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The inspirational power of arts on creativity
Abstract
We propose that openness to aesthetics and the experience of art enhances individuals' creativity by imbuing them with a sense of inspiration. Although previous literature has claimed that aesthetic experiences increase creativity, there is a shortage of empirical evidence documenting the psychological process that underlies this effect or testing whether it can transfer to domains outside of the arts. To shed light on the process mechanism and test the domain-generality of the effect, we investigated the relationships among appreciation of art, inspiration, and creativity in four studies. Participants with open attitudes toward aesthetic experiences were more likely to be inspired and therefore better able to generate creative solutions (Study 1). Appreciating works of art brought about inspiration, which in turn enhanced creativity (Study 2). Finally, the power of art appreciation extended to a business environment, where it enhanced performance in product design, brand-naming, and problem solution generation (Studies 3a and 3b).
... We also know from prior research that there appears to be a connection between inspiration, arts, and creativity (An & Youn, 2018;Burton et al., 1999). What is so far less clear is whether AI-generated art can equally serve as a source of inspiration to enhance individual creative performance. ...
... This is because ambiguous figures require individuals to engage in the process of mental flexibility and to consider multiple perspectives. In a similar line, An and Youn (2018) showed art from van Gogh vs. photography with similar scenery to participants before they solved creative problems and found that those looking at van Gogh's art performed significantly better than those looking at photography. Thus, art, as painted, entails some features that elicit our imagination better than realistic visuals. ...
... We know from prior research that art can inspire creative thinking (An & Youn, 2018;Brun et al., 2019;Chen et al., 2018). Based on our results, we can now add that this also holds up for AI-generated art. ...
This paper examines whether AI-generated art can serve as a source of inspiration to enhance individual creative performance. Specifically, the study investigates whether AI-generated art has associative potential that can stimulate idea generation and enhance individual creativity in terms of originality and the number of ideas generated by humans. To address this research problem, we focus on DALL-E-2, a generative AI system that can create images from textual descriptions. We first provide an overview of situational creativity support systems and then present the design of an online experiment in which 298 participants used (artificially generated vs. traditional) art or none to ideate. The data shows that art in general, but AI-generated especially, has the potential to enhance creative performance by stimulating idea generation. We discuss the implications of using AI-generated art as a creative support tool.
... Various studies have been conducted to discuss matters that influence inspiration (An & Youn, 2018;Rauschnabel, Felix, & Hinsch, 2019;Khoi, Phong, & Le, 2020;Meier, Gilbert, Börner, & Possler, 2021) as well as the impact of inspiration on customer behavior (Liang, Chen, & Lei, 2016;Bottger et al., 2017;Khan & Ghouri, 2018), but there is still little that discusses customer inspiration in the context of social media marketing (Izogo & Mpinganjira, 2020;Sheng, Yang, & Feng, 2020). As a platform for sharing content, socializing and seeking new information (Sheng et al., 2020), it can be seen that there are informative and interactive benefits offered by social media (Saxena & Khanna, 2013;Whiting & Williams, 2013;Amaro, Duarte, & Henriques, 2016). ...
... Openness is an individual character who has high curiosity and tends to open up and seek new things, both experiences and new thoughts (An & Youn, 2018;Khoi et al., 2020). Moghavvemi, Woosnam, Paramanathan, Musa, and Hamzah (2017) explained that individuals with high openness personalities tend to be broad-minded, have a high curiosity about various fields, rely more on intuition, and like to share ideas and experiences with others. ...
... Research conducted by Khoi et al. (2020) found that openness has a positive effect on tourist inspiration in determining tourist destinations. Other research from An and Youn (2018) also suggests that individuals with high openness tend to be easily inspired and become more creative. But research from Libaque-Saenz, Hernani, and Noel (2019) regarding customer preferences in choosing gadgets, found that there is no significant relationship between openness and inspiration. ...
Social media has been used as a marketing tool by architecture firms to generate purchase intention. However, inspiration as a motivating internal response is needed to achieve the marketing objective. This study aims to examine the effect of utilitarian content, hedonic content, and openness as antecedents of customer inspiration, the effect of customer inspiration on purchase intention, and the mediating role of customer inspiration between antecedents and purchase intention. A total of 395 respondents were taken as samples using simple random sampling, and the data was then analyzed with SmartPLS. Results show that utilitarian content, hedonic content, and openness positively affect customer inspiration, and customer inspiration positively affects purchase intentions. Additionally, customer inspiration also mediates the effect of utilitarian content, hedonic content, and openness on purchase intentions. This study contributes to the literature on customer inspiration from a customer-firm relationship perspective. Moreover, this study can give insight for architectural firms to effectively practice social media marketing by focusing on creating customer inspiration through the content provided and targeting the right potential customers in order to generate architectural design service purchase intention.
... Environments containing visually creative stimuli (e.g., artwork) provide the opportunity for silent contemplation, namely a period of pure observation that encompasses sensory, emotional, dynamic, social, and conceptual aspects of how we understand ourselves, other people, and the world we live in (van Leeuwen et al., 2022). Such silent observation develops intense sensory perception of the work being observed, which in turn can enhance perceptual and cognitive capacities, such as semantic and emotional feature encoding, executive control, theory of mind processes (De Pisapia et al., 2016;van Leeuwen et al., 2022), and creativity through openness to new experiences and widened perspectives (An and Youn, 2018). In a recent study, participants were asked to describe the experience of evaluating a work of art and then to complete a Creative Personality Scale (CPS) and a questionnaire that measures inspiration-internal or external mental stimulation that evokes a sense of transcendence ultimately leading to actualization of creative ideas. ...
... In a recent study, participants were asked to describe the experience of evaluating a work of art and then to complete a Creative Personality Scale (CPS) and a questionnaire that measures inspiration-internal or external mental stimulation that evokes a sense of transcendence ultimately leading to actualization of creative ideas. The study showed that evaluation of artwork imbued participants with inspiration, thereby enhancing their creative performance (An and Youn, 2018). ...
... The few studies that tested the effects of art exposure on creativity measured creativity immediately following the exposure to visual art (e.g., An and Youn, 2018;Burton et al., 1999). Notwithstanding, a recent study shows that prolonged exposure to art increases creativity (Gong et al., 2020). ...
Figurative language is one of the most prevalent expressions of verbal creativity, and use of novel metaphors is the most significant source of verbal innovation. As environmental and personality trait factors can impact creativity, the current study aimed to examine whether exposure to an environment rich in visual stimuli (artwork) and verbal stimuli (novel metaphors) contributes to verbal creativity, taking into account the personality trait of “openness to experience.” Study participants (132) were divided into three groups: (1) a group exposed to a creative verbal environment (reading novel metaphors), (2) a group exposed to a visually creative environment (observing abstract and figurative artwork), and (3) a group not exposed to any creative environment. Participants completed personality questionnaire and a metaphor generation questionnaire that asked participants to describe 10 emotions using novel metaphors. Results showed the type of creative environment exposure had a graded effect on creativity (i.e., generation of novel metaphors): the non-exposed control group generated fewer novel than conventional metaphors, the group exposed to novel verbal metaphors produced a similar number of novel and conventional metaphors, and the group exposed to artwork produced more novel than conventional metaphors. This may imply that environments containing visually creative stimuli provide opportunities for silent contemplation which in turn evoke neuropsychological mechanisms related to creative processes. Furthermore, the finding that the trait of “openness to experience” and exposure to a visually creative environment contributed to greater generation of novel metaphors suggests that creativity may be dependent on both individual and environmental factors.
... Environments containing visually creative stimuli (e.g., artwork) provide the opportunity for silent contemplation, namely a period of pure observation that encompasses sensory, emotional, dynamic, social, and conceptual aspects of how we understand ourselves, other people, and the world we live in (van Leeuwen et al., 2022). Such silent observation develops intense sensory perception of the work being observed, which in turn can enhance perceptual and cognitive capacities, such as semantic and emotional feature encoding, executive control, theory of mind processes (De Pisapia et al., 2016;van Leeuwen et al., 2022), and creativity through openness to new experiences and widened perspectives (An and Youn, 2018). In a recent study, participants were asked to describe the experience of evaluating a work of art and then to complete a Creative Personality Scale (CPS) and a questionnaire that measures inspiration-internal or external mental stimulation that evokes a sense of transcendence ultimately leading to actualization of creative ideas. ...
... In a recent study, participants were asked to describe the experience of evaluating a work of art and then to complete a Creative Personality Scale (CPS) and a questionnaire that measures inspiration-internal or external mental stimulation that evokes a sense of transcendence ultimately leading to actualization of creative ideas. The study showed that evaluation of artwork imbued participants with inspiration, thereby enhancing their creative performance (An and Youn, 2018). ...
... The few studies that tested the effects of art exposure on creativity measured creativity immediately following the exposure to visual art (e.g., An and Youn, 2018;Burton et al., 1999). Notwithstanding, a recent study shows that prolonged exposure to art increases creativity (Gong et al., 2020). ...
Figurative language is one of the most prevalent expressions of verbal creativity, and use of novel metaphors is the most significant source of verbal innovation. As environmental and personality trait factors can impact creativity, the current study aimed to examine whether exposure to an environment rich in visual stimuli (artwork) and verbal stimuli (novel metaphors) contributes to verbal creativity, taking into account the personality trait of "openness to experience." Study participants (132) were divided into three groups: (1) a group exposed to a creative verbal environment (reading novel metaphors), (2) a group exposed to a visually creative environment (observing abstract and figurative artwork), and (3) a group not exposed to any creative environment. Participants completed personality questionnaire and a metaphor generation questionnaire that asked participants to describe 10 emotions using novel metaphors. Results showed the type of creative environment exposure had a graded effect on creativity (i.e., generation of novel metaphors): the non-exposed control group generated fewer novel than conventional metaphors, the group exposed to novel verbal metaphors produced a similar number of novel and conventional metaphors, and the group exposed to artwork produced more novel than conventional metaphors. This may imply that environments containing visually creative stimuli provide opportunities for silent contemplation which in turn evoke neuropsychological mechanisms related to creative processes. Furthermore, the finding that the trait of "openness to experience" and exposure to a visually creative environment contributed to greater generation of novel metaphors suggests that creativity may be dependent on both individual and environmental factors.
