Different Levels Of Creativity Research Articles

Relationship between personality types and creativity: A study on novice architecture students

The first milestone and the foundation in every architect’s life is architectural education. As creativity is the core of successful architecture, focusing on its development in the pedagogical years would enhance every architect’s future career. Architectural education tends to give a one-size-fits-all approach to educating architects and helping with their creative potential, which neglects the students’ different levels of creativity along with their personalities’ individuality. This study aims to enhance each architect’s architectural pedagogical experience by acknowledging the student’s personality and creativity level which would help tailor a customized experience that would develop their full potential. This will be achieved by examining the relationship between personality types and creativity through the Myers-Briggs Personality Type Indicator (MBTI) and the Consensual Assessment Technique (CAT). The study is employed in the Architecture Department, Alexandria University - Egypt, where questionnaires were distributed to first- and second-year students along with design projects to be assessed by Architectural Department professors. Responses were analyzed using Pearson’s Chi-square analysis with Fisher’s exact test. The results indicated a strong connection between Intuition/Sensing and the creativity of students.

Being Inspired by Media Content: Psychological Processes Leading to Inspiration

ABSTRACT In proposing a model of three processes triggered by media content – evocation, transcendence, and motivation – this study seeks to define what kinds of media content can lead to a state of inspiration. Specifically, during the evocation process, media content moves people and then provokes their thoughts to a greater extent; in the transcendence process, it generates more hopeful feelings and then elicits a greater sense of self-expansion; and in the motivation process, media content generates more feelings of vitality and then motivates people to act like the characters (i.e., emulate them) to a greater degree. All three multi-stage routes might lead to greater inspiration. Two pilot studies identify three common content themes that inspire people, such that they demonstrate people’s moral virtues, transformation (i.e., overcoming difficulties through perseverance despite adversity), and creativity. The experiment in Study 1 tests the proposed process model using feature stories in news programs that demonstrate moral virtues, transformation, and creativity by exemplars. A second experiment in Study 2 provides a further test by comparing competition shows that involve different levels of creativity (cooking, singing, quizzes). Media content involving more creativity inspires viewers to a greater degree, through all three processes.

“¡Tengo gloria bendita!”: pitching and the sonic production of place atmospheres under increasing marketplace regulation

This paper studies the sonic production of weekly markets through an analysis of the acoustic tactics employed by both authorized and unauthorized traders in two street markets of Catalonia. A three-fold typology of pitchers – the Repeaters, the Influencers and the Silenced – is presented to illustrate the different levels of creativity at play in contesting marketplace regulations that prohibit this “noisy” form of advertising. The paper builds on Jacques Attali’s1 idea of the control of sound and noise being inscribed in the panoply of power; a noisy market is thus understood as a statement against the authorities and as a failure to orchestrate a harmonious public space atmosphere. It is argued that as a professional skill and a cultural practice that is illegitimized by market regulations that aim to invoke civic behavior and stage representational place atmospheres, pitching contests dominant place narratives by involving creativity, affect and a political desire of recognition of difference. As such, pitching can shape more diverse marketplace atmospheres where the meanings of order and control are not unequivocal.

Analysis of single channel electroencephalographic signals for visual creativity: A pilot study

Analysis of creativity has important clinical applications in studying neurological disorders. Among the available tools, the simplest and the most portable device is the EEG headset. In this study we explore the potential of a single channel EEG to assess varying levels of Visual Creativity via sketching. Three tasks requiring different levels of creativity are designed: Max Creative(TMC)-sketching, Less Creative(TLC)-repetitive geometric patterns, and Nil Creative(TNC)-tally marks. Normalized and artifact-filtered EEG signals are used for analyses. Three different types of analysis are carried out using the features extracted from three different paradigms: (1) Chaos Analysis, (2) Distribution Analysis, and (3) Statistical Analysis. The 4-class classification scenario (Rest vs TMC vs TLC vs TNC) is compared with LSTM which is the popular technique for 1D signal. Mean accuracy is reported over 5-fold cross-validation over 10 runs. Among various feature and classifier combinations, peak performances are seen in the following scenarios. In 4-class classification, chaos features result in a peak mean accuracy of 52% while other features show significantly less accuracy. LSTM for 4-class classification results in only 38% accuracy in the current setting. When levels of creativity(TMC vs TLC vs TNC) are analyzed, Hjorth mobility and complexity, LLE and distribution features result in 45% accuracy. As expected, it is observed that Rest(R) is distinguished from Non-Rest with a mean accuracy > 90% using Standard deviation, MAD and LLE, individually. However, distribution-based features result in 69-74% accuracy. It is observed that chaos analysis results in a higher accuracy for the classes considered.

