Different Types Of Creativity Research Articles

How Multicultural Experiences Influence Malevolent Creativity

A wealth of studies have revealed that foreign experiences affect various cognitive abilities. One well-established finding is that living abroad can increase creative thinking skills. However, there has been little research on the dark side of creativity. Here, we hypothesized that exposure to foreign experiences can also foster malevolent creativity, which refers to the deliberate application of original ideas to turn a profit at someone else’s expense. Consistent with our hypotheses, Studies 1 and 2 found that student participants with foreign experiences showed greater malevolent creativity than those without such experiences. Relying on non-student adults, Study 3 replicated the findings of Study 1 using a different behavioral outcome of malevolent creativity. Study 4 found that participants who had decided to move overseas but had not yet done so demonstrated reduced levels of malevolent creativity compared to participants who had lived abroad, which minimized the possibility of reverse causality. Study 5 utilized an experimental design methodology and provided causal evidence for the effect of foreign experiences on malevolent creativity. These findings contribute to understanding about the range of effects that foreign experiences can have on different types of creativity.

Education, neuroscience, and types of creativity

AbstractThe concept of multiple intelligences has taken hold in education. The idea that there are different types of intelligence for different domains helps inform educational approaches to learning and development. Evidence in creativity research, particularly from neuroscience, is accumulating that there are also different types of creativity. This, however, has not been the predominant way neuroscience has approached creativity. Consequently, the idea of different types of creativity has also not yet taken hold in education. Despite psychology regarding creativity as being made up of many complex, multifaceted, and varied cognitive and emotional processes deployed across many different domains, we still think of, and test, creativity as if it were a single, separate, cohesive, and discrete thing. Having perseverated on experimental paradigms that are theoretically and conceptually incoherent, this paper explains why empirical neuroscience research has failed to identify and distinguish different types of creativity. This is particularly important because neuroscience can take a lead in establishing the idea of multiple creativity types. The paper then outlines the negative implications for education if creativity is continuously being treated as a single faculty or monolithic entity. Finally, the paper introduces a division of creativity into three types that could result in a more individual approach to teaching and promoting creativity in classrooms.

Predicting Translation Students' Cultural Intelligence through Different Types of Creativity

Translators are reputed to work not only within languages but also across cultures. Intercultural interactions can be carried out when the translator is creative enough. The present paper intends to determine the pivotal types of creativity which can predict the translators' cultural intelligence in cross-cultural interaction. 103 translation students were chosen to participate in the study through convenient sampling. Kaufman Scale of Creativity (2012) and Cultural Intelligence Scale (2007) were administered to measure participants' types of creativity and cultural intelligence. Results of the Pearson correlation attested that the Kaufman scale of creativity is moderately correlated with the cultural intelligence scale. Multiple regression analysis revealed that among the different components of creativity, scholarly, self, and artistic were the best predictors of translation students' cultural intelligence. Implications of the study for translation training courses and professional translation agencies are advised to introduce the idea of creative types in training or hiring translators. Keywords: Cultural intelligence, Kaufman creativity types, Self-creativity, Scholarly, Artistic

La Scène au temps de l’Intelligence Artificelle

"The study makes a theoretical-predictive analysis of the transformations that the use of Artificial Intelligence and new media will generate in a medium time horizon in the theatre arts. Analysing some examples of contemporary creations in performing arts from Romania and other countries, it highlights different types of creativity through specific scenographic choices, dramaturgical compositions and spectator’s involvement, which break the tradition and draw a new horizon of scenic and performative experiences thanks to the intelligent use of new technologies and virtual realities. The directions targeted are aesthetic, professional and following the evolution of the act of reception. Keywords: Artificial Intelligence, theatre and new technologies, live and virtual performances, online broadcast, virtual set design, immersive theatrical experience."