... The close relationship between AE and creativity is supported by both theories and empirical studies (e.g., An & Youn, 2018;Shokorova, Grechneva, & Bochkovskay, 2016). Creativity involves the discovery, understanding, development, and expression of orderly relationships (Heilman, 2016). ...
... Similarly, it is reported that the personal trait of openness to experience, which is characterized by curiosity and receptivity to new experiences, was a predictor for AE (Colver & El-Alayli, 2015). Moreover, people with open attitudes toward AE were more prone to be inspired and, therefore, generated more creative solutions (An & Youn, 2018). fMRI study (Yeh, Lin, Hsu, Kuo, & Chan, 2015) also suggest that AE processes and outcomes are influenced by the mechanisms of memory retrieval, attentional control, emotional regulation, and adaptive response; notably, such mechanisms are formed through the interactions of personal experiences, expertise, social values, and neural substrates. ...
... Creative thinking involves controlled memory retrieval, executive processes, idea evaluation, internally-directed attention, spontaneous cognition, idea generation, and emotion (Beaty et al., 2016;Di Domenico & Ryan, 2017). Although past literature has claimed that AE increases creativity (An & Youn, 2018;Yeh & Peng, 2019), few studies have focused on using different types of cognitive processes of product-based AE (i.e., superficial, symbolic, functional, and conceptual aesthetics) as interventions to enhance consciousness in creativity training. Based on the aforementioned literature, we identified four core strategies corresponding to the four AE processes, namely, perceptual analysis, life-experience association, functional analysis, and aesthetic-emotion evocation. ...
Aesthetic experience (AE) and creativity overlap in cognitive processes; the conscious practice of AE focused on everyday designed products can be an effective way to enhance creativity. To better understand the effects of such conscious practice, we designed one control intervention with free product observation and four interventions corresponding to four product-based AE processes, by which we explored what types of conscious practice would best facilitate the learning of creativity. Additionally, the moderation effect of everyday aesthetic experience in designed products was examined. One hundred and eighty college students were randomly assigned to five intervention groups: Control group (C), Perceptual analysis (E1), Life-experience association (E2), Functional analysis (E3), or Aesthetic-emotion evocation (E4). The intervention stimuli were 50 photos of everyday designed products, and the creativity was measured by the Product-based Figural Creativity Test. The results revealed that engaging the participants in conscious AE practices, especially those that contribute to the association between imaginary narratives and the participants' life experiences (E4) or that enhance analytical thinking on valuableness of the product (E3), can best improve college students' creativity. Besides, the personal trait of everyday AE interacted with the interventions and influenced the participants' creativity improvement, suggesting that providing scaffolding in accordance with personality traits can magnify the effects of learning creativity. To conclude, this study theorizes and examines the link between varied AE-based practices and the performance of creativity as well as the moderation role of everyday AE in such learning. The findings provide valuable insight for designing effective AE-based interventions for enhancing AE and creativity.
... The close relationship between AE and creativity is supported by both theories and empirical studies (e.g., An & Youn, 2018;Shokorova, Grechneva, & Bochkovskay, 2016). Creativity involves the discovery, understanding, development, and expression of orderly relationships (Heilman, 2016). ...
... Similarly, it is reported that the personal trait of openness to experience, which is characterized by curiosity and receptivity to new experiences, was a predictor for AE (Colver & El-Alayli, 2015). Moreover, people with open attitudes toward AE were more prone to be inspired and, therefore, generated more creative solutions (An & Youn, 2018). fMRI study (Yeh, Lin, Hsu, Kuo, & Chan, 2015) also suggest that AE processes and outcomes are influenced by the mechanisms of memory retrieval, attentional control, emotional regulation, and adaptive response; notably, such mechanisms are formed through the interactions of personal experiences, expertise, social values, and neural substrates. ...
... Creative thinking involves controlled memory retrieval, executive processes, idea evaluation, internally-directed attention, spontaneous cognition, idea generation, and emotion (Beaty et al., 2016;Di Domenico & Ryan, 2017). Although past literature has claimed that AE increases creativity (An & Youn, 2018;Yeh & Peng, 2019), few studies have focused on using different types of cognitive processes of product-based AE (i.e., superficial, symbolic, functional, and conceptual aesthetics) as interventions to enhance consciousness in creativity training. Based on the aforementioned literature, we identified four core strategies corresponding to the four AE processes, namely, perceptual analysis, life-experience association, functional analysis, and aesthetic-emotion evocation. ...
Aesthetic experience (AE) and creativity overlap in cognitive processes; the conscious practice of AE focused on everyday designed products can be an effective way to enhance creativity. To better understand the effects of such conscious practice, we designed one control intervention with free product observation and four interventions corresponding to four product-based AE processes, by which we explored what types of conscious practice would best facilitate the learning of creativity. Additionally, the moderation effect of everyday aesthetic experience in designed products was examined. One hundred and eighty college students were randomly assigned to five intervention groups: Control group (C), Perceptual analysis (E1), Life-experience association (E2), Functional analysis (E3), or Aesthetic-emotion evocation (E4). The intervention stimuli were 50 photos of everyday designed products, and the creativity was measured by the Product-based Figural Creativity Test. The results revealed that engaging the participants in conscious AE practices, especially those that contribute to the association between imaginary narratives and the participants’ life experiences (E4) or that enhance analytical thinking on valuableness of the product (E3), can best improve college students’ creativity. Besides, the personal trait of everyday AE interacted with the interventions and influenced the participants’ creativity improvement, suggesting that providing scaffolding in accordance with personality traits can magnify the effects of learning creativity. To conclude, this study theorizes and examines the link between varied AE-based practices and the performance of creativity as well as the moderation role of everyday AE in such learning. The findings provide valuable insight for designing effective AE-based interventions for enhancing AE and creativity.
... Such a well-validated measure enabled researchers to start empirical studies on inspiration despite the self-report scale potentially being subjective (Oleynick et al., 2014). Applying the IS, it was found that individual differences in the tendency to experience a feeling of inspiration had positive correlations with personality traits associated with creativity, such as openness to experience and intrinsic motivation (Thrash & Elliot, 2003;Milyavskaya, Ianakieva, Foxen-Craft, Colantuni, & Koestner, 2012;An & Youn, 2018). ...
... More recently, An and Youn (2018) showed that inspiration from artwork facilitated participants' creation in other creative domains. In their experiment (Study 3), the participants were asked to appreciate artworks (e.g., poetry or painting), respond to the IS, and generate creative ideas related to a business context (e.g., designing a computer keyboard, naming a pasta brand, or thinking of ways of recycling). ...
... The current paper proposes hypotheses relating to this question. Although we assume that art viewing affects creativity in various domains, as shown in previous studies (e.g., Thrash et al., 2010;An & Youn, 2018), the current paper focuses mainly on inspiration from art viewing to create works in artistic domains. This is because we also aim to explain the connection between art viewing and art ART VIEWING INSPIRES CREATIVITY 9 making. ...
Professional and amateur artists seek inspiration from viewing the works of others to enhance their creativity. This paper focuses on inspiration for artistic creation through art viewing by reviewing psychology studies on what types of artwork promote individuals’ inspiration for creation (inspiring artwork) and how they experience inspiration through their art appreciation (the appreciation process). In particular, we claim that a dual focus—that is a focus on both evaluating the artworks of others and reflecting on one's own art making—is a core mechanism for inspiration. Further, we present a theoretical framework to explain the types of creative outcomes expected in line with such a dual focus.
... So, the craft center region needs to develop its ceramic craft product for tourism by using local cultural potentials as their creative design idea. Surely this creative process needs to pay attention to aspects related to craft for tourism souvenirs [11], [12]. ...
... In addition, when creating souvenir products, it needs further consideration to apply the visual complexity of such culture. Other aspects are also considered reproduction aspects, where products are embodied into mass souvenir products [12]. The abundance of clay material available and technical skills owed by crafters also good assets to support development. ...
The tourism industry and craft products are two sectors that are long developed, complementing and strengthening each other. However, not many people consider ceramic craft product design with local culture basis. The research aims to show how local culture can be used as a source for ceramic craft product design ideas. Through design innovation and production techniques, we can increase varieties of ceramic craft product design. However, to make it come true, it needs a creative method as its solution. Creative method application includes: (1) Developing ceramic craft design for souvenir, based on local culture; (2) ceramic craft visual exploration for souvenir sourced from the local culture with Kerapan Sapi Madura (Cow Racing) as creation idea; (3) Ceramic craft production technique for souvenir; (4) Improvement and analysis of ceramic craft product innovation for a souvenir. (5) Analysis of creation result. Creation results can be seen from two design sets of ceramic craft products based on local culture with the “Kerapan Sapi Madura (Cow Racing)” theme as a product design idea.
... controlled. An and Youn (2018) recently reported that inspiration predicted a variety of indicators of creativity, including performance on a test of remote associates, as well as originality and fluency on alternate uses tasks. Ngara (2010) documented the importance of inspiration to Shona stone sculptors in Zimbabwe. ...
... Consistent with the component process conceptualization, which posits separate by and to components, inspiration requires an openness to ideas, as well as a motivational sensitivity to creative ideas as positive incentives. An and Youn (2018) recently reported that inspiration mediates between openness to aesthetics and creativity, as well as between art exposure and creativity. ...
Inspiration plays a central role in the creative process. The research literature on inspiration developed only recently due to inconsistency in definition and due to the presumption that inspiration is unimportant relative to effort. The authors introduce a validated conceptualization of inspiration and review empirical evidence that inspiration predicts creativity, serves a transmission function, promotes productivity, and complements exertion of effort. Inspiration is then distinguished from insight and other constructs. Finally, the authors consider the broader cultural phenomenon of inspiration contagion. Inspiration is infectious, such that inspired writers inspire their readers, particularly readers high in openness to experience.