Subcortical structures and visual divergent thinking: a resting-state functional MRI analysis.

An increasing number of studies have found that a few, specific subcortical regions are involved in creative visual divergent thinking. In addition, creative thinking is heavily reliant on the fronto-striatal dopaminergic pathways. This study aimed to explore whether spontaneous fluctuations in the subcortex, which contribute to our creative abilities, showed significant differences between individuals with different levels of creativity based on resting-state functional magnetic resonance imaging data. We calculated subcortical regions' seed-wise and dynamic functional connectivity (dFC), and then examined the differences between the high and low visual creativity groups. Furthermore, the topological properties of the subcortical network were measured, and their relationship with creative visual divergent thinking was calculated using brain-behavior correlation analyses. The results showed that functional connectivity (FC) between the putamen, pallidum, and thalamus indicated group differences within the subcortex. Whole-brain FC results showed group differences across subcortical (i.e., the thalamus and pallidum) and cerebral regions (i.e., the insula, middle frontal gyrus, and middle temporal gyrus). In addition, subcortical FC demonstrated a positive correlation with visual divergent thinking scores across the pallidum, putamen, and thalamus. Our findings provide novel insights into the relationship between visual divergent thinking and the activities of the subcortex. It is likely that not only fronto-striatal dopaminergic pathways, but also "motor" pathways, are involved in creative visual divergent thinking processing.

Особенности психологического благополучия одаренных подростков с разным уровнем развития креативности

The article substantiates and verifies the hypothesis of the relationship between psychological well-being of gifted teenagers and the features of their creativity.It considers the specifics of psychological well-being in gifted adolescents with different levels of creativity, their attitude to the educational environment, the level of satisfaction with its significant characteristics and the degree of protection from psychological violence.The study was conducted on a sample of students of grades 8—10 of schools specializing in mathematics and natural science.The total number of subjects was 253 students aged 14—17 years (154 boys, 99 girls).The study used the following techniques: the Psychological Well-Being Scale by С.Ryff, the Ingenuity and Divergent Thinking scales from H.Zivert’s test of verbal creativity, and the questionnaire “Psychological Safety of Educational Environment” by I.A.Baeva.The differences in psychological well-being indicators for adolescents with different levels of verbal creativity were identified: in particular, adolescents with high creativity have a lower indicator of “positive relationships with others”.The structure of correlations between psychological well–being and creativity in groups of adolescents with high and low creativity differs.Highly creative gifted teenagers tend to evaluate their condition as less favourable as compared to their peers with low creativity and struggle with establishing close relationships.Adolescents with low creativity are more satisfied with such characteristics of educational environment as relationships with others and opportunities provided by the environment.Their assessment of protection from psychological violence is negatively correlated with originality of thinking.

Highly Creative Individuals Process Creative Pictorial Information More Effectively: Evidence from an ERP Study

ABSTRACT The present study aimed to explore the neural-related mechanism of the creative evaluation process in individual with different levels of creativity. The time course of evaluation process for creative objects was monitored by event-related potentials (EPRs). Forty-five participants were divided into the high-creativity performance (HCP) group and the low-creativity performance (LCP) group and then completed a creative object evaluation task. The behavioral results revealed that the HCP group showed higher accuracy rates on the creative object evaluation task than the LCP group did. The ERPs analysis demonstrated that in the early stage of creative object processing, ordinary objects elicited a more negative anterior N2 at 190–340 ms than the creative objects did in the LCP group. In the late stage of creative object processing, creative objects elicited a more positive ERPs deflection in the HCP group than in the LCP group at 350–500 ms and at 500–1000 ms. Taken together, these results indicate that different creativity performance individuals may express different attention patterns or top-down processing strategy in the early stage of creative object evaluation processing; and high-creativity performance individuals can better utilize both cognitive and non-cognitive evaluation processing in the late stage, to process the creative object effectively.

