantages of this model and how it addresses some of the challenges presented by current creative thinking conceptualizations and assessments. Finally, we explore the implications of implementing this process model for education.
... These results suggest that when developing programs or training interventions for the management and increase of creative potential, it would be particularly important to take into account both cognitive and emotional resources in the students as well as the teachers' perception of the resources that can be used to teach creativity. Therefore, we suggest that, starting from successful trainings of creative potential (see Scott et al. 2004aScott et al. , 2004b and trait emotional intelligence (see Nelis et al. 2009), integrated interventions targeting children's cognitive and emotional aspects of creative potential and teachers' perception of creativity should be developed, thus involving both students and teachers. ...
In the present work we explored in two separate studies the modulatory role of trait emotional intelligence (EI) over the effect exerted on children’s creative potential by two other key elements defining creativity, namely cognitive resources (here explored through basic executive functions, Study 1) and contextual-environmental factors (that is, teachers’ implicit conceptions of the factors influencing children’s creativity, Study 2). Confirming previous research, executive functions (particularly interference control and working memory) emerged as main predictors of children’s creative performance; however, their positive effect arose especially when associated with a high trait EI level. In the same vein, teachers’ implicit conception about children’s creative potential and about their efficacy in teaching creativity emerged to exert a facilitatory effect on children’ creative potential. This effect occurred particularly when associated with low trait EI levels, affecting differently girls and boys. Trait EI emerged from these studies as an important individual resource to consider in order to understand the potential benefit of other (cognitive and contextual-environmental) resources on children’s creative potential. The implications on the role of trait EI as a constitutional element of children’s creativity, capable of promoting the expression of their creative potential, are discussed.
... The findings of the present study are supported by the research-based evidence provided by Scott et al. (2004) who found that creative training program significantly affect the quality of the creative output through improving the learners' creative capacities and their motivation to learning due to the presence of a competitive environment with their peers. In addition, the findings of the present study are supported by the findings reported by Vally et al. (2019) who found that creativity training programs positively improves students' self-efficacy and the quality of their creative output. ...
b>Aim: The present research sought at investigating the effectiveness of a training program on the basis of Betts’ model of autonomous learner on improving the creativity product among a sample of gifted 10<sup>th</sup> grade female students.
Method: This was a quasi-experimental study that included a sample of 68 gifted 10<sup>th</sup> grade female students from King Abdullah II School for Excellence. The students were randomized into a control group (n=34) that received traditional teaching and an experimental group (n=34) that was subjected to the training program based on Betts’ model of autonomous learner. The creative product semantic scale was adopted to perform a pre- and post-assessment of the students’ creative projects (a telescope). The data gathered in this study was analyzed using the statistical package of social sciences.
Results: The findings of the study showed that there was significant statistical differences in the experimental group creativity product between pre- (3.18±0.73) and post-training assessment (5.81±0.70), (t=15.1628, p≤0.05).
Conclusion: The study ended up with that the training program based on Betts’ model of autonomous learner had a statistically significant positive effect on improving gifted students’ creativity products. The study recommends adopting the concepts of learning autonomy in teaching gifted students and designing various training programs aiming to improve the creativity capacities of the gifted students.
... The Jurakuls have been successfully continuing the art of their ancestors, pottery, for 300 years, and Toir Tukhtakhodjaev from Tashkent carpentry inherited suggesting heredity in creativity (Khudoikulovna, 2021). The studies made by Cropley (2000), Pavill (2011), Scott, Leritz, andMumford (2004) determined that education improves creativity. Although these studies seem to be indicating the opposite of heredity on creativity, they cannot explain the long-lasting effect of education and why the educational impact varies between individuals. ...
The aim of this study is to examine the creativity relationship between children aged 8-10 and their mothers. With this relationship between mother and child, it is aimed to provide information to the literature on creativity and transfer.290 children, 155 girls and 145 boys, and their mothers participated in the study. Torrence Creativity Test Verbal and Formal Form was used to measure the creativity of children and mothers. Tests were administered to children and mothers separately. Data were evaluated by correlation and regression analysis. As a result of the evaluations, a significant correlation was found with the creativity total scores of the mothers and the creativity total score of the children, the abstractness of the titles and the originality sub-dimensions. It was determined that maternal creativity total score predicted child creativity total score, abstractness of child titles and child originality sub-dimensions positively and significantly. A significant correlation was found between mothers' figurative creativity, abstractness of titles sub-dimension scores and children's figural creativity originality sub-dimension scores. A positive and significant correlation was determined between the mothers' figural fluency sub-dimension scores and the abstractness of children's titles, child fluency, child originality and child figural creativity total scores. It was observed that the formal fluency sub-dimension scores of the mothers positively predicted the total scores of the children's formal creativity. No significant correlation was found between the verbal creativity total score and sub-dimension scores of the mothers and the verbal creativity total and sub-dimension scores of the children.
... E cacy beliefs provide a point of focus relevant to many contexts and work settings because they can be positively in uenced by managers. Creativity training can improve creative abilities (e.g., divergent thinking) across various kinds of populations and elds (Clapham & Schuster, 1992;Rose & Lin, 1984;Scott, Leritz, & Mumford, 2004) and also positively impacts creative self-e cacy by increasing the trainees' awareness of, and belief in, their own creative abilities (past experience in creative activities may lead to a greater awareness of creative abilities and more accurate creative self-e cacy beliefs), encouraging an open mind and positive attitude, changing perceptions, increasing abilities in the generation of new ideas, and increasing the trainees' creative toolbox (Byrge & Tang, 2015). ...