... Regardless of research context, state inspiration is the quintessential mediator of positive change. Researchers have found that inspiration mediates between art exposure and creativity (An & Youn, 2018), between nostalgia and goal progress (Stephan et al., 2015), between product transformation salience and recycling intentions (Winterich, Nenkov, & Gonzales, 2019), between benign envy and positive affect (Meier & Schäfer, 2018), and between emotionally potent advertising and donation behavior (Liang, Chen, & Lei, 2016). These studies embed state inspiration within an expanding and meaningful nomological net. ...
... Thus individuals higher in openness were more likely to come up with ideas that they appraised as creative, and individuals higher in approach temperament were more inspired by creative ideas. These findings bolster prior evidence supporting the opennessapproach model (Thrash & Elliot, 2003, 2004; see also An & Youn, 2018). ...
... (3) The process of visualizing or realizing the architectural sign system product at the location of the Petungsewu village tourist area. (4) The last one is an analysis of the product creations of architectural sign system design with the theme "Petungsewu Agro-Eco Park"[7] ...
It is important to create an architectural sign system design as a supporting visual image for the Petungsewu tourism village icon. It will increase the level of attractiveness for tourists by functioning as information on the existence of the area, and also strengthen the visual character of the tourism village. This architectural sign system design is created with a local nature concept based on natural resources. The creative design method to realize the concept, to the realization of the architectural sign system prototype includes the following steps: (1) the formulation of the architectural sign system concept taken from local nature as the development of ideas for various design forms, (2) the process of making form sketch design and architectural sign system construction techniques, (3) the process of realizing the design prototype of the architectural sign system through the name of the tourist location of the Petungsewu agro-eco park tourist village, (4) the finishing process of the design product, (5) analysis of the creation of architectural sign system products or prototypes with local natural characteristics. Keywords: architectural sign system, design, Petungsewu
... The sculpture in the workshop was an expression of the creator's tacit knowledge. Inspiration gained through reflective practice and appreciation during the creation phase of sculpture elicited new tacit knowledge (Schön 1992;An and Youn 2018). In doing so, they tended to function as BOs in cases such as the sculpture by C2. ...
Innovation is an essential aspect of contemporary corporate administration. While the co-creation of innovation activities by stakeholders in diverse positions enables the exploration of new value, there are also difficulties, such as conflicts arising from differences in positions and expertise within the organization. Therefore, it is necessary to establish an approach to manage co-creation and create value as an organization. Several cases have reported the function of specific media facilitating collaboration across boundaries among diverse actors in corporate innovation activities, referring to the concept of Boundary Objects introduced in sociology. The mechanism of which media and how they function as boundary objects remain unclear. In this study, we defined Boundary Media as “media intentionally introduced to a group” and conducted an idea creation workshop simulating the early stages of innovation activities. This study aimed to examine how boundary media function as boundary objects in facilitating group knowledge creation. Our findings indicated that two types of boundary media were effective: sculptures that artfully depict keywords for idea creation and idea sketches that describe ideas. In particular, they were especially effective in idea creation for tangible products by evoking creativity through inspiration and facilitating knowledge sharing, thereby facilitating group knowledge creation.
... Tanaman hias yang banyak tumbuh di kawasan tersebut bagi tim pelaksana merupakan hal yang perlu dikelola secara artistik sebagai daya dukung kawasan wisata tersebut agar lebih menarik. Kekuatan kreasi sajian wisata dalam bentuk dukungan sajian wisata dalam bentuk vas tanaman hias akan menguatkan daya tarik kawasan (An & Youn, 2018). Sehingga vas tanaman hias yang terpajang dapat mendorong para wisatawan untuk kembali ke desa wisata tersebut (Power, 2005). ...
... Also, artworks contribute to environmental stimulation, influencing motivation and creativity (Brewer, 2016). Artworks have also been said to enhance communication and improve employee bonding through discussions on perspectives (An & Youn, 2018). This study focuses on artworks generally classified as object art (paintings, drawings, small-large sculptures, models). ...
Art is an integral part of man's culture and society. It is a diverse range of human activities that creates visual, auditory and other forms of artefacts that communicate imaginative and technical skills, intended to be appreciated for their aesthetics and emotional influence. Human civilisation and arts development have often been analogous, reflecting the times and seasons of civil advancements. Every environment has the power to and can influence mood. Therefore, there is a need to understand the relationship between artworks and the creative expression of architectural employees in Nigerian architectural firms. Elements in an office environment can create and result in varied experiences. The descriptive research design was applied in this study. Close-ended questionnaires were administered to employees of architectural firms through electronic channels-Microsoft Forms. A simple correlation coefficient (p-value test) was run to test the linear relationship between the variables. Frequency analysis shows that 58.1% of respondents had <5 artworks and 35.5% had >5 and <10 artworks displayed within their workspace environment. The results also show that 45.2% of artworks visibly displayed within respondents' workspace are paintings, 33.9% are pictures, and 21% are architectural models and calligraphic depictions. A weak inverse relationship between artwork and work quality was observed. An R square value of 0.072 indicates that artwork in the workspace impacts the emotional feelings of architectural professionals by 7.2%, which is not statistically significant. During school years, continuous professional development conferences and competitions, appreciating artworks should be introduced to Nigeria's architects.
... Reproducing similar ideas in artistic productions without attribution or for a specific cause (i.e., appropriation) is unacceptable in the educational space since art education inspires ideational prowess, creativity, critical thinking, originality, and innovation (An & Youn, 2018;Ulger, 2016Ulger, , 2018. Visual art in education can empower learners to solve problems using different approaches and encourage diversification in artistic productions (Eisner, 2002;Hensley, 2020). ...
The development of creativity through learning is a significant part of Ghana's pre-tertiary education system framework. Achieving the successful implementation of creativity from policy to practice in schools relies on teachers in the local school system, who are shaped by their past teaching experiences and the training they have received during initial teacher education (ITE). Using interviews and observation data, this case study explored 16 secondary visual arts teachers' experiences and reflections on their training in relation to creativity and its impact on their current practice. Five themes emerged from an inductive analysis: containment, free expression, self-directed learning, replication of similar ideas and accountability-driven artistic productions. The study recommended both in-service training and ITE need to focus on creativity among other 21st-century skills in order for teachers to effectively implement creativity processes in their pedagogies. Additional measures for improving creativity in facets of ITE and teaching practice are discussed.
... Accordingly, being inspired by encompasses the emergence of creative ideas, whereas being inspired to motivates action. For example, An and Youn (2018) demonstrated that inspiration from artwork can facilitate creation in other creative domains (e.g., writing or business). ...
Inspiration is a widely used concept in everyday speech, and it is used especially when people talk about what they do in their creative processes. This article presents a re-thinking of the notion of inspiration through a non-representational approach to challenge the assumption of dance as a mere stimulus to and representation of texts and vice versa when integrating creative dance into literacy education. Based on diffractive analytical engagements, this article proposes an understanding of inspiration as intra-active and rhizomatic in-betweens producing new-ness and other-ness. This understanding can produce rich and diverse opportunities that value and cherish writing and dancing non-hierarchically in the literacy classroom; both have pedagogical value, without either acting as a servant of the other. The article concludes with a discussion of the extent to which literacy education is prepared to take dance seriously, emphasizing that the proposed understanding of inspiration can contribute to that end.
... Reproducing similar ideas in artistic productions without attribution or for a specific cause (i.e., appropriation) is unacceptable in the educational space since art education inspires ideational prowess, creativity, critical thinking, originality, and innovation (An & Youn, 2018;Ulger, 2016Ulger, , 2018. Visual art in education can empower learners to solve problems using different approaches and encourage diversification in artistic productions (Eisner, 2002;Hensley, 2020). ...
... Although the study identified trust, competence, and perceived relationship orientation as relationship quality dimensions, it did not investigate respect and reciprocity in the subsistence context. 2016; Thrash et al., 2010); attitudinal responses (e.g., brand attachment, customer satisfaction, and loyalty) (Böttger et al., 2017;Park, Eisingerich, & Park, 2013); and behavioural responses (e.g., engagement or actualization of ideas) (An & Youn, 2018). Customer inspiration can boost customers' purchasing intentions (Sheng, Yang, & Feng, 2020) and value perceptions (e.g., Pansari & Kumar, 2016). ...
Micro-entrepreneurs play a critical role in alleviating poverty in subsistence marketplaces through their business relationships with microfinance institutions. Despite the enormous importance of these relationships, a critical research question on the dimensions of business relationship quality and their overall effects on relationship outcomes remains unanswered. Thus, drawing on the relationship marketing, social exchange, and self-determination theories, this study answers the focal research question by conducting in-depth interviews (n = 30), thematic analysis, and a survey (n = 300) of micro-entrepreneurs in a subsistence marketplace. The findings show a third-order business relationship quality model with three second-order dimensions (i.e., business trust, business respect, and business reciprocity) and nine subdimensions. The findings confirm the impact of business relationship quality on business customer inspiration and business customer value examined in this marketplace. The findings also identify the mediating role of customer inspiration and both the moderating and quadratic roles of relationship quality on relationship outcomes. The predictive power of the business relationship quality model is validated through PLSpredict using a training sample (n = 270) and a holdout sample (n = 30).
... The openness to aesthetic experience and the appreciation of art appears from research to be linked to an ability to generate creative solutions (An & Youn, 2018). By "creative", we mean ideas and solutions that are both appropriate to a problem and novel (Amabile, 1983). ...
There are few studies on how to use art to prepare students, through higher education, to lead a sustainable and healthy working life. In order to enhance and develop the learning environments regarding creativity and health in higher academic education curricula, more studies are needed. Studies link- ing the United Nations’ Sustainable Development Goals (SDGs) from the agenda 2030 into higher education practice are also few. The aim of this study is to gather information from creative music students to be able to build an educational platform for “arts & health” that facilitates a sustainable future working life for students. The results from two focus group interviews were used to develop an interview guide for five following in-depth individual in- terviews. The analytical lens that was used to conduct the interviews was based on a phenomenological hermeneutic method. The complete interpretation of the study is: “Educating meaning instead of perfection—Building a Health-Arts-Sustainability (HeArtS) platform”. According to our results, meaning is not created by doing things that you are good at. The students want a curriculum where the focus is on challenges; skills that you are not good at and therefore need stimulating. The students want more collective self-aware- ness and body awareness training and sharing in their curricula. The results strongly imply that art-based curricula or the art intervention programs increasingly practiced in academia can be effective for enhancing workplace creativity and sustainable health in working life. Therefore, we suggest that higher educational programs should employ more art-related creativity training programs in the future.