The right to freedom of literary, artistic, scientific and technical creativity

The article is devoted to current issues related to the content of the right to freedom of creativity. Relevant legislative provisions and positions expressed in the scientific literature are analyzed.
 It is substantiated that the right to freedom of creativity has a civil nature, but the relevant provision of the Constitution of Ukraine gives this right a fundamental meaning. It is established that the right to freedom of creativity belongs to the group of personal inalienable rights that ensure social existence, while the universal right to freedom is a right that ensures the natural existence of man. It is proved that the right to freedom of creativity arises in a person by virtue of his birth and does not require certain actions related to the acquisition of this right in the manner and under the conditions prescribed by law. It has been established that the right to freedom of creativity is initially deprived of economic meaning, as well as any other personal non-property right, because the right to create is not tied to the property status of the person. It is proved that as a result of exercising the right to freedom of creativity there is a unique and original result, which can belong to different types of creativity. It was established that the law distinguished between several types of creativity, including literary and artistic creativity, the results of which are protected by copyright, and scientific and technical creativity, while scientific creativity can be protected either as a separate artwork or in combination with technical creativity. It is proved that creativity can be divided into two main types: spiritual and scientific and technical creativity. It is substantiated that the development of scientific and technical creativity determines scientific and technological progress, which is an integral part of the development of modern society. It is established that an individual has the right to freely choose the spheres, content and forms (methods, techniques) of creativity, and this right is not subject to censorship, at the same time criticism of the results of creative activity is allowed.

Experiencing tensions, regulatory focus and employee creativity: the moderating role of hierarchical level

PurposeThis study aims to explore how employees respond to tensions in groups and whether experiencing tensions could spur on their creativity (including radical and incremental creativity). Through integrating the literature on tension and regulatory focus theory, this study develops a model depicting the process from experiencing tensions to creativity via regulatory foci. This study further investigates the moderating effect of employees’ hierarchical level on these processes.Design/methodology/approachA two-wave survey was conducted with a sample of 375 employees in China. MPLUS was used to examine the moderated mediation model.FindingsThe results show that experiencing tensions can simultaneously activate employees’ prevention focus and promotion focus, both of which in turn influence radical and incremental creativity. Specifically, prevention focus mediates the negative relationship between experiencing tensions and the two aforementioned types of creativity, and promotion focus mediates the positive relationship between experiencing tensions and radical creativity. Employees’ hierarchical level significantly buffers the link between experiencing tensions and prevention focus.Practical implicationsOrganizations should optimize their work design to simplify the role demand of employees in the early stages of their careers. Top-tier employees should be encouraged and empowered to think and act with a paradoxical approach, which can drive them to generate more creative outcomes. Besides, when aiming to discover radical ideas, managers should emphatically cultivate employees’ promotion focus.Originality/valueThis study contributes to the literature on tension through revealing and testing the dual paths resulted by employees’ experiencing tensions. It also advances current research by contrasting the effects of experiencing tensions on different types of creativity.

Structural properties of corpus callosum are associated differently with verbal creativity and visual creativity.

Recent neuroimaging studies demonstrate that creativity is related to brain regions across both hemispheres, and the corpus callosum forms the structural basis of inter-hemispheric information exchange. However, the findings regarding the relationship between inter-hemispheric interaction and creativity remain inconsistent, which may be caused by different types of creativity and neural features being adopted. To clarify the inconsistency, and understand how inter-hemispheric interactions are related to different kinds of creativity, we explored the correlation between eight structural measures of the corpus callosum (CC) and two different domains of creativity [verbal creativity (VerC) and visual creativity (VisC)] using a large healthy-adult sample (n = 446). The results showed that VerC was positively correlated with fractional anisotropy (FA) and negatively correlated with the radial diffusivity (RD) of CC; whereas there was no significant association between VisC and CC measures. These results persisted after regressing VisC from VerC, regressing VerC from VisC, and regress out general intelligence from both creativity measures. In summary, we showed that the structural properties of corpus collosum are associated in different ways with two domains of creativity, i.e., verbal creativity and visual creativity, which enriches our understanding of the underlying neural mechanism in different types of creativity.