This chapter examines how individual creativity and teamwork impact team creativity in part through self-efficacy mechanisms. At the team level, it examines the role played by creative collective-efficacy and teamwork collective-efficacy mechanisms in a team’s creative performance. It concludes that the individual differences leading to fit with the creative task may differ from those leading to fit with teamwork. That is, individuals may prefer creative tasks due to relatively high creative self-efficacy and relatively good performance on creative tasks but may not want to work in teams because of low teamwork self-efficacy and low performance as a team player. However, while traits are stable, efficacy beliefs can be positively influenced by managers. Therefore, interventions aimed at building efficacy beliefs are useful when organizations cannot select individuals solely according to a set of desirable stable trait characteristics.
... Research has shown that creative thinking can be taught, learned, and improved by training (Scott, Leritz, and Mumford, 2004). Guilford (1973) and Torrance (1969) defined and established 4 various methods for analyzing and evaluating creative thinking: fluency (producing many ideas); flexibility (producing various conceptual categories and being able to move from one thinking form to another); originality (producing unusual and unexpected ideas); and elaboration (expanding upon a given idea). ...
The present study examines the development of patterns of creative thinking among third graders (N = 84) following multidisciplinary learning that combines math and music with various teaching emphases. For the purpose of the study, an intervention program was used focusing on patterns of creative thinking. Three classes received identical MusiMath instruction that explicitly links math and music. These classes received additional instruction regarding patterns of creative thinking differing in focus: Creative Math class, Creative Music class, and Creative Math and Music class. The fourth class was used as a control class that learned math and music in a standard way without creative intervention. To collect the data, we developed software that enabled the students to perform musical and mathematical tasks that included questions with only one correct answer, and questions that invited original and varied answers that encouraged creative thinking. Pre‐ to post‐intervention analyses indicated that the experimental groups outperformed the control group on patterns of creative thinking in both math and music, regardless of the teaching focus. Combined instruction in creativity in the Math and Music class resulted in similar patterns of creativity in the two domains, suggesting that the creative thinking was transferable from one domain to another.
... Among the key factors that determine the effectiveness of methodologies and tools in order to enhance creativity, the present study focuses on flexibility because of its relevance [75] . As Guilford [76] points out, flexibility is one of the six dimensions that define creativity and is associated with personal traits related to fluency and flexibility of thought, originality, capacity for redefining situations, for elaboration, etc. ...
p>This research inquiries about the flexibility of two augmented reality storytelling apps, as well as eight specific variables of this cognitive characteristic of creativity from the Creapp 6–12 questionnaire. The study concludes that they meet all the specific variables of flexibility, used in convergent and divergent mode activities: they stimulate critical and divergent thinking, accessibility and adaptation to different levels of difficulty, including variety of codes, allow the interrelation of disparate elements, build different stories, manipulate and exchange elements, change and reformulate the story.</p
... Among the key factors that determine the effectiveness of methodologies and tools in order to enhance creativity, the present study focuses on flexibility because of its relevance [75] . As Guilford [76] points out, flexibility is one of the six dimensions that define creativity and is associated with personal traits related to fluency and flexibility of thought, originality, capacity for redefining situations, for elaboration, etc. ...
This research inquiries about the flexibility of two augmented reality storytelling apps, as well as eight specific variables of this cognitive characteristic of creativity from the Creapp 6–12 questionnaire. The study concludes that they meet all the specific variables of flexibility, used in convergent and divergent mode activities: they stimulate critical and divergent thinking, accessibility and adaptation to different levels of difficulty, including variety of codes, allow the interrelation of disparate elements, build different stories, manipulate and exchange elements, change and reformulate the story.
... (6-point Likert scale, from 1 = I would not be interested at all to 6 = A few years). Given that people may have a different perception of what creative training looks like-especially since such interventions do indeed differ in terms of complexity and length (Scott et al., 2004;Valgeirsdottir & Onarheim, 2017)-we extended the scale in the third question to capture as many levels of anticipated devotion as possible. Also, participants answered three questions related to creative achievements that one may or may not attain in the future: (1) "To what extent do you consider it possible that other people will appreciate your achievements in this field in the future?", ...
To put creative ideas and insights into action, people need to overcome obstacles, monitor their processes, and effectively evaluate the steps they take. Across two studies (N = 832 and N = 843), we explored the structure, correlates, and cross-domain similarity and specificity of creative self-regulation. Both studies supported a seven-factor model of creative self-regulation, with different self-regulatory behaviors engaged in the phases of forethought (obstacle expectations, uncertainty acceptance), performance (adjusting approach, managing and reframing ambiguous goals, and emotion regulation), and self-reflection (improving approach and readiness for sharing). Across both studies, creative self-regulation was systematically correlated with creative self-concept and less systematically with personality. Additionally, in Study 2, creative self-regulation explained a unique portion of the variance in creative activity, achievement, and declared future engagement when personality and creative self-beliefs were controlled. A substantial similarity of self-regulation across different domains was observed in terms of the structure, difficulty, and residual variances (measurement invariance), yet some self-regulatory behaviors and strategies were more pronounced in certain domains than others. We discuss the consequences of these findings along with future research directions.
Analogical reasoning plays a crucial part in problem-solving since it requires students to connect prior knowledge with the issues at hand in learning mathematics. However, students struggle when developing solutions to the issues utilizing analogies even if there is a connection between mathematical creativity and analogical reasoning. The aims of this study were to assess students' use of Ruppert's phases to solve problems and identify students' analogy patterns to solve target problems. This study is qualitative in nature. Of 19 research participants, six were then chosen using the purposive sampling technique based on their levels of mathematical creative ability. Test, interview, and documentation were the data gathering techniques used in this study. The study's findings suggested that good analogical reasoning skills did not serve as a prerequisite for students with strong mathematical creative thinking skills. Only one subject out of three who possessed necessary mathematical creative thinking abilities could go through the four steps of analogical reasoning-structuring, mapping, applying, and verifying. All other subjects were unable to complete the four steps of analogy, and even their creative thinking skills were weak. This was because the students did not comprehend the idea and could not connect prior knowledge with the issues at hand. In order to remind students of their prior knowledge and experiences, it would therefore be necessary at this analogy stage to establish an initial stage before structuring. The format and degree of difficulty of the questions were assumed to be other elements that might influence students' responses. The results of this study are expected to be a reference for further research, namely increasing analogical reasoning optimally as an effort to increase students' prior knowledge and students' mathematical creative thinking abilities in solving mathematical problems.