... Proses pembuatannya dilakukan secara horizontal di lantai tanah kemudian dirakit di anyam dengan menggunakan besi kemudian ditimpa dengan kawat kasa sebagai penyangga adonan semen. Selanjutnya setelah selesai dilakukan proses perancangan desain dengan menggunakan kertas berukuran 1 banding 1 sesuai dengan ukuran yang sebenarnya pada permukaan rancangan hiasan pilar yang berupa pohon dan berupa ornamen tersebut (An dan Youn, 2018). ...
Designing iconic gate architecture for Bumi Perkemahan Bedengan of Selorejo Village tourism area with local character plays important role for tourism area development. The design meant not only for beauty aspect, but also build local-based artistic visual image as tourists attraction. It can be reached by collaborative creative method. Done by cooperation of local tourism area administrator team with LP2M UM as implementer. This collaborative work started from user partner needs analysis. The analysis result used as reference to formulate design concept for gate architecture, realized gate design concept, analysing the result, evaluating and improving collaborative work result. The activity result comes in design and gate product set built on tourism area to strengthen tourism area image through gate design icon with local character from environment and local culture as creation idea.
... Business management is no longer focussed solely on scientific methods and efficiency. Creativity, that has historically been a pursuit of the artist, is becoming an essential skill for the business manager (An & Youn, 2018;Carlucci & Schiuma, 2018). Arts organizations are adept at creating innovative and original artistic work with constrained resources and under conflicting imperatives. ...
It is well established that organizational structure is critical to the performance of organizations. For performing arts organizations, especially from developing countries such as India, mere survival is a struggle and sustainability becomes a vital goal before the achievement of mission. Our emergent conceptual framework, based on a grounded theory study of six theatre organizations, sheds light on aspects of organizational structure that have contributed to organizational sustainability. Theatre organizations in India are highly dependent on a small core group, often comprising founders or founding families, and rely on strong personal networks in the arts sector. They are supported by membership that is flexible and project-oriented, and organizational boundaries are relatively porous. An exploration of performing arts in the Indian context offers valuable points of comparison to the nature of organizational structures of arts organizations in the West, as evidenced by Western literature.
... However, whether viewing art makes people creative is a question that does not have a simple answer. Recent research has shown that appreciating art induces inspiration, which in turn facilitates performance on creative tasks (An and Youn, 2017). One of the explanations of the higher performance on creative tasks could be that art viewers experience a schema violation when confronted with an artwork. ...
Interactive art, which is art that relies on the participation of a spectator and in which the spectators enter the creative process, has changed the way people relate with artworks. An experiment was conducted in a laboratory with an interactive artwork ( Temporal Perspectives by Doruk Kumkuoğlu and Sadettin Bilal Savaş, 2016) to investigate whether interactivity is a factor that plays a role in the aesthetic emotions and creativity of the spectator. The results indicated a significant increase in beauty, in response to interactive art. Partial correlational network analyses were conducted to further investigate the emotional experience of the artworks in both conditions. These analyses showed differences between the conditions in the emotional response to interactive art. However, cognitive flexibility of participants did not differ between conditions. The results indicate that interactivity should be taken into account as an element that affects the perception of art.
... (4) art practices foster critical thinking, by offering avenues to look at ourselves and our environment from diverse standpoints, and through materials and formats that present themselves as questions rather than responses; (5) aesthetic encounters appeal to our senses, mobilise effects and may lead to a more significant learning; and (6) exposure to art induces inspiration, which in turn facilitates performance on creative tasks (An and Youn, 2018). ...
Purpose
Creativity is nowadays seen as a desirable goal in higher education. In artistic disciplines, creative processes are frequently employed to assess or evaluate different students' skills. The purpose of this study is to identify potential pitfalls for students involved in artistic practices in which being creative is essential.
Design/methodology/approach
Three focus groups involving Education Faculty members from different artistic disciplines allowed for the identification of several constraints when creativity was invoked. This initial study used a quantitative approach and took place in the “Universitat de Vic” (Catalonia, Spain).
Findings
Findings suggest a correlation with existing literature and simultaneously point at some nuances that require consideration: emerging aspects embedded in creative processes that may help decrease some limiting effects that being creative can generate.
Research limitations/implications
The main limitations of this research derive from the very nature of the methodological approach. Focus group has been the single used source. Other means of collecting data, such as the analysis of programs, could be used in the future.
Originality/value
This case study, while culturally specific, offers a useful insight into the potential of further work in non-artistic disciplines but crucially across disciplines. It has tremendous value for the development of intercultural understanding in the higher education sector, specifically in terms of assessment.
... The literature is also beginning to include exploration of processes by which arts programmes and therapies achieve these outcomes. Several reviews suggest that the engagement (Barraket, 2005;goldman et al., 2016), deep immersion (evans et al., 2016 and creativity that can result from arts engagement are potentially processes by which it impacts, as well as valued outcomes in themselves (an and Youn, 2018;Dunphy, 2015;Thompson, 2014). The significance of active engagement is evidenced in the influential theatrical practices developed by director and activist Boal in the 1970s, in which audience members are called on to actively involve themselves in improvized dramas (Wardrip-Fruin and Montfort, 2003). ...
Arts programmes are increasingly utilised to support international development initiatives, supported by a nascent professional literature. This is occurring alongside a strengthening impetus for evidence-based and outcome-focussed development. This systematic review of the literature explored outcomes evidenced in arts-based development initiatives, and processes and artforms utilised to achieve these. From an initial pool of 67, 27 articles that included outcomes supported by data were analysed. Outcomes reported included inspiration of creativity, sharing of new ideas and skills, reconnection to traditional culture, improved social connections, promotion of health messages, healing and recovery from trauma and provision of new economic opportunities.
... Las áreas artísticas conforman un tópico de capital importancia en lo que respecta al estudio de la creatividad. Por este motivo diversas investigaciones indagan el efecto de las diferentes expresiones artísticas como la danza, el teatro o la música, entendidas como factores ambientales que modulan la capacidad creativa (An & Youn, 2018;Demarin, Bedekovic, Puretic, & Pasic, 2016). La improvisación, la cual implica un conglomerado de procesos mentales y motores que resultan en la generación de un producto en tiempo real (Biasutti, 2015) representa un excelente paradigma experimental para el estudio de la creatividad humana. ...
En el campo de las neurociencias, la creatividad es la capacidad de generar soluciones, ideas nuevas y útiles, o asociaciones múltiples, alternativas y variadas a un problema o estímulo dado. A esta capacidad de creación e innovación subyace una red neuronal cortical y subcortical que soporta la interacción dinámica y constante de funciones cognitivas superiores. Existen diferentes modelos cognitivos que explican cómo funciona nuestra capacidad de crear y diferentes factores asociados al rendimiento creativo como, por ejemplo, el sexo, la personalidad o el entrenamiento. El objetivo del presente trabajo está orientado a revisar los antecedentes científicos en torno a los sustratos neuroanatómicos y funcionales de la creatividad, y el efecto modulador que ejercen los aspectos biológicos, psicológicos y ambientales sobre esta capacidad del ser humano.
... The inspiration was initially provoked by external stimuli, such as words, images and science fiction. However, with the use of an internal catalyst they created descriptive and illustrative images (An and Youn, 2018). At first, through the employment of the 'Seven words' method (developed by Beijing-based artist Alessandro Rolandi), participants were asked to sketch their understanding of the following concepts: authority, autonomy, territory, border, communication, desire and transformation (Rolandi, 2018). ...
Design and creativity have been a considerable force for improving life conditions. A lot of effort has been invested in explaining the design process and creativity mainly through the design thinking methodology, but design accountability and responsible actions in the design process are, yet, to be fully explored. The concept of design ethics is now increasingly scrutinized on both the level of business organization and of the individual designer. A 4-day design workshop that involved creativity techniques provided the base to explore responsibility in the fuzzy front end of the design process. The future of education in 2030 was defined as the workshop's theme and fifty-six students from China were asked to create detailed alternative scenarios. A number of imagination exercises, implementation of technological innovations and macro-environment evolutions employed in the workshop are discussed. The aim was to incite moral and responsible actions among students less familiar with creative educational contexts of student-led discovery and collaborative learning. This paper reflects on the use of creativity methods to stimulate anticipation in (non)design students.
... This means that inspiration should not be seen as a source of creative ideas but as a motivational response to creative ideas in the sense that "inspiration explains the transmission, not the origin, of creativity (Oleynick et al. 2014, p. 2). The focus of the present paper is neither inspiration as an abstract 'exalted feeling or impulse,' nor its well-established domaingeneral relevance, e.g., as a potentially universal effect on creativity arising from the aesthetic experience of art (An and Youn 2018). Rather, it is the search strategies involved in finding sources of inspiration, here images obtained online. ...
Searching for sources of inspiration is central to creative design; however, we have limited knowledge of individual inspiration search strategies in response to varying levels of task constraints. We studied 39 high-school students’ inspiration search strategies using Google Images. Low task constrainedness led to divergent search marked by quick iterations, limited design task usage, and a heterogeneous image set. Intermediate constrainedness prompted in-depth, on-task exploration characterized by slow and careful iterations with more search result examination, extensive design task usage, and homogenous images. High constrainedness led to flexible bracketing with quick, flexible design task use, ending with heterogeneous images. Images from the intermediately and highly constrained conditions generated more ideas and were perceived as more inspiring (relative to low) in a new group of students. We discuss the idea of a ‘sweet spot’ of constrainedness in an inspiration search process in design and consider implications for design research and future work.
... As well, the literature indicates that generic skills, such as creativity, can be strengthened through extracurricular activities (Hui & Lau, 2006), and research in extracurricular education has demonstrated the potential to improve creativity. Students having exposure to theater, dance, music and arts perform much better in creativity tasks than those students having less exposure to extracurricular activities (An & Youn, 2018). ...
