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Measuring creativity using the test of creative imagination (TCI). Part 1. Presentation of a new instrument to measure creative potential

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Abstract

There are many controversies with the psychometric approach to study human creativity. Many scholars doubt it is possible to discover something as delicate as creativity using standardized tests (e.g. Baer, 1993/1994, Hocevar, 1981). However, research shows that creativity tests are valid, reliable and predictive (Plucker, 1999, Plucker, Runco, 1998, Plucker, Renzulli, 1999). The article presents a new instrument to measure creative potential - especially creative imagination. This instrument called TCI - Test of Creative Imagination - looks effective, culture-fair, reliable and valid, which makes it useful for an individual diagnosis of creativity as well as for scientific studies.

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... Creative imagination is an important trait. It is noted that this test developed by Kujawski is applicable to 6/6+ (Karwowski, 2008a). However, the researches concerning the test revealed that the test was administered on children younger than the age of 9 at very low rate (Gündoğan, Arı, & Gönen, 2013) and since the children under the age of 7 are at the pre-operational stage (Piaget, 2004), the test was almost never applied to them. ...
... In the Originality subscale, the originality of the ideas that are drawn is evaluated. The originality score is obtained by the rater's assessment on the originality of the ideas (Karwowski, 2008a). ...
... The correlations between their subscales were calculated in order to examine whether each subscale of TCI was associated with each other or not, and as a result, no significant correlations were found between Fluency and Elaboration-Transformativeness subscales, between Fluency and Originality subscales, and between Elaboration-Transformativeness and Originality subscales. In the original reliability study of TCI (Karwowski, 2008a) and in the reliability study conducted in Turkey among 7-14-year-old children (Gündoğan et al., 2013), statistically significant negative correlations were found between Fluency and Elaboration and Transformativeness subscales. In addition, no significant correlation was found between Fluency and Originality subscales and between Elaboration and Transformativeness and Originality subscales. ...
Article
Imagination is the ability of envisaging something that does not exist at the time being. Since 5–6-year-old children get through the pre-operational stage of Piaget’s [2004. Çocukta Zihinsel Gelişim [Intellectual Development of Child] (2nd ed., H. Portakal, Trans.). İstanbul: Cem], they believe in empirical facts. Hence, Kujawski’s Test of Creative Imagination (TCI) is not suitable to the children aged 6 years and younger. In this study, Kujawski’s TCI was tried to be made suitable for the age group of 5–6 years. For this purpose, 204 children aged between 5 and 6 years attending the kindergartens, selected by using simple random sampling method in the city centre of Denizli Province, Turkey, were included in the study. At the end of the study, TCI was found to be a reliable and valid assessment instrument for children in the age group of 5–6 years. The 6-year-old children made more ideas and more detailed constructions than the 5-year-old children.
... The scoring of Elaboration and Transformativeness sub-scale vary between 2-20 points. In Originality sub-scale, the originality of the ideas that are drawn is evaluated (Karwowski, 2008a). ...
... In addition to the Pearson correlation coefficient and Kendall's coefficient of concordance, Cronbach Alpha coefficient was also calculated and found to vary between 0.55 and 0.75. It is suggested that all the indicated suggest that Originality sub-scale of the creative imagination test shows a strong reliability in medium level (Karwowski, 2008a). ...
... When the correlations between the points that the judges assigned to the drawings are examined, significant relationships have been revealed. In addition to that; statistically significant relations in the original reliability study of the test of creative imagination have been found too (Karwowski, 2008a). Such finding is consistent with the results of the research. ...
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The purpose of this study was to investigate validity and reliability of the test of creative imagination. This study was conducted with the participation of 1000 children, aged between 9-14 and were studying in six primary schools in the city center of Denizli Province, chosen by cluster ratio sampling. In the study, it was revealed that the Pearson correlation coefficient between judges varied between 0.24-0.55. Kendall's coefficient of concordance was calculated as 0.44; the reliability coefficient, calculated by variance analysis is 0.76. As the result of applying the known-groups technique on the validity studies of the test measurements, while a significant difference was found between the first group comprised by the age group of 7-8-9 and second group comprised by the age group of 10-11 in Fluency sub-scale, no significant difference was found among the groups in Originality sub-scale. In Elaboration and Transformativeness sub-scale of the test, it was found that the number of the shapes used gradually increased with the increasing age. In this study, the validity and the reliability of the creative imagination test measurements were determined to be sufficient.