This thesis reviews the development of an Australian community legal centre—Redfern Legal Centre—focusing on social innovations at the centre in the period 1977–95. Examination of the centre’s work is set in an historical context and framed against abackground of expansion in legal assistance to disadvantaged communities since the 1970s,both in Australia and overseas.
The history, nature and work of the centre is described. A qualitative methodology has been employed, with a case study incorporating oral histories.
A theme of the thesis is the concept of social innovation, defined from the literature as a novel solution to a problem – in the form of services, ways of organising work or a product, that is implemented, meets a social need and improves the quality of life for individuals or communities. The innovation must address needs unmet due to the failure or absence of markets or state provision.
Social innovations at the centre in the form of new services for prisoners, people with an intellectual disability, complainants in domestic violence cases, aged care residents and social security recipients are identified. Innovations designed to determine unmet legal need and new approaches to providing legal aid services including legal publishing are also detailed. Allied to this is a consideration of the organisational and societal factors that enabled the development
of these innovations.
Utilising social innovation theory, factors leading to innovation in the centre are delineated.The findings of the thesis offer insight into methods of encouraging innovation in provision of legal services to disadvantaged communities in the future.
In this chapter, we first review the main principles of pedagogical practices which encourage the development of key competences and literacies, and then we discuss more specific methods which support their particular components. The emphasis is on students and their learning (and on students owning their learning), and not on teachers’ instructional activity to introduce new content. A supportive learning environment is required involving a positive emotional background and ambitious goals for each student. Best learning outcomes can be achieved, if the task of fostering key competences and literacies is embedded into disciplinary learning. Concept-based learning would be a useful approach to structure and explore disciplinary contents, while inquiry-based learning and project-based learning approaches would help design learning situations. Learning tasks should be meaningful and relevant for the students and allow them to link their learning with real-life experiences. Assessment should support learning efforts of students, serve as a feedback mechanism highlighting students’ strengths and weaknesses, their short-term and longer-term personal learning objectives.KeywordsPedagogical strategiesShift from teaching to learningDiscovery learningInquiry-based learningMetacognitionLearning to learnScaffoldingFostering key competencesInstructional activitiesFostering literacy skillsText complexity
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Aim: The purpose of this study was to investigate the effectiveness of training creative problem solving on creativity, social adjustment and life satisfaction of gifted male students.
Method: The design of the study was a quasi-experimental with pretest-posttest and control group design. Population of the current study was 452 gunior high school students of gifted and talented male students in Ardabil city. Forty six students were selected by means of clusters sampling procedure. Instruments included were Raven's progressive Matrices (1938),Tehran-Stanford-Binet's Intelligence Test (Afrooz and Kamkari, 2011), TorranceTest of Creative Thinking (TTCT), Bell Social Adjustment and (1962) Hubner's Life Satisfaction (2001) Inventoris. Participants in the experimental group participated in a creative problem solving training program during 13 sessions (75 minutes per session). In order to control the effect of pretests, data were analyzed using univariate and multivariate analysis of covariance (ANCOVA & MANCOVA).
Findings: The results showed significant differences between experimental and control groups in Creativity, Social Adjustment and life satisfaction. In adition the results revealed significants differences between experimental and control groups in all subscales of creativity including fluency, flexibility, originality, elaboration, tow subscales of Social Adjustment including helth adjustment and emotional adjustment, one subscale of life satisfaction including friends satisfaction measures.
Results: Based on the results of current study, creative problem solving program can increase Creativity, Social Adjustment and life satisfaction in genior hifh school male students.
Key words: Gifted student, Creativity, Social Adjustment, life satisfaction, Creative problem solving.
oday, it is important to have high-level skills such as entrepreneurship and creativity, which are considered among the 21st century skills, for a successful education and business life. In the development of these skills, different applications from traditional practice environments are needed. In this direction, the aim of the research is to examine the effects of educational robotic applications carried out with university students on the creativity and entrepreneurship skills of the students. 54 university students studying in nine different departments participated in the research, which was designed with a single-group pre-test post-test experimental design. The data were collected using the “How Creative Are You Scale” adapted into Turkish by Gülel (2006), the “Entrepreneurship Scale” developed by Yılmaz and Sünbül (2009), and the achievement test developed by the researchers. Cluster analysis and t-test were used in the analysis of the data. Findings show that students' entrepreneurial skills increase as a result of educational robotic applications. There was no significant increase in creativity skills. When the difference of entrepreneurship and creativity skills according to successful and unsuccessful student groups was analyzed, it was determined that the entrepreneurship and creativity scores of the students in the successful group were significantly higher.
Although there has been increasing international emphasis on creativity in education, many creativity training programmes have focused on enhancing students' creative thinking skills with few studies on how these skills can be integrated into the teaching of subject disciplines. As a member of a Community of Practice project that ran from spring 2021 to summer 2022 at my university, I worked with ten university teachers from multiple disciplines to develop and implement instructional strategies to foster students' creative thinking skills. The paper documented the development, implementation and evaluation of creative thinking skills teaching strategies for a higher education course in visual arts. Both the development of the teaching strategies and the measurement of the impact on student learning have undergone vigorous research procedures and made reference to the existing literature. The effectiveness of the activities was assessed using multiple methods including the Torrance Test of Creative Thinking, a self‐report inventory, and a focus group interview. The results indicated the new learning activities enhanced students' creative thinking skills. They also showed that creativity can be developed through teaching while revealing that playfulness, freedom and structure, group interactions, and problem‐solving activities are beneficial for the development of creative thinking skills. Readers may better understand the different ways in which creative thinking skills instruction materials can be developed and incorporated into teaching of visual arts by making reference to the strategies suggested and the process of development in the paper.