Graphics of units of the state document of turnover of the Republic of Belarus (1991–2019)

We consider such a complex phenomenon in the modern applied graphics of Belarus as the schedule of workflow units (1991–2019). During this period, Belarusian forms of securities, documents, seals, etc. were analyzed mainly in the field of visual protection of documents. At the same time, high aesthetic qualities, as well as a number of unique properties of state applied graphics, as a result of a special synthesis of artistry and functionality, a combination of the possibilities of different types of creativity (graphics, typography, printing skills, engravings, prints, etc.) allow us to consider them from the perspective of art. It can be argued that today Belarusian documents, letterheads, seals, etc. formed as a complex phenomenon and acquired an individual artistic style. The ongoing search for new visual solutions, meanings and cultural concepts has formed a unique tradition for us to design works of state applied graphics in Belarus. An artistic analysis of the basic units of the state document flow was carried out, patterns of style-forming decisions of their visual images were revealed, periodization was developed and a classification of this cultural phenomenon was given. Based on the results obtained, a general classification scheme is presented for the works of state applied grahics of the Republic of Belarus (1991–2019).

Musical activity in psycho-pedagogical perspective: analysis of works of the beginning of the XXI century

The purpose of the article is to reveal innovative views on the importance of musical activity in the symbiosis of psychological and pedagogical approaches. The methodology consists of the study and analysis of pedagogical, musicological, art history source base, analysis, systematization, and generalization of scientific and methodological sources. The scientific novelty of the work is to study the features of the study of musical activity from a psycho-pedagogical perspective, taking into account the changing socio-cultural environment of the early 21st century. Conclusions. Musical activity in scientific works of the 21st century is studied in the traditional psycho-pedagogical approach but taking into account innovative pedagogical concepts (K. Orff, Z. Kodai, J. Ducklcroze, S. Suzuki) and the introduction of an updated methodology. Among the relevant in the 21st-century methods of teaching music are as follows: alternation of different types of creativity, use of various creative methods, development of unity of motor and musical abilities, improvisation, active musical perception, the combination of collective and individual types of musical activity, participation in artistic and cultural events, communication with artists, the involvement of parents in education.

Аналіз критичних чинників впливу на реалізацію Національної економічної стратегії – 2030

The article is aimed at generalizing the essential content of the concept of «creativity» in the context of the components that comprise it; analyzing the main factors influencing them; identifying tendencies and particularities of the manifestation of an unproductive type of creativity against the background of the development of the crisis of trust and their devastating impact on the country’s economy; substantiating the importance of drawing attention to these problems in forming the main tasks of the State policy on the effective implementation of the Strategy–2030. The article generalizes approaches to the interpretation of the concept of «creativity». Four of its types are allocated: technological (inventiveness); economic (entrepreneurship), as well as artistic and cultural creativity. It is underlined that different types of creativity should not be considered incompatible; on the contrary, they should inspire each other, and the interaction between them creates an important synergistic effect. It is argued that the factors that combine different types of creativity are innovation, entrepreneurs and entrepreneurial abilities. It is substantiated that creativity, in all forms of its manifestation, innovativeness and entrepreneurship should become end-to-end qualities that will combine all 20 directions of the Strategy. Precisely these factors should be taken into account in determining strategic goals, ways to achieve them and in the tasks of the State economic policy. It is emphasized that in order for these factors to be turned from innovation potential into a resource of development, the necessary element is motivation. It is defined that motivation can generate two types of creativity – productive and unproductive. It is proved that unproductive creativity inhibits socio-economic development, or even destroys it. The main tendencies, types and features of the manifestation of unproductive type of creativity in different stakeholders in the context of the «crisis of trust» are allocated and analyzed. Based on the analysis of the current state of trust in social institutions, it is determined that it is very low. It is underlined that under such conditions, the «crisis of trust» will continue to motivate and provoke the development of an unproductive type of creativity in all its forms and can become a multiplier for the development of negative socio-economic events that will make the implementation of the National Economic Strategy very problematic.