... The first, research stage encompassed conduction of an experiment on one experimental group, with an omission of parallel control group measurement. It was composed of: (1) a pre-test (time 1 -T1) encompassing measurement with the TCI (Karwowski, 2008) and version A of the TCT-DP (Matczak, Jaworowska, & Stanczak, 2000;Urban & Jellen, 1989); (2) an 8-h training session -a single meeting that lasted 8 h, with three breaks, including one for dinner; (3) a post-test (time 2 -T2), encompassing a measurement with the TCI test as well as the B-version of the TCT-DP test. ...
... The Test of Creative Imagination results are calculated in three scales: fluency -measured by a number of created drawings, qualified in accordance with the assumptions of the test (Karwowski, 2008); the results in this scale vary from 0 upwards, elaboration, transformativeness and visualization scale -it measures transformative capabilities as well as elaboration and an extent of drawing visualization; the results in this scale fit within 2 and 20 points (Karwowski, 2008), originality scale-measures originality of the creative drawings, its assessment as the only one of the three scales is subjective in character and the results in this scale fall between 1 and 2 points (Karwowski, 2008). ...
... The Test of Creative Imagination results are calculated in three scales: fluency -measured by a number of created drawings, qualified in accordance with the assumptions of the test (Karwowski, 2008); the results in this scale vary from 0 upwards, elaboration, transformativeness and visualization scale -it measures transformative capabilities as well as elaboration and an extent of drawing visualization; the results in this scale fit within 2 and 20 points (Karwowski, 2008), originality scale-measures originality of the creative drawings, its assessment as the only one of the three scales is subjective in character and the results in this scale fall between 1 and 2 points (Karwowski, 2008). ...
Article
There are hundreds of ways to develop creativity among children, youths and adults. Developing new ideas and ways of teaching creativity should also incorporate youth's interests and hobbies. The article presents the main information about the new way of developing creative abilities, especially creative imagination, the Role Play Training in Creativity (RPTC).The conception of such training was inspired by RPG games. Forty-seven undergraduate education students (mainly women) voluntarily participated in the presented research. The training was conducted in two forms—1-day meeting (8 h) or four meetings 2 h each (totaling also 8 h). The effectiveness of training was evaluated with the use of two creativity tests – Urban & Jellen Test of Creative Thinking – Drawing Production (TCT-DP) and Kujawski Test of Creative Imagination (TCI). Comparison of post-test and pre-test results shows statistically significant increase of the results in TCT-DP and two of three TCI scales—fluency and originality.
... Creative Behavior Questionnaire. We used the 60-item KANH Creative Behavior Questionnaire (Gralewski & Karwowski, 2013Karwowski, 2008a) to assess creative and imitative attitudes. Each score is composed of two subscales. ...
... Test of creative imagination. The test of creative imagination (TCI; Karwowski, 2008aKarwowski, , 2008b) is a nonverbal, culture-fair test and was used to assess creative performance. Participants were given a sheet of paper with 16 elements on it: 4 straight lines, 4 dots, 4 curvy lines, and 4 semicircles. ...