Perception of cultural differences and intercultural competence among Russian students with different levels of creativity

Многочисленные зарубежные исследования показали, что опыт межкультурных взаимодействий способен стимулировать креативность, в случае, когда человек к нему адаптирован. Индикатором адаптированности к ситуации межкультурных взаимодействий может выступать кросскультурная компетентность. Однако прошлые работы выявили противоречивые отношения компонентов межкультурной компетентности с креативностью. Данное исследование представляет собой качественный анализ восприятия межкультурных различий и межкультурной компетентности у более и менее креативных российских студентов с целью прояснить выявленные ранее паттерны взаимосвязи компонентов межкультурной компетентности с креативностью. Результаты контент-анализа 30 интервью показали, что более и менее креативные российские студенты по-разному воспринимают культурные отличия иностранцев от русских и, соответственно, имеют разные представленияо необходимых им межкультурных компетенциях и их основаниях.

The family environment as an external factor of development of creativity

The article is devoted to the theoretical analysis of the family education factors that influence the development of children's creative abilities and the empirical study of the styles of parent relationship in the families of children with different levels of creativity. The relevance of the study of the family environment problem as an external factor of development of children's creativity is substantiated. Researchers of creativity give a decisive role to the microenvironment in which the child is formed, and, primarily, to the influence of family relationships. Currently, consideration of the children's creativity development in the family is the least studied branch of psychology of abilities and the most actual problem of family education. The factors of family education, which influence the development of the child’s creative abilities are highlighted: the position of parents concerning the child’s development and the ways of influencing it; the family’s attitude to the development of the child’s abilities; the style of parent-child relationships; the style of child control and guidance; the family composition and relationships within it. The significance of connection between the styles of family education and the level of creativity development of elementary school children is empirically determined. The characteristic features of relationships between parents and children in each of the studied groups are distinguished: in the families where the children show the high level of creativity development, the type of parent-child relationships “cooperation” is typical; the most typical style of parent-child relationships in the families whose children show the low level of creativity development are «rejection» and «authoritarian hypersocialization».

CREATIVITY IN LATER LIFE: PERSPECTIVES ON ITS FORMS AND MEANINGS

Over the past 15 years, gerontologists have become increasingly interested in identifying activities that increase meaning and well-being in older adults’ lives. One such activity is creative activity. New research suggests that creative activity can improve social connections, well-being and self-esteem, and sometimes cognitive processing. Yet some culturally-specific creative activities in which older people participate are not considered creative using standard psychological paradigms of creativity. This symposium will examine new perspectives on creativity in older adults with emphases on creative meaning across the life-span, and the benefits of new and long-term creative hobbies in healthy and frail older adults. Age differences in artists’ perceptions of their creativity will also be discussed. The first presentation by Helen Kivnick will discuss the overall theme of vital involvement in late life from an Eriksonian perspective and its link to the benefits of creative activities. The second presentation by Kate de Medeiros will discuss the creative benefits of a poetry intervention for older adults with dementia. The third presentation by Monika Ardelt will examine young and older nominated visual artists’ perceptions of their own creativity and the creative process, in the context of creative careers. Finally, Carolyn Adams-Price will describe Glaveanu’s sociocultural model of creativity, which can be used to explain the significance of different levels of creativity in a cultural context, from everyday creativity to genius creativity. Glaveanu’s model has great promise for helping us understand the significance of various creative activities for older adults. Danielle Nadorff will be our discussant.

