Social Psychology Of Creativity Research Articles

APGICO and ASOCREA: A common history

Starting from the history of the link between ASOCREA and APGICO, this article describes the methodological evolution that occurred in the intervention in organizational innovation, which we have carried out in public, private and third sector organizations. Taking the Simplex method of creative problem solving as a reference, we reduced the number of steps and the duration of the sessions, until we were left with only four steps, developed in a four-hour session. Given the need to expand the constitution of teams, we ventured into methodologies with large groups, trying to achieve a fusion between Organizational Development and the Social Psychology of Creativity, which would allow us to work with groups of more than 50 participants, in sessions of duration less than six hours. Having stabilized in the method, we expanded the intervention model with the diagnosis and installation of matrix systems, simultaneously by structure and by project, thus ensuring not only continuous innovation, but also the inclusion of more elements in the process. Finally, we went from the intervention to the training of innovation agents, who could lead the entire cycle within the organization itself. We are currently working on project management methodologies developed in creative problem solving sessions, seeking to learn how to work in low commitment environments.

What games writing teaches us about creative writing: A case study of The Fullbright Company’s Gone Home

This paper challenges the popular perception of creativity as a characteristic of special individuals and, instead, proposes that creativity is an emergent event resulting from the dynamic interaction of a creative subject (or subjects), a social and cultural context, and the material artefact (itself embodying its own social and cultural history). This theory of creativity derives inspiration from the social psychology of creativity and, especially, the research of Vlad Petre Glăveanu, who analyses Romanian Easter-egg decoration to establish how creativity in all its manifestations occurs as a ‘distributed, dynamic, sociocultural and developmental phenomenon’ (2014: 2, original emphasis). This paper focuses on games writing. Taking as its case study The Fullbright Company’s multiaward-winning computer game Gone Home (2013), and informed by an interview with The Fullbright Company’s Steve Gaynor, this paper attends to the ‘sociality, materiality and temporality of the creative work’ (Glăveanu 2014: 5). Having deliberately chosen a game with literary characteristics, the paper aims to arrive at a deeper appreciation of a new form of creative writing (conceived here in a way that accepts medial change as a fundamental part of literary history). It concludes with a reflection on the possibility for a less Romantic and elitist understanding of creative writing in its traditional forms.

Search and Interactive Recombination: Does social hierarchy affect team creativity?

Does team social hierarchy influence the creation of new-to-the-firm knowledge? We propose that social hierarchy determines a team’s ability to engage in interactive recombination, a key source of divergent ideas, and submit that time-spanning search provides an alternative mechanism through which divergent ideas are generated. We argue that social hierarchy exhibits a U-shaped relationship with divergent idea generation and proffer that the effectiveness of time-spanning search is affected by team social hierarchy. Using patent data from the semiconductor industry, we find support for our theory. By introducing social hierarchy as a factor that affects divergent idea generation, we combine innovation studies with the social psychology of creativity and deepen understanding of the importance of team composition and interaction for idea generation.

Comment on “The Psychology of Creativity: A Critical Reading” by Vlad Petre Glăveanu

Abstract In this commentary, I applaud Glăveanu’s attempts to shake things up and introduce some much-needed disruption into the study of creativity. Glăveanu is a “ big thinker” and he is correct to worry about the growing fragmentation of the field. I share his concern that the so-called “ social psychology of creativity” really isn’t all that social. Most researchers and theorists continue to decontextualize creativity, giving little attention to the cultural and environmental factors that contribute to creativity of performance. Yet Glăveanu also presents some arguments with which I disagree. Most striking is his apparent misunderstanding of the purpose and functioning of the Consensual Assessment Technique (CAT). In addition, I am less surprised than is Glăveanu about the current state of our field. The same narrowing of research questions plagues every branch of the study of psychology. However, the tides may be changing. At the forefront of a reform movement are a number of creativity theorists and journal editors. My own hope is that as researchers are given license to expand their work to include a wide variety of experimental designs, methodologies and contexts, they will adopt as their core mission the promotion of the growth of creativity at the individual, group, societal and multi-cultural levels.