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The purpose of this article was to examine the relationship between friendship ties and creativity. Based on the homophily hypothesis, we predicted friendship ties would more likely occur between people similar to each other on creativity-related attributes. We also predicted students would be more likely to report friendship ties with peers who have higher creativity scores in general. Across a pilot and primary study, we examined the relationship between friendship strength among high school students in a pilot study (Study 1) and friendship nominations among elementary school students in a primary study (Study 2) with creativity. In Study 2, but not Study 1, we found that friendship nominations were more likely to occur when scores on a creativity task were similar. In both studies, we found that popularity was positively related to originality (Study 1) and creativity (Study 2). The results indicate that elementary school students nominated peers as friends who are similar to them when it comes to creativity and that there is a positive relationship between popularity and creativity
... Creativity is usually defined as activity leading to products that are both original and useful (Amabile, 1983). Processes related to creativity include divergent thinking (DT) and creative imagination (Karwowski, 2008a(Karwowski, , 2008b; certain personality characteristics have also been confirmed to be important: openness to experience (Feist, 1998), independence (Batey & Furnham, 2006) and creative self-efficacy (Karwowski, 2011(Karwowski, , 2012. ...
... The creative imagination of the children was tested using the Franck Drawing Completion Test (FDCT) (Dziedziewicz et al., 2013). The FDCT, originally designed as a tool to study the degree of projection acceptance of the role of gender (Franck & Rosen, 1949) is currently used successfully for the assessment creative imagination (alternative creative imagination tests are generally developed for older participants: see Karwowski, 2008aKarwowski, , 2008b. The test sheet consists of 12 figures contained in the output frame. ...
... Various process-orientated creativity measurements have been developed since 1929, and we have highlighted the most notable for this study. These models include: Wallas' creativity process model (1926) Karwowski (2008a), imagination measurement is the first part of the creativity measurement in Torrance's (1966) creativity definition. Karwowski (2008b) highlighted that fluency is measured by creative imagination; hence, the fluency of creativity was interpreted as imagination ability in this study. ...
Article
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A variety of studies have attempted to explain the dispositions of imagination; notably, imagination engages and develops an individual’s creativity. In the present study, we propose that three types of imagination dispositions (i.e., epistemic, sensory, and future imagination) serve as cognitive mechanisms for the ability to efficiently generate new ideas relevant to imagination with-making and imagination without-making. The correlates between imagination disposition and imagination with-making and imagination without-making were subjected to confirmatory factor analysis and structural equation modeling. The results showed that epistemic imagination was positively related to imagination with-making, but not to imagination without-making; future imagination was positively related to imagination without-making but was not related to imagination with-making; and sensory imagination was positively related to both imagination with-making and imagination without-making. Moreover, imagination without-making was positively related to imagination with-making. The results of this study offer a practical model for understanding imaginative disposition and ability, and provide a framework for future studies to explore imagination disposition and ability in various areas, such as craft creation.
... Elaboration, transformativeness, and visualization scales measure transformative capabilities as well as elaboration and extent of mental images. The originality scale has a subjective character and measures creative mental images (Karwowski, 2008). ...
... A third strategy may involve focusing on the personal and long-term career development of middle-managers through continuous training and developments initiative. Karwowski (2008) suggested that training, both behavioral and technical, is critical for the development of individual knowledge, skills, and positive attitudes (Gino, 2015). ...
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This study sought to examine the pro-organizational attitudes of hotel middle-managers. The ability of hotel middle-managers to contribute to the effectiveness and performance of their hotels is often dependent on their job satisfaction and affective commit- ment to the organization. By introducing the concept of psychological ownership, this particular study seeks to understand the determinants of hotel middle-managers' job satisfaction and affective commitment. Additionally, this study examines whether the tenure of hotel middle-managers is likely to attenuate the relationship between psychological ownership and pro-organiza- tional attitudes. Empirical evidence is drawn from a sample of 110 middle-managers in a 4- and 5-star hotel chain in Malaysia. Findings from the study add a new dimension and insights into understanding how and when hotel middle-managers are satisfied with their jobs and committed to their organization
... TCI test is considered as particularly good. Karwowski (2008) presented it as effective, culture-fair, reliable and valid, which makes it useful for an individual diagnosis of creativity as well as for scientific studies. The SPTO test seems to be particularly relevant. ...