THE SOCIOCULTURAL MODEL OF CREATIVITY: HOW IT CAN EXPLAIN THE SIGNIFICANCE OF MULTIPLE FORMS OF LATE-LIFE CREATIVITY

Creativity in later life comes in many forms, ranging from everyday creativity to genius-level creativity, and including both newly learned creative activities and life-long creative hobbies. Previous psychosocial models of creativity have had limited utility in explaining the significance of late life creativity. Glaveanu’s sociocultural model has not been previously applied to older adults, but its inclusiveness makes it supremely useful for describing the range of creative activities and products in context. Creativity, according to Glaveanu, involves five interconnected components: actors, actions, artifacts, audiences, and affordances, which can be used to describe many different points along continuum of creative activities. The sociocultural model recognizes the value of different levels of creativity, including culturally-specific crafts, practice and learning new skills, the role of large and small audiences for creativity, and the connection of creativity and community. Glaveanu’s model will be discussed in the context of Erikson’s theory of late life development.

THE PERCEPTION OF CREATIVITY THROUGH MULTICULTURAL EXPERIENCE — RESULTS FROM AN EMPIRICAL ANALYSIS

This research is an approach to connect creativity and multicultural experiences (MCEs): we give insights into how and what type of MCE influences people’s perceptive abilities such as creativity. We offer one of the first empirical examinations that links the perception of creativity concept to strategy of acculturation. This study addresses an often-mentioned research gap by examining laypersons’ ability to perceive different levels of creativity. For this, a sample of 195 participants from 26 countries with and without MCE was researched. Findings indicate that attitudes as well as personal and professional goals apparently influence people’s creativity perception. The acculturation strategy integration seems to be a determining factor in this respect. As MCE has become a firm part of many people’s CV, the present paper adds to an omnipresent phenomenon in today’s society, which is worth studying.

Children’s Creativity: A Theoretical Framework and Systematic Review

Within education, the importance of creativity is recognized as an essential 21st-century skill. Based on this premise, the first aim of this article is to provide a theoretical integration through the development of a framework based on the principles of complex dynamic systems theory, which describes and explains children’s creativity. This model is used to explain differing views on the role of education in developing children’s creativity. Our second aim is empirical integration. On the basis of a three-dimensional taxonomy, we performed a systematic review of the recent literature (2006–2017, 184 studies) on primary school students’ creativity. Our results show that creativity is most often measured as a static, aggregated construct. In line with our theoretical model, we suggest ways that future research can elaborate on the moment-to-moment interactions that form the basis of long-term creative development, as well as on the mechanisms that connect different levels of creativity.

Brain Electrical Activity of Film Directors Engaging in Initiating Imagination: Comparisons between Different Levels of Creativity

Brain Electrical Activity of Film Directors Engaging in Initiating Imagination: Comparisons between Different Levels of Creativity

Managerial Creativity: The Roles of Dynamic Capabilities and Risk Preferences

Creativity is considered one of the key skills for managers in making strategic decisions. Although previous studies have thoroughly explored individual creativity, most of them have considered creativity as a static concept. In this paper, we suggest that managers' creative behaviors are dynamic and are influenced by individual and contextual factors. We also suggest that managers' creative behaviors can be explained via the concepts of both risk preferences and dynamic capabilities. Based on these two concepts, we suggest that managers' creative behaviors could be considered as: (1) dynamic abilities that enable them to generate different levels of creativity; and (2) a dynamic process that evolves over time. These propositions enhance and extend the literature on managerial risk taking and dynamic capabilities with respect to managers' creativity. Finally, we propose directions for future research to obtain a more in‐depth understanding of managers' creative behaviors.

