Predictor Of Creative Performance Research Articles

Neuroscience of creativity or can the ungraspable be captured?

Creativity is a particularly complex entity that can be best conceptualized along dimensions of opposite polarities. It can simultaneously be considered as a phenomenon that comprises a multitude of processes but also be interpreted as a complex construct which indeed does not have a uniformly accepted definition despite extensive literature on creativity. Creativity researchers of various approaches offer alongside methodological diversity a vast array of paradigms and definitions, leading, on the other hand, to contradictions of results. Nevertheless, the concept of creativity is to be maintained in the sense that it encompasses the ability to produce innovatively original, valuable, adaptive solutions breaking with pre-existing categories and developing unconventional alternatives. Since creativity cannot definitely be subject of scientific investigations as an overarching entity and its essence has not been grasped so far, some of its components can be measured and defined such as specific cognitive processes (divergent and convergent thinking, remote associations, conceptual expansion, working memory), motivational factors, emotional/affective conditions or personality traits considered as predictors of creative performance (schizotypal, autistic spectrum traits). Even though definitional inconsistencies persist, gradually neurobiological approaches have become the main issue of creativity research. Recently, the analysis of brain network activity applying methods of electrophysiology and brain imaging seems to promote the understanding of the functional localization of creative performance. Certain brain regions were initially identified as correlates of creativity, such as lateral prefrontal cortex, inferior parietal lobe, insula, striatum. More recent studies emphasize the activation and effective functional connectivity of large brain networks (default mode network, frontoparietal executive control, and others) as well as highlight the importance of their brain and neurochemical substrate (gray matter volume, white matter integrity, dopamine), connecting with cognitive processes of opposite style (flexibility versus persistence). While this paradigm seems to converge toward the delineation of a coherent neurobiological model of creativity, obviously we would not infer the essence of such a complex phenomenon from a simplified sub-process. Orv Hetil. 2023; 164(18): 683-693.

Instructions Moderate the Relationship between Creative Performance in Figural Divergent Thinking and Reasoning Capacity

AbstractIn this study with within‐subject design, the “be‐creative effect” was investigated using three instructions in figural divergent‐thinking tasks: Besides a be‐fluent instruction, a be‐creative instruction, and a be‐creative instruction combined with strategies were applied. In addition, reasoning ability as part of fluid intelligence, self‐reported creative ideation, current motivation after reading the instructions, and task‐related interest were assessed. Multilevel analysis applying random‐intercept‐constant‐slope models found significant main effects of the instructions on creative performance and fluency. Both be‐creative instructions yielded a rise in creative performance in divergent thinking tasks with additional improvement due to supporting strategies. The be‐fluent instruction enhanced the quantity of ideas but decreased creative performance. Task‐related interest turned out to be a better predictor of creative performance than the self‐estimated expected interest prior to working on the task. Moreover, the relationship of creative performance and reasoning ability was moderated by instruction, with no relationship with a be‐fluent instruction and small to moderate positive effects with both instructions emphasizing creative ideas.

Wild and free: Unpredictability and spaciousness as predictors of creative performance

Inspired by research that demonstrates the positive effects of nature-based imagery on wellbeing and cognitive performance, the current research aims to study to what extent nature imagery can also enhance creative performance. To this end, imagery presenting green settings varying in unpredictability and spaciousness was displayed before and during a creative drawing task in a high school classroom. After completion participants additionally filled out a questionnaire comprising self-report measures for perceived creativity and positive affect. Both unpredictability and spaciousness enhanced creative performance, with images combining these two factors being particularly inspiring. Furthermore, spaciousness resulted in higher self-reported creativity. The effects of unpredictability and spaciousness on positive affect were not significant. These findings demonstrate that nature imagery has the potential to increase creativity in individuals and warrant follow-up studies that may further clarify the role of spaciousness, unpredictability, and potentially other creativity-enhancing features of nature imagery.

The Physiological Response during Divergent Thinking

Our research studied the physiological response of participants during a creative task to investigate if a person’s psychophysiological state was correlated with divergent thinking performance. We used heart rate variability as our physiological measure. We asked 50 participants to perform a cognitive task that assessed their divergent thinking skills and recorded their heart rate and heart rate variability (HRV) before and during the task. Frequency domain analysis was performed on the HRV. The results showed that there was a significant negative correlation between log-transformed low frequency HRV power and the number of “divergent thinking” words generated. Our results suggest that a person’s psychophysiological state is correlated with their divergent thinking performance, and that attention and motivation may be important factors, however this needs further research. Our findings also suggest that being in a relaxed state before the start of a creative task is not a predictor of creative performance.

Rasch-Master's Partial Credit Model in the assessment of children's creativity in drawings.

The purpose of the present study was to use the Partial Credit Model to study the factors of the Test of Creativity in Children and identify which characteristics of the creative person would be more effective to differentiate subjects according to their ability level. A sample of 1426 students from first to eighth grades answered the instrument. The Partial Credits model was used to estimate the ability of the subjects and item difficulties on a common scale for each of the four factors, indicating which items required a higher level of creativity to be scored and will differentiate the more creative individuals. The results demonstrated that the greater part of the characteristics showed good fit indices, with values between 0.80 and 1.30 both infit and outfit, indicating a response pattern consistent with the model. The characteristics of Unusual Perspective, Expression of Emotion and Originality have been identified as better predictors of creative performance because requires greater ability level (usually above two standard deviation). These results may be used in the future development of an instrument's reduced form or simplification of the current correction model.

Evaluation of Self-Perceptions of Creativity: Is It a Useful Criterion?

Self-evaluations or self-perceptions of creativity have been used in the past both as predictors of creative performance and as criteria. Four measures utilizing self-perceptions of creativity were assessed for their usefulness as criterion measures of creativity. Analyses provided evidence of domain specificity of self-perceptions. The scales correlated with self-report measures of creativity, but not with objective measures. Self-perceptions of creativity had strong to moderate relationships with personality and creative self-efficacy. These results suggest that although self-perceptions of creativity may provide some information about creativity, researchers should be cautious when using this measure as a criterion.

Relationship between positive psychological capital and creative performance

AbstractDespite considerable attention to the creative process and its relationship with personal characteristics, there is no published study focused directly on the relationship between the recently recognized core construct of psychological capital (PsyCap) and creative performance. Drawing from a large (N = 899) and heterogeneous sample of working adults, this study investigates PsyCap and its components (i.e., efficacy, hope, optimism, and resilience) as predictors of creative performance. Overall PsyCap predicted creative performance over and above each of the four PsyCap components. Theoretical and practical implications of these findings are considered. Copyright © 2010 ASAC. Published by John Wiley & Sons, Ltd.

Original thinking as a predictor of creative performance in young children

The predictive validity of original thinking with reference to the performance of real‐world creative activities was examined in 60 second‐graders. Original thinking was operationally defined as id...