Misconducts of science research human resource management——A reflection based on the Amabile's Componential Framework of Creativity

The Componential Framework of Creativity,advanced by Amabile,one of significant figures on the social psychology of creativity,comprehensively interpreted the nature and the construct components of creativity.Inspiring by the ideology of Amabile's Componential Framework of Creativity,this study examined whether the science research human resource management practices in today's Chinese science research institutions follow the nature of science research and whether the policy and operation inhibit creativity.It identified the common misconducts happened in human resource selection,development and performance management,and the causes and countermeasures of those misconducts were also explored.The findings will be a source of reference for human resource management practitioners at the science research field of China. Key words: creativity; componential framework of creativity; domain-relevant skills; creativity-relevant skills; task motivation; science research human resource management

Social Psychology of Creativity: Concept, Methods, Trends and Topics

인간의 근본 욕구이자 최적 경험이며 자기실현인 창조성은 그 중요성과 사회적 관심에 비해 과학적 심리학의 연구주제로서는 위상이 낮은 편이다. 그 중요한 원인 중 하나는 연구자들이 창조성 개념의 정의와 그 측정 방법의 타당도에 확신을 갖지 못하는 것인데, 이는 창조성을 확산적 사고 능력, 즉 창의성(創意性)으로 정의하는 심리측정론적 개념과 그 방법의 타당성 문제에 상당 부분 기인한다. 반면 사회문화적 맥락에서 새롭고 유용하다고 합의되는 산물을 생산하는 개인과 창조과정의 특징으로 창조성(創造性)을 정의하는 창조성의 사회문화적 정의 및 방법은 과학적 연구 주제로 타당하며, 특히 이러한 개념과 방법에 따르는 창조성의 사회심리학적 연구는 창조성에 대한 온전한 이해에 독특하게 기여한다. 이에 본 논문은 창조성에 대한 사회심리학적 연구의 활성화와 발전을 위해 창조성의 사회문화적 개념과 그 연구방법을 살펴보고, 창조성의 사회심리학적 연구 흐름을 개관한다. 특히 각 연구의 함의에 주목하여 (1) 창조과정의 절차적 전체성에 주목하고 창조의 사회적 체계를 강조하는 ‘과정과 체계의 창조성 이론’, (2) 내적 동기 및 몰입을 중심으로 창조자의 동기와 정서가 창조성에 미치는 영향을 파악하고, 창조에 적합한 마음 상태를 만드는 환경요소를 탐구하는 ‘맥락과 동기의 창조성 이론’, 그리고 (3) 2인 이상의 창조자가 관여하는 창조과정에 주목하여 집단의 효과적 기능 조건을 탐구하는 ‘집단 과정의 창조성 이론’의 세 가지 흐름으로 구분하여 각 연구주제를 개관하였다. 마지막으로 세 가지 흐름의 상호관련성을 바탕으로 창조성의 사회심리학적 연구가 창조성의 넓고 깊은 이해에 기여하는 바를 강조하고, 한국사회의 창조성 연구에 대한 함의를 논하였다.

Perspectives on the Social Psychology of Creativity

AbstractScholars began serious study into the social psychology of creativity about 25 years after the field of creativity research had taken root. Over the past 35 years, examination of social and environmental influences on creativity has become increasingly vigorous, with broad implications for the psychology of human performance, and with applications to education, business, and beyond. In this article, we revisit the origins of the social psychology of creativity, trace its arc, and suggest directions for its future.