ACADEMIC DIPLOMACY OF EDUCATIONAL INSTITUTIONS' HEADS AS A TOOL OF CREATIVE COOPERATION

The article is devoted to the problem of educational institutions' heads’ academic diplomacy development by creative cooperation means. The main task of educational diplomacy in forming the educational institution image and all participants' interpersonal relations in the educational process is substantiated. The attention is focused on the educational institutions' heads' communicative activity as a phenomenon and creativity pedagogy subject; the educational institutions' heads' creativity directions are substantiated; considered the concepts theoretical content of «diplomacy», «communicative culture», «educational diplomacy», «creativity»; diagnostics the readiness of educational institutions' leaders and teachers for the educational diplomacy development as a tool for the creativity pedagogy was carried out. The diplomatic qualities of the leader and teachers of an educational institution are characterized, which provide an opportunity for the manifestation of their own creative abilities and characteristics, which encourage the creative potentials to be processed in a high-quality, enrich them with mental new formations, creative activity experience, and creative abilities, and also develop communicative interaction. The direction of interaction between the educational process participants on the dialogue basis and the head preparation for the creation of psychological and pedagogical conditions, concerning the creative educational activity of students, with educational diplomacy application, communication methods and receptions of their creative activity is defined. Pedagogical creativity occupies a special place among different types of creativity, because it determines the dynamic development vectors of mankind all creative processes, and the creative nature development is determined by communication and increase in communicative culture. The peculiarity of any communicative process – the process as a result of which a qualitatively new one is created – is that not only man, the creator influences his own creativity result, but also the subject of creative interaction contributes to further human development. That is why in the pedagogical interaction process the creative development of the educational institutions' heads is both their activity purpose and the creative development means of the leader's personality, increasing his professional competence and communicative skills level. Thus, creativity leads to professional and personal self-realization of the leader in the management process.

How Do Feedback Seekers Think? Disparate Cognitive Pathways Toward Incremental & Radical Creativity

Feedback-seeking behavior (FSB) has been identified as a meaningful facilitator of individual creative performance. Nonetheless, existing empirical findings are inconsistent, thus raising the need to reexamine the relationship between FSB and creative performance. Accordingly, we explored the effects of FSB on two different types of creativity, radical and incremental, and directed our attention to cognitive processes that mediate the relationship between FSB and creativity. On the basis of the dual pathway to creativity model, we propose that feedback-seeking (FS) frequency and breadth increase cognitive persistence and flexibility, which in turn enhance their radical and incremental creativity of feedback seekers. Our analysis of the data comprising 239 employees from 95 teams in various business organizations revealed that FS frequency is positively related to radical creativity, whereas FS breadth is negatively related to incremental creativity. FS frequency is positively related to cognitive flexibility and cognitive persistence, whereas FS breadth is positively related to cognitive flexibility. Only cognitive flexibility, not cognitive persistence, mediates the relationship between FSB and radical creativity. This study advances the literature on FSB and creativity by developing and validating a theoretical framework that considers the intervening cognitive mechanisms and the various forms of creativity.

Параметры креативности у взрослых активных web-пользователей

The aim of the article is to analyze empirical data that test the hypothesis of greater creativity of active Internet users compared to adult fans of traditional reading. Methods. The study was conducted on a statistically large and homogeneous sample by age, level of education and professional activity (the sphere of mental work). The differentiation of respondents into groups for comparative analysis was carried out on the basis of two criteria: 1) the choice of information system in free time (book or Internet); 2) the time allocated to work with the specified system. The criteria were determined through anonymous and voluntary questionnaires. The parameters of creativity were measured for different types of creativity: verbal (Mednik’s test in the adaptation of A. A. Voronin) and figurative (Sievert’s test).The research presents the results of the comparative analysis conducted in two contrasting groups that select different information systems: subjects of reading and active web users. Statistically significant advantages of reading subjects in the expression of most of the measured parameters of both verbal (uniqueness and number of responses) and figurative (uniqueness and number of associations from remote areas) creativity were established. Conclusions. It is empirically proved that there are significantly more creative people among fans of traditional printed books. This demonstrates that the technical capabilities of the Internet (the richness of content, the possibility of free choice of content and participation in its creation, etc.) do not automatically provide conditions for the display of creative abilities of users. An explanation is offered for the lower creativity of adult active web users through the specifics of the media image as the main unit of encoding information in digital media (the iconic nature of information and the suggestiveness of impact).