Günümüzde başarılı bir eğitim ve iş hayatı için 21. yüzyıl becerileri arasında sayılan girişimcilik ve yaratıcılık gibi üst düzey becerilere sahip olmak önemlidir. Bu becerilerin geliştirilmesinde ise geleneksel uygulama ortamlarından daha farklı uygulamara ihtiyaç duyulmaktadır. Bu doğrultuda araştırmanın amacı, üniversite öğrencileriyle gerçekleştirilen eğitsel robotik uygulamaların öğrencilerin yaratıcılık ve girişimcilik becerilerine etkisini incelemektir. Tek gruplu ön-test son-test deneysel desenle tasarlanan araştırmaya dokuz farklı bölümde okuyan 54 üniversite öğrencisi katılmıştır. Veriler, Gülel (2006) tarafından Türkçeye uyarlanan “Ne Kadar Yaratıcısınız Ölçeği”, Yılmaz ve Sünbül (2009) tarafından geliştirilen “Girimcilik Ölçeği” ve araştırmacılar tarafından geliştirilen başarı testi ile toplanmıştır. Verilerin analizinde kümeleme analizi ve t-testinden yararlanılmıştır. Bulgular, öğrencilerin eğitsel robotik uygulamalar sonucunda girimcilik becerilerinin arttığını göstermektedir. Yaratıcılık becerilerinde ise anlamlı bir artış yaşanmamıştır. Girişimcilik ve yaratıcılık becerilerinin başarılı ve başarısız öğrenci gruplarına göre farklılığı analiz edildiğinde ise başarılı gruptaki öğrencilerin girişimcilik ve yaratıcılık puanlarının anlamlı şekilde yüksek olduğu belirlenmiştir.
Decades of cognitive research have arrived at a consensus: all children have creative potential; creativity depends as much on exposure and opportunity as on hereditary factors; and it can be improved through instruction and practice. Yet cultivating creativity has increasingly become a matter of equity. As industrialized countries move towards greater automation and human labor shifts towards jobs requiring flexible thinking, millions of children are being disadvantaged. How to design a curricular framework at the necessary scale? Building it around divergent thinking has a host of advantages. The concepts are straight-forward and easy to define. They are well-established in the literature, making it easier to persuade school boards and state legislatures. They are trans-disciplinary, as applicable to STEM fields as to the arts. Successful exemplars exist, with objective ways to measure them. Finally, the concepts are open-ended: they don’t dictate how to accomplish the goals, only what the goals are. For our children’s benefit, researchers need to band together around a shared framework, with curricular reform itself treated as a divergent thinking problem: the aim not to find one right answer, but to speak with one voice about values and goals, and present as many viable solutions as possible.
The application of Creative techniques in the effective Management of a Power Generation Plant
The objective of this study is to investigate and construct a valid and reliable instrument to measure the training effectiveness (TREF) of the training program provided by the Ethiopian Ministry of Revenues Training Center to their tax officers and officials. The research was done through three TREF measures including satisfaction, learning performance, and behavioral change measures. The development of TREF was applied using descriptive statistics average variance explained (AVE), Composite Reliability (CR), and reliability. Data were analyzed using reliability analysis, and structural equation modeling (SEM) using confirmatory factor analysis (CFA) through Stata and Jamovi software. Significantly, the TREF as produced in this research can be used as an instrument to measure the effectiveness of training in the private and public sectors. Subsequently, this effort will support the improvement of quality human resources in the public sector for effective national policy implementation.
Managers (N= 112) from a large international consumer goods manufacturer participated in a field experiment in which they learned and applied the Simplex process of creative thinking to solve real management problems. The interrelationships among six attitudinal and behavioral skill variables learned during the training were measured to improve understanding of how these variables contribute to the process. Predicted relationships were tested and a best-fit causal model was developed. Behavioral skill in generating quantity of options was the most important variable overall: it was directly associated with behavioral skill in both generating quality options and evaluating options. The key attitudinal skill and the second most important variable overall was the preference for avoiding premature evaluation of options (deferral of judgement). The other attitude measured the preference for active divergence, played only an indirect role in the process.
A field experiment made a preliminary investigation of the effects of training Japanese managers in creative problem solving. Two attitudes associated with divergent thinking practice (an important aspect of creative problem solving) were measured before and after training. This research establishes the Japanese translations of the two attitudinal measures. It also indicates that the applicability and receptivity of the paradigms and methods of the training provided may be at least as strong in Japanese business and industry as found in previous North American research. The experimental group (n = 60) showed significant gains on both measures versus two control groups. Compared to North American managers from similar studies, the Japanese managers appear to make at least equal gains after training. Future directions for research include extending the training effect investigation beyond attitude changes to include behavior changes and longer term persistence and portability to the job.
This study investigated the effects of a theoretically based Logo environment on creativity. Seventy-three eight-year-old children were tested to assess pretreatment level of creativity and achievement and were randomly assigned to one of three groups: Logo computer programming, comparison (nonLogo creativity treatment), or nontreatment control. After 25 weeks of treatment, the Logo programming group had significantly higher scores than either of the other groups on the total assessment of figural creativity, and both the Logo and comparison group had significantly higher scores than the control group on verbal creativity. Certain aspects of both figural and verbal creativity (e.g., originality) were more strongly affected than other aspects (e.g., fluency). This extends previous research by indicating that certain Logo environments can enhance creativity in verbal, as well as figural, domains. These results militate against the sole acceptance of a domain-specific hypothesis of Logo’s influence on creative performance (i.e., enhancement of figural associative networks); instead, both this domain-specific hypothesis and a process-based hypothesis (i. e., metacomponential enhancement) received some support. An implication is that certain computer environments may offer unique opportunities for the enhancement of both figural and verbal creativity.