Article
The relationships between creativity and tourism are commonly discussed. The article, rooted in the experience of post-soviet countries, presents an experiment carried out within the course “Creativity in tourism” at the University of Łódź, Poland. The objective was to perform two psychometric tests to verify the level of students’ creativity: Test of Creative Imagination and “Creative versus Imitative Attitude Scale Test”. The aim was to answer the research question: may the introduction of the element(s) of creative pedagogy impact creativity of students. The main objective of this paper is to prove the necessity of taking similar actions and including methods and tools from the creative pedagogy framework in teaching processes at the academic level. The students achieved a high increase of fluent thinking. The high rate of the course given by the students may encourage looking for new solutions within the scope of stimulating creativity. The experiment thus constitutes an example of the introduction of a subject satisfying the needs of a dynamic job market and tourism into the academic teaching program.
... Wyniki te korespondują z rezultatami badań Janiny Uszyńskiej-Jarmoc (2003), w których korelacje między wyobraźnią twórczą (także mierzoną testem FDCT) a myśleniem dywergencyjnym dzieci od 3. do 9. roku życia wahały się od 0,18 (p < 0,05) do 0,38 (p < 0,001). Analogiczne związki uzyskano także w badaniu, w którym do pomiaru wyobraźni twórczej użyto Testu wyobraźni twórczej (TWT; Karwowski, 2008aKarwowski, , 2008bKarwowski, , 2009c. Współczynnik korelacji między wyobraźnią twórczą i myśleniem twórczym mierzonym Rysunkowym testem myślenia twórczego (TCT-DP; Matczak, Jaworowska, Stańczak, 2000) wynosił r = 0,34 (p < 0,0001). ...
Book
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For over two hundred years there has been a relatively strong and constant attention paid to imagination called ‘queen of abilities’ (Górniewicz, 1997, p. 43). Therefore, studies on imagery abilities have longer tradition than studies on divergence thinking (Betts, 1909; Galton, 1880) which gave rise to a greater interest in the subject of creativity (Guliford, 1950). Many works of theoretical, conceptual (ex. Ribot, 1900) and empirical character (ex. Limont, 1996) have been done on creativity understood as ability involved in the creative process. There are, however, few studies that have undertaken systematic analyses of the development of creative imagery abilities in childhood and its environmental determinants (Uszyńska-Jarmoc, 2003). Researchers specialized in creativity have shown their interest in the subject of development of creativity, mainly creative thinking, for almost half a century (Gralewski, Lebuda, Gajda, Jankowska, Wiśniewska, 2016; Kim, 2011; Smith, Carlsson, 1983, 1985, 1990; Torrance, 1968). Nonetheless, it seems desirable to analyze the relationship of imagination with other abilities, such as intelligence and creative thinking. This particular analysis would determine the psychological conditions of creative activity. The key questions in this context concern the trajectory of the development of creative imagination in childhood, family circumstances of that development, and potential correlations of the imagination. Understanding the dynamics of development of creative imagery abilities and other interdependent factors, with particular emphasis on the crises of development of imagination, gender and individual differences in this field, could serve not only basic research but also educational practice aimed at supporting the creative potential of children. Synergy of those advantages was the main impetus of the research described in this book. The reflections taken up in this work are aimed at showing the trajectory of the development of creative imagery abilities in pre-school and early school age in the context of the development of creativity (Karwowski, 2009b, 2010), as well as family and educational determinants of this process. Four main research questions were put forward in the project. The first one, crucial for the analyzed problem, was the accuracy of changes in creative imagination among preschool and early school children. The answer to this question has enabled us to examine the occurrence of the crisis in the development of creative imagination at the very beginning of school education. Moreover, it was the basis for describing changes in the development of creative imagination between ages 4 and 7. The second research question concerned diversity between the sexes in terms of creative imagination. The analyses carried out aimed at showing whether and what kind of differences in the level of creative imagination are observed in preschool and early school children. Third research question referred to the basic determinants of the development of creative imagination. More specifically, whether and what relationship (strength and direction) exists between the socialization space and socio-economic status of the family, and the level of creative imagination in children at this age. The last question referred to the importance of early educational experiences in the creative development of the imagination. The study covered 534 pupils from 5 kindergartens (groups of 4- and 5-year-olds) and 