Stimulating learning by empowering leadership

Purpose The purpose of this paper is to answer the theoretical and practical calls for an examination of the multi-level effects of empowering leadership on creativity. In addition, it attempts to link empowering leadership to creativity from the perspective of information processing, which is different from traditional mechanisms of psychology. Design/methodology/approach Based on the perspective of information processing, the authors tested how and why different levels of empowering leadership may relate to team and individual creativity. Multi-source data were collected from 62 team leaders and 295 team members. Statistical methods, such as the hierarchical linear model, hierarchical regression analysis, and bootstrapping tests, were used to analyze the data. Findings The results show that team and individual learning mediate the effects of empowering leadership on creativity at the team and individual levels. Interestingly, the authors also found that team learning negatively moderates the indirect and positive effect of individual empowering leadership on individual creativity. Research limitations/implications The main limitation of this study is that the authors used cross-section data instead of longitudinal data to analyze the causal relationship. As such, the results may not truly reveal the causality. Practical implications The findings indicate that empowering leadership is important for stimulating both individual and team learning; thus, it benefits different levels of creativity. In addition, the results also suggest that there are interplay between different level mechanisms, and empowering team leader should trade-off individual and team learning effects in order to promote both team and individual creativity effectively. Originality/value This study contributes to the existing literature by providing a multi-level and cross-level analysis of empowering leadership and creativity. It clarifies how empowering leadership stimulates individual and team creativity at different levels simultaneously.

The Image of Happiness among Children with Different Levels of Creativity

Abstract This article investigates the image of happiness among children with different levels of creativity. The results of the investigation led us to clarify the differences in the attitude to happiness expressed in pictures drawn by senior preschool children. Children with a high level of creativity interpret happiness as an emotional phenomenon. Their image of happiness is built up with social interaction and a focus on other people. Children with a low level of creativity associate happiness with material need satisfaction. Their image of happiness is impersonal, concrete, and it is not focused on other people.

Working on something else for a while: Pacing in creative design projects

In an interview study among 25 architects we investigated how activities were allocated over time in the design phase of an architectural project. Specifically, linking the literatures about pacing behavior and incubation, we set out to identify patterns related to how the interviewees paced their activity before a deadline. We used two types of materials to stimulate the answers in the interview: 1) standard graphs, developed in previous research; 2) a timeline. Five main themes emerged, that were termed pacing; milestones; multiple projects; deadlines; and quality–time trade-offs. Based upon the results we propose a model that includes overlapping U-shapes of activity, that is, most activity at the start of a project and right before a deadline. A second study provided a comparison of the pacing patterns among 85 respondents in jobs that required different levels of creativity. Not only U-shape pacing, but also deadline pacing was more common in creative jobs, whereas early starting patterns were less common. The two studies provide insight into how professionals in creative jobs deliberately use pacing that allows for incubation.

The Psychology of Creativity: A Discussion Between Creative Potential and Its Realization

Abstract This text is devoted to a discussion of current achievements in the psychology of creativity, as well as to the further development of the field. It is concerned with a criticism of former and current theses in the field of the psychology of creativity discussed by Glăveanu (2014). The arguments presented indicate that, despite Glăveanu’s (2014) proposition, the psychology of creativity is not in crisis. It is pointed out that the difference in views between supporters of the social psychology approach to creativity and psychology researchers oriented towards the study of creative potential on how to conduct creativity research, stems from a concentration on different levels of creativity, and not necessarily from an ineffective theory of creativity. As a consequence of these different perceptions of creativity at its particular levels, determining the prime standard of creative potential is not sufficient to understand the social conditioning of creative activity and the social assessment of creativity, and vice versa.

Productivity of Noun Slots in Verb Frames.

Productivity is a central concept in the study of language and language acquisition. As a test case for exploring the notion of productivity, we focus on the noun slots of verb frames, such as __want__, __see__, and __get__. We develop a novel combination of measures designed to assess both the flexibility and creativity of use in these slots. We do so using a rigorously controlled sample of child speech and child directed speech from three English-speaking children between the ages of 2-3years and their caregivers. We find different levels of creativity and flexibility between the adult and child samples for some measures, for some slots, and for some developmental periods. We discuss these differences in the context of verb frame semantics, conventionality versus creativity and child errors, and draw some tentative conclusions regarding developmental changes in children's early grammatical representations.