Problem construction has been determined to be an important process contributing to creative problem solving. The purpose of this study was to investigate whether problem construction plays a role in how individuals interpret ambiguous, ill-defined problems in a way that fits with their personality. We also hypothesized that solution quality and originality would be related not only to problem construction ability but also to the degree to which the solution fits the personality of the individual. Students who participated in this study (N = 195) were asked to complete measures to identify personality types, a measure of problem construction ability, and a problem-solving exercise. Solutions were rated for fit of the solution to the personality, quality, and originality. Results suggest that problem construction ability is positively related to the fit of the solution to the personality type, and that solution quality and originality are related to both problem construction and solution fit. Implications of the role of problem construction in solving everyday problems are discussed.
Thirteen 11th-grade students in enriched mathematics and 9 in a regular course solved nine word problems that varied in the ease with which they could be solved by verbal-logical or visual strategies. A pervasive use of verbal-logical solution methods was noted for both groups. Significant differences were found in the final solution strategies. In the course of solving each problem, students tried different strategies. Enriched students alternated almost exclusively between verbal-logical and visual solution methods, whereas regular students alternated equally between verbal-logical and visual solution methods or between verbal-logical strategies and trial and error.
The effectiveness of a creativity-training program was investigated. Two matched eighth-grade classes of high-ability students (N = 48) were chosen for the study. The experimental group spent three days and two nights at an outdoor school learning to use the Osborne-Parnes model of creative problem solving. There was no treatment for the control group. Just prior to the training both groups were tested, and six months after the training they were retested. There were four subtests: (a) datafinding, (b) problem-finding, (c) idea-finding, and (d) solution-finding, containing both divergent and convergent sections. Mean gain scores of the two groups were compared. On every subtest the experimental group outperformed the control group significantly, indicating that after six months the skills of creative problem solving had been retained.
This study was conducted to determine the effects that a creativity training program would have on the divergent production subtests of the Structure-of-Intellect Learning Abilities test. These subtests measure the production of units, relations, or transformations. The creativity training was designed to enhance the production of units. A total of 56 college students served as subjects with 27 receiving creativity training and 29 receiving an alternate training. Univariate analyses of covariance showed significant main effects of creativity training on divergent production of symbolic units (F(1, 51) = 10.41, p < .01), on divergent production of figural units (F(1, 51) = 4.69, p < .05), and on divergent production of semantic units (F(1, 51) = 7.57, p < .01). The training was thus inferred to be effective in increasing the production of units but not the production of relations or transformations. The differentiation made between these types of products in the Structure-of-Intellect model was supported.
Divergent thinking tests have been criticized for their low correlations with real-world performance. The primary objective of this study was to ascertain whether real-world problems are more predictive of creative accomplishments than problems contained in standard divergent thinking tasks. A second objective was to examine the relationship between performance on problem-finding tasks and traditional problem-solving tasks. Four tasks were administered to 77 elementary school students, with a check list of creative activities that was used as a criterion measure. Correlational results indicated that the real-world problem-finding measure was more predictive of creative accomplishments than standard divergent thinking tasks and the real-world problem-solving task. Hierarchical regression analyses indicated that the real-world problem-finding task added significantly to the prediction of creative activities, beyond the prediction from the other tasks.
The profusion of creativity techniques that have been proposed and used is based on a much smaller set of active ingredients, devices that promote idea generation. This paper reports the results of a study that identified these active ingredients through an analysis of 172 idea-generation methods. Fifty idea-generation devices of three types - strategies, tactics, and enablers - were identified and organized in a formulary. Research results facilitate the evaluation of idea-generation methods and the selection of methods suited to particular idea-generation tasks.
In an increasingly complex and changing business environment, creativity is becoming recognized as a critical success factor for organizations. The identification of attitudes toward creativity and the subsequent development of creative thinking are important mechanisms for organizations to encourage creativity across all employees. Employee attitudes toward creativity can indicate their potential for behaving in a creative manner, and organizations that can incorporate creativity into their organizational culture can further encourage creative thinking. This research extended previous research that had identified 2 divergent thinking attitudes related to organizational creativity. Three additional attitudes were identified as "valuing new ideas," "creative individual stereotypes," and "too busy for new ideas," using various psychometric and substantive analyses with 2 large samples including both business students and employees of industrial organizations. Basic scales were established to measure all 3 attitudes and future work to finalize the scales was laid out. This research also provided a psychometric methodology for identifying and developing measures of variables associated with creativity attitudes and behaviors. This framework may be useful to other researchers.
25 grammar-school students - soccer players (17 years of age) from a Private Secondary School specialized in soccer underwent a special psychological creativity training. It consisted of divergent problem solving tasks, methods of directed imagination and role playing. They were applied during the whole school-year (10 months). The effects were measured by the Second Subtest of TTCT, Urban's Creativity Test and Creative Memory Test - The Pictographs. The control group comprised 25 state secondary school students. The results showed the extent of effectiveness of the creativity training program and are discussed in the text.
Currently, Information and Communication Technology (ICT) permeates almost every profession, including those of designers and developers in education and training. This part of the book consists of ten examples of recently created design and development tools (see chapter 14 through 23). These tools can be classified in many ways. A conceptual framework can be of help when organizing the tools into different types. In this introductory chapter such a framework is presented with the following set of attributes: type of output; purpose and evidence of benefits; type of development process supported and any underlying theory; task support; and intended user group. The framework appeared to be useful in analyzing the tools presented in the following chapters. Results of the analysis are presented in an extended table. The chapter concludes with a discussion of the interpretations of the analysis and projected future trends.