A typology of student creativity: creative personal expression, boundary pushing and task achievement

Categorisations of creative persons, processes and products have previously been theorised to assist in demystifying creativity and explicating its attributes. The majority of these have been developed from research of adult creators and tend to focus on one element of creativity. The research presented in this article reports a typology of creativity developed from a study of 20 secondary school students’ self-reported creative experiences. Using a qualitative grounded theory methodology, the study drew on data from focus groups, individual interviews, an online discussion forum, and emails. From this, three empirical Types of Creativity emerged: creative personal expression, creative boundary pushing, and creative task achievement. These patterns of creativity describe the motivations for student creativity and the outcomes produced, while also considering the processes they used, and enabling or inhibiting dispositional and environmental conditions. Understanding the different types of creativity manifested by students may assist schools to better support creative development and achievement.

Dual pathways of emotional competence towards incremental and radical creativity: resource caravans through feedback-seeking frequency and breadth

ABSTRACT This study examined how employees’ emotional competence predicts feedback-seeking behaviour (FSB) and consequently incremental and radical creativity on the basis of conservation of resource (COR) theory. We posit that emotional competence enhances the two types of creativity by generating resource caravans through distinct patterns of FSB. Our analysis based on the data collected from 206 employees from 85 work teams revealed that emotional competence has a significant indirect effect on the incremental creativity of team members, as rated by leaders, through frequent feedback seeking. Emotional competence also exhibited a considerable direct effect on radical creativity. In addition, emotional competence predicted source variety, namely, feedback-seeking breadth, which in turn contributed to radical creativity. This study offers new and useful theoretical and practical insights regarding the different types of creativity in the workplace by employing COR theory and the resource caravan perspective.

SELF-ESTEEM AND TYPES OF CREATIVITY IN ADOLESCENTS: RELATIONSHIP AND PREDICTORS

We present the results of an empirical study of the relationship between self-assessment of creative abilities, originality of creativity (verbal and social) and values. The relevance of the research is related to the demand for creativity as an important competence in the labor market. The ambiguity of the relationship between different types of creativity and self-assessment of creativity, as well as the discrepancy between the results of diagnostics of creative potential using various methods, actualizes the problem of realizing creative potential. The aim of the work was to study the relationship between different types of creativity, self-assessment of creativity and values, as well as to identify the ratio of creativity indicators diagnosed using the Real Word Divergent Task (RWDT) method and tasks for verbal creativity. The study involved adolescents aged 15–16 years (N = 50; 26 — men) — students of one of Moscow school. The following methods were used: “Selfassessment of creative abilities” (E. Tunik), tasks on verbal creativity and creativity in social interaction of positive and negative connotations of RWDT, Portrait value questionnaire of Sh. Schwartz. According to the results, originality is higher in tasks for verbal creativity compared to situations in social interaction; originality in situations of lies and prosocial situations in social interaction significantly correlate; there is no correlation between self-esteem of imagination and creativity indicators measured using the RWDT method and tasks for verbal creativity; self-esteem of creative abilities has a positive relationship with the highest value of “Openness to change”; the predictor of self-esteem of imagination is the value of “Independence of thought”. The results confirmed the hypotheses about specificity of creativity, about the absence of a link between creativity measured as self-report and objective methods; about the presence of a direct link between the highest values of “Openness to change” and the components of creativity measured by selfreport, and did not confirm assumption about the absence of a direct link between originality in prosocial situations and situations with negative connotations. Conclusions are made that 1) creativity is specific in various areas, 2) creativity in situations of lies and prosocial situations in social interaction is a single construct; 3) self-esteem of imagination is not associated with divergent thinking, measured using the RWDT method and tasks for verbal creativity; 4) high selfesteem of imagination is mediated by the motivational goal of thinking creatively, having original ideas, learning new things and phenomena.