In recent years, creativity has been a topic of increased interest in the educational environment. Developing creativity is increasingly viewed as an educational imperative because it drives individual student performance and influences their future success as participants in an economy based on knowledge. The objective of this study was to measure and assess 5th grade student creativity, from 24 educational institutions, and compare whether results show significant differences in certain variables. It was concluded that there were significant differences for certain variables such as type of school, gender, socioeconomic status and participation in extracurricular activities. It was also found that as socioeconomic level increased, so did creative ability, with standardized test results following similar trends as applied creativity tests.
Service robots provide operational benefits to restaurants, but the mechanism through which novel robotic services optimize customer experience given appropriate robots’ dependence on human employees remains unclear. To fill this gap, this study adopts the transmission model of customer inspiration and identifies customer value cocreation processes in robotic services. Combined evidence from two online experiments and a field experiment demonstrates that robotic service novelty has a positive effect on customer cocreation intention via customer inspiration. Robotic task interdependence, which reflects the extent to which a robot relies on human employees to complete its tasks, attenuates the relationship between robotic service novelty and customer cocreation intention through decreased customer inspiration. These findings offer insights into marketing strategies for robotic services that provide enhanced customer experiences.
Purpose
Consumers seldom consider end-use consumption (reuse or upcycling) when products reach the end of their lifecycle. This study shows that end-use consumption can be encouraged if individuals are primed to think creatively, engage in end-use ideation (imagine end-use) and become inspired by more original ideas.
Design/methodology/approach
Three studies were carried out. Study 1 tested if creativity priming resulted in more effective end-use ideation (greater number of ideas and more original ideas) compared to environmental appeals and no intervention. Study 2 tested the effectiveness of creativity priming in a longitudinal setting. Study 3 demonstrated how creativity priming and end-use ideation could be practically executed using product packaging.
Findings
Creativity priming represents an effective intervention to stimulate end-use consumption with particularly positive results amongst less creative consumers. However, it was not the number of generated ideas, but their originality during end-use ideation that triggered inspiration.
Research limitations/implications
This study demonstrates which interventions are more effective in changing consumer behaviour in favour of more sustainable practices.
Practical implications
Increasing environmental degradation requires consumers to change their behaviour by re-consuming products. This study shows that consumers can adopt end-use if they are primed to think creatively, imagine end-use consumption and generate more original ideas.
Originality/value
Creative thinking has been leveraged at product development stages, but not at the end of products’ lifecycle. This study integrated creativity priming, consumer imagination and inspiration theories to explain the underlying mechanism behind end-use consumption to scale up its adoption by consumers.
Viewing art inspires creativity, which can encourage learning in art education. A previous study revealed that the type of artwork and the way art is viewed affects adults' inspiration; however, no study exists concerning the way children are inspired by viewing art. Thus, the current study aimed to examine whether children's age group/grade level, art style (figurative or abstract), and artwork creators (children or adults) influence children's inspiration, and whether the effects of the art style and creators vary by children's age group/grade level. An online questionnaire survey was conducted with the help of 600 pairs of parents and their elementary‐school‐aged children. They were asked to view eight paintings that differed in terms of the artists and their individual style and they then rated their inspiration experience when viewing each artwork. The results revealed that children were more inspired when viewing abstract, rather than figurative, paintings, and the effect of the type of painting differed in the third and sixth grades. Additionally, children gained more inspiration by viewing paintings created by children rather than by adults; a difference observed in all grade levels.
This research shows that consumers’ experience of art, including artistic commercial products, enhances consumers’ well-being by inducing a sense of inspiration. Prior research in neuroscience and psychology has documented that participating in art and culture programs enhances individuals’ well-being, but there is a shortage of empirical evidence documenting the effect of consumers’ art appreciation as products and services on well-being or the cognitive mechanism underlying that effect. Our five studies, based on an administrative dataset (Study1) and laboratory experiments (Studies 2a, 2b, 2c and 2d), show that consumers’ experience of art in daily life increases consumers’ well-being. Furthermore, consumers’ experience of art induces inspiration, which in turn enhances subjective well-being (Studies 2b and 2c), and consumer well-being (Study 2d). Critically, that effect remained significant across various forms of art, including paintings, song lyrics, and sculpture, and extended to commercial products such as computer screen saver and handbags depicting artistic images.
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This is partly thesis that conducted in the UAE
Creativity is not just a catch phrase for the new decade—it is a way of life. While technology-driven innovation can promote efforts to produce optimal solutions, individually driven creativity is necessary to launch and drive cutting-edge, trailblazing ideas. The goal of this study is to examine relationships between creative divergent thinking (CDT) and motivation situated within course projects as antecedents to the overall course experience. The synthesis of transformational leadership, context-dependent fixation hypothesis, strength of weak ties perspective, contagious motivation, and constructivist learning frameworks form the interdisciplinary foundation for the proposed contagious motivation and creative experience model (CMCEM). The proposed marketing classroom model is tested using a structural equation model of N = 540 marketing undergraduate students. Findings indicate that CDT is an important individual characteristic that affects classroom dynamics. Importantly, when students exhibit higher levels of CDT, they perceive higher project uniqueness, higher levels of motivation, higher other student motivation, and more positive course experiences. In addition to other findings, the CMCEM emphasizes the powerful combination of CDT, individual student motivation, the contagious nature of that motivation on other students through well-structured group projects, and the importance of instructors as transformational teachers.
The main reason for companies to invest in art is to gain a positive perception in their stakeholders, with a special interest in consumers’ perceptions.
As a burgeoning area of research, Arts and Business still lacks clearly defined boundaries, thus requiring the largest possible contribution from previously validated research. So as not to neglect any important contributions, the review of the relevant literature which follows focuses mainly on research conducted in the area of management. In order to assure that literature review was as complete as possible, we adopted a method called systematic literature review. After an overview of this methodology, its application will be deeply described. A description of the results obtained will follow, together with the main literature strands highlighted in the field of Art and Business.
This study aims to examine the potential predictors of customers’ pro-environmental intention based on the Stimulus–Organism–Response framework. PLS-SEM was used to tests the hypotheses using a sample of 217 green hotel customers. The results reveal that brand experience and customer inspiration significantly affect pro-environmental intention. Further, the results show customer inspiration significantly mediates the relationship between green hotel brand experience and pro-environmental intention. This study clearly shows the relationship between green hotel brand experience, customer inspiration and pro-environmental intention. Thus, this article contributes to exiting hospitality studies by identifying gaps and proposing a holistic view to understand customers’ pro-environmental intention in the green hotel industry.
Brand collaborations are widely considered the art of the perfect match. This book is a guide to understanding the process of brand collaborations and explains the key factors of success to build specific forms of collaborations between divers partners. The
Art of Successful Brand Collaborations gives tangible examples of partnerships between various kinds of internationally renowned artists, celebrities, brands and companies such as Coca-Cola, Louis Vuitton, Puma, David Beckham and Pharrell Williams.
In this vivid study, the academic and practitioner author team outline deep knowledge about the advantages and economic benefits of this marketing strategy. This includes additional meaning, improvement of the brand image, attracting new customers within different target groups and the development of the brand in new markets.
Filled with interviews from practitioners and vital academic and professional insights, this book is an essential guide for brand managers, professors and students to better understand and implement successfully the process of brand collaborations.
The vast majority of change initiatives fail to meet their objectives and most decimate their organization’s levels of engagement in the process. The effect of plummeting employee engagement during turbulent times creates a downward spiral that can result in permanent damage to the organizational culture and capabilities. This phenomenon has led some to believe that change can only be achieved at the cost of employee engagement and that engagement can only be improved during periods of stability. Our work suggests that this is a false dichotomy. Through careful planning and active management, some organizations utilize these times of change to deploy strength-based, positive approaches to successfully deliver their change agenda while simultaneously cultivating greater work meaningfulness and engagement. In this chapter, we examine a case study that demonstrates, through the use of Appreciative Inquiry (AI) as one such approach, how taking on aggressive change initiatives in this manner can be leveraged as an opportunity for widescale reinvention of the organization, enabling greater work meaningfulness, engagement, and flourishing.
Despite the many commonalities and interrelations between wine and art, there is no research investigating the business implications and value that art can afford in the wine tourism sector. This chapter builds and expands the literature about art-based initiatives (ABI) by developing a 4C framework that identifies four ways for designing ABI in order to design wine tourism experiences and generate business value: art to be Consumed, Commoditized, Co-created and as a Catalyst. Several examples are provided to analyse each way to implement ABI within the wine tourism context and to show how wine tourists engage with and through art for generating value. The examples also illustrate how art is used for supporting, triggering and motivating the customers’ participation in value (co-)creation as well as developing their capabilities and freedoms to implement (transformative) value (co-)creation. The 4C framework also recognizes: the dual role of art as both an operant and operand resource (i.e. the transformed and transforming ability of art) for supporting customer value (co-)creation processes; and the different types of values that art can instil and generate for customers.
This paper argues that management education needs to consider a trend in learning design which advances creative learning through an alliance with art-based pedagogical processes. A shift is required from skills training to facilitating transformational learning through experiences that expand human potential, facilitated by artistic processes.
This creative learning focus stems from a qualitative and quantitative analysis of an arts-based intervention for management development, called Management Jazz, conducted over three years at a large Australian University.
The paper reviews some of the salient literature in the field, including an ‘Artful Learning Wave Trajectory’ Model. The Model considers four stages of the learning process: capacity, artful event, increased capability, and application/action to produce product. Methodology for the field-based research analysis of the intervention outcomes is presented. Three illustrative examples of arts-based learning are provided from the Management Jazz program. Finally, research findings indicate that artful learning opportunities enhance capacity for awareness of creativity in one's self and in others, leading, through a transformative process, to enhanced leaders and managers. The authors conclude that arts-based management education can enhance creative capacity and develop managers and leaders for the 21st century business environment.