This chapter considers where reasoning “fits” within the context of higher-order thinking skills with references to reviews of curriculum programs that have been developed to promote thinking, reasoning, and problem-solving skills in the United States and Europe. It discusses cognitive intervention and academic achievement, where teaching may involve individual students, small groups of students, or entire classrooms. It also introduces a cognitive training program for children from ages 6 to 10 that teaches inductive reasoning and problem-solving skills. Attitude is defined as “a state of mind or feeling.” Most of a teacher's day is spent providing students with domain-specific information. Formal reasoning is typically thought of as having two distinct forms. One is inductive reasoning; the other is deductive. Cognitive training program, a highly practical training program helps children in the primary or elementary grades (ages 6 to 10) achieve greater competence in problem solving and inductive reasoning. Generalization (GE) is the process whereby the common attribute that can be used to group a number of objects. Identification of the common attribute between objects provides the basis for forming a common group, class, category, or concept.
Theories of creativity have not traditionally considered whether novel ideas or inventive behaviors can result from regularities in the cognitive processes responsible for such activities. Most of these traditional theories are based on the evaluation of products as meeting (or not) some abstract metric of creative output. However, cognitive theories of creativity can be proposed in which creative activity is a function of more traditional cognitive processes that are not unique to inventive behaviors. The purpose of this article is to review the cognitive regularities of creative activity and organize the research on this topic into a framework that might be useful in understanding and extending investigations directed at studying creativity. To these ends, cognitive processes underlying generation, synthesis, and selection of information in creative activities are delineated.
This study investigated whether effects of the Purdue Creative Thinking Program (PCTP) were persistent over time. Students were pretested and then instructed for 14 wk. with one of the three PCTP components or a combination. Seven months later, divergent thinking measures were administered to 456 fourth, fifth and sixth grade pupils. For most treatments, no group was significantly better than controls across the outcome variables on the longitudinal tests. However, in the fourth grade, two instructional components were still effective. Thus short-term training (14 wk.) may not produce long-term changes in divergent thinking abilities.
As meta-analytic methods are being applied to an ever wider variety of research domains, it is becoming apparent that researchers need more guidance than is currently available to produce replicable and consistent sets of findings. The present paper suggests some general guidelines to govern four critical steps in the meta-analytic process These are (1) selection and coding of studies, (2) correction of coefficients for artifacts, (3) interpretation of results, and (4) resolution of conflicting meta-analyses.
In his 1986 analytic review of the first ten years of research on adaption-innovation theory, Mudd commented on the importance of continued research on the Kirton Adaption-Innovation Inventory. Suggestions pertinent to the present study involved an examination of the stability of the instrument as well as the test-retest reliability of the full scale and subscales. A Lindquist Type III analysis of variance was used to examine the influence of creativity training on the stability of the Kirton full scale scores. The scores did not change after training. There was, however, a significant effect for gender by pre- and posttest interactions for the full scale scores
Although there is a growing body of evidence indicating that divergent-thinking skills may be very task specific, there has been no research testing how narrowly divergent-thinking training can be targeted. Seventy-nine seventh-grade students received training in poetry-relevant divergent-thinking skills. These subjects and a matched control group later wrote poems and stories, the creativity of which was judged by experts. There was a significantly greater impact on poetry-writing creativity. Implications for creativity theory and training programs are discussed.
This paper defines and describes entrepreneurial creativity, which is the generation and implementation of novel, appropriate ideas to establish a new venture. Entrepreneurial creativity can be exhibited in established organizations as well as in start-up firms. The central thesis of this paper is that entrepreneurial creativity requires a combination of intrinsic motivation and certain kinds of extrinsic motivation — a motivational synergy that results when strong levels of personal interest and involvement are combined with the promise of rewards that confirm competence, support skill development, and enable future achievement.
This evaluation study investigates whether the Future Problem Solving Program (FPSP) accomplishes its goals of helping students enhance their creative thinking abilities, awareness of and interest in the future, as well as communication, problem solving, teamwork, and research skills. Two hundred five students and 32 teacher-coaches completed the survey instruments: What I Learned instrument for students and What My Students Have Learned instrument for coaches. Findings indicate that (a) students and teacher-coaches feel that the FPSP is accomplishing its goals, (b) teacher-coaches' perceptions were significantly more positive than students' perceptions regarding the accomplishment, and (c) Junior (grades 4–6) division students were significantly more positive than Middle (grades 7–9) or Senior (grades 10–12) division students. Discussion of the findings are provided and further studies are suggested.
The effects of training in creativity and creative problem finding on American business people were tested and measured in terms of fluency in data- and problem finding, flexibility in problem finding, and quality of the problem statement. The training program was based on the Osborn-Parnes Creative Problem-Solving Model. Sixty-eight business people were randomly assigned to control and experimental groups. The results of the control group, who completed a problem-finding task without training, were compared with those of the experimental group, who completed the task after receiving training. The findings indicate that training affected the experimental group's fluency and flexibility in data- and problem finding and affected the quality of the problem statement.
Previous studies have linked divergent thinking ability with specialization in arts rather than sciences, and with interest in fine arts in particular. To examine the relationships involved, and to test whether these were mediated by more general traits such as intelligence or extraversion, 100 university students (50 females, 50 males) were given a battery of relevant creativity, personality, and esthetic preference tests. A general factor linking creativity and arts-orientation variables was found. These variables were not generally related to the other personality traits studied. Esthetic preference scores were correlated with interest in fine arts, but not with divergent fluency.