5 primary schools (year 0 and 1). The research project also included parents of the children taking part in the study. The first questionnaire about socio-economic status of the family was filled by 49% (N = 265). The second one, including habitus information, was provided only to parents of children learning at school and was filled by 59% of parents surveyed (N = 166). Children’s creative imagination was measured by the Test of Creative Imagery Abilities (Jankowska, Karwowski, 2015). It additionally included measurement of creativity (The Test for Creative Thinking - Drawing Production) and divergent thinking (Torrance Tests of Creative Thinking-Figural). Among the independent variables were: socialization space, socio-economic status of the family, early educational experience, age and gender of the child. The quantitative analyzes allowed us to formulate the following conclusions: 1. In preschool and early school stage creative imagination develops, although it has a non-linear character. The biggest upward trend occurs in the pre-school stage and before school education starts, in the field of imaginative fluency. At the beginning of school education, the pace and dynamics of creative imagery growth is not as great as in pre-school education. At the same time, among children in early school age, we observe greater variation in the level of creative imagination (imaginative fluency and originality of created images) than in pre-school children. 2. These creative imagery development trajectories coincide with the lines of the development of creativity, especially the originality of thinking. 3. The biggest differences between the sexes in childhood appear in terms of transformation of imageries. 4. Age factor turned out to be the most consistent and one of the strongest predictors in the results of the Test of Creative Imagery Abilities. In the case of image and originality, the SES was important, especially mother’s education. In tranformativeness, habitus constituted additional important factor. Formulated conclusions are a prerequisite for continuing further in-depth studies, such as longitudinal or sequential. This kind of research approach would enable more precise analysis of the dynamics of development of creative imagery abilities. Presented results might however be the starting point for reflections on the possibilities to support development of creative imagination in pre-school and early school children.
... Cropley, 2000;Davis, 1997;Kim, 2006;Plucker, 1999). Other types of measures deployed in the studies are, for example, the Test of Creative Thinking-Drawing Production (TCT-DP, Jellen & Urban, 1989), the Test of Creative Imagination (TCI, Karwowski, 2008), Instances Task (IT, Wallach & Kogan, 1965) and the German Verbaler Kreativitätstest (VKT, Schoppe, 1975). Additionally, six of the studies use self-reporting questionnaires and surveys, and three report using their own creativity measures inspired by other tests, e.g. ...
Article
Throughout decades of creativity research, a range of creativity training programs have been developed, tested, and analyzed. In 2004 Scott and colleagues published a meta-analysis of all creativity training programs to date, and the review presented here sat out to identify and analyze studies published since the seminal 2004 review. Focusing on quantitative studies of creativity training programs for adults, our systematic review resulted in 22 publications. All studies were analyzed, but comparing the reported effectiveness of training across studies proved difficult due to methodological inconsistencies, variations in reporting of results as well as types of measures used. Thus a consensus for future studies is called for to answer the question: Which elements make one creativity training program more effective than another? This is a question of equal relevance to academia and industry, as creativity training is a tool that can contribute to enhancement of organizational creativity and subsequently innovation. However, to answer the question, future studies of creativity training programs need to be carefully designed to contribute to a more transparent landscape. Thus this paper proposes a methodological research standard consisting of three criteria, to which researchers can look when designing future studies of the effectiveness of creativity training.
... The other group received all of their training in one single eight-hour session. They used a modified Test of Creative Imagination (TCI; Karwowski, 2008a,b) and the Test of Creative Thinking—Drawing Production by Urban and Jellen as pre-tests and post-tests. Both tests were somewhat similar to divergent thinking tests. ...
... Future research in this area would, therefore, benefit from utilizing different indices of imagination and autobiographical memory. A potential way of investigating the validity of scene construction as an assessment of imagination could be by comparing it with performance on a nonverbal measure such as a test of creative imagination (e.g., Karwowski, 2008), which would also remove the potential confound of verbal ability . In addition, a limitation of the scene construction task is that it invites descriptions of physical scenes that do not necessarily have a social component. ...