The Impact of Creativity and Intelligence on the Social Adaptation of the Students of the Faculty of Physical Education

In periods of social change, creativity is the leading resource for human adaptation. Therefore, in the learning process, it is important to provide for the development of creativity both as a professional skill and as a general life competence. This work aims to elucidate the features of the formation of creativity and intelligence of students in connection with their position in interpersonal relationships. We measured various creative abilities of 224 students of the Faculty of Physical Education (a set of tasks from the tests of creativity by Torrance and Guilford); general intelligence (Raven’s Progressive matrices) and sociometric status (Moreno’s method, the criteria of educational achievements, informal-emotional communication and sports team leadership were used). It is shown that in the learning process, students significantly increase the level of general intelligence, verbal and practical (everyday) creativity increases. The uneven dynamics of the manifestations of different types of creativity depending on the stage of learning was revealed: during periods of intense adaptation, a redistribution of cognitive efforts to achieve more significant and relevant goals was observed. Eight different types of combinations of creative abilities and general intelligence that determine the diversity of students’ adaptation strategies have been identified. Direct correlations and nonlinear relationships between the severity of various cognitive abilities and sociometric status are described. The balance of intellectual and creative processes, their effective use in various situations of interpersonal interaction is the key to gaining social authority.

Distinct effects of intrinsic motivation and extrinsic rewards on radical and incremental creativity: The moderating role of goal orientations

SummaryPrevious studies have investigated the role of intrinsic motivation and extrinsic rewards in enhancing employee creativity. However, the possibility that these motivational factors affect the creativity of different types remains largely unexplored, particularly in the organizational settings. Moreover, the potential that personality traits may moderate the function of these motivational factors toward creativity is another underresearched area. By drawing on the person–situation interaction perspective, we propose that both intrinsic motivation and extrinsic rewards predict creativity but of different types. Thus, we diverge from the view that creativity is a uniform criterion domain by adopting the distinction between radical and incremental creativity. Our empirical analysis of 220 independent employee–supervisor dyads confirmed that intrinsic motivation and extrinsic rewards predict radical and incremental creativity, respectively. Moreover, the effects of intrinsic motivation on radical and incremental creativity are more positive for employees with higher learning goal orientation. By contrast, the effect of extrinsic rewards on incremental creativity is more positive for employees with higher performance goal orientation. This study offers elaborate and nuanced perspectives and insights into the role of different motivational processes in the development of different types of creativity.

Management Control for Stimulating Different Types of Creativity: The Role of Budgets

ABSTRACTThe Cools et al. (2017; hereafter, CSV) study examines the role of budget for two different types of creativity: expected creativity (for open problems) and responsive creativity (for closed problems). Using a comparative case study involving four organizations engaged in creative activities, this study finds that budgets are used in a more interactive way in firms where creativity for open problems is more important and are used in a more diagnostic way in firms where creativity for closed problems is more important. In this brief discussion of the study, I first discuss the major strengths of CSV, then offer my comments on some aspects of the paper, and finally identify some potential extensions of this study for future research. In summary, CSV contribute to a growing management accounting literature that documents the positive role of management control systems in creative activities. By distinguishing between different types of creativity, CSV provide many promising opportunities for future research.

Management Control for Stimulating Different Types of Creativity: The Role of Budgets

ABSTRACTIn this paper, we examine the role of budgets as a central instrument within the management control system (MCS) in a creative context. In particular we investigate whether creative firms characterized by different kinds of creativity use their budgets in a similar way. We hereby distinguish between expected creativity (for open, self-discovered problems) and responsive creativity (for closed, presented problems) (Unsworth 2001) and investigate the interactive versus diagnostic use of budgets (Simons 1990, 1991, 1995). Based on a comparative study involving four creative firms, we find that creative firms, being mainly characterized by expected creativity, use their budgets in a more interactive way. In creative firms in which responsive creativity is most important, the budgets are used in a rather diagnostic way. This study contributes to the management control literature by acknowledging that a diagnostic use of budgets does not per se stifle creativity. Instead, it is important to understand that the specific creative context might have implications for the way in which MCS instruments are used to sustain the creative process.