In an exploration of the relationship among problem finding, problem solving, and cognitive controls, 80 adult male subjects were studied in four groups based on their domain of expertise (art or science) and their professional productivity (critically acclaimed professional producer or professionally competent). A MANOVA, followed by post hoc analyses of covariance, revealed that the critically acclaimed professional producers in art and in science differed from the professionally competent artists and scientists. The critically acclaimed professional producers devoted a larger proportion of their total response time to finding a problem in a decontextualized task and utilized a larger proportion of abstract functions on a sorting task. Chi‐square tests of homogeneity revealed group differences with respect to the types of constructions created on a problem‐finding task, the strategy used in a spatial‐visualization task, and the responses regarding attitude toward taking chances. Educational implications were drawn based on a model of problem situations involving problem formulation, method formulation, solution formulation, and the relationships among the differentiating variables.
The Creative Environment Scales Work Environment Inventory (WEI) is a new paper‐and‐pencil instrument designed to assess stimulants and obstacles to creativity in the work environment. Unlike many instruments that are designed as comprehensive descriptions of the work environment, the WEI focuses on those factors in the work environment that are most likely to influence the expression and development of creative ideas. Designed to be used at any level within any function of an organization, the WEI is intended as an organizational development instrument to improve the climate for creativity. Conceptually grounded in previous empirical and theoretical work on creativity and innovation, the WEI has been administered to 645 respondents drawn from five different groups. Factor analyses, scale reliabilities (internal consistencies), and between/within scale correlations indicate a high degree of integrity in the WEI scales. Furthermore, test‐retest reliability is high. Preliminary validity analyses indicate that the WEI does discriminate between different work environments, and that some of the scales are significantly related to creativity within the organization.
What is the relationship of creativity to gifted behavior? The author raises key questions relative to previous research in the field. He builds and defends a model for weaving creativity into the fabric of exceptional performance in any arena of endeavor.
The purpose of this study was to describe the components of creativity courses taught at the college level and the perceived importance of the components to teaching creativity. Teachers of college-level creativity courses were asked to rate the degree to which curricular variables were considered important to the teaching of creativity. The instrument was developed from a content analysis of college creativity syllabi and other course artifacts. Results are discussed in terms of five dimensions for teaching creativity: social climate, personality characteristics, general theories and models, processes involved, and product variables related to end results.
Available evidence indicates that the combination and reorganization of extant knowledge structures plays an important role in the generation of new ideas. This study was intended to test a model of the operations held to influence application of the combination-and-reorganization process. Accordingly, 155 undergraduates were asked to solve 12 category combination problems. The instructions given to subjects were manipulated to influence application of three operations held to influence the originality of category combinations: feature identification feature mapping, and feature elaboration. The relatedness of the categories presented was also manipulated. We found that solution quality was consistently influenced by category interrelatedness and, under conditions restricting the pool of available relations, category elaboration. Feature identification and feature mapping were found to influence solution originality but not solution quality. The implications of these findings for understanding creative problem solving and the combination-and-reorganization process are discussed.
The relations between creative management performance and constructs from the cognitive ability and personality domains were explored. A new openness scale and measures of divergent thinking and general intelligence were correlated with independently obtained criterion assessments of creative-management performance for 221 managers from a variety of organizations. Divergent thinking and openness correlated significantly with key creative-management criteria. General intelligence correlated only marginally with the criteria, and when divergent thinking was statistically removed, not at all. Divergent thinking, conversely, retained its significant criterion correlations with general intelligence statistically removed. Finally, a predictive composite of both divergent thinking and openness is shown to provide solid prediction of managerial creativity and significant utility in a personnel selection context.
The purpose of this study was to confirm, in an American sample, the validity of a three-factor structural equation model that had been previously tested and refined with a sample of young adult students in Norway (Besemer, 1998). The three-factor model, a Creative Product Analysis Matrix (Besemer & Treffinger, 1981), was tested by analyzing the responses to the Creative Product Semantic Scale by a sample of American college students from two State University of New York colleges. Confirmatory factor analyses provided strong support for construct validity of the questionnaire and the three-dimensional creativity model. Participantjudges were able to detect differences perceived in Novelty, Resolution, and Elaboration and Synthesis of the 4 stimulus items.
The researchers investigated the effects of a training procedure on the divergent-thinking abilities of kindergarten children. Over a period of 8 weeks, a group of specially trained preservice teachers exposed an experimental group of children to divergent-thinking situations in large and small groups and on an individual basis. Another group of preservice teachers worked with a control group and used few divergent-thinking situations. Pretest results showed the groups of kindergarten children to be initially homogeneous, while posttest results showed the experimental group to be significantly superior to the control group on 3 measures of verbal creative thinking. Differences in the groups were attributed to the training procedures. The results suggest that very young children can realize dramatic increases when repeatedly exposed to divergent-thinking situations.
Within the knowledge-creating organisation, building communities of practice and allowing people to form social networks in order to disperse information is critical in order to foster creativity and innovation. It is argued that in order to exploit explicit knowledge and build an effective community of practice, there needs to be a work environment that encourages information sharing, creativity and innovation. The main approach of this research was to explore senior management’s perceptions of the positive and negative factors that foster or hinder the social work environment. A conceptual model designed by Amabile et al . [5] was used as a framework for a series of qualitative interviews with senior managers within the UK advertising industry. This research found that UK advertising agencies are organised in a manner that allows them to strongly reinforce the work dimensions that foster a social/creative work environment and, therefore, effectively utilise explicit knowledge. The factors that usually hinder the creative working environment of an organisation were largely lacking in these agencies. The findings support the argument that this highly creative industry does replicate best practice and can be seen as a benchmark for other organisations. However, it is argued that the advertising industry may be more applicable as a benchmark for other service-based industries and knowledge-based organisations, particularly in the new economy, rather than large production-orientated industries.
Training departments have tended to include in their general management courses some slot for problem-solving techniques, or else to offer some such topic as “Creative Problem-solving”. These courses tend to operate by discovery learning on real or model problems using techniques such as brainstorming or lateral thinking. In this article we argue that trainers involved in such courses should consider designing in more opportunities for personalised learning. This, in turn, will be linked via the real needs of the participants to significantly more creative behaviour in the long term.