Article
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The presence of a childhood imaginary companion (IC) has been proposed to reflect heightened imaginative abilities. This study hypothesized that adults who reported having a childhood IC would score higher on a task requiring the imaginative construction of visual scenes. Additionally, it was proposed that individuals who produced more vivid and detailed scenes would also report richer autobiographical memories, due to a shared reliance on imaginative abilities in construction and recollection. Sixty participants (20 with an IC), completed an adapted scene construction procedure and an autobiographical memory questionnaire. Participants reporting a childhood IC scored significantly higher on scene construction and rated themselves as more imaginative. Scene construction scores were also moderately related to the richness of autobiographical memories, although this was almost entirely due to scores on the thought/emotion/action component of scene construction. Autobiographical memory was unrelated to the presence of an IC. Implications for overlapping and dissociable aspects of imagination and memory are discussed. © 2015 Lucy Firth, Ben Alderson-Day, Natalie Woods, and Charles Fernyhough. Published with license by Taylor & Francis.
... The creative aspect of imagery manifests itself in generating new ideas and hypotheses, which are rare by nature, but above all they are innovative (Ward, 1994;Magid et al., 2015). This way of thinking about the originality of imagery is visible in the Test of Creative Imagination (TCI;Karwowski, 2008a,b), where the participant's task is to imagine and draw schematic drawings representing something that does not exist but, in the participant's opinion, should exist. Reproducing the scoring criteria for divergent in creative imagination tests resulted in the similarity of test tasks. ...
Article
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Over the decades, creativity and imagination research developed in parallel, but they surprisingly rarely intersected. This paper introduces a new theoretical model of creative visual imagination, which bridges creativity and imagination research, as well as presents a new psychometric instrument, called the Test of Creative Imagery Abilities (TCIA), developed to measure creative imagery abilities understood in accordance with this model. Creative imagination is understood as constituted by three interrelated components: vividness (the ability to create images characterized by a high level of complexity and detail), originality (the ability to produce unique imagery), and transformativeness (the ability to control imagery). TCIA enables valid and reliable measurement of these three groups of abilities, yielding the general score of imagery abilities and at the same time making profile analysis possible. We present the results of nine studies on a total sample of more than 1,700 participants, showing the factor structure of TCIA using confirmatory factor analysis, as well as provide data confirming this instrument’s validity and reliability. The availability of TCIA for interested researchers may result in new insights and possibilities of integrating the fields of creativity and imagination science.
... The creative aspect of imagery manifests itself in generating new ideas and 153 hypotheses, which are rare by nature, but above all they are innovative (Magid, Sheskin, & 154 Schulz, 2015; Ward, 1994). This way of thinking about the originality of imagery is visible in 155 the Test of Creative Imagination (TCI; Karwowski, 2008a Karwowski, , 2008b), where the participant's 156 task is to imagine and draw schematic drawings representing something that does not exist 157 but, in the participant's opinion, should exist. 158 Reproducing the scoring criteria for divergent in creative imagination tests resulted in 159 the similarity of test tasks. ...
Article
Full-text available
Over the decades, creativity and imagination research developed in parallel, but they surprisingly rarely intersected. This paper introduces a new theoretical model of creative visual imagination, which bridges creativity and imagination research, as well as presents a new psychometric instrument, called the Test of Creative Imagery Abilities (TCIA), developed to measure creative imagery abilities understood in accordance with this model. Creative imagination is understood as constituted by three interrelated components: vividness (the ability to create images characterized by a high level of complexity and detail), originality (the ability to produce unique imagery), and transformativeness (the ability to control imagery). TCIA enables valid and reliable measurement of these three groups of abilities, yielding the general score of imagery abilities and at the same time making profile analysis possible. We present the results of nine studies on a total sample of more than 1700 participants, showing the factor structure of TCIA using confirmatory factor analysis, as well as provide data confirming this instrument's validity and reliability. The availability of TCIA for interested researchers may result in new insights and possibilities of integrating the fields of creativity and imagination science.