Paradigms in the study of creativity: Introducing the perspective of cultural psychology

This article identifies three paradigms in creativity theory and research in psychology. The He-paradigm, focused on the solitary genius, has been followed, mainly after the 1950s, by the I-paradigm, equally individualistic in nature but attributing creativity to each and every individual. Extending this view, the We-paradigm incorporates what became known as the social psychology of creativity. The cultural psychology of creativity builds upon this last theoretical approach while being critical of some of its assumptions. This relatively new perspective, using the conceptual and methodological framework of cultural psychology, investigates the sociocultural roots and dynamics of all our creative acts and employs a tetradic framework of self – community – new artifact – existing artifacts in its conceptualization of creativity. The theoretical basis of the cultural psychology approach is analyzed as well as some of its main implications for both the understanding and study of creativity.

Variability of creativity judgments

The Consensual Assessment Technique (CAT), developed by Amabile [Amabile, T.M. (1982). Social psychology of creativity: A consensual assessment technique. Journal of Personality and Social Psychology, 43, 997–1013], is frequently used to evaluate the creativity of productions. Judgments obtained with CAT are usually reliable and valid. However, notable individual differences in judgment exist. This empirical study shows that creativity judgments for advertisements vary, depending on (1) the level of two underlying components of creativity — originality and appropriateness, (2) the creative ability of the judges, i.e. variations in their ability to be original, and finally, (3) instructions or training that they received about the topic of creativity assessment. Effects of advertisements' appropriateness and judges' ability to be original on individual differences in creativity judgments are discussed.

Creativity in the Hong Kong classroom: What is the contextual practice?

A review is offered of Hong Kong's current education reform that sites a key role for creativity. This key role leads us to ask “Creativity in the Hong Kong Classroom: what is the contextual practice?” To address this question 27 Primary classroom teachers across three subject areas were observed and rated using the Classroom Observation Form [Furman, A. (1998). Teacher and pupil characteristics in the perception of the creativity of classroom climate. Journal of Creative Behavior, 32(4), 258–277]. The creativity potential of these teachers was then measured against the Creativity Fostering Teacher Index [Soh, K. C. (2000). Indexing creativity fostering teacher behavior: A preliminary validation study. Journal of Creative Behavior, 34(2), 118–134] and the Creative Personality Scale [Gough, H. G. (1978). A creative personality scale for the adjective check list. Journal of Personality and Social Psychology, 37(8), 1398–1405]. Their class students then completed the Chinese Creativity Tests [Wu, J. J., & Chen, F. X. (1998). A study on the new creativity test. Taiwan: Education Bureau and Foundation for Scholarly Exchange]. Findings support and extend current understandings of both system and componential theory [Csikzentmihalyi, M. (1996). Creativity: flow and the psychology of discovery and invention. New York: Harper Collins; Amabile, T. M. (1996). The social psychology of creativity. New York: Springer–Verlag; Amabile, T. M. (1996). Creativity in context. Boulder: Westview Press]. Instrument limitations and a need for interpretative cautions are discussed and their significance for further research indicated.

Motivation and Classroom Climate: Promoting Creativity in Gifted Children

Creativity does not come about in a vacuum. Empirical work carried out by investigators trained in psychology tells us that there is a direct link between the motivational orientation brought by a student to a task and the likelihood of her being creative at that task, and it is the environment that in large part shapes that motivational orientation. There are many important parallels between work being done in the field of gifted and talented education and the social psychology of creativity, yet the two research traditions have remained fairly separate. One commonality involves the empliasis placed by investigators representing both areas of inquiry on the interface between person and context. Taken together, these two research paths lead to the conclusion that close attention must be paid to school climate if gifted students’ motivation, creativity and special talents are to be developed. In fact, the influential effects of classroom environment on motivation and creativity of performance are staggering. The argument is made that an appreciation of classroom environmental effects is particularly important in the gifted and talented classroom or “pull-out” program in which the promotion of students’ interest and creativity of performance is a top priority. Research is reviewed which reveals that the typical American classroom is fraught with killers of intrinsic motivation and creativity, and suggestions for future research directions are offered.