The effects of reward and intrinsic motivation training on the creativity and self-esteem of elementary school students were assessed. Third-grade children (N = 103) participated in an intrinsic motivation or control training session, completed the Coopersmith Self-Esteem Inventory before and after training, and participated in a collage-making task. The children were randomly assigned to 1 of 4 groups: intrinsic motivation training/reward, intrinsic motivation training/no reward, control training/reward, and control training/no reward. Two sets of judges - 3 artists and 21 schoolteachers - rated the creativity of the collages using a consensual assessment technique. Creativity ratings of artist judges revealed a main effect of reward, and ratings by the teachers revealed a marginally significant effect of training. No significant changes in self-esteem scores were found. These results were compared to earlier findings that intrinsic motivation training reverses the negative effect of reward on creativity. Questions about the validity and reliability of the consensual assessment technique for measuring creativity were also raised.
This exploratory study assesses the effectiveness of the Creative Problem Solving Program (Parnes, Noller and Biondi, 1977) for increasing the ideational fluency, flexibility and originality of trainees in a Master of Business Administration program. Pre- and post-training performances of trainees (N = 32) on the Torrance Tests of Creative Thinking (verbal) are compared with a control group of MBA students (N = 44). Compared to the control group, trainees demonstrate significant gains in originality. While both groups show an improvement in fluency. Trainees with high preferences for achievement and dominance but low preference for deference are less likely than average to self-select for creativity training. Performance in a creativity project is positively related to preference for autonomy and creative ability, and negatively related to preference for achievement. Implications of these findings for the effectiveness of creativity training and the attitudes and performance of high need achievers are discussed. Finally, we discuss issues in the generalization and transfer of training to non-training domains.
This paper presents a model of innovation based on both theory and research that provides a framework for facilitating this important activity within organizations. One of the model's unique features is that it prescribes a series of behaviours found to be prominently manifested by R&D scientists and engineers employed by our sample of highly successful innovative companies. The model further postulates how the individual behaviours are propagated by management practices that, in time, alter the behavioural expectations of employees regarding these critical behaviors and lead to an "innovative culture". The research suggests that an organization's culture can be modified to encourage innovative behaviours through specific management practices.
This study investigates the relationship between giftedness and strategic flexibility using cognitive training methodology. The two experiments showed that the metacognitive training influenced strategic flexibility and metacognition of students. The results further showed that it is much easier to enhance performance on closed problems than with open problems which call for creativity.
Limited research concerning creativity in women suggests areas of concern for people in leadership positions. Providing for early detection of creativity and for same sex role models is critical if women are to develop creative expression within the context of education. This study was designed to ascertain the potential influence of training activities among university women and between experimental and control groups. Creativity was measured by the Something About Myself (SAM) inventory. Findings of this study indicated the need for university women to be encouraged to become more resourceful, more versatile, and more willing to take risks.
Previous work has shown that positive mood may facilitate creative problem solving. However, studies have also shown positive mood may be detrimental to creative thinking under conditions favoring an optimizing strategy for solution. It is argued herein that the opposite effect is observed under conditions promoting loose processing and satisficing problem-solving strategies. The effects of positive and negative mood on divergent-thinking performance were examined in a quasi-experimental design. The sample comprised 188 arts and psychology students. Mood was measured with an adjective checklist prior to task performance. Real-life divergent-thinking tasks scored for fluency were used as the dependent variables. Results showed natural positive mood to facilitate significantly task performance and negative mood to inhibit it. The re was no effect of arousal. The results suggest that per sons in elevated moods may prefer satisficing strategies, which would lead to a higher number of proposed solutions. Persons in a negative mood may choose optimizing strategies and be more concerned with the quality of their ideas, which is detrimental to performance on this kind of task.
Two samples of college students (n = 40 each) drawn from a larger sample (N = 188) were identified as high creative or low creative based on their performance on 5 measures of creativity that included both tests of creativity and actual creative production such as haiku poetry. The students were then interviewed with a semistructured procedure, and the video recordings of the interviews assessed as to the utilization of each of 15 ego defense styles. Thirteen of the 15 ego defense styles showed statistically significant mean differences, with high creatives scoring higher on schizoid fantasy, acting out, dissociation, displacement, reaction formation, intellectualization, humor, suppression, and sublimation; they scored lower on projection, passive aggressiveness, repression, and altruism.
Both exploratory factor analyses (varimax and promax solutions) and confirmatory maximum likelihood factor analyses were used to re‐examine a correlation matrix of 53 tests from a battery administered to a sample of more than 400 Air Force officers. The data base originated in a report from the University of Southern California Aptitudes Research Project (Guilford, Wilson, & Christensen, 1952), which was intended to identify factors of creative thinking. The major objective of this study was to ascertain whether the covariation among the test variables that were conceptualized as first‐order factors within the structure‐of‐intellect model could be explained parsimoniously in terms of a number of higher‐order creative abilities. Application of a relatively objective oblique exploratory factor analytic technique (promax) afforded a replication of four of Guilford's creativity factors—two divergent production constructs of ideational fluency and word fluency, one construct representing sensitivity to problems, and another identified as redefinition or flexibility of closure typically involving transformations. Although substantial support was found for higher‐order factor models which distinguished among five types of psychological operations and three kinds of test content, statistical indicators of closeness‐of‐fit suggested that a mixed model of both first‐order and higher‐order factors was required to describe creativity thinking, perhaps within some form of hierarchical ordering. In addition to recognition of divergent production as a key component of creative endeavor, it appeared that a higher‐order convergent production factor involving primarily semantic and symbolic transformations constituted a dimension of potential importance to the creative thinking of mathematicians, scientists, engineers, and inventors. It was hypothesized that in creative thinking a variety of psychological operations within a dynamic interactive system is employed almost simultaneously in a forward and backward manner.