... Runco et Bahleda (1986) ont envisagé la possibilité que la taille de famille puisse modérer la relation entre le rang de naissance et la pensée divergente qui inclut le processus de la créativité (Karwowski, 2008aet 2008bcité par Dziedziewicz et al., 2014. Ce concept de pensée divergente se réfère selon Guilford (1956), à la capacité de produire des réponses diverses et variées, à une question donnée, ce qui augmente la probabilité d'idées créatives. ...
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... In addition to teacher nomination, information referring to individual student achievements in school was collected. Two creativity tests, i.e., TCI (Karwowski, 2008a(Karwowski, , 2008b and TCT-DP (Urban, 1996(Urban, , 2004 were also used. In order to determine preferences in the context of intuitivenessrationality, the Polish version of MBTI (Nosal, 1992) was used. ...
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Two studies were conducted to show connections between giftedness and intuition. The first study was exploratory. A sample of 194 gifted adolescent students (N=194) included fifty-five students identified as gifted by their teachers and fifty-six percent who were female. Using the Polish version of the Myers Briggs Type Indicator, the students were screened for their preferred cognitive style, i.e., either an intuitive or rational cognitive style. By comparing gifted intuitionists and gifted rationalists, interesting differences were observed. Rationalists were significantly more conformist and less oriented towards a creative, heuristic style of behaviour than intuitionists. The second study tested the theoretical model proposing intuition both as a style and an ability. The sample used in this study consisted of 561 students whose intelligence level, creative ability and intuition was assessed, respectively, using the Raven Progressive Matrices, the Urban & Jellen Test of Creative Thinking - Drawing Production (TCT-DP), and an experimental intuition test based on the work of Westcott (1968). Results with respect to human functioning showed independence between the ability level, i.e., intelligence and creative thinking, and cognitive style preferences, i.e., towards intuition or rationality. However, preference for rational style of cognition was correlated significantly with school grades indicating higher achievement levels in school for rationalists than intuitionists. The results are discussed in the light of school functioning of gifted intuitionists and rationalists.
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The purpose of this study was to validate the effects of playing Internet games on imaginative capacity. An experimental study was conducted, and the Solomon five-group design was applied. A total of 24 volunteers were recruited and five groups were designed using random sampling with gender balance. After 4 weeks of playing the Internet game, each volunteer was invited to complete an Imaginative Capacity Test. Furthermore, wireless dry electroencephagraphy (EEG) headsets and electrodes were used to detect the difference between pretest and posttest EEG readings. The findings suggest that Minecraft develop imagination to a greater extent than do team action-adventure games such as The Humans but not improve the generation of high-quality imagery such as originality.
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The purpose of the current study was to analyze the combined effects of both personality traits and learning environment on university student imagination of educational technology major, and to test the mediating effect resulted from the variable of human aggregate. The results of this study supported that imaginative capabilities were consisted of ten characteristics, and the influences of learning environment were composed of five indicators. The hypothesis of this study—that human aggregate plays a mediator in imagination-stimulation—was partially supported. The structural model also showed that most personality traits had direct effects on imagination, while most environmental variables had indirect effects. Our results highlighted the importance of understanding both the individual personality and learning environment for the educational technology students, so that optimal levels of reproductive imagination and creative imagination could ultimately be elicited.
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The discussion raised by the Glăveanu target paper (Glăveanu, 2014) continues in the second issue of “Creativity. Theories – Research – Applications” (CTRA). In this editorial I focus on two elements shared by commentators whose articles are presented in this issue, namely: creative potential and its measurement. I start with the observation that potential is probably the most fuzzy and poorly defined construct in the creativity literature (and likely social science as a whole). As a result of different operationalizations of this category, its valid and reliable measurement is difficult – though not impossible – but, more importantly, several different theories of potential are being developed simultaneously. I focus mainly on critiques of the measurement of creative potential and show how recent developments in psychometrics make it more valid and reliable than critics tend to realize.
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