The present research examined whether possessing multiple social identities (i.e., groups relevant to one's sense of self) is associated with creativity. In Study 1, the more identities individuals reported having, the more names they generated for a new commercial product (i.e., greater idea fluency). In Study 2, multiple identities were associated with greater fluency and originality (mediated by cognitive flexibility, but not by persistence). Study 3 validated these findings using a highly powered sample. We again found that multiple identities increase fluency and originality, and that flexibility (but not persistence) mediated the effect on originality. Study 3 also ruled out several alternative explanations (self-affirmation, novelty seeking, and generalized persistence). Across all studies, the findings were robust to controlling for personality, and there was no evidence of a curvilinear relationship between multiple identities and creativity. These results suggest that possessing multiple social identities is associated with enhanced creativity via cognitive flexibility.
This research examines how a general sense of resource availability influences consumers’ product use creativity. The authors propose and demonstrate that the salience of resource scarcity versus abundance enhances the novelty of product use solutions in independent consumption environments. An investigation of the underlying process finds that scarcity salience activates a constraint mindset which persists and manifests itself through reduced functional fixedness in subsequent product usage contexts (i.e., makes consumers think beyond the traditional functionality of a given product), consequently enhancing product use creativity. This work advances the extant creativity literature, which is currently limited to examining the effects of context-specific resource constraints, by establishing a context-independent linkage between resource availability and product use creativity. Furthermore, this research contributes to the scarcity literature, which has primarily focused on investigating the quantity and frequency of consumption, by examining the impact of scarcity on the quality of consumption solutions.
In this article, we attempt to distinguish between the properties of moderator and mediator variables at a number of levels. First, we seek to make theorists and researchers aware of the importance of not using the terms moderator and mediator interchangeably by carefully elaborating, both conceptually and strategically, the many ways in which moderators and mediators differ. We then go beyond this largely pedagogical function and delineate the conceptual and strategic implications of making use of such distinctions with regard to a wide range of phenomena, including control and stress, attitudes, and personality traits. We also provide a specific compendium of analytic procedures appropriate for making the most effective use of the moderator and mediator distinction, both separately and in terms of a broader causal system that includes both moderators and mediators. (46 ref) (PsycINFO Database Record (c) 2012 APA, all rights reserved)
The benefit of arts education for cultural engagement, wider academic achievement, and as a contributor to the creative economy is a subject of significant debate. In the present work, we focus on the potential for simple, arts-based improvisation activities to enhance divergent thinking skills and creativity in primary school-age children. In the first experiment, we compare the effect of children taking part in an improvised versus nonimprovised dance class on their subsequent performance on the Instances Task (Wallach&Kogan, 1965) and on a creative "toy" design task. In a second experiment, children took part in verbal and acting improvisation games or in matched control games before completing figural activity 1 of the Torrance Tests of Creative Thinking (TTCT; Torrance, 1974). In both experiments, we found that children who took part in the improvisation interventions showed better divergent thinking and creativity after the intervention. Our findings suggest that simple, arts-based improvisation interventions could have domain-general benefits for creative cognition processes. Furthermore, they indicate one way in which simply making better use of existing arts education provision could provide a cost-effective way to increase creativity-relevant skills in primary schoolchildren. We consider putative mechanisms for the improvisation effects and specify directions for future work.
Inspiration is a motivational state that compels individuals to bring ideas into fruition. Creators have long argued that inspiration is important to the creative process, but until recently, scientists have not investigated this claim. In this article, we review challenges to the study of creative inspiration, as well as solutions to these challenges afforded by theoretical and empirical work on inspiration over the past decade. First, we discuss the problem of definitional ambiguity, which has been addressed through an integrative process of construct conceptualization. Second, we discuss the challenge of how to operationalize inspiration. This challenge has been overcome by the development and validation of the Inspiration Scale (IS), which may be used to assess trait or state inspiration. Third, we address ambiguity regarding how inspiration differs from related concepts (creativity, insight, positive affect) by discussing discriminant validity. Next, we discuss the preconception that inspiration is less important than "perspiration" (effort), and we review empirical evidence that inspiration and effort both play important-but different-roles in the creative process. Finally, with many challenges overcome, we argue that the foundation is now set for a new generation of research focused on neural underpinnings. We discuss potential challenges to and opportunities for the neuroscientific study of inspiration. A better understanding of the biological basis of inspiration will illuminate the process through which creative ideas "fire the soul," such that individuals are compelled to transform ideas into products and solutions that may benefit society.
In an effort to improve creativity in the new product development process, many firms offer incentive programs, creativity training programs, or both. However, creativity continues to be a construct that is not well understood in marketing, and little research has examined the joint influence of such initiatives on creative outcomes. As a result, there is considerable variance in the way firms approach these issues. A qualitative study of 20 firms indicates that 15 offered some type of incentive program, whereas only 7 engaged in creativity training (a subset of the firms used both). Given that previous research has consistently found that extrinsic rewards offered in isolation actually undermine the creative process (by reducing intrinsic motivation), it seems that many firms may be unwittingly hampering their own creative efforts. However, two experiments demonstrate that the effect of rewards can be made positive if offered in conjunction with appropriate training. Specifically, product creativity was highest when the monetary reward was paired with a dedicated creative training technique. The training alters the influence of the reward such that it reinforces, rather than undermines, intrinsic motivation. Managers can improve the effectiveness of their creative efforts by leveraging the use of incentives and training in combination.
Recent evolutionary theory has argued that what people find “beautiful” is not arbitrary, but rather has evolved over millions of years of hominid sensory, perceptual, and cognitive evolution. Sensations that have adaptive value (i.e., that enhance safety, survival, and reproduction) often become aesthetically preferred. One purpose of the current study was to present a personality and social attitude template for persons who prefer a relatively recent and generally unappreciated form of art, namely abstract art. One hundred and four college participants (68 female) completed personality (openness and experience seeking) and social attitude questionnaires and recorded their preference for 15 realistic, 15 ambiguous, and 15 abstract works of art. Results showed that open participants preferred every form of art presented, but that this difference increased as the art became more abstract. In addition, those with attitudes more tolerant of political liberalism and drug use preferred abstract art the most.
Visual arts education can be an important and powerful field of learning for children. This article explores interrelations between the study of artworks and the development of creativity in children’s thinking and artmaking. Starting from the premise that engagement with artworks does not automatically release children’s imaginative capacities, the article discusses how an aesthetic mode of inquiry can support children’s artviewing and enable the development of possibility thinking; the ability to make connections, to think differently and envisage new possibilities. Aesthetic inquiry can enable children to actively engage in taking their ideas further, exploring options and employing critical reflection. Providing children with opportunities to materialize their ideas after viewing an artwork, set the pre-requisitions for innovative solutions and the development of creativity. These interrelations between artviewing and artmaking are argued theoretically and explored empirically through a small scale exploratory study with 7-8 year olds.
Creativity enables humans to adapt flexibly to changing circumstances, to manage complex social relations and to survive and
prosper through social, technological and medical innovations. In humans, chronic, trait-based as well as temporary, state-based
approach orientation has been linked to increased capacity for divergent rather than convergent thinking, to more global and
holistic processing styles and to more original ideation and creative problem solving. Here, we link creative cognition to
oxytocin, a hypothalamic neuropeptide known to up-regulate approach orientation in both animals and humans. Study 1 (N = 492) showed that plasma oxytocin predicts novelty-seeking temperament. Study 2 (N = 110) revealed that genotype differences in a polymorphism in the oxytocin receptor gene rs1042778 predicted creative ideation, with GG/GT-carriers being more original than TT-carriers. Using double-blind placebo-controlled
between-subjects designs, Studies 3–6 (N = 191) finally showed that intranasal oxytocin (vs matching placebo) reduced analytical reasoning, and increased holistic processing, divergent thinking and creative performance.
We conclude that the oxytonergic circuitry sustains and enables the day-to-day creativity humans need for survival and prosperity
and discuss implications.
The investigation of aesthetic processing has constituted a longstanding tradition in experimental psychology, of which experimental aesthetics is the second-oldest branch. The status of this psychology of aesthetics, the science of aesthetic processing, is briefly reviewed here. Building on this heritage and drawing on a host of related scientific disciplines, a framework for a strongly interdisciplinary psychology of aesthetics is proposed. It is argued that the topic can be fruitfully approached from at least seven different perspectives, each with multiple levels of analysis: diachronia, ipsichronia, mind, body, content, person and situation. Eventually, this work may coalesce into a unified theory of aesthetic processing.
Several recent empirical and theoretical examinations of creativity have concluded that creativity is content specific (i.e., creativity within certain content areas is independent of creativity in other content areas). Indeed, the idea that creativity may even be task specific enjoys considerable research support. Most of this research and theory, however, suffers from conceptual, methodological, or logical oversights. The debate about the content general or specific nature of creativity is far from settled, and more comprehensive research programs are necessary if progress is to be made in this area.
For many years creativity researchers assumed that creativity was rooted in general domain-transcending skills or traits. A growing body of evidence suggests that creative performance is domain specific. This has led both to changes in thinking about the nature of creativity and to a reexamination of previous evidence and assumptions about the generality of creativity. More research is needed to settle this issue; until then, creativity trainers would be wise to assume that creativity is domain specific. This assumption, even if incorrect, is less likely to nullify their efforts than the assumption of content generality.
Workplace creativity has important organizational and individual implications, and workplace affect seems to influence creative performance on the job. Across studies, however, research examining the relationship between affect and creative performance has yielded inconsistent and sometimes contradictory results. Creativity has been found to be significantly related to positive affective states in some research, but has been tied to negative affective states in others. Various moderators and mediators of affective influences on creativity have been examined in 1 or 2 studies, but systematic reviews and integrative models of research on affect influences on creativity are lacking. In this article, we review the existing research on affect and creative performance and present a theoretical model designed to help integrate results across studies. Implications of our model for future research and for the management of workplace creativity are discussed.