The Social Psychology of Creativity

Motivation plays a crucial role in the creative process. It is not enough to have unusually high levels of skill or a deep conceptual understanding. In order for students to reach their creative potential, they must approach a task with intrinsic motivation; they must engage in that task for the sheer pleasure and enjoyment of the activity itself rather than for some external goal. Researchers and theorists now understand that there is a direct relation between the motivational orientation brought to a task and the likelihood of creativity at that task. And it is particular features of the school environment and students' daily routine that in large part determine that motivation. The present paper outlines investigations revealing that the typical classroom is fraught with teaching practices and programme features that kill intrinsic motivation and creativity. Research designed to immunise students against the negative effects of these damaging classroom elements is reviewed. The argument is made that the undermining of intrinsic motivation and creativity of performance may be largely driven by an affective, rather than a cognitive, mechanism, and recent cross-cultural data gathered in a non-western educational setting are reviewed.

Encoding Specificity in Second Language Acquisition

* In the areas of education and psychology, memory has been investigated in terms of the encoding, storage, and retrieval of items such as syllables, words, and sentences. Of specific interest has been the relation between what is encoded (stored) and what is retrieved (remembered). Performance on retention tests indicates the extent to which a recall context duplicates the encoding context. For example, when people recognize someone they see at the mall, they may not be able to remember the person's name because the context-and perhaps the person's clothing-are different from those usually associated with that person. If people can recall the context (e.g., dental office or auto repair shop), they are much more likely to remember the person's name. The abile, T. M (1983). The social psychology of creativity. New York: Springer-Verlag. ar oll,J. B (1990). Cognitive ab lities in foreign languag aptitude: Then and now. T. S. Parry & C. W. Stansfield (Eds.), Language aptitude reconsidered (pp. 11-29). nglewood Cliffs, NJ: Prentice Hall Regents. ar oll, J. B. (1993). Human cognitive abilities. Cambr dg : Cambridge University

Correlates of Achievement, Dominance, and Creativity

A review of literature suggests that creativity and authoritarianism are negatively correlated. Based on a validation study by Ray and Lovejoy in 1983 in which need for achievement and dominance were offered as better predictors of authoritarian behaviors than traditional authoritarianism scales, we examined this relationship using a projective test for Need for Achievement (the Thematic Apperception Test) and a self-descriptive scale (the Adjective Check List) which produced multiple measures of achievement plus scores on dominance and creativity. The anticipated negative relationship between creativity and this operationalization of authoritarianism was not produced by any of the measures. Instead, we replicated Gough and Heilbrun's 1983 data in which dominance and achievement are positively related to creativity. The results are discussed in terms of how researchers might examine the relations between authoritarianism and creativity as the social psychology of creativity.

Book Review: Genius and Eminence the Social Psychology of Creativity and Exceptional Achievement volume 5

Book Review: Genius and Eminence the Social Psychology of Creativity and Exceptional Achievement volume 5

The Social Psychology of Creativity

The Social Psychology of Creativity

The Social Psychology of Creativity.

The Social Psychology of Creativity.

Creativity: The Social Psychology of Creativity.

Creativity: The Social Psychology of Creativity.

The social psychology of creativity: A componential conceptualization.

Despite the clear importance of social and environmental' influences on creative performance, a social psychology of creativity is yet to be developed. Theory and research have focused almost exclusively on a personality approach to creativity and, to a lesser extent, a cognitive-abilities approach. Following a consideration of the definition and assessment of creativity, a componential framework for conceptualizing creativity is presented here. 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 different 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. A striking feature of many phenomenological accounts of creativity is the degree to which outstandingly creative individuals feel influenced by social and environmental factors. In many cases, these factors are quite ordinary, mundane events; it appears that even seemingly insignificant features of the environment can be detrimental or conducive to creativity in some individuals. For example, in a letter to a friend, Tchaikovsky (1906) described the devastating effect that

The social psychology of creativity: A componential conceptualization.

The social psychology of creativity: A componential conceptualization.