An experiment tested the hypothesis that art can cause significant changes in the experience of one's own personality traits under laboratory conditions. After completing a set of questionnaires, including the Big-Five Inventory (BFI) and an emotion checklist, the experimental group read the short story The Lady With the Toy Dog by Chekhov, while the control group read a comparison text that had the same content as the story, but was documentary in form. The comparison text was controlled for length, readability, complexity, and interest level. Participants then completed again the BFI and emotion checklist, randomly placed within a larger set of questionnaires. The results show the experimental group experienced significantly greater change in self-reported experience of personality traits than the control group, and that emotion change mediated the effect of art on traits. Further consideration should be given to the role of art in the facilitation of processes of personality growth and maturation.
Art is a unique feature of human experience. It involves the complex interplay among stimuli, persons, and contexts. Using structural equation modeling, we explored this complex interplay by analyzing expertise-related differences in the aesthetic appreciation of classical, abstract, and modern artworks. We measured liking, elicited emotions, arousal, and comprehension, and compared structural equation solutions for 2 groups of students with higher and lower levels of art expertise. Experts and nonexperts not only revealed strong effects of emotion in all conditions, but also confirmed that the intercorrelations between emotion and understanding were consistently higher for nonexperts. Moreover, experts generally provided higher ratings on nearly all scales. These results reflect experts' greater flexibility and differentiation in art appreciation. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
One of the most contentious areas:in creativity theory is the question of domain specificity. How we conceptualize creativity-as something that transcends content domains, or as something that varies depending on the domain in question -has important implications for both creativity research and creativity training programs. The Amusement Park Theo-retical (APT) model of creativity is the first creativity theory to successful-ly bridge the gap between these contrasting views of creativity. The APT model uses the metaphor of an amusement park to explore creativity. There are four stages: Initial requirements, general thematic areas, domains, and micro-domiains. The first level (initial requirements) is very general, and each subsequent level gets more and more domain-specif-ic. The APT model can provide a powerful framework for creativity assessment, selection of students for gifted education programs, and the development of creativity training programs. Dr. John Baer is the author of four books, including Creative Teachers, Creative Students (Allyn and Bacon) and Creativity and Divergent Thinking: A Task-Specific Approach (Erlbaum). He was awarded the Daniel E. Berlyne Award from Division 10 of the American Psychologi-cal Association for outstanding research by a junior scholar in 1992 and the College Teaching and Learning Conference's annual Award for Innovative Excellence in Teaching, Leaming, and Technology in 1997.
The purpose of this study is to examine whether flexible and fluent thinking skills, two important elements in divergent thinking, can be enhanced through creative drama process. The research was conducted on 30 subjects, 15 in an experimental group and 15 in a control group. Each group consisted of 9 females and 6 males. All subjects were postgraduate students, and the average age was 25. Flexibility and fluency were assessed through “circle drawing” and “alternate uses of objects” sub-tests. Both groups were given an initial pre-test. Then the experimental group attended a 10-week creative drama course, 3 h a week. A week after drama process was completed, a post-test was applied to both groups. Determining the pre-test and post-test score differences of the two groups, the one-way MANOVA analysis with a 2 × 2 design was applied. The results show that creative drama process can help enhance the two important aspects of divergent thinking, fluency and flexibility, in adult groups.
Sixty-two subjects rated 20 slides of surreal and representational paintings. They then completed questionnaires assessing tolerance of ambiguity, sensation seeking, and the ‘Big Five’ personality dimensions. Ambiguity tolerance was not found to be as strongly associated with preference for surreal art as had been predicted. The hypothesis that sensation seeking scores would be related positively to preference for surreal art and negatively related to preference for representation art was confirmed. Experience Seeking and Boredom Susceptibility were shown to be most significant subscale predictors of variance in preference. The associations found between the Big Five personality dimensions and preference for surreal art were not strong, suggesting that narrower measures of personality may be better predictors of preference for specific types of art. The findings support previous research demonstrating a link between personality and art preference, and indicate that certain traits may be particularly relevant to preferences for surreal art.
Within the creativity domain, inspiration is a motivational state posited to energize the actualization of creative ideas. The authors examined the construct validity, predictive utility, and function of inspiration in the writing process. Study 1, a cross-lagged panel study, showed that getting creative ideas and being inspired are distinct and that the former precedes the latter. In Study 2, inspiration, at the between-person level, predicted the creativity of scientific writing, whereas effort predicted technical merit. Within persons, peaks in inspiration predicted peaks in creativity and troughs in technical merit. In Study 3, inspiration predicted the creativity of poetry. Consistent with its posited transmission function, inspiration mediated between creativity of the idea and creativity of the product, whereas effort, positive affect, and awe did not. Study 4 extended the Study 3 findings to fiction writing. Openness to aesthetics and positive affect predicted creativity of the idea, whereas approach temperament moderated the relation between creativity of the idea and inspiration. Inspiration predicted efficiency, productivity, and use of shorter words, indicating that inspiration not only transmits creativity but does so economically.
Patterns of covariation among personality traits in English-speaking populations can be summarized by the five-factor model (FFM). To assess the cross-cultural generalizability of the FFM, data from studies using 6 translations of the Revised NEO Personality Inventory (P.T. Costa & R. R. McCrae, 1992) were compared with the American factor structure. German, Portuguese, Hebrew, Chinese, Korean, and Japanese samples (N = 7,134) showed similar structures after varimax rotation of 5 factors. When targeted rotations were used, the American factor structure was closely reproduced, even at the level of secondary loadings. Because the samples studied represented highly diverse cultures with languages from 5 distinct language families, these data strongly suggest that personality trait structure is universal.
Inspiration has received little theoretical or empirical attention within psychology. Inspiration is conceptualized herein as a general construct characterized by evocation, motivation, and transcendence. In Studies 1a and 1b, a trait measure of inspiration was developed and was found to have strong psychometric properties. Studies 2a-2c documented a nomological network consistent with the present conceptualization. Study 3 related inspiration to the holding of U.S. patents. Study 4 linked trait inspiration to daily experiences of inspiration, extended the nomological network to the state level, documented antecedents and consequences, and established incremental validity. This research provides a foundation for further study of inspiration, both as a general construct and in specific content domains (e.g., religion, creativity, interpersonal relations).
Creativity is of rising interest to scholars and laypeople alike. Creativity in the arts, however, is very different from creativity in science, business, sports, cooking, or teaching. This book brings together top experts in the field from around the world to discuss creativity across many different domains. Each chapter includes clear definitions, intriguing research, potential measures, and suggestions for development or future directions. After a broad discussion of creativity across different domains, subsequent chapters look deeper into those individual domains (traditional arts, sciences, business, newer domains, and everyday life) to explore how creativity varies when expressed in different ways. Ultimately, the book offers a future-looking perspective integrating the different variations of creativity across domains.
This study adopted an interactional approach to understanding how 2 of the Five-Factor traits, openness to experience and conscientiousness, are related to creative behavior in the workplace. Openness to experience is theorized to result in high levels of creative behavior and conscientiousness is theorized to result in low levels of creative behavior when the situation allows for the manifestation of the trait influences. More specifically, the authors hypothesized that openness to experience would result in high levels of creative behavior if feedback valence were positive and job holders were presented with a heuristic task that allowed them to be creative. The authors also hypothesized that conscientiousness would result in low levels of creative behavior if supervisors engaged in close monitoring and coworkers were unsupportive. The authors tested their hypotheses in a sample of office workers, and 5 out of the 6 hypotheses were supported.
Test scores of divergent thinking obtained between 1959 and 1972 were correlated with a variety of personality measures administered since 1980. In this sample of 268 men, divergent thinking was consistently associated with self-reports and ratings of openness to experience, but not with neuroticism, extraversion, agreeableness, or conscientiousness. Both divergent thinking and openness were also modestly correlated with Gough's (1979)empirically derived Creative Personality Scale. Several other personality variables mentioned in the literature were also examined; those that were associated with divergent thinking were also generally correlated with openness. These data suggest that creativity is particularly related to the personality domain of openness to experience.
Over the course of his career, Guilford produced a remarkable body of research on creative thought. Today, this research is remembered primarily for its articulation of the notion that divergent thinking plays a key role in creative thought. However, a number of other capacities relevant to understanding creative thought were identified in the course of this research effort. In this article, I review this research program as a whole with special reference to those capacities that warrant more attention in current studies of creativity. Implications for current research are discussed.
In a world where there has long since been more at play than functionality and cost price, we need creative innovation more than ever before. Organizations are trying to find ways to embed more creativity, more innovative potential, and more entrepreneurship into the everyday running of their businesses. They are constantly in search of effective ways to make their organization's culture better equipped for change. The Belgian non-profit organization Arteconomy has developed a method for doing this, by bringing business people and artists together in a series of particularly unique projects. In this paper, you can read about the philosophy that give rise to Arteconomy and the pioneering work that preceded it. The paper describes two specific projects that provide a concrete illustration of the arteconomy approach in two Belgian textile firms: 'The Dragon of Deerlijk' at Promo Fashion and 'The Walk' at Concordia Textiles. This paper is particularly relevant to illustrate change as an organizational process and to demonstrate how organizations can stimulate employees' creative skills.
This study aimed to investigate whether a range of tasks that have been generally classed as requiring insight form an empirically separable group of tasks distinct from tasks generally classed as non-insight. In this study, 24 insight tasks, 10 non-insight tasks, and tests of individual differences in cognitive abilities and working memory were administered to 60 participants. Cluster analysis of the problem-solving tasks indicated that the presumed insight problems did tend to cluster with other presumed insight problems, and similarly the presumed non-insight problems tended to cluster with other presumed non-insight tasks. Performance on presumed insight problems was particularly linked to measures of ideational flexibility with a different pattern of results for the non-insight tasks. Spatial insight problems were linked to spatial flexibility and verbal insight tasks were linked to vocabulary scores. The results are discussed in relation to recent developments of dual process theories of thinking.
An integrative introduction to the theories and themes in research on creativity, the second edition of Creativity is both a reference work and text for courses in this burgeoning area of research. The book begins with a discussion of the theories of creativity (Person, Product, Process, Place), the general question of whether creativity is influenced by nature or nurture, what research has indicated of the personality and style of creative individuals from a personality analysis standpoint, and how social context affects creativity. This wide-ranging work then proceeds to coverage of issues such as gender differences, whether creativity can be enhanced, if creativity is related to poor mental or physical health, and much more. The book contains boxes covering special interest items, including one-page biographies of famous creative individuals, and activities for a group or individual to test or encourage creativity, as well as references to Internet sites relating to creativity. Includes all major theories and perspectives on creativity. Consolidates recent research into a single source. Includes key terms defined and text boxes with interesting related material. Single authored for clarity and consistency of presentation.
The present investigation examined the effects of trait and goal inspiration on goal progress. Undergraduate students reported three goals they intended to pursue throughout the semester and completed measures of trait and goal inspiration as well as measures of personality traits. Participants then reported on goal progress three times at monthly intervals throughout the semester. Result showed that trait inspiration predicted goal progress, and that this effect was fully mediated by goal inspiration and held after controlling for the Big Five personality traits. Additional within-person analyses of goal inspiration showed that most of the variance in goal inspiration was due to between-person individual differences. Furthermore, analyses of the direction of causality between goal inspiration and goal progress revealed a bi-directional relationship. Discussion focused on the implications and future directions for research on inspiration.
The purpose of this research was to investigate similarities and differences in general, artistic, and scientific creativity between engineering versus music students, as 2 groups respectively representing scientific and artistic domains. One hundred music and 105 engineering students from a large, Northeastern university completed measures of general creativity, music creativity, engineering creativity, and a demographic questionnaire. Results indicated that musicians scored higher in general and artistic creativity, with no significant differences in scientific creativity. Participants had higher levels of creativity, compared with normative data from previous studies. Gender, age, and specialization within major yielded no significant differences. Implications for creativity measures are discussed, including cognitive risk tolerance.
Purpose
– Business leaders, in increasing numbers, are looking to the creative power of the arts in their efforts to manage strategic change, to enhance innovation, or to strengthen corporate cultures. In this case study, we focus attention on what is widely regarded as one of the world's most extensive corporate arts‐based learning initiatives, the Catalyst program at Unilever.
Design/methodology/approach
– In a wide‐ranging interview with James Hill, now a group vice‐president and Catalyst's leading executive sponsor, this paper explores the origins, operations, and outcomes of this innovative program.
Findings
– Finds that Catalyst came about as a result of savvy leadership and a corporate willingness to take risks in developing an “enterprise culture;” it now flourishes in three divisions due to ownership at multiple levels of the organization as well as its ability to stimulate new product development, attract and retain creative people, and boost the company's marketing efforts; and it persists because its starting points are always actual business problems, the solutions to which improve financial performance and shareholder returns.
Originality/value
– To management scholars, this case provides an additional data point in the ongoing study of strategy implementation and organizational change. To corporate executives seeking fresh ideas, the Unilever/Catalyst story offers a novel and intuitively appealing approach to the vexing challenges of leading strategic change, told from the perspective of an experienced executive.
In recent studies of the structure of affect, positive and negative affect have consistently emerged as two dominant and relatively independent dimensions. A number of mood scales have been created to measure these factors; however, many existing measures are inadequate, showing low reliability or poor convergent or discriminant validity. To fill the need for reliable and valid Positive Affect and Negative Affect scales that are also brief and easy to administer, we developed two 10-item mood scales that comprise the Positive and Negative Affect Schedule (PANAS). The scales are shown to be highly internally consistent, largely uncorrelated, and stable at appropriate levels over a 2-month time period. Normative data and factorial and external evidence of convergent and discriminant validity for the scales are also presented. (PsycINFO Database Record (c) 2010 APA, all rights reserved)
This study examined the independent and joint contributions of employees' creativity-relevant personal characteristics and three characteristics of the organizational context - job complexity, supportive supervision, and controlling supervision - to three indicators of employees' creative performance: patent disclosures written, contributions to an organization suggestion program, and supervisory ratings of creativity. Participants (171 employees from two manufacturing facilities) produced the most creative work when they had appropriate creativity-relevant characteristics, worked on complex, challenging jobs, and were supervised in a supportive, noncontrolling fashion.
Sixty-seven undergraduates completed the NEO-Personality Inventory (Costa & McCrae, 1985), the Rebelliousness Questionnaire (McDermott, 1987) and an author-devised creativity checklist. Reactive rebelliousness correlated positively with NEO-neurotic hostility (r = 0.52, p < .001) and negatively with NEO-openness to experience subscales (actions', r = −0.21, p =0.46; `ideas”, r = −0.31, p = 0.005) but not with frequency of self-reported creative interests and activities. A disaggregated measure of creative activities however, demonstrated a positive association between number of creative literary acts and proactive rebelliousness scores (r = 0.25, p = 0.02). All six NEO-openness subscales correlated positively with self-reported creative activities; five did so with creative interests. Specifically, openness to fantasy and openness to aesthetic experience correlated notably with creative activities (r = 0.45, p < 0.0005; r = 0.41, p < 0.005) and interests (r = 0.45, p < 0.0005; r = 0.5, p <0.0005). Thus, openness, as McCrae & Costa (1985) hypothesise, was highly predictive of self-reported creative acts and interests.
In two studies, one employing Spanish students and the other English students, questionnaire measures of Sensation Seeking and Openness to Experience were correlated with liking for major music types, several short music excerpts, and eight categories of painting (presented as slides). Inter-correlations between music preference measures, painting preference, and personality are reported. In both samples, the Sensation Seeking Scale (Form V) and, particularly, the Experience Seeking sub-scale were associated with a factor contrasting liking for hard rock music and violentabstract art with liking for neutralrealistic art and easy listening music. Several substantial relationships between aesthetics measures and Openness to Experience (from the NEO-PI-R) were also found, though mostly in the English sample. The results reinforce the view that personality dimensions such as Sensation Seeking and Openness are important influences on aesthetic judgment. Copyright © 2000 John Wiley & Sons, Ltd.
the impetus for creativity research / the research program at the University of Minnesota / the Torrance Tests of Creative Thinking [research definition of creativity, purpose and rationale, design and structure, components of the Torrance Tests of Creative Thinking, verbal, figural, scoring and interpretation] / the challenge of establishing predictive validity (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Considers the definition and assessment of creativity and presents a componential framework for conceptualizing this faculty. Including domain-relevant skills, creativity-relevant skills, and task motivation as a set of necessary and sufficient components of creativity, the framework describes the way in which cognitive abilities, personality characteristics, and social factors might contribute to stages of the creative process. The discussion emphasizes the previously neglected social factors and highlights the contributions that a social psychology of creativity can make to a comprehensive view of creative performance. (99 ref) (PsycINFO Database Record (c) 2012 APA, all rights reserved)
In this contribution, we report on an ongoing study that examines the relationship between aesthetics and creativity among working mathematicians. Writings of eminent individuals indicate that aesthetics is an important component of mathematical creativity, however we were interested in researching this relationship among the normal working mathematician. Anecdotally speaking, many working mathematicians often convey a reciprocal relationship between aesthetics and creativity, particularly when mathematical results and proofs are arrived at with considerable strain and stamina. We report on the findings of our ongoing study among working mathematicians in the U.S.A and Germany, and make a case for emphasizing the aesthetic dimension in mathematics education.
In the literature on creativity and innovation, there is a tendency to idolize great contributors to the liberal arts as extraordinarily creative individuals. Such ex post facto accounts of great men and women are, however, of limited value for everyday practices in organizations. This paper reports insights from a Swedish project named Artists in Residence (AIRIS) wherein artists, including musicians, painters, actors and directors, dancers and choreographers, collaborated with a regular company or workplace during a ten-month project, aimed at helping the co-workers think in new and creative ways. The study concludes that there are many benefits from making the world of artists and the world of work intersect, but there is also a demand on the participant to fully commit to the project. Even though the culture project was positively received among co-workers, only a limited effect on workplace climate could be reported for the 2005 evaluation, while the 2006 evaluation indicates more positive effects. Still, the amount of texts advocating artists' creative skills and experiences outnumber the cases of actual projects bringing the two groups together. Studies of projects like AIRIS show that there is a great potential in bringing artists into industry.
The Adjective Check List was administered to 7 male and 5 female samples comprising 1,701 Ss. Direct or inferred ratings of creativity were available for all Ss. The samples covered a wide range of ages and kinds of work; criteria of creativity were also varied, including ratings by expert judges, faculty members, personality assessment staff observers, and life history interviewers. The creativity scales of G. Domino (1974) and C. E. Schaefer (1972, 1973) were scored on all protocols, as were G. S. Welsh's (1975) A-1, A-2, A-3, and A-4 scales for different combinations of "origence" and "intelligence." From item analyses a new 30-item Creative Personality Scale was developed that was positively and significantly related to all 6 of the prior measures but that surpassed them in its correlations with the criterion evaluations. (29 ref)
Promotion-focused states generally boost creativity because they associate with enhanced activation and cognitive flexibility. With regard to prevention-focused states, research evidence is less consistent, with some findings suggesting prevention-focused states promote creativity and other findings pointing to no or even negative effects. We proposed and tested the hypothesis that whether prevention-focused states boost creativity depends on regulatory closure (whether a goal is fulfilled or not). We predicted that prevention-focused states that activate the individual (unfulfilled prevention goals, fear) would lead to similar levels of creativity as promotion-focused states but that prevention-focused states that deactivate (closed prevention goals, relief) would lead to lower levels of creativity. Moreover, we predicted that this effect would be mediated by feelings of activation. Predictions were tested in 3 studies on creative insights and 1 on original ideation. Results supported predictions. Implications for self-regulation, motivation, mood, and creativity are discussed.
The impact of visual art instruction on student creativity
This paper empirically examines the effects of discriminatory fees on ATM investment and welfare, and considers the role of coordination in ATM investment between banks. Our main findings are that foreign fees tend to reduce ATM availability and (consumer) welfare, whereas surcharges positively affect ATM availability and the different welfare components when the consumers’ price elasticity is not too large. Second, an organization of the ATM market that contains some degree of coordination between the banks may be desirable from a welfare perspective. Finally, ATM availability is always higher when a social planner decides on discriminatory fees and ATM investment to maximize total welfare. This implies that there is underinvestment in ATMs, even in the presence of discriminatory fees.